Isurumuniya Viharaya | AmazingLanka.com

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Isurumuniya is a 3rd-century BCE rock temple in Anuradhapura, famous for its exquisite stone carvings and serene setting by the Tissa Wewa. Originally built by King Devanampiyatissa, it features the iconic Isurumuni Lovers, the Horseman, and bathing elephants. This tranquil site beautifully blends spiritual heritage with legendary Sri Lankan romance.

The ancient Meghagiri Vihara is now commonly known as Isurumuniya Vihara or Isurumuniya and lies near Tissa Wewa of Anuradhapura. But the original Isurumuni Viharaya is located a few hundred meters away and is now called Vessagiri Viharaya.

When this viharaya was discovered by the explorers, it was thought to be the Isurumuniya mentioned in ancient texts even though no inscriptions have been found. Later when archaeologists found the real Isurumuni Viharaya a few hundred meters away (with inscriptions identifying its name), the name Isurumuniya was already taken and the site was called Vessagiriya.

This temple is located in the ancient Mahameghavana (park) and was called Meghagiri Viharaya. This was the first repository of the Tooth Relic and this means this temple was part of the Abhayagiri Monastery (Seneviratna, 1994). However, D.T. Devendra, a prominent Buddhist scholar doesn’t agree that the Meghagiri Viharaya mentioned in the ancient text to be the current Isurumuni Vhiharaya (Devendra. 1963).

Isurumuniya was built by King Devanampiyatissa (307-267 BCE) where Mahinda Thero converted five hundred men of the Vess caste. The temple is carved out of, and circles around, an abrupt natural rock formation by the Tissa Wewa. According to Dhatuwamsa, Dalada Siritha as well as Rajavaliya the Tooth Relic was deposited temporarily at Meghagiri Vihara when it arrived in the country in 312 BCE.

Isurumuniya is most famous for the stone carving of a couple and the bas-relief figures cut into the rock there. This carved stone was found in the royal pleasure garden and brought here. There are many interpretations given for these carvings.

Man and Horse Sculpture of Isurumuniya

The most unique sculpture is the Man and Horse carved on the rock to the left of the staircase leading to the main temple hall. An authority of standing, Laurence Binyon, has referred to this sculpture as “a tremendous work, impossible to forget when once seen” (Paranavitana, 1953).

This carving lies about 15 feet above the ground. The rock has been carved in and the figures have been presented as a bas-relief. The seated figure, which is rather less than life-size, measuring 2 feet 7 1/2 inches from the waist to the crown of the head, is inside a shallow, arched cavity, the chest being almost a continuation of the vertical plane of the rock.
The figure is not seated on a but on the flattened ground. The left leg is placed on the ground and is stretched out, but is curved and returned at the knee so that the left foot touches the right The left arm stretches vertically down like a pillar from the rounded shoulder, and the hand is placed palm downwards on the floor.
The right leg, bent at the knee, is raised, the outstretched right arm resting on it. The trunk is erect but not stiff. The entire pose gives the impression of one confidence of power and strength. The expression on the face, as De. Vincent Smith has remarked, of calm and abstracted but not unconscious dignity The part of the body is bare; the folds of a thin cloth which drapes the lower half of the body are shown at the waist, and the hem of this garment is indicated by a faint line below the knee of the raised right leg and at the ankle of the left leg placed on the ground.
A necklace bangs down the chest. Heavy ear-rings are shown suspending from the elongated lobes. On the upper right arm is worn a bracelet (angada). The seated figure has been described as wearing a helmet on the head. From its shape, the helmet appears to be made of metal A thick plume forms a crest on the top and hangs down the back. In the alternative, the hair may be taken as treated in the style called jarabhara in South Indian iconography. While there is clear definition the facial features, and the chest and abdomen have been realistically modelled, the fingers and toes respectively, of the hands and the left foot placed on the ground, have been left vague. The hands and the foot have merely been blocked out.
Being seated on the rock itself, and hands and one foot merging into the indefiniteness of the rock, the figure of the seated man appears to be organically one with the mass of the rock. Above the left shoulder is shown the back of a seat against which the figure is resting; on the right side, this feature also, like the hands, is lost in the background of the rock. (Paranavitana,1953).

he head of the horse is facing outwards and appears to emerge from the rock. The snout of the horse’s head has been damaged and has recently been restored in cement.

