Ridiviharaya
(Original Sinhalese text by Prof. Malinga Amarasinghe, Department of Archaeology, University of Kelaniya. 2011, Translated by the blogger) Use with a proper citation.
Location
Ancient Ridi
Viharaya temple located in Ridigama, a traditional ancient village in the
Dodamgaslanda seat of the Madura Korale of Väudavilli Hathpaththuwa in Kurunegala District.
Temple is elegantly constructed on a halfway up of a rocky mountain rises from
the surrounding plain. It can be approached by turning left to the Kappetigala
road from the Mallawapitiya junction of Kurunegala-Kandy main road and then
turning back to the right at the Ridigama junction located at the tenth mile. From
there on it is only one quarter mile to the temple. Vehicles can reach the
temple by using this road. And if someone go by walk can turn to the Ridi
Vihara Mawatha at Devalegama Junction will find a stairway leading to the
Vihara premises.
Also anyone can
reach to the temple from Kurunegala-Dambulla road too. From Talgodapitiya
junction it takes two miles drive at the Matale road reaches to the Rukattanagahamula
junction. Road to the left leads to Ridigama
junction.
Ridigama
According to the
Mahavamsa, at the Ambattakola Janapadaya, 32 gavu south of Anuradhapura, silver
is said to have been found in the reign of king Duttagamini Abhaya (161 - 137
BC). The name 'Ridigama' came into use with the famous ancient Ridi Viharaya. It
says, in a story of the reign of King Dutugamuna, there was a cave at this
village which emerged silver, caused to the origin of the name 'Ridi Lena' or
'Rajata Lena' (Cave of silver). Since then the village where cave located
was known as 'Ridi Gama' (silver village). Latterly the temple constructed at the
cave was named as Ridi Viharaya.
History
The first citation
for the Ridivihara could found from the great chronicle Mahavansa. It says the
silver required for the construction of Ruwanwelisaya founded from a cave at present
Ridiviharaya.
Mahavamsa says …… "the cave called Ambatthakola is
located at a southerly direction of Anuradhapura, in distance of eight yojanas[1].
A merchant from the city, taking wagons with him, to bring ginger and
so forth from Malaya, had set out for Malaya. Nor far from the cave he brought
the wagons to a halt and since he had need of wood for whips he went up that
mountain. As he saw here a branch of
bread fruit tree, bearing one single fruit as large as a water-pitcher, and
dragged down by the weight of the fruit, he cut it which was laying on stone
away from the stalk with his knife. Then he thinks ' I will give the first
(produce as alms), with faith he announced the meal time. And there came
thither four arahant theras. When he had greeted them gladly and twenty five
had invited them with all relevance to be seated. He cut away the ring around
the stalk with his knife and tore out the bottom of the fruit and pouring the
juice which filled the hollow forth into their bowls he offered them the four
bowls filled with fruit juice. They accepted them and went their way. Then he
yet again announced the meal time. Four other arahant theras, appeared before
him. He took their alms bowl and when he had filled them with kernels of the
bread fruit tree he gave them back. Three went their way, but one did not
depart. In orderd to show him the silver he went further down and seating
himself near the cave he ate the kernels. When the merchant also had eaten as
he wished the kernels that were left, and had put the rest in a bundle, he went
on, following the track of there, and when he saw the thera he showed him the
usual attentions. The thera opened a path for him to the mouth of the cavern, 'Go
thou now also on this path, lay brother!". When he had done reverence to
the thera he went that way and saw the cave. Standing by the mouth of the cave
and seeing the silver he struck upon it with his axe, and when he knew it to be
silver he took a lump of silver and went to his freight wagon. Then leaving
wagon behind and taking lump of silver with him the excellent merchant went in
haste to Anuradhapure and told the king of this matter, showing him the silver.
