JOIN USWe headed out 135km from Bengaluru on State Highway 17 before hitting village roads. The route is charmingly pastoral as we make our way through the narrow alleyways to reach Kambadahalli village in Mandya district.
The village is 18 km away from the famed Jain pilgrim centre of Shravanabelagola. A giant pillar on a raised platform greets us at the village centre, to the left of which is the place of our visit — Panchakuta Basadi.
Kambadahalli (earlier known as Kambapuri), derives its name from the huge Manasthamba or Brahmadeva pillar that dominates the village. The 57-feet-high pillar, considered to be one among very few high-raised pillars in ancient South India, stands on an octagonal base. Tiers of floral motifs adorn its well-crafted shaft. The pillar top has a square platform that holds aloft the seated image of Brahma Yaksha. The outer corners of the platform are embellished with hanging bells. According to local folklore, the bells do not chime or even so much as tinkle even during fierce storms. However, when they do ring, they portend death in the village!
Once home to over 72 Jain temples, Kambadahalli was a major Jain centre during the Ganga and Hoysala periods. From various inscriptions seen in the complex, it is palpable that construction and renovation works took place during the reigns of various dynasties. An inscription dating back to 1118 CE at the base of the Brahmadeva pillar records that the Hoysala king Vishnuvardhana gifted a piece of land at Kambadahalli to his minister Gangaraja for helping him wrest Talkad from the Cholas. Gangaraja donated this land to a Jain guru, who is believed to have played a significant role in building several Jain temples in the region.
The Panchakuta Basadi gets its name from the five shrines it houses, and reflects one of the finest architectural styles of the Western Ganga period. Historical records point to the complex being built in phases between the 8th and 11th century CE. The north-facing structure is oriented towards the Brahmadeva pillar and is built in two phases — as trikuta (three shrines) and dwikuta (two shrines). Each shrine, characterising the trikuta style, has its own shikara (superstructure). The central, north-facing shrine of Adinatha, the first Jain tirthankara, is flanked on the east and west by shrines dedicated to Shantinatha, the 16th tirthankara and Neminatha, the 22nd tirthankara respectively. The four-feet-tall black stone idol of Adinatha in padmasana position that beautifies the central sanctum is particularly eye-catching.
Ornate structures
The trikuta Basadi is a visual treat for architectural historians because each of its towers represents a different building style. The square shikara or vimana above Adinatha’s shrine reflects Nagara architectural style; the circular tower above the Shantinatha sanctum is reflective of the Vesara style, while the Dravidian style of temple architecture is seen in the octagonal tower above Neminatha’s sanctum.
Each of these shrines has a separate vestibule or ardhamantapa, which opens to a large open hall called the mahamantapa or navaranga, whose ceiling is supported by four ornate central pillars. The ceiling of the navaranga is bedecked with carvings executed with precision and finesse. At the entrance to the shrines are the ashtadikpalakas or guardians facing eight directions, with their consorts and vehicles.
The dwikuta or two-shrine structure has the indelible seal of Hoysala architecture. It is wider than the trikuta shrines and is separated from it by the bali peeta or sacrificial platform, a unique three-tiered structure. The middle octagonal tier is sandwiched between a square base and circular top, upon which the bali peeta rests. The octagonal faces of the middle band are sculpted with the images of ashtadikpalakas, guardians of the eight cardinal directions.
The Basadi exhibits fine sculptures of Jain yakshas and yakshis, the male and female benevolent spirits of the Western Ganga and Hoysala periods. In some of the niches on the outer walls of the sanctum sanctorum of the five shrines, there are idols of the tirthankaras in kayotsarga posture, a yogic meditative posture symbolic of renunciation.
To the left of the Panchakuta Basadi is the Shantinatha Basadi, a rectangular structure, sans towers. Its sanctum contains a 12-feet-high black stone idol of Lord Shantinatha, again in kayotsarga pose. On either side at the entrance to the sanctum are idols of meditating tirthankaras.
At the central ceiling of the hall is one of the most exquisite and intricate nine-grid sculptural panel of Lord Neminatha surrounded by chouri bearers, gandharvas and ashtadikpalakas on their perch. It is the practice of Jain devotees to sit in meditation under this ceiling sculpture of Neminatha, seeking the blessings of the Lord when they visit.
There is a single band of sculptures that run along the external wall of the Shantinatha Basadi. The sculptures include horses, elephants, lions and some mythical creatures with occasional figurines of warriors mounted on these animals. Various inscriptions at the Shantinatha Basadi attribute contributions made to the Temple by chieftains and rulers during different time periods in history. Daily puja is performed every morning and evening.