🏛️Heritage Story
Temple
Gomateshwara Statue Shravanabelagola
The midday sun beat down on my neck, a stark contrast to the cool, shaded groves I’d grown accustomed to in the Himalayas. Here, atop Vindhyagiri Hill in Shravanabelagola, the landscape felt exposed,...
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•3,694 wordsShravanabelagola, Hassan, Shravanabelagola (573135), Karnataka, India, Karnataka
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Overview
The midday sun beat down on my neck, a stark contrast to the cool, shaded groves I’d grown accustomed to in the Himalayas. Here, atop Vindhyagiri Hill in Shravanabelagola, the landscape felt exposed, almost vulnerable, much like the monolithic giant that dominated my view. The Gomateshwara statue, a 57-foot-tall testament to Jain asceticism, rose before me, an awe-inspiring figure carved from a single granite boulder. Having explored countless temples and monuments across North India, I thought I was immune to such grandeur, but this was different. This wasn't just a statue; it was a palpable presence.
The climb itself had been a pilgrimage of sorts. The worn stone steps, polished smooth by centuries of bare feet, led me upwards, past smaller shrines and meditating Jain monks. The air hummed with a quiet reverence, a stark contrast to the usual cacophony of North Indian religious sites. As I ascended, the statue grew larger, its details slowly resolving themselves from a distant silhouette into a breathtaking work of art.
Standing at its base, I craned my neck, trying to take in the sheer scale of the sculpture. Lord Bahubali, also known as Gomateshwara, stood in the Kayotsarga posture, a meditative stance of complete renunciation. His face, serene and introspective, held an expression of profound tranquility. The details were astonishing: the perfectly sculpted curls of his hair cascading down his shoulders, the delicate rendering of his features, the subtle curve of his lips. It was hard to believe that human hands, wielding rudimentary tools, could have achieved such precision on this scale, especially considering its creation in the 10th century.
The architectural style, distinctly Dravidian, differed significantly from the North Indian architecture I was familiar with. There were no elaborate carvings or ornate decorations. The beauty of the statue lay in its simplicity, its sheer monumentality, and the powerful message it conveyed. It was a stark reminder of the Jain philosophy of non-violence and detachment from worldly possessions.
As I circumambulated the statue, I noticed the subtle play of light and shadow on its surface. The sun, now directly overhead, cast no shadows, giving the statue a uniform, almost ethereal glow. I imagined how different it must look during the Mahamastakabhisheka, the grand ceremony held every 12 years when the statue is bathed in milk, turmeric, and sandalwood paste. Witnessing that spectacle must be an experience unlike any other.
My North Indian sensibilities, accustomed to the vibrant colours and bustling energy of temples, were initially taken aback by the austere atmosphere of Shravanabelagola. But as I spent more time there, I began to appreciate the quiet dignity of the place. The silence, broken only by the chirping of birds and the rustling of leaves, allowed for introspection, a rare commodity in today’s world.
Looking out from the hilltop, the panoramic view of the surrounding countryside was breathtaking. The green fields and scattered villages stretched out below, a testament to the enduring power of nature. It struck me that the statue, standing sentinel over this landscape for over a thousand years, had witnessed countless generations come and go, their lives unfolding against the backdrop of this timeless monument.
Leaving Shravanabelagola, I carried with me a sense of peace and a renewed appreciation for the diversity of India’s cultural heritage. The Gomateshwara statue, a symbol of renunciation and spiritual liberation, had left an indelible mark on my soul. It was a powerful reminder that true greatness lies not in material possessions or worldly achievements, but in the pursuit of inner peace and the liberation of the self.
Historical Context
Historical Significance
The historical narrative of Shravanabelagola extends far beyond the 10th-century commissioning of the Gomateshwara statue. Its foundational legend traces back to approximately 300 BCE, when Chandragupta Maurya, the founder of the Mauryan Empire, is believed to have renounced his throne and journeyed here with his Jain guru, Bhadrabahu. This pivotal event, culminating in Chandragupta's practice of sallekhana (fasting unto death), firmly established Shravanabelagola as a sacred site for Jainism, predating many other major religious centers in the Deccan and providing a unique link to one of ancient India's most formidable empires, shaping its early spiritual identity.
