Buduruwagala - group of rock-cut Mahayana sculptures
In the early 20th century, a British surveyor discovered a group of 7 rock carvings near Wellawaya. The original name of the east-facing rock is unknown, the modern name is Buduruwagala, which can be spelt "Buduruvagala" or "Buduruvegala", it's pronounced like "BUduruVAEgele". This Sinhala name is derived from the words for “Buddha” (Budu), “precious image” (ruwa) and “rock” (gala). The 7 rock-hewn Buddhist statues are seen in a single rock face, which resembles the shape of a kneeling elephant, with its head bowed. The statues are dated to the 9th or 10th century C.E. The six smaller sculptures flanking the centre statue are obviously influenced by Mahayana Buddhist traditions.
Buduruwagala and Sri Lanka's Mahayana heritage
Legends have it, that the rock-hewn Buddha statues of Buduruwagala were created during the reign of King Valagamba (known as Vatthagamani Abhaya in the Pali chronicles). But this dating is extremely unlikely, because this famous king reigned in the first century B.C.E., when the Buddha image had not yet been introduced in Asian art. Neither Sri Lanka's ancient chronicles nor stone inscriptions provide information on the impressive Buduruwagala statues. Stylistically, the rock statues of Buduruwagala are influenced by the Pallava art of Southern India, which had reached its peak in the 7th and 8th century C.E. but continued to influence South Indian art in subsequent centuries. This is why the huge rock-cut sculptures have been dated back to the late Anuradhapura period, when the Mahayana school of Buddhism enjoyed a heyday in Sri Lanka and the Tantric cults in particular were influential for a brief period. Besides Nalanda Gedige near Dambulla, Buduruwagala is the only ancient monument of the Sinhalese civilization bearing distinct Tantric features, since Buduruwagala has the only large sculptures depicting a Tantric celestial being, Tara, and a Tantric symbol, the Vajra. Traditionally, Mahayana Buddhism played a more important role in the works of art in the south of the island than in Anuradhapura, which was the focal point of the Theravada-domiated Sinhalese civilization. But the southeastern part of the island was often not under control of the Anuradhapura kingdom and formed often a separate kingdom called Rohana in the Pali chronicles or Ruhunu in Sinhalese language.
Though Mahayana scriptures are said to have been studied, besides mainly Theravada Buddhist texts, at two of the three most influential monasteries of Anuradhapura, namely Abhayagiri Vihara and Jetavanarama Vihara, there is little evidence of destinctively Mahayanist elements in Anuradhapura's sculptures and inscriptions, ecxept from the Vijayarama excavation in the northern outskirts of ancient Anuradhapura. Presumably, Mahayana Buddhism influenced Sri Lanka's sculptural art in general. But exclusively Mahayanist figures have only be found - in surprisingly large quanitities and high qualities - outside Anuradhapura. The Teravada Buddhist tradition, always sceptical about Mahayana doctrines and often even hostile to them, dominated the religious traditions of the Anuradhapura kingdom. Many Sinhalese Buddhists believe, that Theravada, the "teaching of the elders", as the original and pure form of Buddhism, was always the sole religion of their culture and Mahayanist elements were occuring only sporadically and then had generally been rejected as heretic by the majority of monks. But this was not the case during the Anuradhapura period. Animosities against Mahayana teachings can not be found in the earliest known chronicle of the island, the Dipavamsa (compiled in the 4th century C.E.), though they are obvious in the younger Mahavamsa, which was written in the Mahavihara one century later, during the heydays of Theravada Buddhist scholarship. The Mahavihara was the most ancient monastery in Anuradhapura, but not the largest one in this period. The Theravada tradition of the Mahavihara became the exclusive form of Sinhalese Buddhism not before the 12th century, when King Parakrambahu I brought about a monastic reform.
