Dambulla Cave Temple

The Rock Temple of Dambulla, called Jumbukola Vihara (Dambulla Cave Temple) in the (Mahavamsa) the subject of the Pali Chronicle of Sri Lanka, is about forty-seven miles northwest of Kandy, the last capital of King Sinhalese, on the highway. in Anuradhapura.

The shortest route from Colombo to Dambulla lies through Kurunegala, one of the capitals of the ancient Sinhalese kings. Another equally famous rock temple, Aluvihare, which, according to tradition, Buddhist scriptures were first dedicated to writing about the first century B.C., lists about twenty six miles south on the Kandy Dambulla road. And the famous tower of Sigiriya with its beautiful frescoes rises up like a great wall at a distance of about twelve miles to the north-east of Dambulla. Dambulla is a scent of unique happiness. Its rock temples are the most extensive in the Island, and one of the oldest temples, and in the highest level of preservation and organization. Dambulu - gala (the rock of Dambulla), where these temples are located, is almost visible and very large. Its height above the plain is about six hundred feet.

History

The Dambulla caves, like the Mihintale caves, were inhabited in ancient times by Buddhists. The antiquity of this place is confirmed by the presence of pre-Christian inscriptions in the Brahmi character below the ceiling of the central cave. One of these writings is recorded: "Damarakita teraha lene agata anagata catu disa sagas dine. Gamani abaya rajiyahi karite (The Elder Dlmamma-cave, rakkita's donated to the Community of four groups at some point in the past or present). During the reign of Gamani Adhaya.) The form of the letters of the short text all in the Brahmi style i. Dambulla is very clear that they belong to the first century B.C., At that time there was only one king named Abhaya, also known as Vattagamani Abhaya (89-77 B.C.). there is no doubt that the king Abhaya is mentioned in the Vattagamani Abhaya inscription. Dambulla became a famous place of residence for Buddhist monks from the reign of this king. Vattagamani Abhaya is one of the few kings of ancient Sri Lanka whose name and fame do not rely on written records. The people of the country appreciate its many gardens where Buddhist monks lived in ancient times. As we have seen, one or two of these caves like Dambulla, in fact, have inscriptions with the royal name attributed to him.

According to tradition Vattagamani Abhaya, who escaped from his kingdom, Anuradhapura, when attacked by south Indians, helped the monks who lived in caves like Dambulla. The Mahavamsa records that Buddhist scriptures were first dedicated to writing by Buddhist monks in Aluvihara during the reign of this king. This can be a great evidence to show that the big caves like Dambulla and Aluvihare in the middle of the island were inhabited by Buddhist monks during this period and were also protected by the kings of Anuradhapura.

Tradition also says that the five seated Buddha images comprise the main image in the Caves. No. 4 of the Dambulla temple was built of natural rock during the reign of Vattagamani Abhaya. There is also the belief that some symbols in Cave No. 2 and the main pictures in cave no. 1 was made during the reign of this king. Since there are no Buddha images found in Sri Lanka that can be confirmed in the period before the first century A.C., no evidence can be attached to this tradition. But this does not preclude the possibility that at least some of the paintings in these caves were made during the later period of Anuradhapura, that is, during and after the eighth century AD. Unfortunately, these things cannot be identified because of the repairs and renovations that were done in later periods. .

Vattagamani's successor, Mahaculi Maha Tissa, following his uncle, devoted much of his time to religious activities. One of the short inscriptions of Dambulla refers to a king named Gemini Tissa who can be identified as Mahaculi Maha Tissa.

The next king who supported Dambulla was Nissankamalla, who made frequent visits to the whole country, mentioned frequently in his various writings. The king, being a foreigner, probably wanted to make his presence felt throughout the island, and he also wanted to gain popular support by distributing gifts during these visits. Apparently the king liked to visit famous places like Dambulla. Kelaniya and Anuradhapura during these visits, and he left a lithic record, in these places. According to the story, Nissankamalla's fourth tour (maybe the last) was Dambulla, where he spent lavishly on the cave temple and erected, seventy-three gilded statues of the Baddha. The inscription carved by this king on the rock between No. On the door, he is mentioned and his pious works. In the last two lines of the record we find the statement that he caused the reclining, sitting, and standing statues (of the Buddha) in the cave of Dambulla to be gilt, celebrated a great puja at worth seven lacs of money. , and gave (the cave) the name suvarnagiri – guha 'the golden rock cave.' Obviously from this time the name of Dambulla (Jambukola-Vihara) is Suvarnagiriguha or Rangiri Dambulla.

Although it remained a prominent religious center, Dambulla seems not to have caught the attention of the Sinhalese kings after the fall of the Polonnaruva kingdom in the late twelfth century AD. until it came to the political situation of the country in the seventeenth century. The most important thing that greatly affected all aspects of the history of Sri Lanka in this period was the gradual decline and decline of the north and southeast of the Island and the exchange of centers and good job. As a result, ancient religious sites like Dambulla were left behind.

