The
Gal Vihara (
Sinhala:
ගල් විහාරය), also known as
Gal Viharaya, is a rock temple of the
Buddha situated in the ancient city of
Polonnaruwa in
north-central Sri Lanka. It was constructed in the 12th century by
Parakramabahu I. The central feature of the shrine are four
images of the Buddha, which have been carved into the face of a large granite rock. The images consist of a large seated figure, another, smaller seated figure inside an artificial cavern, and standing figure and a reclining figure. These are considered to be some of the best examples of ancient Sinhalese sculpting and carving arts, and have made the Gal Vihara one of the most visited monuments in Polonnaruwa.
The images of Gal Vihara follow a different style than the images of the previous
Anuradhapura period, and show some significant differences. The identity of the standing image is subject to a certain amount of dispute among historians and archaeologists, some of whom argue that it depicts the monk
Ananda rather than the Buddha. Each of the images have been carved in a way that uses a maximum possible area of the rock, and their heights seem to have been decided based on the height of the rock itself. Each statue appears to have had its own image house, as indicated by the remains of brick walls at the site. The Gal Vihara, or Uttararama as it was known during that period, was where Parakramabahu I held a congregation of monks to purify the Buddhist priesthood, and later drew up a code of conduct for them. This code of conduct has been recorded in an inscription on the same rock face containing the images of the Buddha.
Uttararama
The Gal Vihara, or rock temple (so named after the large rock face where the four images of the Buddha were carved), was originally named Uttararama (the northern monastery), in the city of
Polonnaruwa, and according to the chronicle
Chulavamsa was one of the more prominent of the 100 temples built throughout ancient Sri Lanka by King
Parakramabahu I (1153 – 1186).
The chronicle mentions that Parakramabahu I had his workmen build three caves in the rock after finishing the temple: the
Vijjadhara Guha (cave of the spirits of knowledge), the
Nissina Patima Lena (cave of the sitting image), and the
Nipanna Patima Guha (cave of the sleeping image).
Although they are described as "caves", only the
Vijjadhara Guha is a cave, while the others were image houses similar to the
Thivanka and
Lankathilaka, with their walls connected to the rock face. These walls, which were evidently decorated with
frescoes,
have since been destroyed and only their bases now remain,
By the time Parakramabahu I ascended to the throne, the Buddhist priesthood in the country was divided into three fraternities:
Abhayagiri,
Jetavana and
Mahavihara. He held a congregation of monks to reconcile the three fraternities, and "purified the order" by expelling corrupt monks. With the help of the elders of each fraternity, he later drew up a
katikavata (code of conduct) for Buddhist monks and recorded this in an inscription at Uttararama.
The area in front of the images, which now resembles a terrace, is believed to be the location of the assembly hall where this congregation was held.
The inscription recording the code has been carved on the flat, polished rock face between the
Vijjadhara Guha and the standing image. The Uttararama was abandoned during the fall of the
Polonnaruwa Kingdom. It had functioned as an educational establishment from its inception to its abandonment, being a centre of Buddhist education in the country.
Seated image
The large seated image is 15 feet 2.5 inches (4.635 m) tall, and depicts the
dhyana mudra.
The seat was carved in the shape of a lotus flower, its base decorated with carvings of flowers and lions. The statue sits on a carved throne, decorated with
makara images, with four small images of the Buddha (identical to the larger image) carved inside small chambers. This is an unusual feature in ancient Sinhalese sculpture, and is presumably the result of
Mahayana influence.
 |
| The seated image, which depicts the dhyana mudra, shows signs of Mahayana influence. |
Standing image
 |
| The standing image depicts an unusual mudra |
The standing image is the focus of much discussion among historians and archaeologists, since there is a general belief that it is not a statue of the Buddha.
The image is 22 feet 9 inches (6.93 m) tall,
and stands on a low pedestal shaped like a lotus. It leans back in a relaxed manner, its arms folded across its chest. The statue's face carries a sorrowful expression and the reclining image—which depicts the Buddha's parinirvana—lies next to it, which has lead some to believe that it is the monk
Ānanda, who is lamenting the Buddha's demise at his deathbed.
The remains of the walls, however, indicate that the two images were once in separate chambers, rather than next to each other.
Paranavithana believes that the statue is of the Buddha, which depicts the
para dukkha dukkhitha mudra or "sorrow for the sorrow of others".
However, this is a rarely used gesture in Sinhalese sculpture, and is seen at only a few locations in the country.
Another possibility is that the image shows the Buddha during his second week after enlightenment,
which he spent gazing at the
Bodhi Tree in gratitude for providing him shelter.
The image is not mentioned in the
Chulavamsa, which only mentions the other three. While this may be an indication that it is not an image of the Buddha, it is also possible that it may have been made at an earlier period than the others.
Reclining image
 |
| The reclining image, which depicts the Buddha's parinirvana, is the largest in Gal Vihara. |
At 46 feet 4 inches (14.12 m) in length, the reclining image is the largest statue in Gal Vihara,
and also one of the largest sculptures in Southeast Asia.
It depicts the parinirvana of the Buddha, who is lying on his right side with the right arm supporting the head on a bolster, while the left arm lies along the body and thigh. The palm of the right hand and the soles of the feet have a single lotus flower carved on them.
Charles Godakumbure, a former Commissioner of the Archaeological Department of Sri Lanka, has stated that the bolster upon which the Buddha rests his head has been so well carved that it looks like a cotton stuffed pillow rather than one carved from rock.
The upper foot—the left foot of the image—is slightly withdrawn to indicate that the image depicts that the Buddha has attained parinirvana, and is not merely lying down.
Unlike the other images, the reclining image does not have a decorated pedestal, and lies on levelled bare rock. On the wall behind the image, several sockets have been carved into the rock, as well as the remains of two stone columns, suggesting that its now missing image house had a wooden roof.
Simplicity. Clean design that allows you to enjoy the natural setting. Ocean breezes. Sri Lankan sunsets. A comfortable space of your own to enjoy the beauty of Hikkaduwa. 
