303- HISTORY OF STUPA AND ROCK CUT ARCHITECTURE

 

TOPIC – SANCHI STUPA

INTRODUCTION :

It has been observed by experts that Ancient monumental edifices all over the world have always been structured on the principle of being built over wide base with the super structure decreasing gradually in size towards apex. The idea of such type of construction may have been originated from construction of burial mound in neolithic or megalithic period all over the world. This was the best known method of preserving ancestral remains in prehistoric time using large stones. Another reason why this sort of monuments survived for long because unlike cubic mass they do not require massive walls of mortar jointed masonry for stability. Principle being the same but structure varied by local geographical , geological, climatic, social and religious reasons.

This is the reason why the houses and palaces of ancient times have vanished, but buildings like the pyramids of Egyptian's, Aztec's temples, and Assyrian's ziggurats and Stupas of the Buddhists are still extant. While other structures were based on elementary square geometric profile, the evident choice for the Buddhist architect was circular. The reason could be early pre-buddhist humble mound of rubble that had been piled over in a symbolic tumuli of earth built up over the ashes of the holy men (or his relics) in circular shape, this could be an ideal form for performing circumambulation which is still part of the reverence in India. However, Square plans were also very vital as in the form of vedic sacrifical fire altars.

Later, the royal and elite mercantile class builders transformed it into hemispherical shape with the use of brick, and also paved the circumambulatory pathway. These modest early stupas were probably decorated with festoons and prayer flags, some also had protective wooden fence around.

The word “Stupa” or “Thupa” has come from the word “Topes” which itself means mound. As per the extant literature, Ashoka not only collected Buddha's relics from earlier Stupas but divided it into many parts (around 84,000) and constructed as many Stupas all over his kingdom to spread Buddhism. Thus the famous extant Stupas emerged for the first time under the architectural patronage of Ashoka. The messages of Dharma and humanity were inscribed on stones in Prakrit (or Pali) language and installed at various locations, trade routes. A number of these inscriptions still standing at those vary places continue to inspire us even today.

In this context The Great Stupa at Sanchi is one of the earliest extant and well preserved example of Stupa architecture.

LOCATION :

The great Stupa of Sanchi is situated on a hilltop in small village Sanchi which lies in Raisen district of Madhya Pradesh. The site is hardly 10 kilometers from Vidisha town towards Bhopal route.

HISTORY :

Construction history of sanchi Great stupa (Maha Stupa):

The Sanchi Mahastupa was first commissioned by emperor Ashoka himself. Initially it was plane hemispherical shape structure made of brick on relics of Buddha, having diameter around 60 feet. There was a circumambulatory pathway all around and probably protected by wooden railings.

Later, the main Stupa was enlarged with the covering of brick and stone and diameter and height was extended to 120 feet and 54 feet respectively. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. There was upper terrace around the main dome some 10 feet from the ground for circumambulation purpose which could be accessed by double staircases from opposite directions.

The ground circumambulatory pathway is covered by stone balustrade and has for gateways. These railings do not have artistic relief or medallions, but have a large number of votary inscriptions. The railings have evidently been copied from earlier wooden railings of the site. Some reliefs are visible at stairway railing but they are of later period.

The balustrade of Stupa no. 2 is richly ornamented with various motifs and reliefs in medallion form. Similar type of relief has been noticed on railings of staircase of stupa 1 & 3.

Stupa no. 2 was also constructed during Mauryan period. It contained a relic box with four small caskets of steatite inside, containing human bones. The Brahmi inscription on the box says "the relics of all teachers, including Kasapagota and Vachi-Suvijayita". Besides this the casket also contains name of 10 Buddhist monks. Stupa no. 2 is famous for its ornamented railings all around. It contains a number of medallion reliefs in which Jataka stories and life related to Buddha is depicted. This is one of the earliest depiction which is seen in more elaborate form in Barhut and later Satavahana depictions. It is believed that the earliest reliefs were produced by craftsmen from the area of Gandhara in northwestern Indian, a central Indo-Greek region, because they left mason's marks in Kharoshthi. This alludes that these foreign workers were responsible for some of the earliest and sometimes quite foreign motifs and figures that can be found on the railings of the stupa. Some of the reliefs suggest that the ornamentation continued well up to Shaka period as some of the depiction show person wearing Scythian costumes.