Dambulla also became famous as a religious center in the XVIII century. In the Dambulu Vihara Tudaputa (a palm manuscript) of A.D. 1726, it is mentioned that King Senaratna (Senarat) (1604-1635 A.D.) of Kandy repaired and repaired the temple.The record said, "After the renovation, which took three years, the king went to the temple with three during the festival of painting the Buddha figures' eyes. queens and princes there are three. After the festival, the king stood on the semicircular stepstone of Maharaja Viharaya (his No. 2) and called the monks gathered there to choose a person who should be appointed to occupy this temple, sixty- Five symbols include the. one in the residential area, it was painted and roped." The last great king who helped the temple was King Kirti Sri Rajasinha (1747-1782 A.D.) under whose patronage Buddhism was revived in the Kandyan provinces. Cave No. 3, then became a storage room, it was excavated again on the order of this king and turned to another place of the temple. To the right of the entrance of this cave, there is a good example of this king, in his robes of state, which are similar to those worn by the kings of the Nayakkar dynasty of Kandy.

The Caves and Paintings of Dambulla temple

There are five caves (temple rooms) in the Dambulla temple. All these caves are full of statues of Buddha and various people of the Buddhist Order or History. There are 150 Buddha sculptures in these caverns. Anna No. 5 (the last series) has no historical value as it was done in the second decade of this century. All the other caves contain sculptures and paintings representing different periods of Sinhalese sculpture and painting. The earliest paintings of Dambulla are believed by some to be from the 8th century AD. But this cannot be proven because of the excessive painting. However, this place is a mine of decorative designs, designs like Sigiriya. To a student of the history of Buddhism, a careful study of the Dambulla paintings provides many sources.

It is generally accepted that the traditional use of Sinhalese art ceased to exist after the fall of the Polonnaruve kingdom at the end of the twelfth century. After the 13th century, no instances of this type are still in existence. From the 17th and 18th centuries we have found examples of the work of a school of artists.

This new school does not seem to have had its roots in the artistic tradition that created the masterpieces of Sigiriya and Polonnaruwa.

His style is only twofold; in compositions that do not show the skill of the masters of the past. In its conventions, especially in decorative designs and the representation of trees and flowers, it seems that there is no connection with the original artists of the island.

This School seems to have been influenced by the School of painting that flourished in the Deccan (Southern India) under the patronage of the Muslim rulers. the entire edge of the rock is completely covered with paintings, The first part is believed to be on Cave No. better the first time. However, the designs themselves show a close relationship with the decoration of the roof of Sigiriya. There may have been old paintings in this place but these have probably been lost or repainted later. It can be said that the designs are decorative designs, which show ancient ideas and can also be considered a continuous tradition of designs in Sigiriya. But like the Dambullu Tudapata mentioned above which clearly shows the cave Nos. 1, 2 and 4 of Dambulla were painted by Kandyan artists of the seventeenth century by order of king Senarat (1604- 1635 A.C.). During the reign of Kirti Sri Rajasinha, the paintings of Dambulla were renovated and repainted. The paintings in Cave No. 4 clearly show the new school of Sinhalese art that flourished in the Kandyan provinces after the 17th century.

Cave No. 1 (Deva Raja Viharaya)

The visitor to the Dambulla Temple through the entrance first comes to Cave No. l, called Dev-Raja-viharaya (temple of the King of Gods). There is a belief that this cave is named because the god Sakka (King of Gods) gave the end to the main image of this cave. This image, which shows the parinibbana (the last moment) of the Buddha in the traditional form is about forty-seven feet long. It is carved almost in the round from the natural rock which is attached from the back, and it is well preserved. The face is wooden in appearance, shapeless and boring. The traditional long robe covers the body up to the ankle and leaves the right shoulder and chest bare. The shape of the face is round and not a painting. The eyes are only cut, the forehead is narrow and the ears are not good. The hair is shown in a series of dots. A good coat is characterized by a series of closely spaced ribs that are attached in pairs. The rest of the body is doing well in a reasonable measure except for the stiffness of the legs and right leg.

The cave with five other images is located at the southern end of the. The room is supposed to be Arhat Ananda, the immediate disciple of Buddha, who is mourning the death of his master.

In the northern corner of the cave, opposite the face of the main image, there is a statue of Visnu, (some scholars believe that this is Upulvan, one of the four guardian gods of Sri Lanka), a well- killed.

The room that contains this is always closed to the public for unknown reasons.

Although there are some paintings on the walls and ceilings in this cave, it is difficult to recognize that these are due to the destruction of the incense burned by the worshipers.