King heard him welcome words and glad at his heart, bestowed on him a rich
guerdon. Silver was used for the constructions of the great stupa…. "
Some historical
records say, the king has decided to construct a temple at the place where
silver found. He appointed a crew constituted with an artificer called
Wishwakarma Patiraja with three hundred bricklayers, seven hundred artisans and
put them under the direction of commandant minister with a grant of three
hundred gold weights, ordered to build a delightful temple at Ambatthakola
cave.
According to the folklore, the king personally visited the place to see the constructions by
himself. As it says further in the lore, a cart which bought a golden
Buddha statue to the temple was sunk on the way, and the statue itself came to
the temple.
Though the
folklore is such, there are several inscriptions in the temple, dating from 2nd
B.C. to the 8th century A.D. Early Brahmic Inscriptions at the
temple provide a ground to make a firm and clarified history of the origin of it.
Such inscriptions are about various grants made by royals and elites to the Bhikku
Sangha. There are two inscriptions of King Amandagamini Abhya's on a rock
outcrop of the viharaya. One is about constructing a series of foot notches.
Other one says the villages called Padagama and Kulagama were presented to the
temple. At the same time, Mahavamsa clearly stated Rajatalena vihara or as
recently known Ridivihara was constructed by the king Amanda Gamini Abhaya (19
- 29 BC), who reigned one and half-century later to Dutugamunu. Possibly the caves
and other constructions were done during the reign of kind Dutugamunu and
latterly the Amanda Gamini has constructed some other buildings at there or
might had done renovations of the place too. Many think that king
Parakramabahu the Great and Kirthi Sri Nishshnkamalla are also benefitted to the
site. However, the many of the remaining structures at the temple are dated to be
done several centuries later of king Duttagamini Abhaya. As it shows by both
historical information and remains, the Ridiviharaya was standing as much
elegantly and venerated place during the Kandyan kingdom period.
The description
given by the Mahavamsa about the renovations done by the King Kirthi Shri
Rajasingha (1747 - 1782 AD) are most worth to concern.
……And the lord of the land
gave into the novices Siddhattha the large vihara called Rajata IRidi Viharaya)
that the king Dutthagamani had built, who had verily come (into this world)
with the desire to become the chief disciple of Metteiyya Buddha. And the ruler
of Lanka caused that priest to be ordained and bestowed offices on him and on
all the priests who dwelt in the Uposatharama and also showed them favor in
many ways. And that they might restore that vihara which had been long in a
state of decay, the king of Lanka provided them with diver artificers and many
painters, and much refined gold for gliding the statue of Buddha, and all the
labor and instruments that were necessary. And when the eminent monk Siddhattha
had received all these things he removed everything that was old and decayed
(in the vihara), and made the thick and high wall thereof, of solid stone, to
shine, and the floor and the outer wall also. And he caused a picture of the
Supreme Buddha, as he was engaged in the battle with Mara, to be painted on the
roof of the rock, and divers flowers and creepers also. He caused also the
great sleeping image to be made with fine brick and mortar and clay, and many
other images of Buddha also, sitting and upright. And on the inner wall he
caused about a thousand beautiful pictures of the Supreme Buddha to be painted
with exquisite art. At the foot of the great sleeping image he caused to be made,
in due order, beautiful images of Ananda, the constant attendant of Buddha and
the preserver of the Law, and of Metteiya Bodhisatta, of the excellent Natha
Deva and of the king Dutthagamani. And he gilded with gold the five large
images oh Buddha, and completed the other works that had to be done inside, on
the outside wall also, ha caused to be painted a beautiful row of figures of
devas and Brahmas carrying flowers in their hands, as if they had come to
worship. He caused also to be made a large arch, beautiful and pleasant to the sight
, and two figures of lines on the two side of the door, and figures of demons
on the spaces between them, in the walls, He also had pictures made of the
sixteen principal shrines consisting of Mahiyangana and the reset, and a
likeness of the excellent footprint (of Buddha) on the Sacca-baddha Pabbata,
and many scenes also, painted with exquisite art from many Jatakas, showing the
ten-fold Parami, the three fold Cariya, the five great denying sacrifices, and
other virtues (of the Bodhisatta). And in the hall be caused many pictures to
be painted: liones, elephants, and swans, in rows; likewise flowers and creepers
also.
