The Sanchi Stupa, one of the finest examples of Indian Buddhist architecture, reflects the harmonious integration of sculptural elements within its overall architectural framework. The stupa’s structure and sculptures are deeply interconnected, with each sculptural element serving both aesthetic and symbolic purposes.
1. The Dome of the Stupa:
At the center of the Sanchi Stupa is the large hemispherical dome, symbolizing the cosmos. Sculptural elements, particularly the reliefs and carvings, decorate the outer side of the dome, enhancing its symbolic representation of the universe. The dome’s smooth, unadorned surface conveys the purity of the Buddha’s teachings, while the sculptures on the drum below are rich in religious imagery.
2. The Toranas (Gateway Arches):
The four main gateways (toranas) at the cardinal points are adorned with intricate carvings that depict various scenes from the Buddha's life and Jataka tales (stories of the Buddha's previous lives). These sculptural elements are directly integrated with the archways, forming a part of the structure that frames the entrance to the stupa. The toranas are not only functional in marking the entrance but also serve as narrative spaces that communicate religious stories to the visitors.
3. Symbolic Sculptures:
Unlike earlier Buddhist art, which avoided depicting the Buddha’s image directly, the sculptures at Sanchi include symbols such as the wheel of law (Dharmachakra), the lotus, and the Bodhi tree. These symbols, which are often placed on the stupa’s railings and near the toranas, reflect Buddhist ideologies like the Buddha’s enlightenment and the teachings of Buddhism. The symbolic placement of these sculptures enhances the spiritual journey of those who visit the stupa.
4. The Railings and Stupika (Miniature Stupas):
The Sanchi Stupa is surrounded by a stone railing with sculpted motifs. The railings are adorned with both reliefs and friezes that depict events from the Buddha’s life and cosmological symbols. These carvings blend seamlessly into the architectural form, with the railing itself serving as both a protective barrier and an ornamental feature. Additionally, small stupas (stupikas) placed around the main stupa house relics and reinforce the symbolic function of the stupa as a sacred space.
5. Integration of Narrative Art:
The sculptures on the Sanchi Stupa are integrated with the architectural framework in a way that guides the viewer through a visual narrative. The stories depicted on the sculptures of the gateways and the railings correspond to the journey a visitor would undertake as they circled the stupa, reflecting the teachings of Buddhism. This creates a visual and physical engagement with the sacred space, where architecture and sculpture work in tandem to guide the spiritual experience.
The sculpture of the Bodhisattva statue shown in the image below is influenced by which of the following schools of art?
Match Column I with Column II regarding the Buddhist texts and choose the correct option from the following:
Column I (Buddhist Text) | Column II (Description) |
---|---|
a. Vinaya Pitaka | i. Rules and regulations for monastic order |
b. Abhidhamma Pitaka | ii. Chronicle of the island |
c. Dipavamsa | iii. Regional histories of Buddha |
d. Mahavamsa | iv. Dealt with philosophical matters |
The Anguish of the King
When the king Devanampiya Piyadassi had been ruling for eight years, the (country of the) Kalingas (present-day coastal Orissa) was conquered by (him). One hundred and fifty thousand men were deported, a hundred thousand were killed, and many more died.
After that, now that (the country of) the Kalingas has been taken, Devanampiya (is devoted) to an intense study of Dhamma, to the love of Dhamma, and to instructing (the people) in Dhamma.
This is the repentance of Devanampiya on account of his conquest of the (country of the) Kalingas.
For this is considered very painful and deplorable by Devanampiya that, while one is conquering an unconquered (country) slaughter, death and deportation of people (take place) there...
Declining a Royal Gift
This excerpt from a sufi text describes the proceedings at Shaikh Nizamuddin Auliya’s hospice in 1313 : I (the author, Amir Hasan Sijzi) had the good fortune of kissing his (Shaikh Nizamuddin Auliya’s) feet ... At this time a local ruler had sent him the deed of ownership to two gardens and much land, along with the provisions and tools for their maintenance. The ruler had also made it clear that he was relinquishing all his rights to both the gardens and land. The master ... had not accepted that gift. Instead, he had lamented: “What have I to do with gardens and fields and lands ? ... None of our ... spiritual masters had engaged in such activity.”
Then he told an appropriate story: “... Sultan Ghiyasuddin, who at that time was still known as Ulugh Khan, came to visit Shaikh Fariduddin (and) offered some money and ownership deeds for four villages to the Shaikh, the money being for the benefit of the dervishes (sufis), and the land for his use. Smiling, Shaikh al Islam (Fariduddin) said: ‘Give me the money. I will dispense it to the dervishes. But as for those land deeds, keep them. There are many who long for them. Give them away to such persons.’”
What taluqdars thought
The attitude of the taluqdars was best expressed by Hanwant Singh, the Raja of Kalakankar, near Rae Bareli. During the mutiny, Hanwant Singh had given shelter to a British officer, and conveyed him to safety. While taking leave of the officer, Hanwant Singh told him:
Sahib, your countrymen came into this country and drove out our King. You sent your officers round the districts to examine the titles to the estates. At one blow you took from me lands which from time immemorial had been in my family. I submitted. Suddenly misfortune fell upon you. The people of the land rose against you. You came to me whom you had despoiled. I have saved you. But now – now I march at the head of my retainers to Lucknow to try and drive you from the country.