Cave No. 2 (Maha Raja Viharaya)

The next cave into which the visitor centers is by far the largest and the most impressive one amongst the cares in this place. The portal by which one enters is in front; is a Lofty archway, guarded on each side by figures of stone; intended to represent Janitors. This cave is called Maha Raja Viltaraya (the temple of the Great King), because. According to the common belief, its founder was king Vattagamani Abhaya, who personally assisted in its formation.

The cave is painted all over in brilliant colors, and every part is in good repair. It is one hundred and seventy-two feet in length, seventy-five in breadth, and twenty-one feet in height near the. Front wall. The height from this place gradually decreases in an arc towards the floor on the interior side. This cave contains fifty-three images. The majority of the statues are of Buddha in different attitudes. Many of them are larger, but none much smaller than life.

The visitor who enters by the door at the northern corner of this cave first comes across a figure of the standing Buddha under a neatly executed Makata Torana, both sculptured out of the natural rock. These are the principal images of the shrine room. This image is in Abhaya Mudra. The figure is beautiful sculptured will sturdy features and massive limbs. No attempt has been made by the artist to portray physical details in true proportion. The flowing folds of the Robe are shown by grooves. The right shoulder and arm are bare. The folds are gathered at the left shoulder. The head is covered with a series of lump planted regularly with a crest surmounting all of them. The eyes of the images are carver out with lids shown open. The lips are thick. So is the nose. There is a stiffness of the limbs and a wooden rigidity of the body. The image is standing on a stone lotus pedestal circular in shape. This lotus is neither well carved nor elaborate.

On the right and left side there are two figures of the two gods Natha and Maitreya, who, according to Buddhist belief, will become Buddha in the future.

To the right of the entrance is a beautiful stupa, about eighteen feet high, its broad circular base is adorned with four images of the Buddha, each facing a different quarter, seated each on the dial of the Cobra de Capello, and shaded by its extended hood.

The rest of the Buddha images in this cave are arranged in a line at a small distance from the sides and the walk in the tile room, but not stacked. None are placed near the outer wall, except for one in a horizontal position, which is relatively new. At the northern end of the cave, the figures are arranged in a double row. On the east side of the temple room, there is a flow of water that drips onto the roof from holes in the stone, which is obtained from the rain. The drops of water are caught in a vessel placed in a small square that sinks to the floor and is used for the holy things.

The entire interior of this cave, both the rock and the wall, is painted in bright yellow colors. The ceiling near the door is used mainly to show the life of the Buddha, before his Enlightenment. In this section, the artist also tried to paint the first birth of the Buddha. A visitor to the temple room may wish to have an explanation of some of the paintings. The main images of this section are:

1. Prince Siddhartha, the Buddha-to-be, leaves his palace to show off his hand skills.

2. Prince Siddhartha, showing his skill in archery.

3. Prince Siddhartha, leaving the family, in search of the Truth.

4. Monsters in the army of Mara, the evil, attacked the Buddha. 5. Mara, the evil one, is driven from his elephant after being defeated by the Buddha.

At the eastern end of this cave there is a small space behind the line of Buddha statues, built on a large stone, the walls are covered with paint. At the entrance of this recess, there is a statue of a king, called Nissankamalla who made great changes to the temple. This part of the cave seems to have been used by the artist to explain the history of the island. The frescoes, of this group, start from the first and most amazing period of the country's history. Among these frescoes, the use or Vijaya, the first historical ruler of the country, who is said to have come from India, shows and covers a large space. It seems that the artist liked to imitate the voyage of this hero, which is represented by a ship surrounded by the sea.

Another favorite work is to give the island to the Buddha after the arrival of the Bo-tree and the holy things. It is represented by the king Devanampiyatissa (250 210 B. C), who ruled the country on the eve of the introduction of Buddhism in Sri Lanka, leading a plow by two elephants, joined to the monks led by Arhat Mahinda who introduced Buddhism. in Sri Lanka.

Another painting here represents the construction of the great city and other important religious buildings in Anuradhapura.

The most successful of the historical pictures in this section is the picture that represents the single battle between Dutta Gamani, The greatest warrior of the Sinhalese, and Elara, the Indian robber who ruled the northern part of the country for 44 years. The picture of this picture is absolutely flawless in spirit and more accurate in representation than any other historical piece. The Indian king is represented as falling from his elephant, impaled by the spear of his enemy.

In the north corner of the rest area are two standing statues carved out of wood. The common belief is that these figures represent gods. One is now identified in Sri Lanka with Visnu, the famous Hindu god, and images of this, Visnu, are seen next to the Buddha in many temples on the Island. Another, Sumana (or Saman) is considered one of the four guardian gods of the country. According to The Great Chronicle, The Sanrantakuta, p. e, Adam's Peak, where the Buddha was supposed to leave his footprints, is so called because the Peak was thought to be the place of devaraja (king of gods) named Sumana. Both of these figures are well executed and painted, but are now in a state of decay.

