Sharma Bharhut Sculptures

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First l'ubUsh~-d in India 1994

© R.C. Sharma

AU rightS reserved. No part of tills book may be reproduced or tranSmitted in any form or by any means, electronlc or mechanlcal, including photocopying, recording or by any information storage and retrleval system without pennis.o;ion in writing from the publishers.

Published by Shakti Malik Abhinav Publications E-37, Hauz Kha.' N~-w Dcllii-110 016

ISBN 81·7017-308-6

Layout by Dolly Sahiar

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Contents

Preface 9

Bharhut Sculptures 11

Bodh i Tree I 6

Miga Jata.ka 18

Yavamajhaldya Jata.ka 20

Maya's Dream 22

Gift of le!avana 24

Eriipalii Worships the Buddha 26

Gaja-Lakshmi 28

Full Vase 30

Dancing Peacock 32

Humorous Scenes 34

Monkeys and Elephant 34

Yaksha and Monkevs 36

Chhanda Yakshi 38

Horse Rider 40

Warrior 42

Naga King Cha.kav:ika 44

COpings 46

A Bird's Eye View of Inheritance of Symbols

of Buddha from Barhut to Borobudur 49

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M..1tcnat chron1ony pr.1wcm lll'torskir •

PREFACE

The great st1ipa of Bbarhut e rected near Satna in Madhya Pradesh in the $U1iga period (2nd-1st century B.C.) represents the people's movement in sculptul"dl art and architectural science in ancient India. Its re-exposure by General Alexander Cunningham in I 874 was an t:poch·making event in the history of archaeological expeditions. The wonderful remains saw their way to the Indian Museum, Calcuna where these are on public view si.nce 1876. Subsequently, Shri Bl"dj Mohan vyas also acquired the sculptural pieces from the neighbourhood for the AJJahabad Museum in 1926.

Cunoiogham (A.), Barua (B.M.), Majumdar ( N.G.), and Ghosh (Anv;nd) wrote special monographs to highlight the merits of the Bharhut complex. Besides, almost all scholars writing on the t:arly Indian art, architecture and cultural history have been discussing or mentioning thiS great monument in one way or the other.

Dr. Mulk Raj Aoand, renowned scholar and art historian, in his capacity as 'Visitor· to the Ind.ian Museum, Calcutta made a suggestion when the present author was Director of the Indian Museum, Calcutta to bring out a handbook oo Bharhut which could be used by general viSitors and scholars alike ..

The Bharhut remains arc unique for several reasons. This is the first experiment of the use of stone on such a large scale. The inscriptions inform that people from different regions and belonging to di.ffereot sects donated for the construction work. It hints at the emotional integrity prevailing in t:arly India. The epithet 'Thupadasa· indicates nor only the reverence of the people to the edifice but also its wide popularity among the masst.'S.

The sculptural rt:ma.ins do · serve as mirror 10 study the contemporary society. Exquisite carving of beautiful lotus and vine scrolls, a variety ofdecorative motifs, rich flora and fauna, garments and ornaments, dwellings, shrines, etc. are the imprints of inclination and taste of the people in the pre·Christian centuries.

Appreciation of the sculptural art of Bharhut is the propagation of environmental preservation, the necessity of which is being realised now throughout the globe. These sculp tures are very close to nature which really dominates over the human form. The animals, birds, trees, bushes, creepers, and flowers have been rendered in abundance as integral pan of the composition and emerge as eo-actors or co-sharers with men. Some of the tret.-s are to be conceived in the form of deities as Buddhas have been represented through different trees.

The Bharhut rails represent the open air exhibition of andent India and this idea iS particularly formed by inscribed captions of the narrated themes on the copings and the rallposts. Thl~ exerciSe aimed at proper identification of the Buddhist folklore which was still at the stage of infancy. Some jiitaka scenes are nearer to Ramiyana than to the Buddhist chronicles and this hints at the proct.-ss of assimilation. The depiction of Gajalakshmi, Garudadhvaja etc. also leads to the same conclusion.

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Material chroniony prawem autorskim

lbe present handout surveys these. basic charactertstics of the sculptural art of Bharhut in brief and also exposes its artistic merits.

