Sanchi - India
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Sanchi
The 'Great Stupa'
at Sanchi was originally commissioned by the emperor Ashoka the Great in
the third century BCE. Its nucleus was a simple hemispherical brick structure
built over the relics of the Buddha.
It was crowned by the chatra, a parasol-like structure symbolising high
rank, which was intended to honour and shelter the relics[1].
//
Sunga period
The compound Buddhist symbols: Shrivatsa
within a triratana,
over a Chakra
wheel, on the Torana
gate at Sanchi.
The stupa was vandalized at one point, sometime in the second century BCE,
an event some have related to the rise of the Sunga emperor Pusyamitra
Sunga. It has been suggested that Pushyamitra may have destroyed the
original stupa, and his son Agnimitra rebuilt it.[2]
During the later rule of the Sunga, the stupa was expanded with stone slabs to
almost twice its original size. The dome was flattened near the top and crowned
by three superimposed parasols within a square railing. With its many tiers it
was a symbol of the dharma,
the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation,
which could be accessed via a double staircase. A second stone pathway at
ground level was enclosed by a stone balustrade with four monumental gateways (toranas) facing the
cardinal directions. The buildings which seem to have been commissioned during
the rule of the Sungas are the Second and Third stupas (but not the highly
decorated gateways, which are from the following Satavahana
period, as known from inscriptions), and the ground balustrade and stone casing
of the Great Stupa.
Carved decoration of the Northern gateway to the Great Stupa
of Sanchi
The gateways and the balustrade were built after 70 BCE, and appear to have
been commissioned by the Satavahana. An inscription records the gift of one of the
top architraves
of the Southern Gateway by the artisans of the Satavahana king Satakarni:
"Gift of Ananda, the son of
Vasithi, the foreman of the artisans of rajan Siri Satakarni"[3].
Although made of stone, they were carved and constructed in the manner of
wood and the gateways were covered with narrative sculptures. They showed
scenes from the life of the Buddha integrated with everyday events that would
be familiar to the onlookers and so make it easier for them to understand the
Buddhist creed as relevant to their lives. At Sanchi and most other stupas the
local population donated money for the embellishment of the stupa to attain
spiritual merit. There was no direct royal patronage. Devotees, both men and
women, who donated money towards a sculpture would often choose their favourite
scene from the life of the Buddha and then have their names inscribed on it.
This accounts for the random repetition of particular episodes on the stupa
(Dehejia 1992). On these stone carvings the Buddha was never depicted as a
human figure. Instead the artists chose to represent him by certain attributes,
such as the horse on which he left his father’s home, his footprints, or a
canopy under the bodhi tree at the point of his enlightenment. The human
body was thought to be too confining for the Buddha.
Some of the friezes of Sanchi also show devotees in Greek attire (Greek
clothing, attitudes, and musical instruments) celebrating the stupa[4].
Sanchi · Ratnagiri
Ellora · Ajanta
Bharhut
Further stupas and other religious Buddhist and early Hindu structures were
added over the following centuries until the 12th century CE. Temple 17 is probably one of the earliest
Buddhist temples
as it dates to the early Gupta period. It consists of a flat roofed square sanctum
with a portico and four pillars. The interior and three sides of the exterior
are plain and undecorated but the front and the pillars are elegantly carved,
giving the temple an almost ‘classical’ appearance (Mitra 1971).
With the decline of Buddhism in India,
the monuments of Sanchi went out of use and fell into a state of disrepair.
[edit] Western rediscovery
A British officer in 1818,
General Taylor, was the first known Western historian to document (in English)
the existence of Sanchi. Amateur archaeologists
and treasure hunters ravaged the site until 1881, when proper
restoration work was initiated. Between 1912 and 1919 the structures
were restored to their present condition under the supervision of Sir John Marshall.[5]
Today, around fifty monuments remain on the hill of Sanchi, including three
stupas and several temples. The monuments have been listed among the UNESCO World Heritage Sites since
It was accepted that the structure at Sanchi are the most organized
construction which went into the engineering of temples in the medieval period.
The carvings here are done with the precision of Jewelers. Despite the damage
and restoration work done Sanchi is the most evocative and attractive Buddhist
site in India. Sanchi is primarily a place of Stupas and pillars but the
gorgeous gateways add grace to the place. These gateways are beautifully carved
and carry scenes from the life of Buddha or Ashoka. The images carved on the
pillars and the stupas tell moving story of the incidents form the life of
Buddha.
