ART AND DESIGN AESTHETICS (ADA)

ASSIGNMENT-3

Topic: Study of an example of painting/sculpture/architecture/ an object from any one of

the topics from Eastern Art Session.

Submitted To: Ms. Sobharani Lakra Submitted by- Nikita Ratish

Asst. Professor BFT/17/143
NIFT Bhubaneswar

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 ACKNOWLEDGEMENT

I wish to express my sincere gratitude to Ms. Sobharani Lakra for providing us

an opportunity to do our project on the topic “Study of an example of
painting/ sculpture/architecture/ an object from Eastern Art Session”.

This project was a source of immense knowledge to us. We acknowledge with

a deep sense of gratitude, encouragement and inspiration received from our
faculty and group members

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 CONTENTS

 The Eastern Art Session

 Stupa
 Origin of the Great Stupa
 The Buddhist Stupa: Architecture and Symbolism.
 Gateways of the Great Stupa
 Concept of form, color and material
 Materials used in the making of Great Stupa
 Conclusion
 Bibliography

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THE GREAT STUPA

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EASTERN ART SESSION
The Eastern Art is glorified from the ancient paintings, sculptures and architectures of the
Mesopotamian, Sumerian, Akkadian, Neo-Sumerian, Babylonian, Hittite, Elamite, Assyrian, Neo-
Babylonian, Achaemid, Persian, Sassanian civilizations.

 The art of the Ancient Near East tends to focus on the relationship between the human and
the divine. Much of it is religious in nature, designed for use in religious rituals or to honor
the gods.
 Ancient Near Eastern art is also political. Rulers used it to proclaim their power and prestige.
 Artistic technique and skill are more important than originality in Ancient Near Eastern art.
Artists wanted to show off their expertise more than their imagination.
 Animals frequently appeared in the art of the Ancient Near East. They are realistically
portrayed, but they often symbolically represent abstract concepts, like strength, fertility,
kingship, and divinity.
 Human images are more idealistic than naturalistic in Ancient Near Eastern art. Rulers
especially are depicted symbolically to emphasize their wisdom, strength, and power.
 Relief carvings are a key form of art in the Ancient Near East. Reliefs are sculptures that
stand out from a flat surface, kind of like a 3D picture, and they appear on everything from
the smallest cylinder seal to the largest palace wall.

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STUPA
The stupa, an architectural structure usually housing the cremated remains or possessions of
important saintly figures, is considered to be the structural emblem and the most important type of
monument of Buddhism. Most stupas have a very distinctive semi-spherical shape, often surrounded
by a fence. During early Buddhist times, stupas were composed of a semi-spherical dome with a
parasol placed on top. The dome covered a square base with a small receptacle in the centre
containing relics, while a space for circumambulation was defined around the dome. This basic
format underwent changes as stupas were introduced in other cultures.

The stupa is known by different names in different countries. It is known as “Dagoba” in Srilanka,
“Zedi” in Myanmar, “Pagoda” in China, “Tap” in Korea and “To” in Japan.

As the importance of the stupa grew, so it did its functions and meanings. In addition to being
considered the living presence of the Buddha, his protective powers, and living energy, they were
also a site of rituals and ceremonies. Their presence eventually attracted other constructions
including monasteries.

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ORIGIN OF THE GREAT SANCHI STUPA
The Sanchi Stupa is located in the Indian state of Madhya Pradesh. Sanchi's Great Stupa is one of
India's oldest surviving Buddhist monuments. It sits on a hilltop 30 miles northeast of Bhopal in
Madhya Pradesh, and 6 miles south of Vidisha, a small town that was an important urban center at
the turn of the common era. It is one of the most ancient and famous Buddhist monuments in India.

The Stupa has several chambers, which contains the relics of Buddha. The monastery at Sanchi was
originally constructed by Bimbisara, king of Magadha and contemporary of the Buddha. It owes its
present form to renovations by Ashoka and the later Shunga kings who through their support and
patronage established Stupa worship as an institution in Buddhism. The Sanchi Stupa was
constructed in the honor of Lord Buddha by Emperor Ashoka in 3rd century BC. Though originally
made as earthen stupa by Ashoka with construction done in burnt mud bricks, the Stupa was largely
re-built in the middle of 2nd century B.C. The Stupa actually symbolizes the life of Buddha and his
final release from the cycle of birth and rebirth (Moksha). The last addition to the Stupa was done
during the rule of the Guptas, prior to 450 AD.