Satavahan King Satakarni II conquered eastern Malwa region from the Shunga. The decorated gateways were constructed during Satavahana rule around 1^st century AD. An inscription on Architraves of the southern gateway by the ivory workers mentions Satavahan king Satakarni name. Also the palaeographic analysis of Brahmi script belongs to 1^st century period. The gateway are placed at four cardinal directions of the great stupa and have three rows of architrave lentil stack above each other with a gap of a foot in between. The lentil is placed 15 feet above ground on two heavy pillars. We see a great variety of pillar innovation and architectural designs in Sanchi toranas.

During the period of Shatakarni II, the Artist Ananda donated to build the gateway Torana.

In the earlier epigraphic and literary records, the hill site was known as Moragiri or Chetiyagiri.

2^nd century it was called as Kakanada. 5^th century Inscription shows its name as Kananabota Maha Vihara in Gupta period.

7^th century AD is was called as “Bot shri Parvata”.

8^th century poet Bhavabhuti called it as ShriParvata in Malti-Madava

There were other stupas in the vicinity Sanchi – Satdhara- Sonari Stupa

The site has yielded evidence upto the period of Iltutmish.

DISCOVERY :

The Sanchi Stupa complex was first reported by General Henry Taylor of British East India Army in 1818. Later the site was explored by Sir Herbert maddock in 1822. Alexander Cunningham and Frederick Charles Maisey made the first formal survey and excavation work at Sanchi area in 1851. Later ASI restored the Stupas and entire site in 1912-19 under the supervision of Sir John Marshall.

The bone relics (asthi avashesh) of Buddhist Masters along with the reliquaries, obtained by Maisey and Cunningham were divided and taken by them to England as personal trophies. Some of which later returned to India, Shri Lanka and Burma.

MONUMENTS AND TYPE :

The Stupa complex today comprised series of Buddhist monuments belonging to Mauryan period upto the late Gupta period. The monuments are as follows :

The oldest and also the largest Stupa (The Maha Stupa), 2 other smaller stupas, one Ashokan Pillar as well as other pillars' stumps, several Viharas (Monastery) sites, a Chaitya temple site, ruins of more than five Gupta period temples and other several less significant edifices.

In early Hinayana influence, only the symbols of Lord Buddhas were denoted at site but no image of Buddha is depicted in early phase. But during Gupta period we see installation of stone of image of Lord Buddha on all sides alludes to influence of Mahayana phase.

Features/Architectures of the great Stupa :

The Hemispherical Mound or Anda -

The central structure consists of a hemispherical dome (anda) on a base, constructed of bricks and covered with hammered stones. It has a solid core and cannot be entered. Consistent with the symbolic associations, the earliest stupas contained actual relics of the Buddha; the relic chamber, buried deep inside the anda, is called the tabena. The dome symbolizes, among other things, the dome of heaven enclosing the earth, and the home of the gods at the center of the universe. The Anda is around 120 feet in diameter and 54 feet height from the ground. The upper part of the Anda is flat surface to hold the railing known as Harmika.

Harmika -

Anda is surmounted by a quadrangle railing (harmika) that can be said to represent the world mountain. This Harmika is smaller version of Vedika, where pillars at small intervalls hold three rows of stone cross bars. At the middle of the Harmika is pedestal on which stands a central pillar known as Yashti.

Yashti and Chhatra -

A central pillar is known as Yashti symbolizes the cosmic axis supporting a triple-umbrella form (chattra). the central pillar that holds the umbrellas has come to represent the pivot of the universe, the axis mundi along which the divine descends from heaven and becomes accessible to humanity.

The central pillar (Yashti) supports a triple umbrella like disk structures (chattra), which is held to represent the Three Jewels (Triratna) of Buddhism—the Buddha, the dharma (Buddhist teachings and doctrine), and the sangha (monastic community)

Upper Pradakshina Path (Medhi)/Upper Circumambulatory pathway

The circular terrace surrounding the Anda (Hemispherical dome) is 16 feet above the ground, used as inner/upper Circumambulatory path known as Medhi. The upper cicumabulatory passage can be accessed with the help of double staircases known as Sopana. The entire structure is enclosed by railings having three tiers of stone crossbars.