Places of interest :
- The
Four Gate Ways
The Four gateways constructed in 35 BC are the best from of Buddhist
expression one can find any where in the world. Gateways or Torans as
they are called are covered with explicit carving which depict scenes
from the life Buddha and Jatakas, the stories relating to Buddha and his
earlier births. - The
Ashoka Pillar
The Ashoka pillars is one many pillars which are scattered in the area
some of these are in broken and some in shape. The crown is the famous
four lions which stand back to back. This figure was adopted as the
national Emblem of India. The Ashoka pillars are an excellent example of
he Greco-Buddhist style and is known for the aesthetic proportions and
the exquisite structural balance. - Stupas
Sanchi has been famous for the Stupas which were built on the top of a
hill. The purpose of these stupas was mostly religious. The most likely
use of the stupas has been said to keep the relics. Some of these stupas
have been found containing relics of disciples of Buddha. The designs
and the carvings on the walls and gates of these stupas spell a heavenly
grace and are very tastefully done. - The
Museum
The archaeological survey of India maintains a museum which house many
items which were discovered during the excavation of Sanchi area. Most
prized possession of the museum is the lion crown from Ashoka pillar.
The museum has a sizable collection of utensils and other items used by
the monks who lived here.
Stupa 1 (east
entrance), Sanchi
Gupta, 5th century AD
The building known today as "Vihara 45" was, as its name
implies, a monastery. It dates to the 9th-10th century when Sanchi was still an
active monastic center. A tall pile of stones marks the remains of a tower that
once enclosed the temple sanctuary. Monks' cells line the surrounding
courtyard.
. This view, looking west from Vihara 45, shows the small Temple 17 in the distance. (The tall columns
in the background, and the platforms in the middle distance, are not part of
the temple.) Its simple structure is an early example, consisting of mandapa
and garbhagriha
only, and dates to the Gupta period in the first quarter of the 5th century. At
this time, the art of building in stone was still in its infancy. The absence
of a foundation led to buckling of the walls and the partial collapse of the
roof (now corrected in restoration). The walls are not solid stone but rather
rubble faced with stone, as in the early stupas. Without a shikhara
and exterior decoration, it is hard to see any continuity between this and
later temples in India.
Yet, two essential features of the later temple, namely the shrine and a
much-abbreviated pillared hall, are present even here.
Vihara 51
Sanchi
This restoration of Vihara 51 (7th century) on the Western slope clarifies
the standard ground plan of a courtyard monastery. The monks' cells are
carefully arranged around a paved central courtyard. The main entrance faces
east, towards the bottom of the photo, and was originally fronted by a row of
columns whose four bases are barely visible in front of the buttressed
entryway.
Stupa 3
Sanchi
View from the southeast, taken from the vicinity of Vihara 45
Stupa 3 was originally constructed in the 2d century BC, and repaired and
enlarged in the 1st century BC - 1st century AD, in tandem with but lagging the
more important Stupa 1. Stupa 3 is smaller and poorer than its more famous
relative, having only one chattra
and gateway. However, when opened in 1851, Stupa 3 was found to contain
reliquary caskets inscribed with the names of Sariputasa and Mahamogalanasa,
two men who were disciples (known as the Elders of the Right and Left Hand) of
the Buddha during his lifetime. The caskets contained beads and fragments of
bone. They are preserved in a modern temple on site, where they are exhibited
to the faithful annually for one day each December. This has become a
pilgrimage day for numerous visitors from Southeast Asia and Japan. ------------------------------------------------------------------------------
Torana Stupa
3, south face, Sanchi
The 1st century AD torana of Stupa 3 was probably the last of the five gates
built at Sanchi. On the front: top architrave, floral design with fertility
figures. Middle architrave, worship of a stupa and two Bo trees. Bottom
architrave, paradise of Indra. On the back: top architrave, worship of stupa
and Bo trees. Middle and bottom architraves, floral design. The top architrave
was restored back-to-front; the original backs of all three architraves carried
the floral design.
On the pillars, front: a stupa (left), the Wheel
of Dharma (right). Below are inhabitants of various heavens. The other
faces of the pillars are decorated similarly to Stupa 1, with Bo trees, floral
designs, and guardian figures. Pot-bellied dwarves, like those on the West gate
of Stupa 1, support the architraves.
Middle Architrave
Stupa 3, Sanchi .Worship of a stupa and bo trees. ------------------------------------------
Stupa 2
Stupa 2 on the Western slope dates to the 2d century BC. It is plainer than
Stupas 1 and 3, lacking toranas and harmika. However, it does have some
interesting medallions carved on the balustrade posts. Decorations include
flowers and vegetation, various sorts of real and imagined animals, horsemen, yakshas,
and kinnaras.