Dr. Ananada Coomaraswami interpreted it as the Indian sage Kapila-Muni, who is also believed to be the fifth reincarnation of Vishnu. However, Dr. Paranavithana believes that the figure of the man represents Paranya (Pajjunna), or Varuna, the spirit of the rain clouds which may be considered identical to Megha, while the horse represents Agni, the spirit of fire.

The carving in low relief, at the base of the second boulder, of the head and uplifted trunk of an elephant and the tail of another, together with lotus leaves and buds, in his opinion, has to be interpreted in relation to the sculpture of the Man and Horse, high up on the adjoining boulder. The latter being Parjanya and Agni, the elephants and lotus leaves illustrate the effects of the manifestation of these two divinities. With the upturned trunk, one elephant is pouring water on its own body; of the other, only the lifted tail has been shown, and the body is assumed to be immersed in the water.

The elephants, therefore, are sporting in the water. As these carvings actually rise from the water in the pond, the effects of Parjanya’s activity are very realistically shown. The god has carried out his function of causing rain to fall. His appearance high up on the adjoining boulder evidently had not been in vain. Parjanya not only sheds rain but also ‘places’ seed in the plants as a ‘germ’. The ‘seed’, in reality, is fire which is the ‘embryo of the waters’. “In the rain, fire descends not upon but into the ground and thence rises into the plants’ sap and life.” The beneficial activity of Agni, who has manifested himself in the form of a horse, has been indicated by the lotus leaf and bud (Paranavitana, 1953).

The Lovers of Isurumuniya

The lovers of Isurumuni Viharaya, Anuradhapura

King Dutugemunu at Isurumuni Viharaya, Anuradhapura

The most popular sculpture at this site is the carving known as Prince Saliya (the son of the great king Dutugamunu) and his fiancée Asokamala, now lying in the small Archaeology museum of Isurumuniya. Asokamala was of a lower caste called Chandala, and Prince Saliya gave up his right to become king by marrying this girl of a lower caste. This is one of the most celebrated love stories in ancient Sri Lanka.

The commentary of the chronicle and the collection of edifying religious legends known as the Rasahini narrate this story in great detail. The Sinhalese treatise Saddharmalankara of the fourteenth century also describes this love story at length. Briefly told, the story is as follows.

The only son of the great Dutthagamini was named Saliya, because on the day of his birth all varieties of grain in the granaries turned into that superior variety of rice called sali. He grew into manhood acquiring all the accomplishments expected of a royal prince and was greatly loved by the people for his virtuous conduct and devotion to the Buddhist faith. One day he went on an excursion to the pleasure garden; wandering through the garden he came to the foot of an Asoka tree laden with flowers. On the tree, plucking blossoms, was a maiden of exquisite beauty, and he fell deeply in love with her at first sight. He inquired who she was and learned that she was the daughter of a smith (Kammara) of the Candala caste. Knowledge of this fact did not alter his feelings towards her. He took her to his palace and installed her there as his consort.

When the king learned that his son had espoused a maiden of low birth, he was naturally greatly disturbed and, through the agency of one of the ladies of the royal household, attempted every possible means to persuade the young prince to abandon his love. However, the prince remained firm in his resolve. Eventually, after hearing favourable reports of Asokamala from Brahmins, the king visited the lovers at their residence. Dutthagamini was so impressed by the beauty and accomplishments of Asokamala that he ultimately gave his blessing to the union and even offered to nominate Saliya as the heir-apparent. The prince, however, renounced his claim to the throne and lived happily with his beautiful spouse, devoting his energies to religion (Paranavitana, 1956).

Another interpretation suggests that this couple represents the god Siva and the goddess Parvathi of Hindu belief.

The vihara also possesses another stone slab depicting a court scene, which is believed to represent the court of King Dutugemunu. Both of these stone slabs are thought to date from the 8th century. Paranavitana believed that this carving represents the occasion when King Dutugemunu visited his son’s abode to reconcile himself with the marriage to Asokamala. The young prince would have received his father with honour; the king is shown seated with his queen or favourite consort by his side. The prince sits beside his father in a humble and respectful posture on the ground, while Asokamala crouches inconspicuously behind the queen.