In the northern corner of the cave there are four seated Buddha images, facing the main hall. These figures are thought to be Kakusanda, Konagama, and Kassapa, who preceded Go Tama, the Buddha, represented by the latter statue.

To the right of the north entrance in this cave, there is a statue standing opposite the main image of the temple room, which represents the king Vattagamani Abhaya, the first patron of Dambulla. This is the worst statistic by any means. And her dress is very simple and very unadorned.

Cave No. 3 (Maha Alut Viharaya)

This Cave, called Maha Alut Viharaya (The Great New Temple), is separated from Cave No.2 by a masonry wall. It is said that this was used as a storage room before the eighteenth century.

The main entrance to this cave, second largest to cave No.2, is near a gate. This is the location of a sacred room prepared by Kirti Sri Rajasinha, who reformed Buddhism in the eighteenth century. Many of the new and restored paintings of the Temple are related to this last great benefactor of Dambulla. On the left side of the entrance of this cave, there is a good example of this king, in his robes of state, like the clothes worn by the kings of the Nayakkar dynasty, who ruled the country until British rule in 1815.

The cave is about ninety feet long, eighty-one wide, and a shelf about thirty-six feet high. The high rock of this cave is also painted in the most beautiful colors. These frescoes show many and many events of the Buddhists, some of which represent the life of the Enlightenment, and mark the history of Buddhism. The artistic culture of this cave is of the Kandyan period. This cave contains fifty images of the Buddha.

The main statue, facing the door, is a figure standing under the Torana. The figures and the Torana are carved from natural rock.

One statue of Buddha in this cave in a reclining position, his head on a pillow, resting on his right hand, is quite similar to Cave No. and his appearance is very peaceful and kind. The other seven Buddha statues, standing, are about ten feet tall, but all the other statues are bigger or smaller. Most of them are yellow in color; three have red clothes. To a student of Kandyan art and sculpture, this cave is, no doubt, a mine of horrors.

Cave No. 4 (Paschima Viharaya)

The Western Temple or Paschima Viharaya is the name of this cave. It is about fifty-four feet long and twenty-seven feet wide; and its flat roof, which quickly sinks in, is about twenty-seven feet high.

This cave contains ten Buddha images. The main statue under the torana is the same size as the other statues. This is a very beautiful image of the Buddha sitting in dhyana mudra (meditation position) cut from the natural rock that makes up the cave itself. The image is in a good state of preservation and painted in bright colors during the Kandyan period. The shape of the image is clearly visible. They have long ears and pierced lobes. The nose, eyes, and lips are well done, the forehead is a bit rounded. A loose robe covers the body from the shoulder to the feet but the right shoulder is bare. The way to treat the coat is to use the method. There are three ridges to mark the neck.

The coats show good wear and are loosely folded. The hair on the head is treated with dots in rows, rising in a patch like a skin on the top. The other images are in a row starting from the right and left of the main image.

These figures are well executed and beautifully painted, and many of them are larger or larger than life. There is a stupa (cetiya) called Soma Cetiya in the middle of the cave. The roof and sides of the rock and the front wall are painted in the brightest colors, and decorated with many images, especially of Buddha.

Conservation

Conservation at the Dambulla Temple Grounds has prioritized the preservation of its art. Senake Bandaranayake reports that the programs were cleaned during an initial conservation project in the 1960s which included cleaning the images and applying a protective coating.

Subsequent conservation strategies at the Dambulla Temple Complex (mostly since 1982) have focused on maintaining the integrity of the present complex. it remained unchanged since the reconstruction of the temple veranda in the 1930s. This plan was agreed during a joint project between UNESCO, The Cultural Triangle Project of Sri Lanka and the Dambulla Temple Authority which started from 1982-1996.

While the Dambulla Temple remains a traditional center, the conservation plans of the 1982-1996 project were directed to the development and use of the site in accordance with its UNESCO heritage status. This includes the renovation of the hand-painted walls in the complex and the installation of modern lighting. Other investments in the Temple's major projects have seen the construction of a museum and other tourist attractions away from history.

The most recent UNESCO visit in 2003 indicated that the existing protected zone around the complex had been expanded to minimize damage to the site. surrounded.

The conservation work carried out between 1982 and 1996 focused mainly on the preservation of eighteenth-century paintings which represent 80% of the total paintings survive in Dambulla. By the late 1990s, many of these programs remained in excellent condition, with the plans of the main churches (Vihara 3 and Vihara 2) retaining much of their appearance. the eighteenth century.

Cleanup was not carried out during the 1982-1996 project but rather involved the implementation of a series of maintenance measures to stabilize the images and develop a long-term conservation plan to reduce harm to people or the environment.

Location Map