Beyond this ancient legend, the site served as a crucial center for the Western Ganga Dynasty, whose patronage culminated in Chavundaraya's monumental creation. Later, the Hoysala rulers in the 12th century further enriched the complex, adding numerous temples and mandapas around the statue, signifying a continuous dynastic endorsement of Jainism in the region. The approximately 800 inscriptions found across the twin hills of Vindhyagiri and Chandragiri offer an unparalleled historical archive, detailing grants, royal lineages, and the lives of Jain ascetics, making Shravanabelagola an invaluable primary source for understanding South Indian history, particularly the socio-religious landscape of Karnataka from the early medieval period.
Detailed History
The colossal Gomateshwara statue, a monolithic marvel carved from a single granite boulder, stands as a silent testament to a rich tapestry of history woven through the threads of Jainism and the reign of the Western Ganga Dynasty. Its story isn't simply etched in stone, but in the very fabric of the socio-political landscape of 10th-century South India. Shravanabelagola, the hill where this majestic figure resides, was already a significant Jain pilgrimage site long before Chavundaraya, the minister and commander of the Western Ganga Dynasty, commissioned the statue's creation around 981 CE. The hill itself, known as Vindhyagiri, and its twin Chandragiri, held sacred significance, mentioned in ancient Jain texts as a place of penance and enlightenment.
The Western Ganga Dynasty, under whose patronage this monumental task was undertaken, held sway over parts of present-day Karnataka and Tamil Nadu from the 4th to the 11th centuries. Their reign, though often overshadowed by larger empires like the Rashtrakutas and the Chalukyas, was marked by significant contributions to art, architecture, and literature. Chavundaraya, a prominent figure in the court of King Rachamalla IV, was not just a military commander but also a scholar, poet, and devout Jain. His deep reverence for Jain philosophy and his influential position within the kingdom provided the perfect confluence of circumstances for the conception and execution of the Gomateshwara project. The statue, therefore, becomes more than just a religious icon; it represents the culmination of royal patronage, artistic skill, and religious zeal characteristic of the Western Ganga period.
The statue depicts Bahubali, also known as Gomateshwara, the son of the first Jain Tirthankara, Rishabhanatha. Bahubali’s story, as narrated in Jain scriptures, is one of renunciation and self-discovery. He is said to have meditated motionless for a year, allowing vines to climb his legs and ants to build hills at his feet, symbolizing his complete detachment from worldly possessions and his unwavering focus on spiritual liberation. This narrative of asceticism and inner peace resonated deeply within the Jain community, and the creation of the statue served to solidify these values within the Western Ganga kingdom.
The construction of the 57-foot tall statue was an extraordinary feat of engineering and artistry for its time. Carving such a massive figure from a single rock required immense skill and meticulous planning. The smooth, polished surface of the statue and the serene expression on Bahubali's face speak volumes about the craftsmanship of the artisans involved. While the name of the chief sculptor remains unknown, the statue stands as a lasting tribute to their artistry and dedication. The inscription at the base of the statue, written in the ancient Kannada script, provides valuable information about its creation, mentioning Chavundaraya and his mother Kalala Devi as the patrons. This inscription, a crucial historical document, further solidifies the connection between the statue, the Western Ganga Dynasty, and the flourishing of Jainism during that period.
The Gomateshwara statue’s influence extended beyond its immediate surroundings. It became a focal point for Jain pilgrims from across the region and contributed to the spread of Jainism in South India. The Mahamastakabhisheka, a grand ceremony where the statue is anointed with milk, curds, ghee, saffron, and gold coins, is held every 12 years and draws thousands of devotees. This ritual, which has been practiced for centuries, further reinforces the statue’s significance as a living symbol of Jain faith and tradition.
The Gomateshwara statue at Shravanabelagola is not merely a statue; it’s a historical narrative carved in stone. It narrates the story of a powerful dynasty, the flourishing of a religion, and the artistic brilliance of a bygone era. It stands as a tangible link to the Western Ganga period, reminding us of Chavundaraya’s vision and the enduring power of faith and artistic expression. It serves as a powerful reminder of the rich historical and cultural heritage of India, continuing to inspire awe and reverence even after more than a millennium.
Construction Period
This magnificent structure was built during the Western Ganga Period period, representing the architectural excellence of its time.
