Sanchi Stupa No. 2 | |
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General information | |
Type | Stupa. |
Architectural style | Buddhist |
Location | Sanchi Town, Madhya Pradesh, India, Asia |
Coordinates | 23°29′N77°44′E / 23.48°N 77.73°E |
Construction started | 2nd century BCE |
Part of | Buddhist Monuments at Sanchi |
Criteria | Cultural: (i)(ii)(iii)(iv)(vi) |
Reference | 524 |
Inscription | 1989 (13th Session) |
The Stupa No. 2 at Sanchi, also called Sanchi II, is one of the oldest existing Buddhist stupas in India, and part of the Buddhist complex of Sanchi in Madhya Pradesh. It is of particular interest since it has the earliest known important displays of decorative reliefs in India, probably anterior to the reliefs at the Mahabodhi Temple in Bodh Gaya, or the reliefs of Bharhut. [1] It displays what has been called "the oldest extensive stupa decoration in existence". [2] Stupa II at Sanchi is therefore considered as the birthplace of Jataka illustrations. [1]
Stupa No. 2 is located in the Buddhist complex of Sanchi. It was probably founded later than the Great Stupa (Stupa number 1) at Sanchi, but it contained reliquaries dated to the Mauryan Empire period (323-185 BCE), and it was the earliest to receive decorative reliefs, about a century earlier than Stupa Nb 1. [1]
One of the key indicators to date Sanchi Stupa No.2 has been the similarity of its architectural motifs with those of Heliodorus pillar, which is datable to circa 113 BCE due to its establishment during the rule of Indo-Greek Antialcidas, as well as similarities of the paleography of the inscriptions. [3]
The Stupa is located outside of the main complex of Sanchi, about 300 meters to the west, on the slope of Sanchi hill. [4] It is located in a lower position than Stupa 1 because the relics it contained, are those of church dignitaries from the time of Ashoka, who were considered as worthy of a lower position than the Buddha himself in Stupa number 1, or his disciples in Stupa number 3. [4]
The Stupa contained a relic box with four small caskets of steatite inside, containing human bones. An inscription in early Brahmi was found on the relic box, mentioning that it contained "the relics of all teachers, including Kasapagota and Vachi-Suvijayita". [4] Besides, ten saints were mentioned on the caskets, who either participated to the Third Buddhist Council held under Ashoka, or were sent as emissaries to the Himalayas to preach the Buddhist doctrine. Among them is a "Mogaliputa", who may be Mogaliputa Tissa, who presided the Third Buddhist Council, but this is disputed. [4]
Typically, the earliest medallions at Sanchi are dated to 115 BC, while the more extensive pillar carvings are dated to around 80 BC, [5] or almost a century later than the first ones, around 15 BCE. [4]
These reliefs from the early period of Sanchi II (circa 115 BCE) are the earliest known examples of Indian stone reliefs. [1] [5] [6]
One relief of a horse-headed woman, similar to another one at the Mahabodhi Temple of Bodh Gaya, is thought to be the first known representation of a Jataka (a story of a previous life of the Buddha), the Padakusalamanava Jataka, in which a horse-headed ogress falls in love with one of her preys, and the Bodhisattva (the future Buddha) is born of their union. [1]
These first attempts at narrative art are aniconic, as they do not represent the Buddha directly, but only his appearance in previous lives, or his symbols. [1]
These are altogether 455 medallions and half-medallions, or which 293 consist in lotus flowers, and 126 in a lotus with another motif. Only 36 of the medallions have another subject. [1] For the first time, clearly Buddhist themes are represented, particularly the four events in the life of the Buddha that are: the Nativity, the Enlightenment, the First Sermon and the Decease. [7] Some authors consider these reliefs as the prelude (the "prolegomenon") of the iconography of the reliefs in Bharhut (100-80 BCE) and of the later and much more evolved depictions on the toranas of the Great Stupa in Sanchi (1st century BCE/CE). [1]
It is thought that the earliest reliefs from the last quarter of the 2nd century BCE were produced by craftsmen from the area of Gandhara in northwestern Indian, a central Indo-Greek region, [8] because they left mason's marks in Kharoshthi (a script used around the area of Gandhara), as opposed to the local Brahmi script. [8] This seems to imply 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. [8]
Around the time of the first reliefs at Stupa II, in 115 BCE, the embassy of Heliodorus from the Indo-Greek king of Taxila named Antialkidas, visited the court of the Sungas king Bhagabhadra in Vidisha, about 6 km away from Sanchi. In Vidisha, Heliodorus established the Heliodorus pillar in a dedication to Vāsudeva. This would indicate that relations between the Indo-Greeks and the Sungas had improved by that time, that people traveled between the two realms, and also that the Indo-Greeks readily followed Indian religions. [9]
Early reliefs at Sanchi, Stupa No2 (circa 115 BC) | |
The vast majority of the oldest medallions and half-medallions (293 out of 455) simply consist of a lotus motif. A further 126 additional medallions and half medallions represent a lotus with another motif. Some motifs take on Hellenistic decorative forms.