Though Mahayana scriptures are said to have been studied, besides mainly Theravada Buddhist texts, at two of the three most influential monasteries of Anuradhapura, namely Abhayagiri Vihara and Jetavanarama Vihara, there is little evidence of destinctively Mahayanist elements in Anuradhapura's sculptures and inscriptions, ecxept from the Vijayarama excavation in the northern outskirts of ancient Anuradhapura. Presumably, Mahayana Buddhism influenced Sri Lanka's sculptural art in general. But exclusively Mahayanist figures have only be found - in surprisingly large quanitities and high qualities - outside Anuradhapura. The Teravada Buddhist tradition, always sceptical about Mahayana doctrines and often even hostile to them, dominated the religious traditions of the Anuradhapura kingdom. Many Sinhalese Buddhists believe, that Theravada, the "teaching of the elders", as the original and pure form of Buddhism, was always the sole religion of their culture and Mahayanist elements were occuring only sporadically and then had generally been rejected as heretic by the majority of monks. But this was not the case during the Anuradhapura period. Animosities against Mahayana teachings can not be found in the earliest known chronicle of the island, the Dipavamsa (compiled in the 4th century C.E.), though they are obvious in the younger Mahavamsa, which was written in the Mahavihara one century later, during the heydays of Theravada Buddhist scholarship. The Mahavihara was the most ancient monastery in Anuradhapura, but not the largest one in this period. The Theravada tradition of the Mahavihara became the exclusive form of Sinhalese Buddhism not before the 12th century, when King Parakrambahu I brought about a monastic reform.
Tallest rock-cut Buddha statue in Sri Lanka
The centrally sculptured main Buddha image of Buduruwagala is the tallest ancient statue in Sri Lanka at all, measuring 15,5 m (51 ft) in height. Is the tallest ancient statue in Sri Lanka, though it is not as massive (voluminous) as the Aukana Buddha. The Buduruwagala Buddha statue is more similar to a relief than to a three-dimensional statue, wheres as the Aukana Buddha is almost (though not entirely) free-standing. In India, there is only one rock-hewn ancient statue which is even taller than the Buduruwagala image, the almost free-standing famous Gomatesvara statue in Sravana Belgola is 17 m (57 ft) high, but it is Jainist, not Buddhist. Hence, outside Afghanistan the centre image of Buduruwagala is the tallest ancient Buddha statue in South Asia at all.
Only the statue's upper part above the waist is completed. The bottom part remained unfinished. The Budurwagala Buddha stands on a lotus throne. Its feet are roughly carved in the rock face. Traces of the original stuccoed robe are still visible, easily recognizable due to their white colour. A long streak of orange suggests it was once brightly painted. Square holes in the rock face above the Buddha's head suggest that the statue once was covered by a canopy as a weather protection.
The Buduruwagala Buddha is in the Samabhanga posture, also called Sambhanga, which is a straightly erect posture without any bend or bowing. Samabhanga is the common posture of almost all standing Buddhas in the Anuradhapura period.
The Buddha statue is depicted in Abhaya Mudra gesture, lifting his right hand upwards with the palm forwards, to bless the arriving devotee. Abhaya is the posture of even-tempered kindness and reassurance and granting freedom from fear. With this gesture the Buddha was once capable to calm down an attacking elephant. The Buduruwagala Buddha has bent the fingers of his left hand to hold the robe.
Only the statue's upper part above the waist is completed. The bottom part remained unfinished. The Budurwagala Buddha stands on a lotus throne. Its feet are roughly carved in the rock face. Traces of the original stuccoed robe are still visible, easily recognizable due to their white colour. A long streak of orange suggests it was once brightly painted. Square holes in the rock face above the Buddha's head suggest that the statue once was covered by a canopy as a weather protection.
The Buduruwagala Buddha is in the Samabhanga posture, also called Sambhanga, which is a straightly erect posture without any bend or bowing. Samabhanga is the common posture of almost all standing Buddhas in the Anuradhapura period.
The Buddha statue is depicted in Abhaya Mudra gesture, lifting his right hand upwards with the palm forwards, to bless the arriving devotee. Abhaya is the posture of even-tempered kindness and reassurance and granting freedom from fear. With this gesture the Buddha was once capable to calm down an attacking elephant. The Buduruwagala Buddha has bent the fingers of his left hand to hold the robe.
