Why are the Bahubali Colossi called 'Gommaṭa'?

Summary

This article addresses the intriguing question of why the colossal monolithic statues of Bahubali, erected at sites like Śravaṇa Beḷagoḷa, Karkaḷa and Dharmasthala, are popularly referred to as ‘Gommaṭa’ in Kannada. Beginning with a survey of textual sources, the author notes that early Jain scriptures call the first tīrthaṅkara’s son Bahubali but do not use the term Gommaṭa. Inscriptions from the Western Ganga and Hoysala periods, however, sometimes refer to the deity as ‘Gommaṭeśvara,’ suggesting a later development. The article explores several etymologies: one theory derives ‘Gommaṭa’ from the Sanskrit ‘gāmbhīrya’ (gravity), emphasizing the statues’ massive serenity. Another links it to the Kannada adjective ‘gommoḍa,’ meaning handsome or well‑built, reflecting the youthful beauty of the naked ascetic. A third explanation connects the name to the legend that creepers grew around Bahubali’s body during his year‑long meditation, making him resemble a tree (go‑maṭa, cow‑creeper). By analysing medieval Kannada literature, including the works of poets like Ranna and Nemichandra, the author shows that the epithet Gommaṭa became widespread in the eleventh century, coinciding with a surge in public devotion to the Jina. The article also examines the iconography of the statues: their rigid posture (kāyotsarga), elongated ears, and peaceful expression symbolise absolute renunciation. Comparing the Bahubali colossi with other Jain images, the author argues that the unique scale and isolation of these sculptures emphasised the ideal of solitary asceticism. The author concludes that the popularity of the term ‘Gommaṭa’ reflects the localisation of Jain devotional culture in Karnataka; the epithet captures the combination of youthful vigour and spiritual tranquillity that devotees saw in Bahubali.