Ancient monasteries, potent legends, the mystique of incense laden Buddhist temples is a heady combination and a good playground for amateur photographers. Sasseruwa also known as Res Vihara is such a Buddhist monastery, so named as the area was flooded with rays of light (Res) when the Bodhi tree was first planted. The tree was one of the first 32 saplings (Dethis maha bo Ankara) of the Sri Maha Bodhi in the Anuradhapura.
The monastic complex is located off the beaten track at Galgamuva in the Kurunegala District. Dating back to the 2nd century BC, Sasseruwa Raja Maha Vihara had nearly 100 caves where over 360 priests had lived and attained spiritual enlightement like the Buddha. The main attractions now are the magnificent colossal unique Buddha statues – one reclining in the main cave shrine and the other, the unfinished standing brooding Buddha carved into a rock face. Incidentally both statues are around 39 feet in length and height.
Reclining Buddha Statue, image house of the “Raja Maha Viharaya” Sasseruva (Res Vehera). 23 Feb. 2014. Photograph© Chulie de Silva.
Details of the feet without the customary pedestal – the unfinished collosal granite Buddha Statue at Sasseruwa. Photograph© Chulie de Silva.
We had taken a couple of wrong turnings and the light was fading, and the inky blue black night was almost on us. I was despairing as there wouldn’t be enough light to photograph. The glimpse of the white stupa, across a lake at Sasseruva was a welcome sight. As KM de Silva said, the white stupa “gave a subdued but unmistakable quintessence of Buddhism –simplicity and serenity.”
The Bodhi tree at Sasseruwa Raja Maha Viharaya. One of 32 saplings of the Anuradhapura Bodhi tree. Saseruwa Raja Maha Viharaya. 23 feb. 2014. Photograph© Chulie de Silva.
My mind wandered away back in time. I roamed invisibly among the caves of priests meditating; listening to sermons in the evenings, with “hulu athu’ (natural torches made of leaves) lighting up the complex; the Bodhi Puja at the feet of the tree; the lonely artist moping near his unfinished statue; King Dutugemunu’s Army camping near the lake and even spotting a love tryst between a comely maiden and a handsome warrior. ..
Romanticism aside it was also interesting to reflect on the fact that although the two forms of religious exercise Buddha proscribed were mediation and learning through sermons, how we lesser mortals needed the rituals of worship for spiritual sustenance. Prof. MB Ariyapala in his book “Society in Medieval Ceylon.” says how people influenced by beliefs and superstitions needed Bodhi trees, dagabas and image houses and the rituals of worship. Thus he says every monastery then also had to have amidst the meditating priests, Bodhi trees, stupas, image houses, and alters for offering flowers and incense. In that respect, society hasn’t changed that much from medieval times.
Reclining Buddha Statue, in the image house of the Raja Maha Viharaya. Photograph© Chulie de Silva.
The main image house “Rajamaha Viharaya” is perched high up on a rock. Inside it is a virtual treasure trove, albeit the collection of frescoes and statues are fast decaying. The Pièce de résistance is unique 39.5 foot reclining Buddha Statue. I walked around the statue as I have never been able to before in any other temple. The robe is of actual cotton threads pasted on the statue and then painted. The threads, the story goes were were woven by a poor woman as an offering to Buddha.
Feet of the reclining Buddha statue with big toenails in equal position indicating this is not a parinirvana statue. Saseruwa Raja Maha Viharaya. 23 Feb. 2014. Photograph© Chulie de Silva.
Lotus chakra marks on the soles of the feet of Buddha. Sasseruwa Raja Maha Viharaya. 23 Feb. 2014. Photograph© Chulie de Silva.
Buddha is supposed to have had thousand-spoked wheel sign on his feet, as described in the Digha Nikaya, in the “Discourse of the Marks” (Pali: Lakkhaṇa Sutta). In the earliest phase of Buddhism was generally aniconic, with the Buddha being represented as symbols such as a footprint, an empty chair, a riderless horse, or an umbrella. Many early worship stones with the Buddha’s foot print exist at monastery sites.
The entrance to the resident of the guardian cobra of the reclining Buddha, Raja Maha Vehera, Sasseruwa. Photograph© Chulie de Silva.
As I was trying to focus on the intricate design of chakras carved under the soles of Buddha, another traveller was pointing and photographing the hole on the wall just behind me. Apparently the hole was the entrance to the abode of a cobra, the guardian of the statue. And if that message on the wall was not enough for any robbers, there was this seated Buddha statue with the cobra sitting very protectively over the head of the Buddha.
The Cobra shielding the mediating Buddha. Sasseruva (Res Vehera) Raja Maha Viharaya. Photograph© Chulie de Silva.
Earlier, with creaking bones and wobbly knees I had climbed up uneven 300 or so stone steps to view in wonder the 39 foot vertical colossal Buddha statue of Sasseruwa. Chiselled in high relief, this unfinished statue is considered to be far inferior to that of the more famous twin the Aukana Buddha statue. In the fading light, there was so much feeling and intensity. One long ear lobe was carved ( as in photo) and the other was not.
Details of the face of the unfinished statue showing the carvings on the left ear. Photograph© Chulie de Silva.
At least 3 versions of legends exist as to why it was never finished –it was a competition between the master and the protege and the latter gave up when the Guru completed first his Aukana statue. The second is the work was abandoned when the artist discovered a crack on the rock. The third is that it was the work of a craftsman from King Dutugamunu’s army and was carried out when the army camped here before going to war with King Elara. Apparently, the army was unable to cross the “Malwathu Oya” (river Malwathu) due to heavy rains.
Saseruwa granite Buddha statue in the Abhaya mudra. Photograph© Chulie de Silva.
This statue might have lost out to Aukana, but there is still an unmistakable impressiveness of this colossal which can dwarf a worshipper to a Lilliputian.
The cool black of a village night, pierced harshly by a few modern lights, yet caressed by soft breezes was upon us when we left. I turned back to record in my mind a one last look. Are the ghosts I could sense a figment of my lively imagination or is the disappointed sculptor still brooding; is the woman who sewed the robe still around — maybe returned to guard the statue as the cobra; are the many painters who devotedly painted murals lamenting over the decaying of their art works. Who knows, but what I saw was not just ruins but a rich piece of their lives. Are we telling their story well?