On behest of Dr. Mulk Raj Anand, Shri Shakti Malik of Abbinav Publications has taken much interest in bringing out. the book io as attractive form as possible .. The Board of Trustees, Indian Museum, Calcutta and pa.rticularly my successor Dr. S.S. Biswas, Direcwr/Secretary have permitted its publication besides providing necessary help. Dr. Chhanda Mukherjee and Dr. Aosua Scogupta, Curators and Smt. Suniti Sen assisted me in many ways. While the black and white photographs are by the staff photographers of the lndi.an Museum, the colour transparencies were prepared by Shri R.K. Oattagupta of Delhi. My sincere thanks are due to all of them.

Prof. B.N. Mukherjee, an Indologist of global fame and the senionnost member of the Board of Trustees of the Indian Museum, Calcutta has always imparted valuable lips as my academic and research guide. r have a great pleasure in dedicati.ng th.is monograph to bim.

National Museum New Delhi

Dr. R.C. Shanna Director General

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BHARHUT SCULPTURES

With Bharbut begins a grand tradition of stone architecture and sculptural carving In India and among other rarities, !he Indian Museum, Calcutta is particularly known for !he unique antiquariJin wealth which once formed part of !he great Bharhut stt4pa. The tour of the visitor to !he Indian Museum which is !he earliest and !he largest multipurpose museum in India commences from. the Bharhut Gallery, situated to !he right (southern side) of !he entrance verandah.

Situation: The village of Bharhut is to be located between l.at. 24 N and Long. 80 E. It is about 10 km to north-east of Uchahara and 15 km south of Satna In Madhya Pradesb. It was here !hat Sir Alexander Cunningham, !he first Director General of !he Archaeological Survey of India, discovered !he remains of a sttipa in 1873 and added an important chapter in !he annals of sculptural art of India. One hundred forty three pieces were shifted to Ibis Museum in 1875· 76 and the proposal to send !hem to London did not succeed. About fifty finds were acquired by Pt. Brlj Mohan Vyas for !he Allahabad Museum. Thus !he glory of Bharhut stii.pa is now mainly shared by !he Indian Museum and partly by !he Allahabad Museum in 1926 and some stray piect:s adorn other museums and art gallt:rit:s including !he National Museum, New Delhi The great stzipa, for centuries, served as a quarry to extract bricks and stones for building activity in !he adjoining region.

Concept of Stupa: The word stiipa is to be traced back from the early Vcdic period where it occurs in !he sense of a huge shining pile, pillar of fire, mound of gold etc. This connotation to a great extent applies to a Buddh.lst monument Uke !he stupa of Bharhut as it symbolised !he extinction of !he body of !he Buddha, the Enlightened One. A stt4pa was raised on the pyre or !he bodily relics of great souls. As gold and lire shine, a ·stiipa also shone through several rows of lamps. During the course of excavation Cunoingbam found on the south-east face a portion of a cylindrical base and its upper part bad a series of triangular-shaped recesses which were intended for lighting the lamps. The number of .such recesses in each row is calculated to be 600 and !here wete several such rows. Now one can well imagine that a network of thousands of diamond-shaped niches when. Ut on all sides transformed the monument into a splendid light tower and it must have been a wonderful view from a distance at night.

Fire, light and lustre are some of the common factors in the concept of the Vedic Yajna and the stiipa. These also symbolise knowledge and the great man or the yogi, possessing it. Prince Siddbiirtba on attaining the BOdbt (Enligbtenment) became the Buddha (Enlightened One) or the Samyak Buddha (Perfectly Enlightened One) and the relics of such great souls conveyed the sense of Eternal Ught. Through his preacbings (Dbarmacb<lkra prauartana) he lighted the flame of knowledge. Thus light and knowledge represent tbe real essence of life and not death. The supernatural beings like the Buddha became immortal after their death


(N/T'II(ina) and as such their demise was nor to be mourned. 1t was an occasion of joy anci rejoicing and this is evidenced by the Ugbting of countless lamps on the sttipa and several scenes of merry·making on the railing of the stilpa. A slilpa, therefore, signifies the transformation of sorrows into joys and the bodily remains deposited therein were beUe,·ed to retlect ligbt and knowledge.

