Mihintale Temple

Mihintale Maha Seya

The MahaSeya, also known as the Great Stupa, is the largest and most prominent stupa located on the summit of Mihintale, the sacred mountain in Sri Lanka. It is considered the symbol of Mihintale. After renovation, today the Mihintale MahaSeya stupa has a height of 153 feet (46.6 meters). King Mahadatika Mahanaga (7-19 AC) had the stupa constructed. It is believed that the MahaSeya enshrines a relic of the Buddha. In the 13th-century Sinhalese literary work called the Pujavaliya and the slab inscription of King Mahinda IV at Mihintale, the stupa is referred to as Ambulu Dagaba. When found in the ruined status around 1890 AD, MahaSeya had a diameter of 136 feet (41.4 meters) at its base, and its height was estimated to be around 45 feet (13.7 meters). Over time, the pinnacle of the stupa collapsed, and treasure hunters caused damage to the site. In 1951, the base of the stupa was cleared of debris, and subsequent investigations were conducted to explore the interior of the monument. The original foundation of this stupa is believed to date back to a period prior to the Christian era.

Ambasthala Dagaba

The flight of steps that leads from the terrace of the Assembly Hall to the upper terrace calls as Ambasthala plateau. Ambasthala, or the plain of mango trees, serves as the residential area for the monks residing at Mihintale today. In one corner, there is a stupa with stone pillars, and on the right-hand side stands an old Bodhi tree. The rock beyond that point is known as the Aradhana Gala or the invitation rock, where Arhat Mahinda is said to have addressed King Devanampiya Tissa from the top. On the rock to the south is the Great Stupa or the MahaSeya, along with the adjoining Mihindu Seya.

The small stupa known as Ambasthala dagaba is the first monument that we see after entering the upper terrace of Mihintale. The historical records refer to three stupas on the summit of the Mihintale hill. These are Sila Cetiya, ,Ambasthala Stupa and the Mihindu Seya. The first of these is believed to have been built on the spot where the Buddha himself reputedly spent some time, seated in meditation on his third visit to Sri Lanka. The Ambasthala Cetiya, the second, was built by Mahadatika Mahanaga (9-21 AC). The third one was built by Uttiya(210-200 BC)to enshrine a portion of Mahinda Mahathera's ashes.

The Pujavaliya refers to the Silä Cetiya as Mahasalasä and says that it was put up on the spot where the Buddha sat in meditation. According to an inscription on the stone terrace of the stupa and on a broken down pillar, the stone pillars were the work of the seventh century.

Aradhana Gala

Aradhana Gala (The Rock of Invitation ) The Aradhana Gala, also known as the Rock of Invitation, is a single rock on the eastern side of Ambasthala. It is believed to be the spot where Arhat Mahinda and his companions stood after arriving from Dambadiva (India) to deliver the message of the Buddha. It was at this location that Arhat Mahinda addressed King Devanampiya Tissa. The place where the king stood is covered by a Moon Stone and guarded by a golden railing. The place where Arhat Mahinda stood to meet the king is now covered with a Chandrakanta Pasana or Moon Stone, which is also revered by pilgrims.

.

Kantaka Cetiya

The ancient stairway along the pathway branches off to the right after about half the distance, leading to a steeper climb. This pathway consists of approximately 80 steps and takes you to the site of the Kantaka Cetiya. The flight of steps in this section is divided into four parts. Similar pathways can be found leading to the MahaSeya, Eth Vehera, and Rajagiri Lena hill.

The Kantaka Cetiya remained hidden from view until the commencement of excavations in 1934. The stupa had been concealed for centuries beneath the debris of a partially collapsed monument, and large trees had grown on top of the mound, making it appear as part of the hill's summit.

Prior to its excavation in 1934, the mound where the Kantaka Cetiya was located was popularly known as Kiribat Vehera or Giribhanda Vehera. However, an inscription dating back to the 1st century AD, discovered near the stupa, revealed a grant made to the stupa and referred to it as Kataka Ceta in the old Sinhala language, which translates to Kantaka Cetiya. Further confirmation of this identification was found in the Mahavamsa, which mentions that Devanampiya Tissa (250-210 BC) initiated the construction of sixty rock-cells in the vicinity of the Kantaka Cetiya which means Kantaka Cetiya was already in existence when 68 caves (Ata Sata lena) were being mabe.

This indicates that the original stupa predates the 1st century BC and is one of the oldest religious monuments in Sri Lanka. The lower section of the dome of the Kantaka Cetiya consists of three circular berms or ridges stacked on top of each other. Its base has a circumference of 425 feet, and in its current ruined state, it stands about 40 feet high. During the excavation, it became evident that the original stupa had been later enlarged by adding an outer layer of bricks. The stone facing of the platform and the base of the dome is believed to belong to the same period as this later enlargement.