Floral designs, Sanchi Stupa No2 (circa 115 BCE) | |
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Among the medallions, purely Buddhist symbols are quite rare. However, motifs of triratnas and palmettes (already visible in the Pataliputra capital, 3rd century BCE) appear in places, amidst multiple lotus motifs.
Buddhist symbols, Sanchi Stupa No2 (circa 115 BCE) | |
About a century later, some more descriptive reliefs were added, and often superimposed on the earlier ones, which clearly show the evolution of Buddhist art during the intervening period. [4] This time, the reliefs are much more Buddhist in character, and are contemporary with the reliefs on the torana gateways of the Great Stupa at Sanchi. [1]
Later reliefs at Sanchi, Stupa No2 (circa 15 BC) | |
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There are also numerous dedicatory inscriptions on the railings of Stupa II in the Brahmi script, in a style similar to the Bharhut Stupa. The similarity in paleography suggests that Sanchi Stupa No. 2 and Bharhut were roughly coeval. [15]
The Mahabodhi Temple or the Mahābodhi Mahāvihāra, a UNESCO World Heritage Site, is an ancient, but rebuilt and restored Buddhist temple in Bodh Gaya, Bihar, India, marking the location where the Buddha is said to have attained enlightenment. Bodh Gaya is 15 km from Gaya and is about 96 km (60 mi) from Patna. The site contains a descendant of the Bodhi Tree under which the Buddha gained enlightenment, and has been a major pilgrimage destination of Buddhists for over two thousand years.
Sanchi is a Buddhist complex, famous for its Great Stupa, on a hilltop at Sanchi Town in Raisen District of the State of Madhya Pradesh, India. It is located, about 23 kilometers from Raisen town, district headquarter and 46 kilometres (29 mi) north-east of Bhopal, capital of Madhya Pradesh.
In Buddhism, a stupa is a mound-like or hemispherical structure containing relics that is used as a place of meditation.
The Greco-Buddhist art or Gandhara art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between Ancient Greek art and Buddhism. It had mainly evolved in the ancient region of Gandhara, located in the northwestern fringe of the Indian subcontinent.
The Shunga dynasty was the seventh ruling dynasty of Magadha and controlled most of the northern Indian subcontinent from around 187 to 73 BCE. The dynasty was established by Pushyamitra, after taking the throne of Magadha from the Mauryas. The Shunga Empire's capital was Pataliputra, but later emperors such as Bhagabhadra also held court at Besnagar in eastern Malwa. This dynasty is also responsible for successfully fighting and resisting the Greeks in Shunga-Greek War.
The Heliodorus pillar is a stone column that was erected around 113 BCE in central India in Besnagar. The pillar was called the Garuda-standard by Heliodorus, referring to the deity Garuda. The pillar is commonly named after Heliodorus, who was an ambassador of the Indo-Greek king Antialcidas from Taxila, and was sent to the Indian ruler Bhagabhadra. A dedication written in Brahmi script was inscribed on the pillar, venerating Vāsudeva (krishna), the Deva deva the "God of Gods" and the Supreme Deity. The pillar also glorifies the Indian ruler as "Bhagabhadra the savior". The pillar is a stambha which symbolizes joining earth, space and heaven, and is thought to connote the "cosmic axis" and express the cosmic totality of the Deity.