-------------------------------------------------
The Lotus: Theme and Variations
Balustrade post, Stupa 2, Sanchi
A yaksha
is shown among elaborate lotiform decoration which pictures the lotus flower in
many of its different aspects. The carving seems special because its closely
observed and lovingly depicted plant forms are presented in a varied and
well-developed design. This is so close to a textbook on how to render the
lotus, that I suspect it may have actually been derived from a copybook on that
theme. In a purely formal sense, the handling of multiple symmetries - full,
partial, and broken, some circular and others reflective about the horizontal
or vertical axis - will repay the viewer's close attention.
Lakshmi and Attendants
Balustrade post, Stupa
2, Sanchi
At the angle of the south entrance. From top to bottom: Lakshmi
stands on an elaborate lotus base and is lustrated by two elephants; a yaksha
couple standing on lotus leaves, the male (sic) holding a lotus bud and
posed in shalabhanjika;
paired lions; gazelles. Reference: Zimmer,
vol. 2 plate 27 and vol. 1 page 400.
Elephant and Riders Balustrade
post, Stupa 2, Sanchi An elephant with
male and female riders, against a lotus background.
Plan and Elevation of Stupa 1
(the Great Stupa) at Sanchi
East Gate
Sanchi
The upper portion of the East Gate, shown here, represents the 7 Manushi
Buddhas (previous Buddhas, of which the historical Buddha is latest in the
series) on the upper architrave. The middle architrave shows the Great
Departure of Buddha from his palace at Kapilavastu, while the lower architrave
depicts a royal visit of Ashoka to the Bodhi tree under which Buddha obtained
enlightenment. The decorative scheme includes elephants and shalabhanjikas
(several of which have been removed), winged lions, and peacocks. The endparts
of the architraves are marked by solar spirals, and the right post is topped by
a nandipada.
Originally the left post would have held a similar finial.
Shalabhanjika
East Gate, Sanchi
This famous shalabhanjika
derives from early nature goddesses (yakshis),
here added as an auspicious element to the decoration of the torana.
The carving of elephants with their drivers (one with upraised nandipada
standard) circling the post is exquisite.
Winged Lions and Peacocks
East Gate, Sanchi
Detail showing the carving of winged lions and peacocks. Both these animals have
royal associations, and hence are suitable for Buddha as well as Ashoka whose
procession is depicted on the architrave. Above the lions is a scene of
worshipers venerating the dharmachakra
(Wheel of Law, symbolic of Buddha's teaching).
Lustration Scene
East Gate, Sanchi
A lustration of Lakshmi
by elephants is shown center top (above the winged lions). Elephants represent
the rain clouds that fertilize and replenish the waters.
Middle Architrave
East Gate, Sanchi
The Great Departure is illustrated between uprights depicting Ashokan
columns and decorated trees and parasols.
The Great Departure
East Gate, Sanchi
At the left is Buddha's home city of Kapilavastu.
The palace arches and other architectural details are echoed in early monastic
caves (see for example at Bhaja, dating from 100 BC - 70 BC, the facade of the
Caitya Hall, and the inner wall of Vihara 19). From left to right across the architrave,
Prince Siddhartha proceeds out of the city, his horse's hooves supported by
attendant spirits so as not to alert the household to his departure. The horse
is shown several times, as a standard narrative convention denoting movement.
At the far right, Siddhartha's followers return to the city. Throughout the
panel, as everywhere at Sanchi, the Buddha is represented aniconically
-- in the present scene by parasols
and, at the far right, by a pair of footprints
under worship.
Susan
Huntington has reinterpreted this scene as depicting a ceremonial
reinactment of the Great Departure, rather than the Great Departure itself. Her
interpretation should be understood in the context of Huntington's comprehensive reevaluation of
aniconism in early Buddhist art.
Elephant Capital
East Gate, Sanchi
Closeup of the elephants which parade around the post. The elephants' cloth
coverings and other details are skillfully rendered.
Heavenly Palace
East Gate, Sanchi
From the right post. The fortunate denizens relax "at ease" behind
a colonnade, or view the passing scene from an upper balcony. In Buddhism as in
Hinduism, believers who led a good life could look forward to reincarnation in
one of many heavens, such as the one shown here. Eventually, however, the good
karma would dissipate, and the soul would again be thrust into the earthly
round of birth and death.
Indra and Brahma Visit Buddha
East Gate, Sanchi
From the inside of the left post. A garlanded parasol,
representing the Buddha, is attended by two worshippers in the middle of a
scene of abundance with cattle, sheep, goats, breadmaking, and a lotus pond.