The Kantaka Cetiya features four projecting frontispieces, known as Vahalkada, on its four sides. These Vahalkada are a unique architectural element. Two of the four Vahalkada have been well-preserved. They are constructed with bricks, but the lower portions of the front sides are faced with limestone. The stone work of the eastern and southern vahalkadas was found in a nearly perfect state of preservation, while the northern one, although damaged, could be easily restored. Unfortunately, the western vahalkada has been damaged beyond restoration. The vahalkadas are adorned with rich sculptures. A frieze or a sculptured richly ornamented band of Ganas or dwarfs decorates the cornice below the topmost vahalkada, and another frieze featuring geese (Hansa) is found on the one below it.

Mihindu Guhawa

The Mihindu Guhawa, or the Cave of Arhat Mahinda, is located about 300 yards down the eastern side of the hill, passing the Sila Cetiya site. There, a stone slab sheltered by another rock is believed to be the place where the great arhat (enlightened one) Mahinda meditated. His seat is carved into the rock. Upon returning to the plateau, the MahaSeya (Great Stupa) and the Mihindu Seya are visible on the summit of the mountain to the south.

Arhat Mahinda used this cave for dwelling and spent most of his Rainy Season periods in Sri Lanka in this cave, it is stated. This cave was offered to Arhat Mahinda by King Devan am Piyatissa. There had been sixty eight caves offered to the Sangha at that time and sixty two of them had been found now. This cave is situated on a hill slope near Ambasthala Cetiya at Mihintale. The cave has been formed by two separate rock boulders so there is an opening on the both sides of the cave.

The cave bed is chiseled out to have a flat surface and that area measures a bit over 2 mts x 1 mts. in length and breadth. It is believed that this flattened area was used by the arhat as the bed space. Arhat Mahinda lived for 80 years until parinirvana ( since he is an Arhat) at Mihintale which was earlier called as the Cetiya Pabbatha.

Sinha Pokuna

In the middle terrace, to the south of the Assembly Hall, there is a low area where the ruins of monastic buildings can be found. The Lion Pond, located amidst the ruins of monastic buildings, is a remarkable and artistically appealing feature. Although referred to as a pond, it is more of a water feature or water spout than a traditional pond. It served as an open-air bath, likely used by the monks residing in the nearby caves.

The Lion Pond derives its name from the water tank situated above the sculpture of a standing lion, from whose mouth the water flows. Half of the pond is carved out of the natural rock, while the other half is constructed using monolithic blocks, forming a square-shaped structure. The imposing and life-sized lion is intricately carved against the outer rock wall. Water is discharged through the open mouth of the lion, adding to the visual appeal and functionality of the bath.

According to Bell's description, the construction of the Lion Pond involved chiseling out the live rock by cutting back the sloping rock vertically and at right angles. This process created a level width of 6 feet 3 inches, forming the south side of the bath. About six feet from the vertical rock at the back, a squared space was marked off, and a depth of 1 foot was sunk perpendicularly into the rock. The remaining steps involved smoothing the top and front of the rock, fitting dressed monolithic slabs on three faces, and creating a cubical bath. Half of the bath was carved from the bedrock, while the other half was shaped and smoothed from stone. Bell further adds that the Lion Pond is an exceptional example of bold artistic work in granite, and there are few specimens of its kind in Sri Lanka that match its aesthetic quality. Among the ruins of Mihintale, it stands out as a remarkable achievement of stone-masonry, second perhaps only to the graceful columns of the Ambasthala Dagaba.

The water for the open-air bath was supplied by a channel connected to the Naga Pokuna, which is situated above the Sinha Pokuna at a higher elevation. The sculptures surrounding the pond, depicting dancers, elephants, musicians, and Ganas, showcase the high level of sculptural artistry achieved in Sri Lanka during that period.

Naga Pokuna

Cobra Pond (Naga Pokuna) located at the foot of a steep hillock in Mihintale, is a natural rock basin on an elevated plateau and is named after the five-hooded cobra carved in low relief on the rock surface. It measures approximately 36 feet by 15 feet.

The pond is mentioned in the Mahavamsa, the great chronicle of Sri Lanka, as Nagasondi. It is said that King Aggabodhi I (575-608 AC) created a pond with that name on the Cetiyapabbata (the sacred mountain) and provided a permanent water supply to it. This suggests that the pond initially relied on rainwater but later had springs tapped to provide a continuous water source.

The Mahavamsa also states that when Arhat Mahinda, who played a crucial role in introducing Buddhism to Sri Lanka, returned to the Cetiyapabbata mountain for a retreat, he first bathed in this pond. This adds historical and sacred significance to the location.