Then the beautiful cave that
is on the top of that selfsame rock he made an elegant large and excellent image
house pleasant to the sight, and many works on a stone that were wrought to
perfection. In it he made a large, beautiful, and life like sitting image of
Buddha, pleasant to behold, and on both side thereof two fine upright stature.
He also caused to be made there the images of Metteiya Bodhisatta and of
Uppalavanna and many images of Buddha, and hundred also of Arahats. Likewise also there were figures of the
twenty-four Buddhas (before Gautama) and as many Bodhi trees, the (events of the)
twenty and four predictions, pictures of the sixteen principal shrines, of
demons and other evil spirits, of the five difference venerable convocations,
and divers other painting of exquisite beauty. In that very place he places
relics of Buddha, and built there on a Cetiya, and adorned it with a pinnacle
of gold. And on the top of the image house in that excellent rock basin, he
caused a delightful picture to be made of the Sage, seated amidst his five hundred
disciples, with Sariputta at their head. And even in the difference courts (of
the vihara) he built walls and open halls, and divers gates also, and rows of
steps and other excellent works. He repaired many old works, and also built
many new ones; and completed all in a beautiful manner.
And when the time for holding
the feast of the setting of the eyes of the images had come, and the king had
sent his ministers with apparel and other ornaments (to conduct it ), they
adorned the place with many continuous rows of arches; and when they had made
an end of putting on all the ornaments that were necessary, and had arranged
the order of the high ceremonial, they celebrated the great feast, and, under a
lucky star and at a favorably hour, performed the ceremony of setting the eyes
of the images.
From that time forth many inhabitants
of the country came together from different parts, in great number, like unto a
sea that overflowed the land; and when they had seen the works of gold and
divers other things that had been wrought there, they were exceedingly
delighted, as if they had seen the supreme Buddha performing the Yamamaha
Pelahara. And with their hearts full of joy they made great offerings,
accompanied with shouts, and paved their way to heaven.
And in the festival which was
held at that vihara they invited the priesthood, and prepared seats for them in
the upper hall of the vihara, and caused the priest who were preacher of the
Law to sit thereon and recite the Mahamangala sutta and other discourses which
were pleasant tone listened to; and them they made due offerings in honor of
the Law. And all the people who heard and saw these things enjoyed the pleasure
of seeing (the image of ) the Supreme Buddha at the same time that they
listened to his holy doctrine; and they rejoiced exceedingly as if they heard
the doctrine preached by the living Buddha himself. Thus, day after day, did
they show to the people both the beauty of his (Buddha's) form and the dignity
of his discourse.
And, on the courtyard
without, on open hall was built on stone pillars with seats prepared (for
priest). And the great body of the people assembled themselves together there,
and were instructed in the rules of moral conduct, such as the five precepts
and other; and they had every one the opportunity daily of hearing much of the
Law expounded to them. Moreover, he (the priest Siddhattha) in his great loving
kindness, did often, invite preachers of religion, and make them to discourse
to the people all through the three watches of the night.
And on the south side of this
vihara there was a beautiful Cetiya that was built (in former times) on a
beautiful, broad, and flat rock; but it had gone wholly to ruin, leaving only a
mound of earth. And for the purpose of restoring it he collected lime and
bricks and stones and other material from divers places. And he built a
beautiful square foundation, wherein he places a relic of the glorious Sage,
And , while the Cetiya was yet building, he invited priests, and caused a
consecrated boundary to be set up on a beautiful plot of land in the
neighborhood thereof, and built thereon an Uposatha house and Arama for
priests, with tiled roofs and the like. And he made the grounds around it onto
a large park containing many ponds, and adorned them with dives trees and
creeping trees that bare flowers, and trees that bare fruit and the like. And
in this monastery he caused the sons of Buddha to take up their abode, and
earnestly exhorted them to conform their behavior to the doctrines and precepts
of religion. And this place, which was restored by the authority of the king,
was the resort of great saints, and was had in great honour by the ancient
rulers of Lanka. And when the great king had heard hereof, he ordained that the
boundary of the vihara should be the same as had already been defined (by the
priest): and he offered the land thereto, and increased all the ceremonial
offerings and alms to the priesthood in this vihara, and thus gained a store of
merit.