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THE BUDDHIST STUPA: ARCHITECTURE AND SYMBOLISM
The Great Stupa at Sanchi, in central India, is one of the earliest stupas; it served as an architectural
prototype for all others that followed. In the most basic sense, as an architectural representation of
a sacred burial site, a stupa—no matter where it is located in the world or when it was built— has
three fundamental features.

 A hemispherical mound (anda)- The anda’s domed shape (green highlights) recalls a mound
of dirt that was used to cover the Buddha’s remains. It has a solid core and cannot be
entered. Consistent with their symbolic associations, the earliest stupas contained actual
relics of the Buddha; the relic chamber, buried deep inside the anda, is called the tabena.
Over time, this hemispherical mound has taken on an even grander symbolic association: the
mountain home of the gods at the center of the universe.
 A square railing (harmika)- The harmika (red highlights) is inspired by a square railing or
fence that surrounded the mound of dirt, marking it as a sacred burial site.
 A central pillar supporting a triple-umbrella form (chattra )- The chattra, in turn, was derived
from umbrellas that were placed over the mound to protect it from the elements. Just as the
anda’s symbolic value expanded over time, 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. And the three circular umbrella-like disks
represent the three Jewels, or Triantha, of Buddhism, which are the keys to a true
understanding of the faith: (a) Buddha (b) dharma (Buddhist teachings or religious law) and
(c) sangha (monastic community).

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Around these three core building blocks were added secondary features.

 Enclosure wall with decorated gateways (toranas) at the cardinal directions - The wall — with
its trademark three horizontal stone bars (in the top image) — surrounds the entire
structure. The wall is marked in light blue highlights and the toranas in yellow.
 A circular terrace (medhi)- The terrace—surrounded by a similar three-bar railing—supports
the anda and raises it off the ground (black highlights); it likely served as a platform for ritual
circumambulation.

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GATEWAYS OF THE GREAT STUPA
 West Gateway: The front face of the top architrave of the West Gateway shows seven
incarnations of the Buddha, four of which are represented by trees and the rest by stupas.
The middle architrave shows the Buddha preaching his First Sermon in the deer park at
Sarnath.
The lowest architrave illustrates a colorful legend about Bodhisattva, which literally means –
‘a being whose characteristic (sattva) and aim are enlightenment (Bodhi)’.
In the centre is the temple of Bodh-Gaya with the peepal tree (Ficus religiosa) and the
throne.

 South Gateway: The front of the top architrave depicts the nativity scene of the Buddha.
Maya, the mother of Gautama, stands on a full-blown lotus, with elephants on the right and
left, pouring water over her head. In the lowest architrave, dwarf-like figures, known as
kichakas, are holding garlands in their hands and spouting forth the Lotus Tree (of Life and
fortune) from their mouths. The back of the middle architrave is again illustrated with
stories from the Chaddanta Jataka.

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 East Gateway: The front face of the middle architrave shows Gautama departing from his
father’s palace at Kapilavastu to begin his search for truth. The second panel of the inner
face of the right pillar illustrates the dream which Maya, the mother of Gautama, had at the
time he was conceived. She dreamt of the moon with an elephant standing on it. The
miracle of the Buddha walking on water is depicted on three panels on the left pillar.

 North Gateway: This is the best preserved of the four gateways. Above the top architrave is
a Buddhist Wheel of Law.
The top panel of the left pillar (front face) shows the Buddha performing another miracle.
The second panel of the inner face of the right pillar shows a monkey king offering a bowl of
honey to the Buddha (represented by a throne).

 Stupa No. 3 and the New Vihara: Fifty yards to the north-east of the Great Stupa stands Stupa
No. 3 (150-140 B.C.) this is a smaller edition of the former (50 feet in diameter and 27 feet
high). The Stupa was in a dilapidated condition in 1851 it was excavated and two stone boxes
containing the relics of Sariputta and Maha-Moggallana, the two chief disciples of the
Buddha, were discovered. The Stupa was rebuilt between 1912 and 1917.