Mihintale Stone Stairway

The pathway consists of a flight of stone steps that adds to the unique beauty of the location. It starts from the foot of the mountain and ascends to the middle terrace. Some steps are carved out of the natural rock, while others are paved with cut granite. The presence of trees along the pathway provides shade and a refreshing atmosphere. The fragrance of araliya tree blossoms further enhances the ambiance.

The flight of steps from the foot of the mountain to the middle terrace, where the Alms Hall and Assembly Hall is, consists of a total of 1,840 steps. The second stage of the stairway begins from the middle terrace, and extends to the site of the Ambasthala Stupa. The third stage starts from there and ends at the terrace of the MahaSeya, the Great Stupa. The retaining walls on both sides of the pathway, constructed using rubble, contribute to the serene beauty of the surroundings.

While the initial steps have a height of approximately 3 inches, the height of the steps varies as one continues to climb. This variation adds to the experience and challenge of ascending the pathway to reach the summit of the mountain in Mihintale.

Alms Hall

The Alms Hall (Dana Salawa) played a significant role in the middle terrace of Mihintale. It served as a central location for organization and administrative functions of the monks. Important decisions regarding the discipline of the Sangha were made here, and it was also the place where the monks gathered for their daily meal. Evidence of this can be found in the Mihintale slab inscription of King Mahinda IV. To reach the quadrangular leveled area of the Alms Hall, one must climb the flight of steps from the front of the mountain. This area is covered by a protective wall and an entrance doorway. On the left-hand side, the Alms Hall for the resident monks is situated.

The building itself is rectangular in shape with a central courtyard that is open to the sky. The main entrance is on the west side. The courtyard spans 62 feet by 25 feet and is paved with granite slabs. The roof is supported by 14 rows of stone columns . The southern part of the building is designated for the kitchen, while the western side is used for storage rooms. On the eastern side, two large rectangular granite structures known as kända oruwa (gruel boat) and bat oruwa (rice boat) can be found. The stone courtyard was supplied with water through cisterns and covered drains, with a conduit draining off excess water at one corner.

Assembly Hall

The Assembly Hall(Sannipata Sala), served as a gathering place where the monks of the monastery would meet to discuss matters of common interest related to the rules of discipline and administration. During these meetings, the most senior monk of the vihara would preside over the discussions.

The elevated stone seat located in the middle of the Assembly Hall was specifically reserved for the senior monk. The Assembly Hall served various purposes, including the discussion of matters related to the rules of discipline and administration. It was also used for preaching the Dhamma, or Buddhist teachings. From an architectural standpoint, the Hall is square in plan, with each side measuring about 62 feet in length. The roof was supported by symmetrically arranged stone pillars, some of which are still standing today, although the roof itself no longer exists. It is estimated that there were approximately 64 pillars in total. The Hall had access from all four directions, with flights of steps leading to it.

Mihindu Inscription Slabs

The inscription of King Mahinda IV,contains valuable information regarding the Alms Hall. To the right of the Alms Hall, situated on higher ground, there are the ruins of a vihara referred to as "dage" in Sinhalese, which means a Relic House. The Inscription of King Mahinda IV, dating back to the tenth century, is installed on the two sides of the entrance to this vihara. The inscription makes multiple references to the relic house. According to the inscription in the vicinity, the senior monk of the vihara at Mihintale was referred to as the "Wakä halana himi," which means the chief monk of the fraternity.

Kalu Diya Pokuna

The Kaludiya Pokuna is a large reservoir, and its broad embankment serves to contain the water. The reservoir is described as nearly natural in appearance, blending harmoniously with its surroundings. However, at the northern and southern ends of the reservoir, there were two gateways that marked the boundaries of the area.

For some time, the gateways had been in a state of ruins, appearing as shapeless mounds. However, in recent years, efforts have likely been made to uncover and restore these gateways, bringing them back to their former glory. The passage suggests that the gateways, once in ruins, have now been identified and their restoration may have taken place.

The mentioning of the gateways indicates the historical significance and architectural elements present at the Kaludiya Pokuna, further adding to the allure and cultural richness of the site in Mihintale.

The name ‘Black Water Pool’ was given to this pond because of the color of the waters created by the reflection of the rock boulders and shady trees of the forest. The pool measures 200 feet in length and is 70 feet wide. Kaludiya Pokuna was undoubtedly a place for spiritual exertions and this is established by the presence of a padhanag hara at the south west of the Kaludiya Pokuna, An inscription found engraved by the side of the flight of rock-cut steps to the north of the foot-path from Kaludiya Pokuna to the main hill reads: Manikara-Mulagutaha padagadini which means: “the steps of the lapidary M Ulagutta.” This inscription is considered to be one of the early Brahmi inscriptions at Mihintale belonging to the pre-Christian era.