Sri Lanka is embellished by countless Viharas and Devalas. Not surprisingly, there are many such places of spiritual concentration around Kandy. With fine architecture, striking murals and a splendid history, they provide for remarkable exploration.
Temples at Gadaladeniya, Lankathilaka and Embekke Devala are two popular places of worship close to Kandy. Those going to Kandy to worship the Sri Dalada – Sacred Tooth Relic of the Buddha – often visit these temples as well.
As we drove along the steep climb of the Kandy-Colombo Road passing Mawanella and Kadugannawa, layers of mist-laden mountain tops met our eyes and a chilly wind blew strongly across the road to the Bible rock range of mountains far away. The legendary mountain range was visible in its grandeur shrouded in misty pockets, touching the first rays of the yellowish sun in the velvety slopes and rocky outcrops.
It was a chilly morning around 7.30 am when we reached Pilimathalawa on the Colombo-Kandy main Road and turned off to the Embilimeegama - Daulagala Road which leads to the architectural trinity comprising, the Gadaladeniya, Lankathilaka and Embekke Devale. These three temples of major interest close to Kandy belong to what is called the ‘Gampola Period’, a time of great artistic activity in Kandy.
Popular pilgrimage site
Our first stop along what is known as the Daulagala Road was at Gadaladeniya Vihara, just about one kilometre down the road on a rock boulder. Several bus loads of pilgrims had already come to visit the Vihara when we arrived and I saw them strolling here and there looking at the monuments and offering flowers at the Vihara, a popular pilgrimage site. Although it was only 8 a.m., the cloudless blue sky and the harsh sunlight paved the way for a majestic view of the Vihara.
A large number of brass work souvenir shops are along the road to the temple and there are two different routes leading to the Vihara from the Daulagala Road. The one on the left side of the Vihara is a steep climb through the rock cut flight of steps, which is also used to hold the annual Perahera of the Vihara.
Climbing the long flight of steps we entered the Vihara through a narrow doorway of Hevisi Mandapaya (drumming hall). Atop a rock outcrop on the upper terrace, we glimpsed a Bo tree, spreading its shade with its branches in the foreground, while a Dagaba with four miniature stupas around it stood in front of the Bo-tree on the upper terrace.
Considered the biggest Vihara in Kandy, built of granite, the Gadaladeniya Vihara atop a rock outcrop is believed to have been built by Ven. Dharmakeerthi Thera during the reign of King Buwanekabahu IV, (1341-1351 AD), the first King of the Gampola period.
We walked along the rock outcrop and entered the main image house which stood among the significant buildings in the Vihara. The stone building, erected in 1344, according to an inscription in the Vihara, is topped by a dome in the form of a Dagaba. Another small dome adorns the adjoining Devale. These shrines are constructed out of dressed stone and symbolise a blending of Hindu and Buddhist architectural patterns in one monument. It has the appearance of a three-storeyed building.
Stone entrance
Vastly influenced by Hindu architecture, the image house of the Vihara is more like a Hindu shrine than a Buddhist temple. The stone entrance is finely sculptured, and the steps are decorated by a frieze depicting dancers and drummers. The two pillars on either side of the entrance have two additional pillars each, which makes them tri-pillars.
They are believed to have been carved by two stone sculptors, the one on the right by a sculptor named Ganeshwarachari, known to be a South Indian and the pillars on the left are said to have been carved by a sculptor from Sri Lanka. According to the inscription in the Vihara, the sculptors had been employed by Ven. Dharmakeerthi Thera. Consequently, the pillars have distinctive motifs that are unique to each country.
Another significant feature is its marvellous stone carvings of Gajasingha (elephant-lion) balustrades at the entrance to the image house of the Gadaladeniya Vihara.
Gajasingha is a mythical creature, which has the head of an elephant and the body of a lion. It is believed to reflect the nation and its prosperity. A wooden carving of this mythical being is found on a wooden pillar at the nearby Embekke Devale.
Entering the stone built image house passing the intricately carved tri-pillars, we met a pupil bhikkhu selling picture post-cards and small booklets about the history of the Vihara. Passing this point further inside, a massive wooden door that opens up in two pieces, display elaborately painted flower motifs.
As we entered the image house, I spotted a seated Buddha statue lying below a beautiful Makara Thorana (dragon arch) surrounded by statues of the standing Buddha. Some of these statues and the paintings on the stone ceiling are discoloured.
Looking at the seated Buddha statue in the image house for a minute, we wondered that contrary to the serene appearance that is characteristic of Buddha statues that belong to the Anuradhapura period, the seated Buddha statue exudes a sense of pride and authority, perhaps another influence of Hindu architecture.
Historic inscriptions
Visitors entering the image house would be able to see the Devala to its left. The inscription refers to the deity as Upulvan, currently known as deity Vishnu. There are several historic inscriptions on the rock outcrop of the Vihara, covered by building fences.
Another striking architectural feature on the upper terrace, is the stupa in the foreground of the image house. The biggest of the stupas is about 15ft and has four accompanying miniature stupas around it. They are believed to be the four deities protecting it. The roof above the stupa ensures that it stands the test of time through the centuries.
This foundation and structure, also built on the rocky outcrop with entirely plastered stones have four miniature image houses which have small seated Buddha statues in the walls and the entrances adorned by beautiful murals. Today, one can see that some of these paintings are fast vanishing due to their antiquity.
We walked along the rocky outcrop in the Vihara premises and found two water holes in front of the image house with Manel mal (water lilies) blossoming even in dry weather.