Center right, Indra
and Brahma
approach the parasol.
Royal
Procession East Gate, Sanchi
From the inside of the right post. A royal procession is shown, with
elephants, chariots, and musicians.
Brahma Entreats Buddha
East Gate, Sanchi
From the inside of the right post, the continuation of the previous scene.
Above the procession is a small Dream of
Maya, in which the Buddha's mother dreamed that a white elephant
(representing Buddha) entered her body at the moment of conception. At the top,
is a scene just after Buddha's enlightenment in which Brahma and Indra (with
their followers) request Buddha (symbolized by the tree under which he became
enlightened) to preach the Dharma.
South Gate
Sanchi
The South Gate
marks the main entrance to the stupa. Some decoration has fallen off and is
kept in the museum on site. The architraves are carried on lion caryatids.
Riders mounted on deer and horses occupy the cross squares. Pictured on the
outer face of the architraves are (from top to bottom): a lustration
of Lakshmi, a royal visit of Ashoka to the stupa, and a scene with dwarves
among foliage. Click here for
a larger picture.
Lustration Scene lustration
noun A freeing from sin, guilt, or defilement: purgation , purification . See
clean/dirty , religion.
South Gate,
Sanchi
Sometimes identified as the Birth of Buddha, this actually appears to be a
classic lustration scene with Lakshmi
amid luxuriant foliage and waterfowl. A birth scene would normally show the
Buddha issuing from the side of Maya shalabhanjika,
which is not quite the case here (the female figure is in shalabhanjika pose
but without a tree; also, there is no figure of the newborn Buddha). However,
Lakshmi and Maya
are symbolically associated in Buddhist art.
Worship of Buddha's Hair
South Gate,
Sanchi
From the inside of the left post. An inscription attests that this panel was
carved by ivory workers from Beshnagar, who are seen seated from the back,
worshipping Buddha's hair. Above, Ashoka
and his queens.
Rear View of Architraves
West Gate, Sanchi
This is the back of the West Gate, viewed from the elevated circumambulatory
platform as one looks outward from the stupa. From top to bottom: the transport
of Buddha's relics to Kusinagara, the war over the relics, and the temptation
of Buddha by Mara. Click here for
a larger picture, and for close-ups of the left and right
endpieces of the gate.
Transport of Buddha's Relics
West Gate, Sanchi
From the rear of the top architrave. A royal procession brings the relics of
Buddha to the city of Kushinagara
at the left of the panel. The scene continues on the left and right
endpieces of the architrave.
----------------------------------------------------------------------------------------------
The War Over Buddha's Relics
West Gate, Sanchi
From the rear of the middle architrave. Following the Buddha's death, a most
unseemly conflict arose over the distribution of his relics, as claimants from
various locales applied to the Malla kings for a portion of the remains, which
the Mallas were initially unwilling to grant. In this dramatic scene, the
besieging armies prepare to attack the Malla city where the relics had been
brought (previous page). Fortunately, the conflict was resolved without
bloodshed, as a Brahmin named Drona made peace and apportioned the relics
equitably.
The scene continues on the left and right
endpieces of the architrave.
The Temptation of Mara
West Gate, Sanchi .From the rear of the lower architrave. The demon Mara
has attempted to seduce and frighten the meditating Buddha (not shown) from his
chosen course. In the center is a representation of the temple later erected at
Bodhgaya, where this event took place. To the right, the demon hosts of Mara
have been defeated by Buddha and flee in a disorderly retreat. To the left, a
celestial host with musicians and drummers approaches in reverence. The
contemporary temple and the legendary event are shown together, in such a way
that legendary past and actual present seem to overlap, thus reinforcing both
the reality of the legend and the sacredness of the site. The scene continues
on the left
and right
endpieces of the architrave.
Dwarf Caryatids
West Gate, Sanchi
caryatid
Etymology:
Latin caryatides, plural,
from Greek karyatides priestesses of Artemis at Caryae, caryatids,
from Karyai Caryae in Laconia
Date:
1563
: a draped
female figure supporting an entablature
Shyama Jataka
West Gate, Sanchi
From the inside top of the left post. In this jataka
story, a self-centered king shoots Shyama with a poisoned arrow, in order to
find out whether Shyama is a god or a mortal. Shyama, being mortal, dies from
his wound. The king then repents, and Shyama is restored to life by Indra.