Lower Circumambulatory Passage/Vedika -

The outer/lower balustrade is massive barrier of stone railing which is 11 feet in height, protects outer/lower circumambulatory passage. The lowest part is Base known as Avalamban which is well underneath the surface. The upright posts (Thamba) of equal size (9 feet high) are erected at the distance of 2 feet from each other and support three rows of horizontal crossbar known as Suchi. the crossbars are connected with pillars through mortise and tenon joint. The upper most part of the railing or coping stone has rounded upper side and is known as Ushanisha.

Vedika has no ornamentation, although a number of small votary inscriptions are engraved on it. It opens at four cardinal directions, each opening is adorned with heavy stone gateways known as Torana.

Torana -

The Toranas of the Great Stupa are the crowning achievement of Sanchi sculpture. Each gateway is made up of two squared posts fifteen feet height topped by capitals of sculptured animals (four elephants, four lions) or dwarfs, surmounted by three curviform architraves stacked one on another each separated by four square blocks. All the elements are covered with relief sculpture depicting the events of the Buddha’s life, Jataka stories (about the Buddha’s previous lives), scenes of early Buddhism, and auspicious symbols accommodating Marvellous reliefs. The names of donors are also inscribed, the most notable one being the ivory workers of Vidisha at the time of Satavahana king Shatakarni. It might have taken a long time to complete this exquisite work but the representation is quite consistent in nature.

The figures are supple and natural to some extent and are shown in diverse postures, their movements somewhat free and unconstrained. The reliefs have matured in depth. Though the artist is yet unable to grapple the problem of tri dimensional depth and perspective the grouping and balancing of figures are often done in such a way that they create an illusion of depth and distance. Art is impressive with its rhythm, symmetry, decorative beauty and perfect handling of the floral and plant motifs. Adopting many of the old time fables, popular cults and superstitions with such changes as were necessary for the imparting to them the Buddhism complexion.

These directions, in turn, relate to four events in Buddha’s life:

East – Birth of Buddha

South – Enlightenment of Buddha

West – First Sermon of Buddha

North – Nirvana/Release from Samsara of Buddha

The depiction can be broadly classify as follows

1. Scenes from the Jatakas,

2. Scenes from the life of Gautama Buddha,

3. Events in the subsequent history of Buddhism,

4. Scenes relating to the Manushi Buddhas,

5. Miscellaneous scenes and decorations.

CONCLUDING REMARKS :

Significance of Sanchi Stupa for History of India

Significance of Sanchi Stupa to study the history of Buddhism in India

BIBILIOGRAPHY :

1. The Bhilsa Tope, Alexander Cunningham, 1854

2. Sanchi and its remains, F. C. Maisey, 1892

3. Manual of Indian Buddhism, H. Kern, 1896

4. The Great Stupa at Sanchi-Kanakheda, J. Burges, JRASGBI, 1902 pp.29-45

5. The Monuments of Sanchi, John Marshall, 1940

6. A guide to Sanchi, John Marshall, 1955

7. Sanchi, Archaeological Survey of India

8. Sculpture of India (1985) – Pramod Chandra pp. 52-53

9. Architecture of India (1980) – Sunil Grover pp. 27-40

    

    

    

   
   

Amravati Stupa :

 

Projected stupa Architecture by Percy Brown

The Mahachaitya or Great Stupa at Amravati was the glory of ancient Indian Buddhism and one of the earliest monument belonging to southern architectural designs.

It combined a highly original sculptural aesthetic with extraordinary craftmanship, patronaged by the Satavahans. It was unique to the era and region in the country of Andhras.

Location :

The site of the Great Stupa is on the outskirts of the town of Amravati on the right bank of the Krishna River close to an ancient ruined capital of Satavahana known as Dharanikota.

It is situated at 30 km south from Guntur district, Andhra Pradesh.