Ticket Prices / Entrance Fees to Isurumuniya Viharaya for Tourists

The Anuradhapura Cultural Heritage Ticket does not include entry to certain sites within the sacred city. These places require a separate, inexpensive ticket that must be purchased at the entrance of each site. Tickets can be bought independently of the heritage ticket, and payments are only accepted in Sri Lankan Rupees (LKR) in cash.

Locals do not need to purchase any tickets.

Sites in Anuradhapura that require a separate ticket		Price per Head
Sri Maha Bodhi (All foreign including SAARC —all above 6 years of age)	counter opened from 6 AM to 9 PM	LKR 200
Isurumuniya (All foreign including SAARC —all above 10 years of age)	counter opened from 7 AM to 8 PM	LKR 500

References

B.W. Harischandra, 1908. The Sacred City of Anuradhapura. With Forty-six Illustrations. 1st ed. Colombo: Brahmachari Walisingha Harischandra.
Devendra, D., 1963. Meghagiri Vihara. Journal of the Ceylon Branch of the Royal Asiatic Society, New Series, Volume VIII part 2, pp.378-381.
Paranavitana, S., 1953. The Sculpture of Man and Horse near Tisavava at Anuradhapura, Ceylon. Artibus Asiae, 16(3), pp.167-190.
Paranavitana, S., 1956. A Bas-Relief at “Isurumuni” Anuradhapura. Artibus Asiae, 19(3/4), pp.335-340.
Seneviratna, A., 1994. Ancient Anuradhapura. 1st ed. Colombo: Archaeological Survey Department, Sri Lanka.
Burrows, S., 1894. The buried cities of Ceylon : A Guidebook for Anuradhapura and Polonnaruwa with Chapters on Dambulla, Kalawewa, Mihintale and Sigiri. 2nd ed. Colombo: J. Ferguson, pp.65-67.

Also See

Anuradhapura – The city of the God Kings
Solosmasthana – The Sixteen Buddhist Sacred Sites Hallowed by Buddha
Atamasthana – The Eight Sacred Sites in Anuradhapura

Photos from the late 1800’s and early 1900’s

before restoration – photo taken on late 1800′s or early 1900′s

Bathing elephants above the water tank of Isurumuniya

Map of Isurumuniya Temple

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Driving Directions to Anuradhapura

Colombo to Anuradhapura By Bus

Anuradhapura can be conveniently reached by bus, train, or private transport. Both air-conditioned and non-air-conditioned buses operate from the Colombo Fort Main Bus Station. In addition, luxury buses departing from various locations in Colombo travel via Anuradhapura to Vavuniya and Jaffna; these require advance online booking and generally operate overnight, arriving at their final destinations early in the morning.

Colombo to Anuradhapura By Train

Five daily trains operate from Colombo Fort Railway Station to Anuradhapura. Typically, the first train departs at 9.40 a.m. and the last at 8.30 p.m. The journey takes approximately four to five hours, depending on the number of stops made by the particular service.

Colombo to Anuradhapura By Car or Van

Anuradhapura can be accessed from Colombo via several routes, with the two primary corridors running through Puttalam and Kurunegala. The Puttalam route passes the scenic Wilpattu area. From Kurunegala, there are two main approaches: the more commonly used route via Dambulla and an alternative route via Galgamuwa. Among all options, the Kurunegala–Dambulla route (Route 2) is the most frequently used.

Route 01 from Colombo to Anuradhapura	Route 02 from Colombo to Anuradhapura
Through: Negombo – Chilaw – Puttalam Distance from Colombo: 210 km Travel time: 4.30-5.00 hours Driving Directions: see on Google Maps	Through: Negombo – Chilaw – Puttalam Distance from Colombo: 210 km Travel time: 4.30-5.00 hours Driving Directions: see on Google Maps.
Route 03 from Colombo to Anuradhapura	Route from Kandy to Anuradhapura
Through : Katunayake Expressway – Narammala – Wariyapola – Padeniya – Thambuthegama Distance from Colombo: 203 km Travel Time: 4.30-5.00 hours Driving Directions: see on Google Maps	Through: Katugastota – Matale – Dambulla Distance from Colombo: 136 km Travel Time: 3.5 hours Driving Directions: see on Google Maps