Mustard Oil LampBy the right foot of the statue is a hole, which is carved in the shape of the flame from an oil lamp. It is about 0.9 m (3 ft) wide and 1.2 m (4 ft high). It is said that this hole is always wet of a liquid that smells like mustard oil and that there is no explainable source or reason for this phenomenon. However, in recent years most visitors did not notice this smell. But it is said that the oil which percolates from this holewas used by devotees to anoint their foreheads before presenting themselves to two figures further sidewards, Tara Devi or Vajrapani, in order to solicit cures for their ailments.
Dipankara - the "lamp bearer"The Sanskrit name "Dipankara" means "lamp bearer". It refers to his status at the first of the 24 known already incarnated Buddhas who attained enlightenment. In the Mahayanist tradition of Nepal, Buddha Dipankara is held in high esteem. An annual festival called Bahidyah Bwayegu is celebrated for him on the first day of the second fortnight of Gunla, which the holy month for Newari Buddhists corresponding Esala in the Sinhalese calendar. Gunla commemorates the rainy season retreat of the Buddha. It corresponds to August of the Gregorian Calendar. During the Bahidyah Bwayegu ceremony, large images of the Dipankara Buddha are put on display in sacred courtyards in the Kathmandu valley. On this occasion, stone images of Buddha Dipankara are decorated with hundreds of niches for oil lamps. Their name of course is: "Dipa". Dipankara and SakyamuniThere is a famous Dipankara story, which has been often illustrated in Buddhist art, for example at the very early stupa of Bharhut in Madhya Pradesh, India. The story is told in a part of the Pali canon of Theravada Buddhism, the Tipitaka. This part is known as Buddhavamsa, "Chronicle of Buddhas". It describes the life of Gautama Buddha as his narrative about his previous incarnations and his meetings with twenty-four previous Buddhas. All of them prophesied his attainment of Buddhahood. Such a foresighting by a Buddha is called a Niyatha Vivarana. The human being that later on was reborn as Buddha Shakyamuni met Buddha Dipankara, which, as his very first experience of a Niyatha Vivarana, became the crucial moment when the future Shakyamuni decided to embark on a path to buddhahood himeself, when he met the first of these 24 Buddhas, Dipankara. The Buddhavamsa is the 14th book of the Khuddaka Nikāya, which in turn is the 5th and last division of the Sutta Piṭaka. The encounter of the two Buddhas (or, more precisely, then the one Buddha Dipankara and the Bodhisattva Shakyamuni in the human incarnation Sumedha) can be found in an early hagiographic biography of Buddha Shakyamuni, which is called Mahavastu; Buddhist and in a Mahayana text called Sangatha Sutra. So the story goes: In the era of Buddha Dipankara, a former incarnation of Buddha Shakyamuni was a rich Brahmin called Sumedha, who gave away all his wealth to become an ascetic in the Himalayas. When Sumedha he saw the Buddha Dipankara narrowing a puddle of mud, Sumedha kneeled down laying his long hair on the ground, as an act of piety that Buddha Dapankara Buddha would be able to cross the mud without soiling his feet. When Dipankara saw this meritorious intention, he predicted that in a far-away future Somedha would become a Buddha himself and then be called "Shakyamuni". Sumedha replied, that he was destined to become an enlightened one, because Dipankara, by treading on his hair, also treads on his birth, age and death. Dipankara then predicted in detail that the future Buddha Shakyamuni would become an effective teacher for the sake of the entire world.
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Buddha Shakyamuni or Buddha Dipankara?It is not entirely clear whether the centre statue of Buduruwagala depicts the historical Buddha Shakyamuni or in fact a previous Buddha, Dipankara. Sri Lanka's most renowned historian, Senarath Paranavitana, believed this giant statue to be a representation of Dipankara, the first in a long series of Buddhas. In this case, all seven statues of Buduruwagala would be Mahayanist. Though Dipankara is mentioned in the island's Pali chronicles, too, he played a minor role in Sri Lanka's Theravada Buddhism, whereas Buddha Dipankara came to a prominent position in Mahayana Buddhism, as an object of veneration, an idol often depicted in Tantric works of art in particular.