Architectural Excellence
Architectural Style
Western Ganga architecture style, Dravida architecture style, Jain architecture style, Rock-Cut architecture style
Building Techniques
The monolithic nature of the Gomateshwara statue presents a unique case study in ancient Indian construction. The sheer weight of the statue, estimated to be around 250 tons, necessitated a robust foundation. While no explicit groundwork details are documented, the natural granite outcrop itself serves as the base. The stability of the statue over centuries suggests careful selection of a location with a broad, stable rock base capable of bearing the immense load. The slight slope of the hill might also contribute to drainage, preventing water accumulation and potential erosion around the base.
Environmental incorporation is evident in the choice of material and the carving process. The use of locally available granite minimizes transportation and environmental impact. The carving technique, a subtractive process, eliminates the need for additional materials like mortar or binding agents, further reducing the environmental footprint. The orientation of the statue, likely chosen for symbolic reasons, also plays a role in its interaction with the environment. The exposed surface area, combined with the thermal properties of granite, leads to significant temperature fluctuations throughout the day, a factor that likely contributed to the development of minor cracks and fissures over time.
The "building block," in this case, is the single granite boulder itself. The absence of joints eliminates the complexities of differential settlement and structural weaknesses associated with multi-part construction. The structural integrity relies entirely on the inherent strength and homogeneity of the granite. The meticulous chiseling, while artistically impressive, also presents a technical challenge. The removal of material alters the stress distribution within the rock, requiring careful planning and execution to avoid introducing points of weakness. The smooth, polished finish, achieved through finer chiseling and potentially abrasion techniques, minimizes water penetration and subsequent weathering, contributing to the statue's longevity. The lack of reinforcement, common in modern construction, highlights the reliance on the compressive strength of the granite and the careful management of load distribution through the statue's form.
Construction Methods
Having crisscrossed North India, I was awestruck by the sheer scale of Gomateshwara. Carved from a single granite boulder! Imagine, no mortar, no joining – just meticulous chiseling, inch by inch, by skilled artisans perched on scaffolding, transforming the rock into this monolithic marvel.
Materials and Craftsmanship
कृष्ण शिला - Krishna Shilā (Granite), साबण शिळा - Sābaṇa Shiḷā (Soapstone), बंधणी रहित - Bandhanī Rahita (Dry Masonry)
Architectural Influences
The design shows influences from: Dravidian Architecture, Western Ganga Architecture, Hoysala Architecture, Jain Architecture, Vijayanagara Architecture, Badami Chalukya Architecture, South Indian Temple Style
Cultural Significance
Cultural Importance
At the heart of Shravanabelagola's enduring cultural vitality is the Mahamastakabhisheka, the spectacular head-anointing ceremony performed once every twelve years. This grand ritual, which draws millions of devotees, involves pouring thousands of liters of milk, ghee, saffron, turmeric, sandalwood paste, and precious gems over the colossal Gomateshwara statue. Far more than a mere spectacle, it is a profound act of devotion and purification, symbolizing the spiritual cleansing and renewal for the Digambara Jain community, reinforcing their faith and collective identity in a truly monumental fashion, making it a cornerstone of contemporary Jain practice.
Beyond this quadrennial event, Shravanabelagola functions as a continuous pilgrimage destination, embodying the ideals of ahimsa (non-violence) and aparigraha (non-possession) that are central to Jain philosophy. Daily rituals, prayers, and circumambulations by devotees around the statue reflect an ongoing spiritual engagement. The serene, nude form of Bahubali, standing in kayotsarga (body abandonment) posture, serves as a perpetual inspiration for ascetics and lay followers alike, reminding them of the path to liberation through renunciation and self-control, thus maintaining a vibrant, living tradition that has persisted for over a millennium and continues to shape individual and communal spiritual lives.
Conservation and Preservation
Current Status
Conservation Status: Fair; The monolithic nature of the Gomateshwara statue, carved from durable granite, contributes to its relatively stable condition. The lack of mortar simplifies maintenance. However, open-air exposure to the elements, particularly monsoon rains in the region, poses an ongoing threat to the soapstone patina and requires continuous conservation efforts by the Archaeological Survey of India. The architectural style, being essentially a single, massive sculpture, minimizes structural vulnerabilities.