The two great sttipas at Bbarhut and Sanchi in Central India were built to glorify Buddhism-in the pre-Christian cenruries just after ASok:l and these were situated on two important nerve land-routes of early India and served as 'two \<alves of the pulsating heart of Madhyadesha sending out cultw-al effusion in all directions.'

Period: The main stilpa at Bharhut was commissioned in the 2nd century B.C. but the spot continued to be held in higb esteem by the followers of Buddhism upto the I Oth century A. D. The epigraphic evidence on the left pillar of the Gateway proves that it was put up during the Sunga period i.e. 2nd-1st century B.C. It is read as:

Suganain raje raiio Gagiputasa Vtsadevasa P( o )tena Gotiputasa Agi:lrajasa putena Vacbbiputena DIJanabbiitina Kiiritam toranain Slliikammata ea upam1a.

' In the domin.ion of Sugana (Sungas) this Gateway alongwith the stone (.'arving and plintlt (uparma?) was caused to be made by Dhanabhiiti, son of Vachbi and Aga Raja, son of Goti and grandson of Vl$adeva, son of Gagi.'

AtCIJitecrure: In .the centre of the site of the stilpa., bodily remains of the great man were deposited in a casket (DIJiitu Manjus!Jii) which was covered by coating of mud and this was further encased by ditferent layers of bricks. Sometimes, stone was also used fur encasement but in case of Bharhut only bricks were preferred. The brick work was finished with a th.ick layer of p laster on the exterior. The superinlposition of layers after layers shaped the stilpa as a huge hemispherical dnme (AntJa) with a cyllndrical base or drum the top of which was truncated to form a pliuform. It was surmounted by a square railing enclosing a pedestal (Harmikii) which supported the shaft with umbrella (Cbbalrayasbtl) of stone. Not much was left on the site of Bharhut but a conjecture can be drawn from the sculptural representations of the monument. This brick stilpa in its original form measured 20.65 m in diameter at the base of the drum (Medbi). The shape of the brick was square measuring 30.5 x 30.5 x 9 ems.

Railing: For protection of this sacred brick dome a stone fencing ( Vedlkii) was ere.cted all round leaving a wide gap of 3.15 m for circumambulation (Pradaksbtf!d) by devotees. The railing became the most conspicuous feature of the slilpa architecture and served as mirror to get familiar with art, architecture, religious belie& and the contemporary social life. This masonry structure had four quadrants and lour gateways facing each direction. The access to the stupa was not direct from the gates, instead a return 'L' ·shaped railing was provided near the entrance to avoid the access of the wild animals to the inner circumambulation path. This scheme shaped the ground plan of the monument as a large antidock Svastlka (cross). The inside diameter of the railing measu.red 26.95 cm.

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Material chroniony prawem aulorskim

The entire railing was divided into four quadrants each of which had sixteen monolithic piiJJlrs and terminated into a return rail forming an indirect entry to the shipa. The rai.ling lud four components viz. the ground balustrades (Aiambatla plndtkti) which remained un<!er earth and supported the upright pillars (Stambba or· Tbabba) each measuring 2.26 m in height and covered by a horizontal coping ( Ushnisba) of 2.23 m length. The two railposts were joined by three parallel crossbars (Siu:his) which were set into the vertically cut mortices of the sides of the pillars. "Jbe scheme followed the wooden pattern in fixing the architectural members of the railin.g by inserting the tenon into the socket but no mortar was used.

Gateway: The majestic gateway (Torana) In each direction had two tall pillars with square base, octagonal shaft, bell or vase·shaped capital with lions seated back to back. These support three parallel architraves with spiral PJ'Ojecting ends representing crocodiles. The space between the architraves was filled by small pillar statues. The uppermost archirrave in centre was crowned by a decorated honey-suckle which \\'aS further surmounted by a spoked wheel (Dbarma·Chakra). "Ibis was flanked b)' two Trirattzas resting on the pillars. The arellitmves were decorated with animals advancing towards the object of worship in the centre. None of the four gateways was found exc(.-pt the eastern one which could partly be retrieved and re-erected as conjectured by Cunningham. The idea of the railing and gate can be had from Pls. I and 2. The railing was profusely carved and depicted a variety of themes and motiiS besides the world of nature.