One typical iconographic feature identifying Buddha Dipankara is missing in Buduruwagala, the five-pointed crown, but there are also Dipankara statues in Nepal without this characteristic feature. There are several reasons for the assumption, that it is the Buddha Dipankara who is represented by the centre rock colossus of Buduruwagala. 1. As the very first Buddha, Buddha Dipankara is known "the inflamer of the light", his name literally means "lamp bearer". In accordance with this, there is a hole beside the Buduruwagala Buddha statue in the shape of a flame. 2. In Mahayanist iconography, standing statues representing Buddha Dipankara are usually accompanied by Bodhisattva statues, just as in the case of Buduruwagala. 3. Many well-known Buddhist first-millennium statues cut from the rock depict Dipankara, for example at the Longmen caves in China. Notably, the famous giant Bhamiyan Buddha statue (53m tall) which was destroyed by iconoclastic Taliban in 2001, was a Dipankara statue, too. 4. Most interestingly, there is an ancient source from Nepal which verifies the existence of Dipankara statues in Sri Lanka. The "Ashtasahisrika Prajnaparamita" was written in the Bengali language of the Buddhist Pala Kingdom in the 11th century. The manuscripts contain illustrated essays on the iconography of Mahayana in various parts of the world. They mention explicitely, that the Dipankara in Sri Lanka was flanked by Avalokiteschwara on his right side and by Maitreya on his left side, whereas in the art of the island of Java it was exactly the reversed arrangement. Today, there are known no other works of art from Sri Lanka depicting Dipankara as the centre figure accompanied by Avalokitesvara and Maitreya (Metteya). So it may well be that those Bengali text refer to the impressive rock-cut giant Buddhas of Buduruwagala. Nevertheless, there is also reason against this identification. The illustrations in those Bengali manuscripts from Nepal depict Dipankara in the typical Pala style of Bengal. Chandra Wickramagamage, Emeritus Chandra Wickramagamage of Colombo's renowned Sri Jayewardenapura University, argues in his research study "Sri Lanka - Chinese Relations in Buddhist Art with Special Reference to the Avukana Buddha", that all colossal Buddha rock statues from the Anuradhapura period that are shown in standing posture - Aukana, Sasseruwa, Dova and Maligawila - are representations of Dipankara. (in: Quarterly of the Cultural Triangle, Vol. II (1984) No.3; p. 18-19). Dipankara - the first of 24 Buddhas
Dipankara in the Mahavamsa
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Avalokiteshwara Sculpture in Buduruwagala
Not as tall as the centre Buddha statue but even more interesting are six statues which are undeniably Mahyayanist. Most of them, maybe all of them are Bodhisattvas. The largest and most impressive image of the group on the Buddha's right is Avalokiteshwara, the Bodhisattva of universal compassion, saviour of the poor and redeemer of the suffering beings in particular. Avalokiteshwara, or "Avalokitesvara", as his Sanskrit name is often transcribed, is easily identificable by a small meditating Buddha figure in his crown. Avalokiteshwara's head is framed by a halo, which still bears the original orange colour. His headgear, which contains an ascetic's topknot, as well as the cords holding his garment on the lower part of his body are richly ornamented. This elaborate belt around his waist has various threads. The underwear has fringes at both sides and reaches to the calves. The ouline of the figure seems to be feminine, showing the hourglass shape with full hips and narrow waste. The Avalokiteshwara sculpture still retains much of its white finish. Avalokitshwara is one of several of the figures holding up their right hands with two fingers bent down touching the palm, which is a beckoning gesture called Katakahasta, sometimes also called Katakamudra. It's inviting devotees to come forward and worship in an atmosphere of peace.