Especially, Tibbotuwawe Sri Siddhartha Buddharakkita
thero, the chief student of Weliwita Asarana Sarana Saranankara thero's, being
the first chief monk of the temple and
initiation of Sangha sect of Malvathu by him has enlightened the history of
Ridiviharaya. Latterly the temple was devolved to Polpitigama Siddharta thero
because of Buddharakkhita thero had resided at Malvatu Mahaviharaya of Kandy.
Though he departed at the Malvatu Viharaya, the body was taking to Ridiviharaya
and cremated at there. A small stupa constructed by concealing his remains
which was recently excavated by archaeologists.
Architecture
Ancient
Ridiviharaya constitutes with many architectural attributes. Particularly the
constructions done appropriately with land settings take a central place. There
are many caverns here and there around the hillock of the temple located. It
appears that these are used by the Bhikku Sangha in the past. Dripledges and
walls are the main architectural features of them. Inscriptions at just below
the drip ledges mentioning the caves were offered to bhikkhu sangha by some liberal
persons.
Originally the
the hillock has an irregular shape, but some constructed flat terraces are aided by
stone revetments.
Some of the main
caverns of the Ridi Viharaya are associated with the main terrace. These are
significant among others due to they are used as image houses. The way of steps
and terrace construction aided devotees to easily reach to these caves. The
main viharas associates with the main there caves are,
i. Waraka Walandu
Viharaya
ii. Maha Viharaya
iii. Uda Viharaya
Waraka Walandu Viharaya
This is a stone
shrine constructed in the association of the cave in a small crag. According to
literary pieces of evidence, this is the oldest construction at the temple. There is a
seated Buddha statue under the dragon portico (Makara thorana) in the cave, and
two umbrella bearer (chatradari) gods are present at both side of the
statue. Stonewall with a door screen the image house in the cave. The whole
structure is constructed as a pavilion by using stones only. The outer surface of
the stone wall carved for brings up the shape of stone pillars. The plinth is with boradam.
Shelter constructed with stone beams provides a cover to the cave.
First pavilion or
mandapa is also sheltered by stone slabs on beams which supported by eight
square pillars. Each pillar stand on a pedestal decorated with boradam
and some interesting panels are carved in the sides of them. Each face
of the pillar has three carved panels. In the panels, which are at the base of
each pillar finished with an array of Nagabanda and in it there is a dance of
soldiers is represented, one figure being in each panel. Some of them are
carrying swords and shields. Lotuses are depicted in second panels. The third panel
is at the upper corner, haven't any graven image. Stone pillar cap or pekada
decorated with lotuses are attached above to these third panels of the pillar.
Outer edges of the
well-shaped stone slabs used for the roof are decorated as lotus petal descending
downwards. And the edge also engraved with lotus petals. The strip above to this
has lion figures drive to both sides. Each corner of the roof terminates
with dragons or crocodiles with opened mouths. Purpose of these is to remove the
water accumulate on the rooftop.
It seems that the
bases of the pillars are placed initially on the rock outcrop and then
strengthen by the platform of three feet high. The entrance has only three steps
with balustrades (korawakgala) at both sides. Altogether the structure has
architectural features of South Indian Tamil tradition. It can assume that at
least this was constructed in the thirteenth or fourteenth century AD.
Mahaviharaya
This also called
Pahala Viharaya or Palle Viharaya is the primary image house of the Ridi
Viharaya. The golden statue as it is said came by might is also in this image
house. Building constructed in the association of a large cave. The Early Brahmi
Inscription at the drip ledge evidencing the cave was used in the first period
by the meditating monks. After some several construction phases, the existing
structures were erected in the Kandyan period. Constructions are well managed
with the triangular shape of the cave, and at the same time, two thick walls
protruded from a corner to gain a square shape to the structure.
