Karnataka’s lively vacationer circuit is peppered with a bounty of Jam sanctuaries, landmarks and pioneer spots. The Jam reasoning of peacefulness and harmony discovered illustrious support in the state, and these sanctuaries, historical places in Karnataka and landmarks are a declaration to the days when Jainism held influence in Karnataka.
Jan design can be grouped into basis and bettas. A basadi is a Jan sanctuary where a picture of one of the 24 Tirthankaras (holy people) is introduced and loved. They were worked in the Dravidian style, and the most established basadi can be followed back to the eighth century. A betta is a slope with an open yard containing a picture of Gommata or Gomateshwara.
The most notable structure of Jainism is the incredible solid sculpture of Gomateshwara or Lord Bahubalj at Shravanabelagola. This huge sculpture, cut from stone, is the world’s tallest at 58.6 feet.
An image of harmony, resistance and peacefulness, this picture represents renunciation. The picture of Gommata has wavy hair and long, enormous ears. His eyes are open as though seeing the world with separation. The whole figure remains on an open lotus, implying the entirety accomplished in introducing this novel sculpture.
Situated in Channarayapatna taluk of Hassan locale, this immense sculpture is unmistakably obvious from a separation of about 15 km. To arrive at it, you need to climb in excess of 600 stages etched in the stone. There are two third century BC landmarks on the slope a stone cut cavern called Bhadrabahu and a basic sanctum called the Chandragupta Basadi.
What is extraordinary about Shravanabelagola is the Mahamastakabhisheka, held like clockwork. The functions most recent 20 days and the sculpture of Bahuhalj is blessed with 1,008 kleshas (painted earthen pots) of water, milk, coconut water, explained spread, saffron, jaggery, bananas, shoe glue and marigold blossoms. Since beginning in the tenth century, the Mahamasthakabhisheka has been directed multiple times. The following function will be held in 2018.
Situated in Udupi area, close to the Western Ghats, Karkala has a 43-foot sculpture of Gomateshwara Consecrated in 1432 by Veerapandyadeva, the lord of the Bairarasa group of Karkala, this sculpture is the second tallest in Karnataka. There are additionally life-size sculptures of three Tirthankaras just as one of Padmavathj Yakshi, The rulers likewise fabricated Chaturmukha Basadj at Karkala and the renowned Neminath Basadi complex and the tall Manasthamba at Hariyangadi. The Chaturmukha Basadi is open on every one of the four sides with patios and is balanced in structure.
Three Tirthankara,- as in the dark cleaned stone, are revered in this sanctuary. These are the eighteenth, nineteenth and twentieth Tirthankaras that stand together, confronting each passage. There are 12 fundamental symbols in this sanctuary, shaping an inward square as they stand outwards, and these icons are secured by columns that run round the focal arrangement of 12 symbols. The sanctuary has numerous littler pictures of all the Tirthankaras.
The columns at this sanctuary are superb. There are 108 altogether, 40 outwardly and 68 within. Cut out of a solitary stone, the sculpture remains on a five-foot stage and is bolstered at the back by a huge square of stone and is excellent in both face and structure, on entering the inward patio, you will discover two holy places committed to Sheetalnatha Swami and Chintamani Parshwanatha Swami. The patio contains stays of different stones with the most remarkable being a progression of the rectangular, roundabout and triangular pits that may have been made for customs and services.
Yearly festivals are held in February, and once at regular intervals, the Mahamastakabhisheka is performed. The environmental factors are likewise beautiful with lavish greenery, and an uneven setting and the excellence of the Western Ghats isn’t to be missed.
Known as the ‘Jaina Kashi of the South,’ Moodabidri is a humble community close Mangalore. Set in the midst of coconut and areca nut manors, Moodabidri is well known for its Jam sanctuaries adding up to 18 and dating from the thirteenth to the eighteenth hundreds of years. Some comprise totally of stone, including the rooftop. The most renowned is the Tribhuvan Tilaka Chudamani, privately known as the Savira Kambada Basadi or sanctuary with 1,000 columns. Every column is adorned with various structures, and no two columns are similar.
Worked in 1462, this sanctuary is popular for its stone figures and has the eight mantapas of Mahadwar, Bhairadevi, Chitradevi, Namaskaara, Teerthankara and Garbhagruha.
An eight-foot icon of Chandranatha is in the sanctum sanctorum. The Supaarshwa and Chandraprabha Theerthankara icons merit visiting while the Navanaari Kuinjara, a sculptural piece that seems like an elephant yet nine artists are found in the figure, is the most well-known craftsmanship in this basadi. The principle mantapa has numerous columns that help the cut stone roof.