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“The Bodhisattva stands erect and raises both hand in the Kataka Mudra. He wears a Dhoti which falls to the ankles and is held in place by multiple cords wound around the hips and clasped together with an ornamental clasp. Two ribbonlike forms fall sinouously from this arrangement along the left thigh to the knee. This part of the costume is similar to that of the Situlpavuva Avalokitesvara even though the schema of its rendition is different. The upper torso of the Bodhisattva is bare; there are no ornaments and no yajnopavita. The hair is drawn up in a massive jatamakuta; an ornamental niche with a gem-studded border encloses the figure of the Dhyani Buddha. A coronet encircles the jata and loose tresses from it fall on the shoulders. The figure has been covered with a layer of light plaster in which wavy ridges has been modelled to suggest the fall of the drapery.
The over-all shape of the Bururvagala colossus is strinkingly reminiscent of the Situlpavuva stone image. And the face presents a slightly harde and broader version of the same forms. [...] But, [...] this colossal image cannot be dates earlier than around 900 A.D.It must be regarded as a late survival of the Pallava-Sinhalese styles of the seventh and eighth centurier.” cited from: Dohanian, Diran K. The Mahayana Buddhist Sculpture of Ceylon. New York: Garland Publishing Co. 1977. p 40-41" Terms explained:DhotiThe dhoti, also known as vetti, is South Asia's traditional garment for males, worn in South Asia. It simply consists of a rectangular piece of unstitched cloth of about 15 feet length, worn knotted at the waist and worn like a sarong or wrapped around the waist and legs. The latter traditional Indian dress code became famous, when Mahatma Gandhi ostentiosly wore Dothis on public occasions and produced them privately as a symbol of rural India's independence from the British cotton industry.
Situlpavuva AvalokitesvaraSitulpavuva, also known as Situlpahuva or Situlpawwa, is an ancient rock temple within the Yala National Park. The freestanding Avalokitesvara statue in front of the main cave temple (Buduge) of Situlpahuwa is considered to be Sri Lanka's first example of a monolithic statue of this Bodhisatta. For stylisitical similarieties with a Shiva statue in the Trimurti cave in Mamallapuram (Mahabalipuram), which is in South India's Pallava style (more specifically the early Mahendra style of about 600), the Avalokitesvara statue in Situlpavuva is dated to the 7th century. The statue is an example for an early tendency in Mahayanist art to portray Avalokitesvara in a more ascetical form.
YajnopavitaYajnopavita is known as the sacred thread in Indian traditions. A thin, yellow hand-spun Yajnopavita runs from left shoulder to waist, most commonly seen worn by Brahmin priests, though Kshatriya and Vaishnava casts also receive Yajnopavitas on occasion of their Upanayana initiation ceremony.
JatamakutaJatamakuta is a piled hairstyle, usually the matted hair of an ascetic formed into the shape of a royal crown. In Hindu iconography, Shiva is almost always depicted with a Jatamakuta. In Buddhist iconography, it is eben typical for Avalokitesvara. Actually, the iconography of Shiva and Avalokitesvara has more features in common than only the Jatamakuta. |
Bodhisattva AvalokiteshvaraAvalokitesvara, embodyment of ultimate compassion, is the most significant saviour in most Mahayana Buddhist traditions. Literally, the Sanskrit name means "downwards-behold Lord". It's usually translated "downwards-looking Lord", though "lokita" is a past participle. Avalokitesvara's abode is Mount Pothalaka, also known as Pothala. The earliest known Sanskrit texts mentioning "Avalokiteshvara" are from the 7th century, but the name was translated into Chinese even earlier, and other spellings are known from fragments of the 5th century. In Hinduism, the term "Ishvara" is most commonly used for Shiva, though for other deities, too. Mahayanists believe Avalokitesvara to is the bodhisattva who has made a great vow to assist sentient beings in times of difficulty and to postpone his own buddhahood until he has assisted every sentient being in achieving nirvana. Mahayana sutras such as the famous Lotus Sutra associated with Avalokitesvara a specific vow, not to attain the final Nirvana before having helped all other sentient beings to achieve Nirvana, too, and to assist them in the meantime in every difficulty. Avalokitesvara even brings comfort to suffering beings in hell. According to the Lotos Sutra, there are 33 different manifestations of Avalokitesvara, including female forms, which allows him to adjust his support to the varying mental capacities of sentient beings. Though Sinhalese Buddhists are not Mahayanists, veneration of Avalokitesvara has continued in Sri Lanka, where he is worshipped as Lord Natha, who is one of the four major deities protecting the island and Buddhism. Avalokitesvara is also popularly worshiped in other Theravada Buddhist countires such as Myanmar, where he is called Lokanat, and Thailand and Cambodia, where he is known as Lokesvara. |