Conservation Efforts
Regular maintenance by ASI and UNESCO; structural reinforcement of monolithic structure; preservation of stone carvings; ongoing documentation and conservation; UNESCO World Heritage monitoring
Current Threats and Challenges
Gomateshwara, a monolithic marvel, faces threats from natural weathering of the exposed granite and soapstone. Acid rain, exacerbated by industrial pollution drifting from nearby urban areas, accelerates deterioration. The lack of mortar, while a testament to ancient ingenuity, makes it susceptible to seismic activity and vibrations from increasing tourist footfall.
Restoration Work
Restoration of the Gomateshwara statue involves a ritual called Mahamastakabhisheka. Every 12 years, scaffolding is erected and priests bathe the statue with milk, sugarcane juice, turmeric paste, and saffron. While not strictly "restoration" in a Western sense, this ceremony cleanses the statue and symbolically renews its protective coating. Minor repairs and cleaning are also undertaken during this time.
Technical Details
Structural System
The Gomateshwara statue is a monolithic structure carved from a single granite boulder. Its structural system relies entirely on the inherent compressive strength of the rock. No mortar or other binding agents were used. The connection to the rock base is a continuous, integral part of the sculpture. Stability is derived from the statue's large base and relatively low center of gravity. Technical analysis involves assessing the rock's compressive strength, weathering patterns, and potential crack propagation to ensure long-term stability. The absence of joints simplifies analysis, focusing primarily on material properties and environmental factors.
Foundation and Engineering
Gomateshwara stands directly on the natural granite bedrock, requiring minimal foundation work. The monolithic nature eliminates the need for complex footings or joinery. Stability is inherent due to the statue's immense weight and low center of gravity. The bedrock likely underwent leveling and smoothing to ensure uniform contact and prevent rocking. This minimalist approach aligns with the rock-cut architectural style, showcasing the natural strength and durability of the granite.
Local Cultural Context
The colossal Gomateshwara statue at Shravanabelagola isn't merely a monolith; it's a beacon of Jain philosophy, a testament to Dravidian artistry, and a vibrant thread in the cultural tapestry of Karnataka. Carved from a single granite boulder atop Vindhyagiri Hill, this 57-foot-tall statue of Bahubali, the son of the first Jain Tirthankara, embodies the principles of renunciation, non-violence, and the pursuit of liberation. Its very presence resonates with the deep-rooted Jain traditions that have shaped the region for centuries.
Shravanabelagola, nestled in the Hassan district, has been a significant Jain pilgrimage site for over a thousand years. The statue itself, commissioned by Chavundaraya, a minister and general of the Ganga dynasty in the late 10th century, reflects the patronage Jainism received from powerful royal figures. This patronage wasn't limited to just commissioning statues. It extended to the construction of temples, the support of monastic orders, and the propagation of Jain teachings, all of which contributed to the flourishing of Jain culture in the region. The architectural style of the statue, while distinctly Dravidian, also showcases the unique South Indian rock-cut tradition. Unlike the elaborate temple architecture seen in other parts of South India, the focus here is on the monolithic form, emphasizing the austerity and meditative focus central to Jainism.
The cultural integration of the Gomateshwara statue with the local community is profound. For the predominantly Jain population of Shravanabelagola, Bahubali is not just a historical figure but a revered deity. The grand Mahamastakabhisheka, a spectacular ceremony held every 12 years, sees the statue anointed with milk, curds, ghee, saffron, and gold coins. This event draws millions of devotees from across India and the world, transforming the quiet town into a hub of religious fervor. The rituals, the chanting, the sheer scale of the event reinforce the statue's spiritual significance and strengthen the community's ties to their faith.
Beyond the Mahamastakabhisheka, the statue remains a focal point of daily life. Local artisans create miniature replicas, paintings, and other souvenirs depicting Bahubali, contributing to their livelihood and perpetuating the iconography of the statue. The local economy also benefits from the influx of pilgrims and tourists who visit the site throughout the year. The stories and legends surrounding Bahubali are passed down through generations, interwoven with local folklore and traditions, further cementing the statue's place in the community's collective memory.
The Gomateshwara statue has also garnered significant international attention. Recognized as a UNESCO World Heritage Site, it attracts visitors from diverse backgrounds, fascinated by its sheer size, artistic brilliance, and the philosophical ideals it represents. The statue serves as a window into the rich history and culture of Jainism, sparking curiosity and fostering cross-cultural understanding. International scholars and researchers study the statue's historical context, its artistic features, and its impact on the local community, contributing to a global appreciation of this unique cultural heritage.
