Eternal India Encyclopedia

Eternal India encyclopedia

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. A 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