Like most Jain sanctuaries planned on a rectangular arrangement, the length of the sanctuary extends from where the fan enters to where the divinity dwells in the internal sanctum. The stretch is partitioned into numerous vestibules, with a couple of entryways connecting everyone to the following, and here you see very nearly seven or eight such vestibules.
Furthermore, the sanctuary has an important assortment of amazing symbols of Jinamurthis made of translucent marble, crude emeralds and other semi-valuable stones which, when enlightened, make an ethereal impact.
There is likewise an appealing Manasthamba, the unattached column, and a bronze Sahasrakoota Mantapa embellished with more than 1,000 pictures of Jinamurthis and 32 hanging lights. Here you likewise have a street that is really named the Jam Temple Road and resembles an outside gallery of sanctuaries. An intriguing sanctuary is the Guru Basadi with a few Hindu impacts.
A little town in Udupi area, Varanga has three fundamental sanctuaries. Chandranath Temple is devoted to Mulnayak Bhagwan Chandrapath, and the symbol is made of Chandra Shila and you can really observe light reflecting through the icon. There is a fortune trove of old original copies of palmyra leaves here. The wooden mantapa of Astamangala is aesthetic and the eight images of chatra, , kalasa, Chamara, sup rathistaka, brungore, darpana and thala are engraved in succession. The Jina symbols of panchaloha found in the basadi are alluring.
Jalmandir is a special hallowed place in the lake. The square-coloured said amidst the lake can be reached by pontoon. The passageway entryways are appealing, with ventures from every one of the four bearings. The excellent models of Parshvanarha, Anandanatha, Neminatha and Shanthinatha in standing positions face every which way.
The 1,000-year-old Neminath Basadi has bronze icons of the 24 Tirthankaras in kayotsarg act in the corridor. The five-foot symbol of Mulnayak Bhagwan Neminath is in the sanctum sanctorum. Neminarha Basadi has a painting of an elephant in blurred hues, and the sanctuary has a primary passageway and two side doors with steps paving the way to them.
A little town on the banks of the Phalguni River in South Kanara, Venur or Venoor was at one time the scat of Jainism and the capital of the Ajila tradition. The feature here is a 35-foot Gomateshwara. Raised by the Jam ruler, Timmanna Ajila, in 1604, this sculpture is accepted to have been etched by Amarashilpi Jakanachari. Confronting toward the west on a high stage on the bank of the Phalguni, this sculpture of Bahubali is one of the five goliath stone monuments of a similar Jam priest found in Karnataka.
Venur likewise has a couple of other Jam Basadis. Like Karkala and Shravanabelagola, Venur additionally witnesses the Mahamasrakabhisheka held at regular intervals. The last Mahamasrakabhisheka here was held in 2011.
The Manjunatha Swamy sanctuary is the most conspicuous sanctuary in Dharmasthala, however it is likewise a significant pioneer place for Jams. The 39-foot Bahubali sculpture with a platform of 13 feet and weighing 175 tons is cut out of a solitary stone by commended artist Ranjan Gopal Sherioy and was introduced in 1975 and blessed in 1982.
The sculpture itself isn’t as adult as the one at Shravanabelagola and has a young adult look with wide shoulders. We are informed that this sculpture mirrors the ‘Edified One’ with lengthened ears, expansive shoulders, and long arms that span to the knees.
As is ordinary with any sculpture of Bahubali, greenery like creepers lace his despite everything arms and legs and the eyes are half-shut. This befits his reflective state. Slopes with trees and ant colonies structure the lower base of the sculpture and help in offering basic help.
Dharmasthala is an exceptional case of strict resistance and is one of a kind in that it has a Jam organization while all the customs are performed by Hindu clerics. This type of Bahubali speaks to finish victor
Somewhere else to visit at Dharmasthala is the Chandranath Swamy Basadi, a Jam sanctuary which has been remodeled as of late. The introduced picture has a splendid brilliant corona. The sanctuary has OK stone figures and a decent bloom bed that goes around the inward yard.
The main characteristic cavern around the territory is additionally the solitary Jam sanctuary at Badami. A sculpture of the 24th tirthankara, Lord Mahavira, can be seen here, situated in an agreeable posture against a pad, in the internal sanctum. The cavern sanctuaries of Badami were worked by the Chalukya rulers and the lain cavern sanctuaries are on the hillocks inverse the fortress.
The pictures of Bhagwan Parshwanatha, Bhagwan Mahavira and Gautam Swami are in the fourth cavern. This cavern sanctuary is 31 feet wide and 16 feet somewhere down in the stones and is otherwise called men basadi.
The mainstays of this cavern are imaginatively brightened with pictures of the lotus, different blossoms, makar, mithun and apsaras. The picture of Bhagwan Mahavira is in the inside.