Gommatesvara-Bahubali, the Great Saint

U. P. Shah’s essay "Gommatesvara‑Bahubali, the Great Saint" surveys literature and art to explain why Bahubali is revered almost like a Tirthankara. Shah notes that the 17.4‑m high monolithic statue at Shravanabelagola, carved circa 983 CE by the Ganga minister Chamundaraya, is considered one of the wonders of the world. Although Bahubali is not a Tirthankara, he attained kevala‑jnana through severe austerities and is honoured especially among Digambaras. Shah recounts the standard legend: Bahubali, born to queen Sunanda, refused to acknowledge his elder step‑brother Bharata’s sovereignty and challenged him. To avoid bloodshed the brothers fought three contests—staring, boxing and wrestling. Bahubali won but then plucked out his hair, renounced his kingdom and stood in kayotsarga meditation until he attained enlightenment. Shah notes that Svetambara and Digambara texts differ on details such as Bahubali’s capital (Taksasila, Podanapura or Podanasa) and whether he meditated on the battlefield or at Mount Kailasha. The author surveys images of Bahubali: early tri‑tirthika bronze images show him standing beside seated Jinas; a 13th‑century sculpture at Mount Abu depicts him wearing a dhoti; manuscripts of the Kalpa Sutra painted at Jaunpur in 1522 and around 1475 CE show the duel, the meditation and the two nuns Brahmi and Sundari; and wooden covers from Western India portray the story. Shah analyses how Svetambara artists sometimes clothe Bahubali or depict birds, snakes and vines, while Digambara images emphasise his nudity. He highlights that the Mahamastakabhisheka festival at Shravanabelagola, held every 12 years, continues to draw thousands of pilgrims. By comparing texts and artworks, Shah argues that the cult of Bahubali reflects Jain values of non‑violence, humility and the quest for liberation.

Summary reviewed by a volunteer editor.