By that, the main
entrance is at the south and another sub entrance is at the east side. Wall with
the main entrance which decorated by dragon portico is guarded by another wall
in front of it. Devotees use the door at the eastern wall for getting to the Ihala
VIharaya.
The roof of the image
house is sheltered by flat tiles. Space between roofs of the verandah and inner
chamber due to the latter is much elevated than the first, is filled with wood.
The small entrance of four steps leads to the main entrance. There are two deformed
lime pasted lion figures near to it. The platform of the image house is constructed
as to be elevated from the ground. Recently it was covered by cement plaster.
Uda Viharaya
Uda Viharaya is
another image house constructed in a cave adjacent to the main cave and is
believed to be built by King Kirthi Sri Rajasingha. But the cave was
prepared for use in the pre-Christian period by making drip ledges.
The structure is
entirely made in the cave. Main statue is at the western wall and the
entrance at east. There is a portico with doors from three sides,
surrounding the inner chamber. Two small chambers in both sides of the
inner chamber are dedicated to gods. One is for Kumara Bandara and other one
known as Naga guhawa (cave of Naga's). Three windows are placed in the eastern and
northern wall for illumination the portico.
Drumming Pavilion (Hevisi Mandapaya)
The elongated
Quadrangular building in front of Palle Viharaya is known as the Hevisi Mandapaya
or drumming pavilion. It constructed on a short foundation of stone and has one
door at the entrance and two at the other side. Two windows are at both
sides of the entering door. The architecture of the building seems to be belonging
to the Kandyan period, and the roof had repaired recently by replacing flat
tiles.
Gateway (Vahalkada)
A gateway or
vahalkada with an arch of two tall walls and roof, constructed between two
rocks at between of Varaka Valandu Viharaya and Palle Viharaya. There are
twelve steps to this from the terrace. Dyke of the inner garden is at both
sides of the gateway.
Residence I (Avasa Geya)
Residence ii (Avasa Geya)
Chapter House (Poya Geya)
Stupas
Sarasumgala Stupa
It is believed
that this elegant stupa on a large rocky plain was constructed by King Dutta
Gamini Abhaya. It had gone wholly to ruin, leaving only a mound of earth and
restored by King Kirthi Sri Rajasingha. The Stupa was on a three feet high base
on an elevated platform of twelve feet high on the rocky outcrop. Each side of
the base is 25 feet in length and has some boradam. The stupa is 64 feet in
circumference and 24 feet in height.
Uda Vihara Dagaba
This stupa is in
front of the cave of Uda Viharaya image house. It believes this one is also
constructed by King Kirthi Sri Rajasingha. The stupa is built on a
un-elevated platform. Circumference of the stupa is 50 feet and 26 feet in
height.
Inscriptions in Ridiviharaya
Parumaka Abayaha
lene
The cave of the
chief Abhaya (I.C., 890)
Parumaka
Abhaya-jhaya lene
The cave of the
wife of the chief Abhya (I.C., 891)
Parumaka Uti
Sumanaha lene
The cave of the
chief Uttiya Sumana (I.C., 892)
Gapati Sumaha
lene Bata Dataha ateye kate
The cave of the householder
Summa has been established for the benefit of Lord Datta (I.C., 893)
Damarakita
terasa Manapadasane
The cave named
Manapadassana of the Elder Dhammarakkita (I.C.,
893 a)
Parumaka Puna
puta parumaka Tisaha lene sagasa
The cave of the
chief Tissa, son of the chief Punna (is given) to sangha (I.C., 893 b)
Bata Pusadevaha
lene sagasa
The cave of lord
Pussadeva (is given) to the Sangha (I.C.,
893 c)
Upasaka
(Re)tasa lene sagasa dine
The cave of the
lay devotee Revata is given to the sangha (I.C.,
893d)
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