Bharhut is a village located in the Satna district of Madhya Pradesh, central India. It is known for its famous relics from a Buddhist stupa. What makes Bharhut panels unique is that each panel is explicitly labelled in Brahmi characters mentioning what the panel depicts. The major donor for the Bharhut stupa was King Dhanabhuti.
Pauni is a town and a Municipal Council in Bhandara district in the Indian state of Maharashtra. Now it has National Highway NH-247. Pauni is also known as Kashi of Vidarbha due to its wide swath of temples.
The Indo-Greeks practiced numerous religions during the time they ruled in the northwestern Indian subcontinent from the 2nd century BCE to the beginning of the 1st century CE. In addition to the worship of the Classical pantheon of the Greek deities found on their coins, the Indo-Greeks were involved with local faiths, particularly with Buddhism, but also with Hinduism and Zoroastrianism.
Indo-Greek art is the art of the Indo-Greeks, who reigned from circa 200 BCE in areas of Bactria and the Indian subcontinent. Initially, between 200 and 145 BCE, they remained in control of Bactria while occupying areas of Indian subcontinent, until Bactria was lost to invading nomads. After 145 BCE, Indo-Greek kings ruled exclusively in parts of ancient India, especially in Gandhara, in what is now present-day the northwestern Pakistan. The Indo-Greeks had a rich Hellenistic heritage and artistic proficiency as seen with the remains of the city of Ai-Khanoum, which was founded as a Greco-Bactrian city. In modern-day Pakistan, several Indo-Greeks cities are known such as Sirkap near Taxila, Barikot, and Sagala where some Indo-Greek artistic remains have been found, such as stone palettes. Some Buddhist cultural objects related to the Indo-Greeks are known, such as the Shinkot casket. By far the most important Indo-Greek remains found are numerous coins of the Indo-Greek kings, considered as some of the most artistically brilliant of Antiquity. Most of the works of art of the Greco-Buddhist art of Gandhara are usually attributed to the direct successors of the Indo-Greeks in Ancient India in the 1st century CE, such as the nomadic Indo-Scythians, the Indo-Parthians and, in an already decadent state, the Kushans. Many Gandharan works of art cannot be dated exactly, leaving the exact chronology open to interpretation. With the realization that the Indo-Greeks ruled in India until at least 10-20 CE with the reign of Strato II in the Punjab, the possibility of a direct connection between the Indo-Greeks and Greco-Buddhist art has been reaffirmed recently.
Amarāvati Stupa is a ruined Buddhist stūpa at the village of Amaravathi, Palnadu district, Andhra Pradesh, India, probably built in phases between the third century BCE and about 250 CE. It was enlarged and new sculptures replaced the earlier ones, beginning in about 50 CE. The site is under the protection of the Archaeological Survey of India, and includes the stūpa itself and the Archaeological Museum.
Hellenistic influence on Indian art and architecture reflects the artistic and architectural influence of the Greeks on Indian art following the conquests of Alexander the Great, from the end of the 4th century BCE to the first centuries of the common era. The Greeks in effect maintained a political presence at the doorstep, and sometimes within India, down to the 1st century CE with the Greco-Bactrian Kingdom and the Indo-Greek Kingdoms, with many noticeable influences on the arts of the Maurya Empire especially. Hellenistic influence on Indian art was also felt for several more centuries during the period of Greco-Buddhist art.
The Northern Satraps, or sometimes Satraps of Mathura, or Northern Sakas, are a dynasty of Indo-Scythian ("Saka") rulers who held sway over the area of Punjab and Mathura after the decline of the Indo-Greeks, from the end of the 1st century BCE to the 2nd century CE. They are called "Northern Satraps" in modern historiography to differentiate them from the "Western Satraps", who ruled in Sindh, Gujarat and Malwa at roughly the same time and until the 4th century CE. They are thought to have replaced the last of the Indo-Greek kings in the Punjab region, as well as the Mitra dynasty and the Datta dynasty of local Indian rulers in Mathura.
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