Eternal India Encyclopedia

Eternal India

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ARCHITECTURE

ing relics to the stupa. Other important figures include

Yakshis

(or

yakshinis),

a female spirit who stands on animals, grasping the

branch of a tree, signifying their association with fertility, abun-

dance and their own procreativity. Another interesting subject rep-

resented within the numerous panels in the railing are those which

refer to Sakyamuni Buddha although he is not shown in anthropo-

morphic form, but in an aniconic form. This is rendered through

jataka

stories, which emphasise the virtues of Sakyamuni who

could remember his past lives during which he was a potential

Buddha or

bodhisattva.

These stories recount his animal and hu-

man incarnations and are said to be revealed by Sakyamuni to his

disciples. Also evident are the representations of Buddha in the

symbolic form of footprints, throne, Bodhi tree and stupa. The ear-

lier belief that the Hinayana tradition (Lesser Vehicle followers of

the original teachings of the Buddha) did not employ images in their

worship which the Mahayanists did, however appears to be inaccu-

rate in the light of recent researches. The absence of Buddha im-

ages in the reliefs may not have been due to a purposeful avoidance

or a restrictive aniconism but may reflect the prevailing emphasis

within the religion on virtues.

THE GREAT STUPA

The most important stupa, belonging to the post-Sunga period

or Andhra-Satavahana period is the Great Stupa (Stupa I, maha

stupa), datable to late first century B.C. through 1st century A.D.

At Sanchi, Stupa I contains an original brick stupa Relieved to date

from the time of Ashoka, and enlarged to its present impressive di-

ameter of 36 metres during the Sunga period, when it was also given

a stone casing, an additional upper circumambulatory path and rail-

ing. However, the most important surviving artistic productions of

Buddhist structural architecture are the four massivestone

gateways)

toranas

of this stupa. It also contains a smaller railing

(harmika) above the dome, which encloses the most important

symbolic element of the stupa, the pole (yasti) which probably rep-

resents the world axis. Above is a series of three

chattras

(um-

brellas) that symbolise protection of the object below. The

toranas

are highly embellished both on the inside and on the outside with

lions, elephants,

ganas

(dwarfs)

yakshas, dvarapalas (guardians

)

including the Buddhist

triratna

(or three jewels) namely the Bud-

dha,

Sangha

(monastery) and

Dharma

(law). The most celebrated

figures are the

yakshis

who serve as brackets standing in seduc-

tive poses grasping the trunk of trees, thereby inferring that her

association with the fruiting tree suggests the motion of abundance

and general auspiciousness. Also included are reliefs of the wor-

ship of the stupa, footprint, the Bodhi tree and narrative scenes

from the life of the Buddha, such as the Great Departure, visit of

Ashoka to the Bodhi tree and his performance of miracles. The

imposing Buddhist edifices crowning the hill of Sanchi in district

Raisen of Madhya Pradesh are magnificent and instructive with

remarkably well preserved monuments of Mauryan, Sunga,

Satavahana, Gupta and even up to the Parmar period. This unique

and unrivalled centre of Buddhist art and architecture is situated at

a distance of 9 km south-west of Vidisha and 70 km north from

Bhopal, capital of Madhya Pradesh.

This great stupa consists of an almost hemispherical dome

(anda)

truncated near the top and crowned by a triple umbrella

(chhatra vali).

A high circular battered terrace

(medha)

approached

by a double stairway on the south and meant for

Pradakshina

(circumambulation) is built against the base. A second procession

path

(Pradakshina patha)

is provided at the ground level by the

encircling grand balustrade. It has access from the cardinal direc-

tions through four exquisitely carved gateways.

The balustrade consists of a series of octagonal uprights

(stambha)

with lenthicular cross bars

(sanchi)

mortarised into

them and crowned by enormous opening

(usnisa)

rounded at the

top.

The entire surface of the gateways is carved with bas-reliefs

representing scenes and decorations. The subject matter of the

carving on the gateways is mainly narrative and decorative. It

contains 1. Scenes from the Jatakas. 2. Scenes from the life of

Gautama Buddha 3. Events in the subsequent history of Buddhism

4. Miscellaneous scenes and decorations.

The carvings are nevertheless interesting in as much as they

illustrate folk art in its true indigenous character unaffected by any

sophistication. In spite of the archaism, it has the charm of simplic-

ity, faithfulness and decorative beauty.

In the treatment of floral patterns it is superb and can challenge

any contemporary art. Above all the art of Sanchi is the represen-

tation of Buddhist art and architecture, due to which this great Stupa

(Maha Stupa)

attracts Buddhists from all over the world and art

lovers from India and abroad.

The stupa was built of burnt bricks, Mathura sandstone and

Churtar sandstone, by the local artists and masons of Vidisha and

Sanchi.

The tradition of rock-cut architecture as seen in the Ajivika

caves gradually developed in concept and execution. A number of

Buddhist cave complexes were excavated in the western Deccan,

which may be divided into worship halls or

chaityas

and living

quarters called

viharas

such as those at Kondivte. One of the best

preserved early Buddhist rock-cut monasteries is at Bhaja, where a

large

chaitya

hall dominates the site. It consists of a long rectangu-

lar hall with a rounded end containing the stupa.

row of pillars .

extends around the perimeter of the hall, thus dividing the interior

space into a central area, and the circumambulatory passage. Typi-

cal of this early phase of Buddhist architecture, it resembles

wooden forms and sculputural decoration is minimal within the

cave. Bhaja has a large number of

viharas,

numbering" 19, each con-

sisting of a rectangular verandah, a large hall surrounded by small

living cells. Flanking the entrance of the

vihara

are two intriguing

sculptures, identified as Surya, the Hindu sun god, in his celestial

chariot on the left, and Indra, the Vedic god of thunder, on his

elephant mount on the right. The prominence Of Hindu gods in

Buddhist complexes raises many questions. The compositions are

freely executed, unplanned, and spill over into the adjacent wall.

Naturalistic

scale

is not

observed

and a

hierarchic Older

is imposed

so that the most important elements of the composition are the

largest.

Among the post-Sunga Buddhist caves is a group at Bedsa,

dated to about the 3rd decade of the 1st century A.D. consisting of

two caves. Here, the base of the pillars is depicted in the form of

pumaghats

(vases of plenty) which serve an important role in later

pillar iconography. The shafts with bell-shaped capitals and human

riders on recumbent animals recall Mauryan and Sanchi prototypes.

GANDHARA

Following Alexander the Great's expedition to India in the 4th

century B.C., north-western India continued to be an important link