Rakkhiththakanda Rajamaha Viharaya at Karandagolla

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Kandyan Era statues at Rakkhiththakanda Rajamaha Viharaya at Karandagolla
Image courtesy of Dr. Ashan Geeganage

The Rakkhiththakanda Rajamaha Viharaya is a unique cave monastery in lower Uva, featuring an image house built beneath massive natural rock overhangs. Traditionally linked to King Walagamba, the site contains 2nd-century BCE Brāhmī inscriptions, including one identifying the cave of Thera Buddharakkhita.

This temple, known as Rakkhiththakanda Rajamaha Viharaya, is also referred to by several other names such as Kande Viharaya (Temple on the Mountain), Rachchiththa Kanda Viharaya, Lunu Gal Vehera, and Lavaṇagiri Viharaya (Salt Rock Temple), owing to its prominent location atop a mountain. What sets this temple apart is its unique layout, where the monastic complex is built beneath natural rock overhangs, forming cave shelters.

Origins and Early Inscriptions

The early Brahmi script cave inscriptions at the temple date the existence of the temple to the 2nd century at the earliest (Urugodawatte, 2022). According to tradition, this cave temple is believed to have been built by King Walagamba (89-77 BC) and carries signs of Kandyan Era renovations.

Striking Rock Formations and Scenic Setting

As noted by Sumanasekara Banda (1986, pp. 11–13), the way in which the massive boulders extend outward to create natural roofs is particularly striking. Although the ascent is challenging, the availability of water and shaded resting areas makes this site one of the most inviting in the region. Indeed, Rakkhiththakanda Rajamaha Viharaya is considered one of the finest places to appreciate the scenic beauty of lower Uva.

Cave Monasteries and Early Inscriptions

Within the temple premises lie five rock caves located near a refreshing stream known as Idde Ara. These caves, dating back to the pre-Christian era, clearly served as ascetic dwellings for Buddhist monks. One large cave, now serving as a shrine room, features a drip-ledge and an inscription reading Badarakita Theras Leṇe (‘බදරකිත තෙරස ලෙණෙ’), meaning “The rock cave of Thera Buddharakkhita.”

The Stupa and Murals

The central and most significant of these caves contains a 7-cubit stupa situated in front of the image house. The stupa’s base has a circumference of 37 feet and 8 inches and is located to the left upon entering the image house. Above the stupa, a painting of a ceremonial canopy has been rendered on the rock ceiling. A wall separates the stupa from the image house, and this wall is elaborately decorated with paintings.

The painted surface stretches 47 feet in length, with a height ranging from 14 feet at the highest point to 4 feet at the lowest where it meets the rock. The entrance doorway to this section is 6 feet 6 inches tall and 3 feet 2 inches wide. Its outer frame measures 9 feet 8 inches, while the inner frame is 7 feet 8 inches. Flanking the doorway are guardian figures and a depiction of a Makara Thorana (dragon arch).

The murals—modeled in the style of the Kandyan period—are arranged in six horizontal tiers to the left of the doorway. The uppermost tier represents the Sadew Lowa (six celestial realms), followed by a tier featuring a decorative creeper design. The next three tiers depict scenes from the Vessantara Jataka, while the lowest tier illustrates scenes from hell. On the right side of the entrance, the uppermost tier features paintings of a parrot, a kinnara, a lion with one head and two bodies, and a fish. The second tier again portrays the Vessantara Jataka, the third depicts the Dharmapala Jataka, and the bottom tier shows scenes from hell.

The Image House

Inside the image house, which measures 40 feet in length and 22 feet in width, a twelve-cubit-long reclining Buddha image immediately captures attention. To the left are two standing Buddha statues, each about four feet high, and two seated (Samadhi) Buddha images, each around three feet tall. The walls and ceiling are entirely covered with paintings.

Near the seated images on the left is a depiction of Gana Devi (Ganesha), followed by paintings of the deities Vibhishana and Saman. Further along are sculpted figures of Vishnu and Kataragama, partially concealed behind a curtain. To the right of the entrance, near the reclining Buddha’s feet, are painted representations of the Theras Sariputta, Moggallana, Ananda, and Mahasena, along with nine other elder monks.

On the inner corner of the entrance wall are three paintings labeled Gunaratana, Medhankara, and Ratanapala—possibly depicting either the artists or resident monks. In a specially framed section nearby is a curious painting of a human figure with a serpent’s face. This is followed by murals illustrating the Sathsathiya (seven weeks following the Buddha’s enlightenment), the Solosmasthana (sixteen sacred sites), and the Suvisi Vivaraṇa (twenty-four prophecies).

Artistic Style and Colonial Influence

The ceiling is equally adorned with elaborate art. The underside is painted with lotus motifs, creeper designs, celestial bodies such as the sun and moon, and human figures. The dominant narrative among these is Prince Siddhartha’s crossing of the Neranjana River. These well-preserved paintings predominantly utilize shades of white, green, blue, purple, and yellow.

Judging by the pigments used, the paintings appear to be relatively recent. Among the Solosmasthana depictions, the mural of Muthiyangana includes a flag marked with the year 1887, which likely indicates when the painting was done. The influence of the British colonial period is unmistakably reflected in some of the paintings found here. Above the entrance to the cave temple is the British royal emblem alongside a portrait of the queen. Among the interior murals, one also finds a striking depiction of two hands clasped in a handshake—an unusual motif that further hints at colonial influence.

Conservation and Historical Significance

While no other ancient ruins are found at Kande Viharaya, it is crucial to conserve these paintings for their cultural and artistic significance. The temple appears to have long served as a retreat for meditative monks. It raises the question—could this be the ancient site known as Anjali Pabbatha, said to lie upstream along the Kirindi Oya, where the Arhat Theraputthabhaya, one of King Dutugemunu’s ten legendary warriors, once resided?

Solosmaha Stana - Rakkhiththakanda Rajamaha Viharaya at Karandagolla

Rakkhiththakanda Rajamaha Viharaya at Karandagolla

A handshake - influence of the British at Rakkhiththakanda Rajamaha Viharaya at Karandagolla

Queen and the Royal insignia at Rakkhiththakanda Rajamaha Viharaya at Karandagolla

A Tunnel at Rakkhiththakanda Rajamaha Viharaya which is believed to connect Dowa Temple

A rock cave divided in to simple kuti at Rakkhiththakanda Rajamaha Viharaya at Karandagolla

References

Urugodawatte, B. (2022) ‘Church Missionary Society School of Kotte’, Archeo Sri Lanka – Newsletter of the Department of Archaeology, Sri Lanka, 2(2), p 7.
Sumanasekara Banda, S. J. (1986). ඌවේ දායාද (1st ed.). Sarvodaya Vishwa Lekha.

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