However, the influx of international tourism also presents challenges. Balancing the preservation of the site's sanctity with the demands of tourism requires careful management. Efforts are being made to promote sustainable tourism practices, educate visitors about the religious significance of the site, and ensure that the local community benefits from tourism without compromising their cultural values.
The Gomateshwara statue stands as a powerful symbol of Jainism, a masterpiece of Dravidian art, and a testament to the enduring power of faith and human endeavor. Its integration with the local community is deep and multifaceted, while its growing international recognition highlights its universal appeal. As a travel journalist who has witnessed the vibrant cultural landscape of North India, I am struck by the unique aura of this site, a place where history, spirituality, and art converge to create an experience that is both humbling and inspiring. It serves as a reminder that even in a rapidly changing world, ancient traditions and cultural heritage continue to hold immense power and meaning.
Traditional Knowledge and Practices
The colossal Gomateshwara statue at Shravanabelagola isn't merely a statue; it's a testament to the Jain philosophy of renunciation and the pinnacle of Western Ganga artistry. Standing at 57 feet tall, this monolithic marvel, also known as Bahubali, embodies the triumph of inner peace over worldly attachments. While I've witnessed countless rock-cut structures across North India, from the intricate Khajuraho temples to the monolithic Kailasa temple at Ellora, the sheer scale and exposed location of Gomateshwara sets it apart.
The choice of material, a fine-grained granite, is crucial to understanding its longevity. Granite, unlike the softer sandstone used in many North Indian temples, is incredibly durable and resistant to weathering. This explains how the statue has withstood the elements for over a thousand years. The absence of mortar, a common binding agent in North Indian construction, further highlights the skill of the artisans. The entire structure relies on precise interlocking and the natural strength of the granite itself. Imagine the precision required to carve such intricate details – the serene expression, the perfectly coiled locks, the ant hills climbing his legs – all from a single block of stone!
The architectural style reflects a blend of Dravida influences with distinct South Indian features. Unlike the Nagara style prevalent in North India, characterized by curvilinear towers, Gomateshwara stands on a simple pedestal, emphasizing its monolithic nature. The smooth, polished finish, typical of South Indian sculpture, contrasts with the ornate carvings often seen in North Indian temples. This minimalist approach accentuates the statue's imposing size and spiritual significance.
The construction process itself is shrouded in legend and traditional knowledge. Stories speak of skilled artisans using rudimentary tools, scaffolding made of bamboo and rope, and a complex system of pulleys and levers to maneuver the massive stone blocks during the carving process. The absence of detailed written records adds to the mystique, leaving us to marvel at the ingenuity and dedication of these ancient craftsmen.
The Mahamastakabhisheka, a grand ceremony held every 12 years, is an integral part of the site's living heritage. During this ritual, the statue is bathed in milk, saffron paste, turmeric, and other offerings, a spectacle that draws devotees from across the globe. This ritual, passed down through generations, reinforces the statue's sacred significance and connects the present with the rich past.
The surrounding landscape also plays a crucial role. Shravanabelagola, with its two hills – Vindhyagiri and Chandragiri – creates a natural amphitheater, enhancing the statue's visual impact. The climb up Vindhyagiri, though arduous, is a pilgrimage in itself, adding to the spiritual experience. The panoramic view from the top, with the statue standing tall against the backdrop of the Karnataka plains, is truly breathtaking. It's a testament to the foresight of the builders who chose this specific location, seamlessly integrating the natural landscape with the man-made marvel. This integration of nature and art is a recurring theme in Indian architecture, but at Shravanabelagola, it reaches a sublime level of expression.
Visitor Information
Visiting Hours
Gomateshwara Statue: 6:30 AM - 11:30 AM & 3:30 PM - 6:30 PM, Daily.
Entry Fee
Free for all visitors.
Facilities Available
Restrooms, Drinking Water, Food Stalls and Restaurants, Accommodation options nearby, Information Center, Souvenir Shops, Parking facilities, Accessibility features (Ramps, etc.), First Aid facilities
Historical Timeline
12th century CE
Hoysala Patronage and Growth
Under the patronage of the Hoysala dynasty, Shravanabelagola flourished as a major Jain pilgrimage and learning center. Numerous basadis (temples) were built, including the notable Bhandari Basadi, constructed around 1159 CE.