An Open·Air E:xhfbltion: The commissioning of the stupa aimed at showing reverence to the Buddha and also at spreading his message among the masses. TI1e first mission Le. religious or devotional was mainly achieved by the erection of the stiipa which was circumambulated hy the devotees. The second mission pertaining to dissem.ination or propagation of the Master's thought was fulfilled by the carvings of railin.g. It is in f.tct an open·air exhibition imbibing several essential characteristics of an art gallery. Labelling of scenes in the contemporary Brabmi script is the most significant part. Since the Buddhist literature and legends were still at the stage of compilation and codification, the labels inscribed on the Bharhut rails greatly helped in identification of the illustrated episodes. The epigraphs also indicate that a good number of people were literate and could enjoy the pilgrimage or visit to the monument through dedphering the inscriptions. Some scholars like B. M. Barua even conjecture the possibility of the presence of the guides to explain the meaning of tile carved motifS and the narrations.

Besides Brahmi epigraphs found in large numbers some mason's marks have been read in Kharoshthi and Prof. B.N. Mukherjee has deciphered a few shell (Sankha) script writings or which one is dated in the year 90 pwbably of the. Saka era.

Assimilati01l: The stiipa of Bharhut bespeaks of a process of assimilation of different faiths in early India. it was essentially a Buddhist monument but several folk and pop1Jiar deities found p.lace on rails. These have been named as Yaksha, Yakshi. Devata, Kokli, Nliga etc. Slrimii Devatii stands straight on the milpost with right band raised up, Sudarshanli mounts on a fish-tailed crocodile, Chulukoka tramples an elephant and Chhanda bends the branch of a tree and probably a deer is seen below the feet. 1t is, however, not possible to state that the mountS o r posture represent

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Marep1-1an. 3allll-1llleHHbl~ asropCKI-1M npasoM

a specific iconogr•phic characteristic of the deity'. The sna.ke canopy w"-' of couJ:SC a standard mark for the Nagas . .

It appears that several folk deities were given place on the monument. On rhe othc::r hand, female deity on lotus being anointed by two elephants is ro be idemified as G'•Jalakshmi but rhe inscription above the medallion does not record ir as such. One is inclined to identify the lady on a lorus playing on a harp as Sa.r3Svatl but the t'Pigraph is silent about it. There are severaljtitaka scenes (narration of the previous births of the Buddha) but a few Uke Oa_~ratha jataka, Isisinga Jataka, Mriga jata.ka ere. have a link with rhe Ramayana legends. TI1e discovery of the Ma!Udeva pillars, the whereabouts of which are now unknown, also points ro the fa.ct that the sectarian rigidity did not exist and there was a good deal of interaction becween the followers of different creeds.

The votary inscriptions on the railing testify rhar devotees from different places in central, northern and south central India came ro pay homage and donated ror the construction of the stl<pa complex, a fact indicating the national importance of the monument. No donor seems to have come from the Punjab, probably for the fact that the condition of that n:gion was disturbed and uncertain due to repeated intrusions by the foreigners and particularly by the Indo·Greeks. We do come across some alien elements such as balusters and pillar statues of the gateway bearing a single Kharoshlhi letter which in all probability should be a mason's mark indicating thar some masons from the north·westem frontiers were engaged in the construction work. The row of stepped pyramids intrOduced by blue Iorus on the upper border of copi.ngs, some strange and fdbulous cre-atures and a warrior dad in the non-indigenous attire are the typical alien trends assimilated in the Indian sculptural art in the pre·Christian centuries.