Discovery and Further exploration:

This site was first explored by Colonel Mackenzie in 1797 AD. After he explored this site, the local ruler had appropriate a number of pillars and other stone materials of this site for the construction of his own palace and other public works, this had made study of the site very difficult.
Mackenzie again visited the site in 1816 and studied the sculptures and remaining art of the Amravati stupa.

The Commissioner of Guntur Walter Eliot had conducted excavation work of the remains in 1840. He sent these excavated remains to the British Museum in 1856. James Fergusson has also assisted in the work.
Robert Sewel, Governor of Madras and Duke had surveyed the site in 1881 and James Burgess again revisited the site in 1905 to 1909. Alexander Rea also conducted survey and excavation works here.

Current condition :

The Stupa Site is completely destroyed. Fortunately, all the excavated remains have been preserved at various museum at Britain, Chennai and Kolkata and nearby Amravati. This had helped scholars to study the site and monument thoroughly.


History :

As per the inscription found from the site, the original name of the place has known as "DhanyaKataka". some sources also called it "Mahachetiya". Dharnikota used to be another capital of Satavahana kingdom. Although, we get evidences of Ichhavaku dynasty from here too.
The earliest stone railing fragments found from the site, indicates to an old stupa at this place perhaps belonging to Mauryan era. Hence, the monumental structures were continually constructed between 3rd century BCE to 2nd century AD with slight modifications.

 

Platform slabs all around Stupa and Earliest depiction of Stupa on a Mauryan Pillar

Chronology of the Stupa :

Stupa construction can be divided in four different periods according to the art

1 - 200 BC construction during Maurya Shunga period
2 - 16-119 AD inscriptional evidence
3 - 160-189 AD on the basis of inscription of Yajnashri Shatkarni (Peak point of Stupa Art)
4 - 3rd AD indicated as Ichhavaku kings period


Stupa Architecture :

Stupas are the most characteristic monument of ancient Indian Buddhism. They are solid mounds of varying sizes constructed of brick or stone masonry and often with sculpted stone panels attached to them. In a tiny chamber, usually at the heart of the mound, they usually contain casket containing ashes of Buddhist dignitary. Stupa originate in the idea of the simple burial.

The architecture of Amravati Stupa is similar in most respect to other monuments of the region such as Jagayyapeta, Goli, Ghantashala, Bhattiprolu, Gummadidurru and Nagarjunakonda. The Stone used in th decoration is always a grenish limestone known as Palnadu marble.

The original Stupa is completely destoryed now, the excavations carried out by Alexnader Rea (1880-1909) revealed the existence of the brick foundations of many small buildings and small votive stupas. One large stupa 220 feet also uncovered by Rea and Burgess.

The Mauryan inscribed crossbar depicts a Stupa next to a tree with in a railing. The stupa is surrounded by a simple railing with high, plain coping surrounding a simple domed stupa with harmika on top and an arrangement of garlands on the lower area of the dome.

Stupa design by Percy Brown

The Salient feature of the Amravati Stupa is mentioned below.

The Platform and Ayakas:

The dome was based on a cylindrical platform around 162.5 feet in diameter and 6 feet high. The entire platform (Drum) was elaborately decorated with sculptures slabs such as five Standing Buddhas, combination of trees, wheel, Stupa etc on its vertical outer face. Further construction at each cardinal points facing the gateways of projecting platform or AYAKA.

 

Ayaka Platform : 

The platform inside Mahavedika where 4 or 5 smaller pillars are erected. This platform is situated infront of every gateway inside railings. The Ayaka was about 32 feet long and 6 feet wide. On this Ayaka platform stood a group of Five cylindrical pillars. The summits of these pillars were either plain or bear small four sided Chaitya, Giving appearance of crowns. The center pillar highest of all carried model of Stupa on its capital.