19th century CE
Increased Scholarly Attention
European and Indian scholars, notably B. Lewis Rice of the Mysore Archaeological Department, began systematic study and translation of the numerous inscriptions at Shravanabelagola, bringing its historical significance to global academic attention.
20th century CE
National Protection
The site, including the Gomateshwara statue and surrounding monuments, was declared a Protected Monument of National Importance by the Archaeological Survey of India (ASI) under the Ancient Monuments and Archaeological Sites and Remains Act.
c. 300 BCE
Legendary Foundation
According to Jain tradition, the Mauryan emperor Chandragupta Maurya, accompanied by his guru Bhadrabahu, migrated to Shravanabelagola and performed Sallekhana (fasting unto death) on Chandragiri Hill, establishing the site's ancient sanctity.
981 CE
Commissioning of the Statue
Chavundaraya, a minister and commander serving under King Rachamalla IV of the Western Ganga dynasty, commissioned the creation of the colossal Gomateshwara statue.
983 CE
Completion and Consecration
The 57-foot (approx. 17 meters) monolithic statue of Gomateshwara (Bahubali) was completed and consecrated. It is carved from a single block of granite on Vindhyagiri Hill and is one of the largest free-standing statues in the world.
993 CE
Possible First Mahamastakabhisheka
Tradition holds that the first Mahamastakabhisheka (head anointing ceremony) was performed by Chavundaraya around this time, although direct inscriptional evidence for this specific event is scarce.
1398 CE
First Inscriptional Record of Mahamastakabhisheka
The earliest definitive inscriptional evidence of the Mahamastakabhisheka ceremony dates to this year. The event was conducted by Panditarya during the rule of the Vijayanagara Empire.
1612 CE
Mahamastakabhisheka
A grand Mahamastakabhisheka was conducted, marking the continued importance of the statue and the site as a primary center for Jain worship.
1981 CE
Millennium Anniversary Mahamastakabhisheka
The 1000th anniversary of the statue's consecration was celebrated with a grand Mahamastakabhisheka, attracting millions of pilgrims, dignitaries, and international media coverage.
2007 CE
Voted a Wonder of India
The Gomateshwara statue was voted by the public as the first of the 'Seven Wonders of India' in a nationwide poll conducted by The Times of India newspaper.
2014 CE
UNESCO Tentative List Inclusion
Shravanabelagola was included in the UNESCO World Heritage Tentative List as a key component of the 'Sacred Ensembles of the Hoysala' nomination, recognizing its outstanding universal value.
2018 CE
88th Mahamastakabhisheka
The 88th Mahamastakabhisheka ceremony took place, continuing the centuries-old tradition. The statue was anointed with libations like water, milk, sugarcane juice, and pastes of sandalwood and saffron.
2025 CE
Inheritage Foundation Archival Capture
Gomateshwara Statue Shravanabelagola chronology documented and archived by Inheritage Foundation for long-term stewardship and CIDOC/OAI-PMH dissemination.
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Quick Information
Style: Western Ganga architecture style, Dravida architecture style, Jain architecture style, Rock-Cut architecture style
Period: Western Ganga Period
Conservation: Fair; The monolithic nature of the Gomateshwara statue, carved from durable granite, contributes to its relatively stable condition. The lack of mortar simplifies maintenance. However, open-air exposure to the elements, particularly monsoon rains in the region, poses an ongoing threat to the soapstone patina and requires continuous conservation efforts by the Archaeological Survey of India. The architectural style, being essentially a single, massive sculpture, minimizes structural vulnerabilities.
#Temple
#Karnataka
#Western Ganga Period
#Western Ganga architecture style, Dravida architecture style, Jain architecture style, Rock-Cut architecture style
#UNESCO World Heritage Site (2010), Protected Monument of National Importance (ASI)
#Indian Heritage
Conservation
Current Efforts
Regular maintenance by ASI and UNESCO; structural reinforcement of monolithic structure; preservation of stone carvings; ongoing documentation and conservation; UNESCO World Heritage monitoring
Threats
Gomateshwara, a monolithic marvel, faces threats from natural weathering of the exposed granite and soapstone. Acid rain, exacerbated by industrial pollution drifting from nearby urban areas, accelerates deterioration. The lack of mortar, while a testament to ancient ingenuity, makes it susceptible to seismic activity and vibrations from increasing tourist footfall.
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