Avalokiteshwara's Buddha in the Crown
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Iconographically, There is one characteristic feature which allows to identify a statue as a representation of Bodhisattva Avalokiteshwara quite unambiguously: the Buddha in the crown. More pricesely: It must be a small seated Buddha in the Dhyani Mudra, the gesture of meditation, which is depicted in front of the Jatamakuta, the high piled hair of the figure. This small Buddha is not the historical Buddha Shakyamuni nor any other Buddha who led a human life before Nirvana or will become a Buddha in the future. In Mahayana Buddhist doctrines there are eternal Buddhas, a group of five of them is called Jinas in ancient texts or Dhyani Buddhas in modern literture. The most famous of them is Amithaba, who invites his followers to his paradise in the west, where in his presence they can find salvation more easily than on eart. Avalokiteshwara is a kind of efficacious emanation of this eternally untouched Buddha, being on the go in our suffering world. Like Tara is said to have been born from tears of Avalokiteshwara, Avalokiteshwara himself has a similar birth myth: He originated from a single tear shed by the otherwise motionless Amithaba. So he is an incarnation of compassion of the eternal Buddha.
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Tara and Sudhana rock carvings in Buduruwagala
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The white Avalokiteshwara is flanked by two slightly smaller figures which are chiseled out less deeply and seem to be partly unfinished. Both figures are carved in a hip-swing position called "Tivanka" in Pali or "Tribhanga" in Sanskrit, which means “three axes”. It is oftenerroneously called "thrice-bent pose", though three body axes only mean two bents.
To the left of Bodhisattva Avalokiteshwara is a female figure thought to represent Tara, a Bodhisattvi (female Bodhisattva), who is often regarded as Avalokitshwara's consort. Tara is the "mother of liberation" and plays an important role in Tantric versions of Mahayana Buddhism. This rock-cut statue is unique. In Sri Lanka, there are no other tall ancient sculptures that are female. This figure is in fact bare-breasted, wehereas even the slightly erotic Sigiriya depict female breasts only covered by tight shirts. Tara holds up her right hand in the same nodding gesture as Avalokitshwara. Her left hand hangs down holding a Purnakhumbha, the jar of plenty. The sari over her lower part of the body reaches to the calves. Remarkably, she wears no jewels. Local legend says the third figure represents Prince Sudhana as Avalokiteshawara's and Tara's son. He is said to be a patron of the youth able to steer the young on to the right path of good behaviour. This figure is less visible, but it clearly shows the Tivanka posture, too. Some believe it to be a represenatation of a second consort, Bhrikuti, but this is highly unlikely because the figure is without female breasts. Tara - the female BodhisattvaTara is also called "Aryathara" or " "Tara Devi", which means "Noble Tara" or "Goddess Tara" respectively. She is believed to be particularly helpful to women and to have the power to prevent earthquakes, floods, plague, epidemic diseases and all other sorts of calamities. In Buddhist iconography Tara is represented with bare breasts. Her female sex is crucial for her role as a saviour. In a sense, Tara represents a feministic approach to Buddhist salvation. This is illustrated in a famous myth, which is typical for a a Bodhisattva but stressing the female character: Eons ago Princess Yeshe Dawa, which translates to "Moon of Primordial Awareness", lived in different world system, where she venerated the Buddha Tonyo Drupa. When some monks praised her spiritual level, but advised her to pray for a rebirth as a male. But the princess responded that gender is not an obstacle on the path to enlightenment and regrets that the Bodhisattvas usually do not appear in a female form. So she vows, to be reborn only as a female Bodhisattva. As a reward for her deeds as a Bodhisattva the Buddha Tonyo Drupa finally predicts, that she will be a personification of supreme enlightenment as the Goddess Tara. |
