Homage to Bahubali
By Jose Pereira
Summary
In "Homage to Bahubali" art historian Jose Pereira explores why the meditating Bahubali has fascinated Jain artists and poets. He notes that texts describe Bahubali as handsome and "beautiful without ornaments"; his nude body has the same allure for Jain sculptors that the pierced Saint Sebastian has for Christian artists. Vines and creepers enveloping Bahubali during his year‑long standing meditation (kayotsarga) offer decorative possibilities that contrast with the smooth human form. Pereira surveys the scriptural sources—the Mahapurana, Vasudevahindi, Trisastisalakapurusacaritra and others—explaining how they recount Bahubali’s story: as the second son of Rishabhanatha he challenges his brother Bharata, wins a contest of staring, water fighting and wrestling, then renounces his kingdom and stands motionless in meditation until plants grow over his body. Pereira divides the story into three phases: Bahubali’s life before he realises the vanity of worldly power, his one year of intense meditation, and the moment when his sisters Brahmi and Sundari (or, in some versions, Bharata) visit to free him from pride. He explains that the nuns’ message that enlightenment cannot arise "on an elephant’s shoulder" (meaning pride) enables Bahubali to attain omniscience. Pereira analyses how sculptors portray each phase; early reliefs focus on the battle and renunciation, while later monuments such as the 17.4‑m Gommateshvara statue depict Bahubali standing nude with vines around his legs and arms. The author emphasises that artists evoke santarasa (tranquil mood) through Bahubali’s serene expression and sees the image as a symbol of non‑violent resistance and victory over the senses. By intertwining textual analysis with art history, Pereira shows how the image bridges literature and sculpture and continues to inspire devotion.
Summary reviewed by a volunteer editor.
Conclusion
Pereira’s homage portrays Bahubali as both a spiritual exemplar and an aesthetic subject. By examining scriptural accounts and artistic representations, he shows that Bahubali’s narrative—victory over a kingly brother, renunciation and enlightenment—encapsulates Jain ideals. The essay concludes that Bahubali’s nude, vine‑wrapped form invites contemplation of tranquillity and self‑control, and that his image continues to inspire artists and devotees as a symbol of humility and non‑violence.