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 CONCEPT OF FORM, COLOR AND MATERIAL

 TORANAS- Toranas are the entrance to the ambulatory and were accepted as the traditional
type of ceremonial portals and excel the array of architectural embellishment. It consists of
two square upright columns with capital of lion or elephant heads denoting strength. These
columns support three separate horizontal panels between each which is a row of
ornamental balusters. The total height of this erection is somewhat 10.36cm with a width of
3m.

 RAILING OR VEDICA- The vedica or railing consists of upright octagonal plan 45cm in
diameter spaced at 60 to 90cm from each other and connected by three lens shaped
horizontals called ‘suchi’ or needles 60cm deep being threaded through the holes of the
upright. The top horizontal bar is provided with coping to drain out rain water. The tall railing
was made of limestone.

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 STAMBHAS OR LATS- These pillars bear inscriptions on their shafts with emblems or
animals on their capitals. They are based on persepolitian type which is an octagonal with bell
shaped capital supporting animal sculpture. The shaft is highly polished and has a vase-
shaped base.

 DOME- The main part of the Amaravati Stupa was a solid great dome which most likely
stood about 18m high. The dome was made of pale green limestone which probably painted
with bright colors. The lower part of the dome was covered with large stone reliefs.

 AYAKA PLATFORM- A small platform extended out from the drum of each gateway. Five
pillars were mounted on top of each of the ayaka platforms.

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 PILLAR- Facing each gateway into the Amaravati Stupa was a group of five pillars. The pillars
were mounted on a special platform called the ayaka which was a part of the drum and
extended out from it.

 LION- Lion sculptures were placed at the gateways to the Amaravati Stupa. Lions
represented power and strength and were meant to ward off evil spirits and protect the
Stupa.

 CHAITYAS- They are temples or scared spots at the end of which a stupa is carved in natural
rock with enough space around it for circumambulation. The roof is usually semi-circular.

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MATERIALS USED IN MAKING OF THE GREAT STUPA
The Great Sanchi Stupa with its massive railings and the four highly ornamental gateways and other
stone works records one of the earliest uses of Vindhyan sandstone for buildings, decorative works
and carvings. Fragments of a stone umbrella of Vindhyan sandstone with mirror-like polish have also
been found. The original stupa made by Asoka was half of its present dimension. It was built in bricks
with mud mortar. 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. During the 2nd century
B.C., this was enlarged and reconstructed by encasing it with dressed blocks of Vindhyan sandstone.
The rock was either quarried locally or was brought from the neighboring hill of Nogauri. The casing
of ashlar masonry with hammer dressed stones was affected by constructing an encircled envelops
at a certain distance from the core, and then the intervening parts were filled with big slabs of stone.
This is most significant in the sense that it marks the beginning of the use of dry stone masonry in
India.

Different types of Vindhyan Sandstone

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CONCLUSION

The Sanchi Stupa has been listed among UNESCO World Heritage Sites since 1989. The
national emblem of India was derived from the Ashoka pillar of Sanchi Stupa. 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. The Stupa
actually symbolizes the life of Buddha and his final release from the cycle of birth and rebirth
(Moksha). A typical example of a Stupa and an excellent illustration of the development of
Buddhist art and sculpture starting from the third century BC through the twelfth century
AD, the Sanchi Stupa attracts hundreds of visitors from across the world. Enlisted as a
UNESCO World Heritage Site since 1989, it is counted among the best conserved ancient
Stupas of central India. This fascinating and world famous Stupa and other structures in
Sanchi portraying brilliance of Buddhist art and sculpture attract attention of thousands of
visitors round the year including national and foreign tourists, archaeologists and historians
among others.

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 BIBLIOGRAPHY

 asi.nic.in (Archaeogical survey of India)

 www.quora.com
 www.softronindia.com
 www.bridgemanimages.com
 www.nationalmuseumindia.gov.in
 ignca.nic.in

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