Shyama's hut and blind parents are shown in the upper right corner. Below,
Shyama (with water jug) bathes in the lotus pond where the king's arrow strikes
him. The king is shown three times: drawing his bow (far left), observing the
result (middle left), and finally repenting (middle, next to Shyama). Shadowed
in the upper left, the characters join Indra to celebrate the happy ending.
--------------------------------------------------------------------------------------------------
Mucalinda Protecting Buddha
West Gate, Sanchi
From the inside of the left post, just below the Shyama Jataka (previous
page). The scene depicts Mucalinda (center front) and his court. Mucalinda is a
nagaraja,
a serpent king who protects the Buddha. In later sculptures, the Buddha is
usually pictured as sheltering beneath Mucalinda's cobra hoods. Here, Buddha is
represented aniconically,
as a parasoled
tree above the king. At Mucalinda's side in the left foreground are two of his
queens, backed by three attendants holding a dish, a jar, and a chauri
(fly whisk). On the other side of Mucalinda are his dancers and musicians.
Flying above the court are two kinnaras
and two heavenly maidens, one riding a griffin
and the other a winged lion.
Rear View of Architraves
North Gate, Sanchi
This is the left side of the back of the North Gate, viewed from the
elevated circumambulatory platform as one looks outward from the stupa. From
top to bottom: Chhaddanta Jataka
(an elephant incarnation of the Buddha, in which the elephant sacrifices his
tusks to a hunter), Temptation
of Mara, and Vessantara Jataka in which King Vessantara (another
incarnation of Buddha) practices the virtue of generosity.
The decoration here is more complete than on the other gates. The
architraves are carried by elephants, as on the East Gate. Click here for a larger
version of the photo, and details of the endpieces, cross-pieces,
and elephants.
------------------------------------------------------------------------------------------
Temptation of Mara
North Gate, Sanchi .From the middle architrave (rear). The temptation
scene occupies the right of the architrave (compare the more dynamic
treatment of this theme on the West Gate).
On the left part of the architrave, Sujata offers rice to Buddha after his
fast. Horses and elephants occupy the space between architraves.
Vessantara Jataka
North Gate, Sanchi
From the lower architrave (rear). Vessantara is the previous life of the
Buddha, just before his incarnation as Siddhartha. The jataka
(story) is continued from the front of the architrave, where king Vessantara
has given away his kingdom and all his possessions to those in need. Proceeding
from right to left, the king and his family appear in their wilderness hut. In
the next scene over, Vessantara gives away his children to a cruel Brahmin, who
sells them into slavery. (The king's follower aims an arrow at the Brahmin, but
is dissuaded by Vessantara from harming him.) To the left of this, Vessantara,
never one to do a thing halfway, gives away his wife. Finally, the god Indra
acknowledges his selflessness and provides a happy ending by restoring his
family and possessions.
The point of this story is that a bodhisattva
(a Buddha in the making) must be prepared to renounce everything that he holds
dear, and to immediately let go of any human attachment. The cause of suffering
is desire, and one can achieve true peace only by relinquishing all claims of
the self.
------------------------------------------------------------------------------------------------
Descent of the Buddha
North Gate, Sanchi
From the top front panel of the right post. After the death of Buddha's
mother, she was reborn in the Heaven of the Thirty-three Gods, which Buddha
then visited in order to preach the Dharma. The panel shows his return to earth
following the visit. Buddha descends the central ladder in the company of Indra,
Brahma,
and other gods and sages. His triumphant progress is represented by aniconic
symbols at the top and bottom of the ladder.
----------------------------------------------------------------------------------------------
Departure from the Palace
North Gate, Sanchi
From the middle front panel of the right post. A royal departure is shown,
perhaps of the Buddha's father from Kapilavastu.
Dedication
of the Stupa
North Gate, Sanchi
From the top inside panel of the right post. The Malla kings adore Buddha's
relics, which have been deposited in the stupa at Kushinagara. Kinnaras
(above), and dancers and musicians (below) join in the celebration.
Miracle at Vaishali
North Gate, Sanchi
From the middle inside panel of the right post. The monkey protagonist, who
has snatched Buddha's begging bowl and filled it with palm syrup, is shown
twice. Left, he presents the offering to Buddha. Right, he raises his arms in
adoration as the offering is accepted.
Return to Kapilavastu
North Gate, Sanchi
After his enlightenment, the Buddha (symbolized by a tree at left) returns
to Kapilavastu and is greeted by his father (under the umbrella,
center), members of the court, and kinnaras
(above).
This panel may also symbolize the miracle at Kapilavastu, where Buddha
levitated into the air in the presence of his father and the court.
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