For a person of many interests, Dakshina Kannada and its neighbouring areas are a treasure trove. Be it culture, architecture, religio-social activities or natural beauty, the region has it all. I have utilised my two years here to explore some parts on my own, and the latest in that list is the Saavira Khambhada Basadi or the 1000-pillared Jain temple at Moodabidri.
I boarded a bus to Moodabidri from State Bank bus stop with a flask of hot black coffee and a few packets of biscuits in my bag. The journey was nice as usual – I never tire of looking out to the lives of common people and wondering why I cannot be more common; of enjoying the serenity of the countryside; of trying to identify the variety of plants and birds I see on the way.
After traversing through mountain sides looking down unto steep valleys and groaning on the small village roads, the bus finally rolled into Moodabidri town. It was 12noon. The sun was hiding behind the clouds as I got down from the bus and took a sip from the flask. Having asked directions from a gentleman at the bus stop, I ambled towards the Basadi, an approximately 15-minute walk. The town had all the looks of an upcoming city – the old-world box-shops and uptown selection centres huddled together within a square kilometre.
Finally, the entrance gate of the Saavira Khambhada Basadi rose high around one of the left turns pointed out to me by a passer-by. My curiosity was aroused by the faint first glimpse of the pillars – Was the ancient 1462 Jain temple in ruins, or is it well-maintained? Does it still serve as a temple, or has it relegated to history books only? There weren’t many ‘tourists’ around, except the scatterings of local youth and a few college students outside the gate and a couple of groups of families inside. The words on the inside gate proclaimed it to be the abode of the Jain tirthankara Tribhuvana Choodamani. The tall manastambha of the temple greeted me as I peeked inside. A carved gate followed the newer concrete gate, with the traditional stone dwarapalakas on guard. I entered the Basadi capturing the images on the huge door.
There was a golden flagstaff, and the temple itself rose behind the manastambha in full regalia. Oh, it wasn’t in ruins, thank God. The first sight of the temple innards was majestic – huge elephants guarding the entrance, rows and rows of pillars, a huge inner gallery and a distant glimpse of the sanctum sanctorum. I was mesmerised. For all my love of history, architecture and temples, this was the first time I was so close to the wonderful stone art of Karnataka. It seemed like a dream – right out of those websites and history books I devoured long ago. A banner asked me not to touch the pillars, but I rejoice in the sense of touch and couldn’t resist feeling the elaborate artwork on my skin.
The gallery or mantapa at the start of the temple consists of pillars built in the Hoysala style, while the inner pillars have Nepali designs, the guide informed me. The Hoysala pillars are much more intricate and delicate, with carvings of Ramayana, life of Tirthankaras and absolutely exquisite figures such as the poorna kumbha, Goddess Lakshmi or the various dwarapalakas.
Nepali pillars depicted the life of Krishna, nature objects such as peacocks and elephants, among others. There are also Halegannada inscriptions in one of the walls of the inner courtyard and on some of the pillars. Other notable features included panels of dancing yaksha-yakshinis along the base of the Basadi. There are a total of 237 designs created in stone in the 1000-pillared Basadi, which took 30 years to complete. The main pillars, the half-pillars, the mini-pillars carved on to the large Hoysala pillars, as well as the ones on the mezzanine and top floors together added up to the number 1000.
The Basadi still performs its functions as a place of worship. Poojas are conducted in the mornings, and only then are the sanctum sanctorum and the upper two floors of the Basadi opened. Visitors are not allowed to enter inside. The sanctum sanctorum contained a 9ft statue of the eighth tirthankara Chandranatha Swami made of gold and panchaloha (3:1). The second and topmost floor had the sacred areas that are believed to house all 24 tirthankaras, and though I could not see them properly nor capture them on my little camera, I could see they were exquisite too.
I spent around three hours taking in the calm surroundings with a lack of hustle-bustle, and spent a lot of time talking to a guide, whom I had befriended, about the Basadi. After a really relaxed and informative time there, I returned to Mangalore by another bus.
More from Namitha Varma:
* Pulling growth from under the beds
* Mangalore: A home away from home for a Keralite from Gujarat!
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