Nature: Bharhut sculptures are known for the wonderful depiction of narure. The large undulating lotus creepers or the meanders issuing from the full vase, bushes, trees, plants, birds, animals etc. have been exquisitely rendered in abundance that a feast to eyes is presented. The Oodhisatrva takes birth in different forms of nature and at this plane the nature emerges as the co-sharer with the sentiments of human beings. While the Buddha could not be represented in the an.thropomorphic form in the art of Bharhut owing to the then canonical interdictions, his presence was aniconically conveyed through different forms of nature such as the Bodhi tree, lotus, elephant, lion, horse and deer. Consequently, these elements of nature were given the same respcer as the Buddha himself.

Artistically, also the delineation of nature in Bbarhut is of superb quality and this has been appreCiated by scholars like james Fergusson who observed, 'Some animals such as elephants, deer and monkeys are beuer represented there than in any part of the world; so too are some trees.' Thus both flora and fauna have been rendered in superb form by the sculptor of Bbarbut.

Artistic Features: Aesthetically, Oharbut represents a noble experiment in early plastic art of India and suggests a step forward in the architectural concept, technique, spirit and attitude of man in relation to his ~-urroundings. The sculptures are in low relief and their fluid linear rhythm, preCision of carving and conceptual human form are some of the notable features. The flatness and surface depictio n

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dominate over the concept of depth. The figures are, therefore, shown one over the o ther and nor behind. '!be size of object is not dependent on the optical demand but follows the functional aim. Male turbans are either bicornate or one·sided and the necklace is often 'U' ·shaped. A folk element in delineation is prominent.

The Bharhut sculptures present a rich variety of decorative motifs. The full·blown lotus and lotus creeper are very popular. lbe other motifS which have been ra~tefully chL<iellcd include honcy·suclde ( resembling the snake canopy), rosette, tlowing scroll often laden with fruits, ornaments and garment conveying the concept of Kaipalatii-wish·fultilling creeper, stalked buds and flowers oozing out from the body of a Yaksha or Yakshi, different trees associated with the Buddha (Bodhi LJriksba ), swan, dancing peacocks, fish·tailcd crocodile, tortoise, deer, elephant, lion, composite figures (Jhilmrlgas), mystic cross (SLJastika), nymphs and lotus medallions showing male or female busts in centre.

The female figure in Bharhut often symbolises a virgin nobility. l be beauty is seen in natural form with no overtones or imposition. lt is further devoid of amorous and erotic overtures and the voluptuous bosoms which appear later. Suggestive and attractive looks and inviting gestures have also not emerged and the ladies represented, play a simple and i.nnocent role. They have no imention to expose their physical cha.rm either in form of deities or devotees. The cupid in Bharhut remains calm, restrained and subdued. While this countryside art Is rather free from the urban sophistication, some scenes of cosmetics arc noteworthy.

Narration: A distinctive characteristic of the sculpturdl art of Bharhut is the continuous narration which justifies its name given by B.M. Barua as 'Story Teller'. Various stages of a theme have been illustrated in continuity. Sometimes different happenings of a story have been carved in the same panel or medallion. Identification of narration was made by inscribing the labels.

The Jataka (pre,;ous births of the Buddha) stories found preference in the Bharhut narrative. About two dozen Jataka scenes have so fur been identified: Miga, Naga. Yavamajhakiya, Muggapakaya, Latuva., Chbadanta, Yambumano Avayasi, Kurungamiga, Hari:lsa, Kinn.ara, Asvadrisa, Da5aratha, lsisinga, Uda, Sechchba, SujatagabutO, Bidila, Kukkuta, Maghadcviya, BL~haharaniya, Vidurap;u:odita, Gajasana and Vessantara. The Bharhut remains in the Allahabad Museum depict the following Jataka stOries: Bisha, Mahadeva, l.atu.kika, Sujita, Manikantha, Mahajanaka, Vessanta.ra, Mal1akapi, Vidhura·pandlta and the Chhadanta. Of these·a feVI• may not be connected with the birth of the Buddha/Bodhisattva but have been captioned as Jatakas following an established convention.

The sole idea behind such narrdtions is to project the benevolent nature of the Bodhisatrva who is full of compassion and piety and suffers all miseries happily for the welfare of others. He is prt:pared even to sacrifice his life. These godly virtues greatly in.~pired the people to follow the path of Dbamma or righteousness as propagated by the Master.