 

Mahavedika (Ground Railings)

The Platform was surrounded by a circular railing. Its diameter was 193 feet, and perimeter was around 600 feet. The pillars of Mahavedika were 9 feet high and 2'10" feet in diameter with wide projecting tenons which fitted into three vertical lenticular shaped mortises cut into the sides of the pillars. Connected via mortise tenon joint to three rows of crossbars known as Suchi. These Suchi ornamented with large floral designs. That is why they are called as "Parichakra Suchi". Other Suchi were connecting the pillars via Mortice and Tenon joint. The rail was crowned by a high decorated coping (Ushanisha) 2'8" feet wide and 1 feet thick. The Mahavedika (railing) contained 136 pillars and 348 crossbars supporting 800 feet of coping rail.

The balustrade railing was covered with narrative reliefs and elaborate decoration on virtually every surface. The outer face presented a series of lotus medallion (roundels) both on pillars and crossbars. A full lotus on central and half lotus at the top and bottom of the pillar. The narrative roundel was generally on the inner side middle row and lotus on top and bottom. There were depictions of Vidhyadharas, Gandharvas (Garland bearer) in between the floral designs., designs of Stupas, Trees, Chakras, and footprints also depicted on the Suchi and pillars. Similarly, other parts of the Vedica contained depictions from Buddha's life, Jataka stories. Couple figures worshiping Buddhas symbols, Yakshas etc.

Pradakshina Path (Circumambulatory path):

Between the railing and the platform upon which the dome of the stupa was mounted was a narrow area, called as Pradakshina Path used by pilgrims for circumambulation. It was 13 feet in width and paved with long rectangular flat slabs of irregular length made of Grey Limestone. A pair of pillars was set up on of either side of each gateway opening, 6'8" from the point. These pillars seem to have been capped with small models of stupas carved in the round.

Madhya Vedika (Medhi) : 

There is no surviving evidence of upper pradakshina path. However, image of Stupa on pillars suggest that a Vedika was situated at the height for enclosing circumambulatory path at the middle of the Anda. Here it is known as "Pandaka" in inscriptions.

Anda (Dome) :
The dome of the Stupa disappeared long ago. Douglas Barrett estimated the height of the dome around 60 feet and 140 feet in diameter (Col. Mackenzie). Anda Part was elongated upwards.

Internal construction was made with brick works where brick size was 24x18x4 inches. The outer surface of dome was also ornamented with various relief slabs. The large slabs with narrative scenes were placed just behind the Ayaka Pillars. Above it, the curved upper portion of dome was ornamented with continuous series of garlanding with dwarfs and rows of lotuses, also with complex pattern of swags, hanging garlands, thick ropes and large fringed medallions with narrative scenes, mythical human and animal figures.

This strip of floral design on the middle of the Anda containing Lotus, flowers inscribed is called as "Abdha-Mala". At the back side of the Anda, a depiction of Nazzak (God of Dancing) is sculpted.

Harmika & Yashti :

At the summit of the dome was Harmika, a quadrilateral enclosure made of small railings which housed a short pillar (Yashti) in between. The low pillars of Harmika were also embellished with lotus panels and Yaksha figures.

The Yashti (a stone pole) in the middle supported many umbrellas (Chattras) at the top, typical of Buddhist Stupa architecture.

Toranas (Gateways) :
These gateways were installed at all four cardinal direction connected with the Vedika.

a gateway with the width of 26 feet was let into the vedika(railings). The Gate (Toranas) projected from the rail a distance of 16 feet, at which point its opening narrowed by 13 feet by means of a pair of right angles. from that point forward the walls of the gateway continued for a further 8 feet to the outer opening. These openings were guarded by two pairs of lions, one pair seated stiffly upright gazing at each other from the rail terminals where the gate begins and other pair posed more naturally at the actual opening sat on slightly lower round pillar, with stepped and cushion shaped capital.

These Toranas were all decorated with various depictions, worshipping Buddha, Statue of Nagaraja, etc.

Amravati Stupa by Robert Knox

 

Amravati stupa is different from North Indian stupas in three ways.
1. The entire stupa was covered with Paduvalu marble (Green Limestone) type stone. This was known as "Meghvarna Pashana"
2. Stone slabs are ornamented with beautiful depiction of male female with natural depiction of flora and fauna (Roop Alankarana)
3. Relics of Buddha and Bodhi tree are contained in boxes inside Stupa.