Katakahasta - typical gesture of Sri Lanka's Bodhisattva statues
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Katakahasta is known as Kataka Mukha Mudra in the traditional Southindian Dance, Bharata Natyam, It is one of the 28 single-handed gestures described in the Abhinaya Darpana of Nandikesvara, which is, besides the more comprehensive Natya Sastra of Bharata, the classical text of Indian temple dance. The Natya Shastra mentions the Katakahasta as well. Mudras of the hands and Hastas of the entire lower arm arre highly symbolic gestures of a religious charakteer. They are believed to unleash effects on the spectator in a positive magic way. The Katakahasta has two fingers bowed down, one finger touching the thumb, while the two other fingers are spread. In Indian tempe dance, usually the ring finger and little finger are spread for Katakahasta. However, there is another version of Katakahasta which is peculiar to Sri Lanka's ancient Mahayanist statues. Here the middle finger and the ring finger are bowed down. There is another difference between classical Katakahasta of Bharata Natyam and the gesture of the same name shown by Bodhisattvas in Sri Sri Lanka: The two remaining spread fingers are slightly bowed, too. This is of some symbolic significance. All Mudras of relevance in Hindu and Buddhist iconography are believed to originate from religious gestures used in ritual dances. The Katakahasta has several applications in dance. One of specific importance for understanding the gesture of Sri Lanka's standing Bodhisattvas is the "plucking of flowers". In other depictions of divine beings, particular smaller bronzes of Hindu goddesses, Katakahasta is often used to hold flowers. Quite often in Indian iconography, the gesture holding an attribute can also represent this attribute, even if the attribute itself - the flower in this case - is not shown any more. So the gesture of holding a flower can represent a flower. But the slightly different version of Katakahast seen in Sri Lanka is less emphasizing a grip to hold something but looks more like beckon to the spectator, waving him nearer in a very unostentious manner. This is why it is believed that this typical Katakahasta gesture of Sri Lankan Bodhisattva statue is a symbol for inviting the spectator to come closer, particular to offer the gift of a flower to the Bodhisattva, which is a practice till the present day.
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The characteristic Katakahasta gesture is shown by at least three of the Mahayanist statues in Buduruwagala. Two more rock-cut statues depicting Bodhisattva in southern Sri Lanka are noteworthy for it: the Dambegoda statue in Maligawila and the Kushtaraja statue in Weligama.
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Maitreya and Vajrapani rock reliefs in Buduruwagala
Bodhisattva Maitreya / Bodhisatta Metteya:Maitreya is the Bodhisattva anticipated by all Buddhists traditions to become the next Buddha at the end of this Kalpa, the present world cycle, which is blessed with the emergence of altogether five Buddhas, thus Maitreya being the fifth. Currently dwelling in the Tusita heaven, he awaits rebirth and enlightenment 5000 years after Buddha Shakyamuni. Maitreya is the only Bodhisattva recognized by orthodox Theravadins, too. He is called "Metteya" in Pali, the sacred language of Theravada Buddhism. Just like the previous Buddha, Shakyamuni, Maitreya will achieve complete enlightenment without any guidance by others, and teach the pure Dharma in order to help his disciples to attain enligthment, too, and reestablish the Buddhist monastic order. Thus, he will restore all elements of the "Three Jewels" of Buddhism, the "Trirathna": Buddha, Dharma and Sangha. However, in Theravada Buddhism Maitreya/Metteya veneration plays a minor role compared to Mahayana Buddhist traditions in East Asia. In India'a ancient Buddhism, a devotional cult focusing on Maitreya developed very early. 
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The other triple group, to the left hand side of Buduruwagala's tall central Buddha, is smaller in size and more similar to low reliefs than to statues.
The central figure of this group is the future Buddha Maitreya, known as Metteya in Sri Lanka's Pali Scriptures. As the Buduruwagala figures are Mahayanist, the better-known Sanskrit name "Maitreya" is fully accurate in this context. The Maitreya sculpture is richly decorated, The Bodhisattva has a crown on his head and wears earrings, which are shaped like Makaras, the mythical crocodiles. He alsu wears a necklace and bracelets. As in the case of the Avalokiteshwara statue, the garment is worn down from the waist. Just like Avalokiteshwara, Maitreya makes the nodding gesture called Katakahasta, with two fingers of the right hand bent down to the palm of the hand. To the left the left hand side of the Maitreya is Vajrapani, the Bodhisattva of power. He has a typical Tantric symbol on his left hand, which is rarely depicted in Sri Lanka's ancient Buddhist art. This stylized thunderbolt called Vajra is a sign of the capability to expel darkness of deception in favour of an undistructable enlightened mind. Vajrapani is extensively represented in Mahayana Buddhist iconography as one of the three attendants protecting the Buddha. Each of them represents one of the Buddha's supreme virtues: Avalokiteshvara manifests all Buddha's compassion, Vajrapani manifests their power ad Manjushri their wisdom. The third figure cannot be identified with a high degree of certainty. But most probably it is the just-mentioned Manjushri, the Bodhisattva of meditation and the ultimate wisdom of enlightenment. The upper part of his body is carved neatly, but the rock below the waist is only roughly hewn. Maybe, it remained crude intentionally, in order to be covered with a painted plaster coating. This figure is sometimes labelled as Sakka (Sakra) or Sahampath Brahma, these deities play a significant role in Budhist mythology. But it's more likely that the figure represents a Mahayanist Bodhisattva. Vajra - symbolism
"vajra [...] In Sanskrit, “adamant,” “diamond,” or “thunderbolt”; a magical weapon and common symbol of power, indestructibility, and immutability, especially in tantric Buddhism, which is known as the vajra vehicle (VAJRAYĀNA). The term is also employed to describe consummate meditative experiences, such as the VAJROPAMASAMĀDHI, the “SAMĀDHI that is like a vajra.” ¶ Vajra is also the name of the ritual scepter commonly employ ed in tantric liturgies. When used in conjunction with a bell, the vajra symbolizes UPĀYA and the bell symbolizes PRAJÑĀ, with the vajra held in the right hand and the bell in the left hand. There are several types of vajras used in tantric rituals, vary ing in both size and the number of “points” or prongs, usually ranging from one to nine on each side. The elements that constitute the vajra are given rich symbolic value. For example, in the case of a five-pointed vajra, when held vertically, the five lower points are said to represent either the five aggregates (SKANDHA) of mind and body or the five afflictions of desire, anger, ignorance, pride, and jealousy. These five are transmuted through tantric practice into the five buddhas (PAÑCATATHĀGATA), represented by the five upper points. These are transmuted through the knowledge of emptiness, sy mbolized by the sphere that unites the upper and lower parts of the vajra. In some tantric texts, vajra is also a term for phallus." cited from: Buswell, Robert E. The Princeton dictionary of Buddhism. Princeton: Princeton University Press. 2014 |
Buduruwagala Location
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The unsealed road connecting Buduruwagala with the A2 mainroad leads along the southern lakeside of the Buduruwagala tank. Skeletons of dead trees within in the tank indicate that the reservoir was reestablished only a few generations ago.
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Shallow marshy tracts along the shore are an ideal habitat for a variety of birds such as cormorants, egrets, waterfowls. Raptors include halk-eagle and white-bellied sea eagle.
Buduruwagala is located in Uva Province, at the Moneragala District border to Badulla District. The temple and the carved rock are just within the Wellawaya District Secretariat Division of the Moneragala District. Buduruwagala is situated at the southern foothills of Sri Lanka’s highlands, 36 km south of Ella, in about 60 km distance from Sri Lanka’s southern coast. The next town is Wellawaya at the junction of the A2 and A4 mainroads, which is in 10 km distance from Buduruwagala. The car park in front of the group of rock sculptures is just at the end of a 4 km long cul-de-dac, connecting the temple with the A2 (Wellawaya –Tissamaharama road).