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BODHI TREE

A Bodbi tree represents the tree under which the Buddha attained the Bodbi (Enlightenment). The depiction of such theme has been a very popular subject in the Buddhist sculptural art. At Bharhut we come across six Bodhl trees associated with six different Buddhas. These are:

1. t>ataH with Vipasyin ( tbc ea.rlkst Buddha) 2. Sa.ia with Visvabbu 3. Sirisba with Krakucbanda 4. Udumbara with Kanakamuni 5. Nyagrodha with KaSyapa 6 . P.ippala with Sakyamuni

The Bodh.i tree illustrated here belong_~ to Ka~yapa, hence to be identlfied as Nyagrodha (Ficus lndica). Carved i.n the centrdl medallion of a railpost it shows the Bodb.i tree on a pedestal. Several garlands bang from its branches and stem and male devotees stand with wreaths. Bicornate turban is typical of the Sunga period. Their female counterparts kneel in worship and one of them sits on a cushioned seat which may perhaps suggest ber higher status.

The lower part of the circle depicts SJalked buds suspcnd.ing at two corners. The upper part bears full·blown lotuses on two sides with elephant facing tbe opposite direction. The Bcihmi in the blank space reads 'Cbakulima;,• sangbamttasa tbabbo dtmari1 i.e. the pillar gift of Sanghamitra of Chaknliina; and second line Bbagauato Kasapasa BodJJf i.e. the Bodhi tree of Lord Ka~yapa.

The back of this pillar is carved with a medallion with a male bust inside full·blown lotus and lotus buds with four geese.

Ace. No. 295 16

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MIGAJATAKA

ThiS Jataka ( previous birth of the Buddha) story iS carved in the medallion of a railpost. Once the Buddha was born as a Royal Deer. During the course of a big famine the people staned killing deer. A large flock of one thousand deer was divided into two separate groups of which one was led by Lakshana and the other by Kala. The former led through a safe way and returned with ati his fcllow deer intact after the famine. The latter, however , returned alone as his entire flock died of miseries and hunger for choosing a wrong path. La.kshana in the story is associated with Siddhartha and Kala with Devadatta.

in the medallion several stages of the episode are shown. First a hunter is making the deer as a target of his arrow in the famine. The Royal. Deer Lakshana sits majestically under the tree after safe re turn with his flock shown five in number probably suggesting th( first five disciples at S3rnith ( Mrigadava) in the future birth. He is being greeted or respected by the people of the region. On the other hand, Kala's return is shown through a dangerous river losing his followers. The story iS differently explained according to versions available in the texts.

The epigraph on top record.~. 'Putasa tbabbo dtinam' i.e. ' the gift of the pillar by the son'. The second line Is read 'Mtgajiitakam' i.e. the )ataka tale of Deer' .

The four corners of the medallion show stalked lotus buds. The legs of SO!Ile divine figures are seen In the upper lotuses.

The other side of the pillar illustrates the scene of the gift of ) etavana grove by Anathapindaka.

Ace. No. 1Z9 18

Elements sous droits d'auteur

Copyngiltcd matenal1

MAYA'S DREAM

Before the birth of Gautama his mother Mayii Devi saw a dre2m in which a divine elephant descended from the Tushita heaven and entered her womb. The scene is carved on the medaUlon of the rallpost. The queen sleeps on a couch with her right hand. A 12mp with high Stand bums towards her feet. Two attendants seated on cushion seem half asleep while the third one has her hands folded in adoration. The divine dephant approaches her from above. 1be inscription on top labels it as the descent of the Lord: Bbagavato lflmlint£ Floral depiction is noticed above with feet of the nymphs on the upper two corners while the creeper Is laden with fruits.

The back of the pillar depicts the tale of the lsisinga (Rtsbisbrlnga) jataka.

Ace:. No. 93 22


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GIFf OF JETAVANA

Carved on the medallion on the rallpost the episode lllll'tates the purchase of the }etavana grove at Sravasti and Its gift to the Buddha AnithapJJ:l<;Jaka a big merchant or banker wanted to purchase a piece of bnd at SriV2Sti and to gift it to the Buddha for the construction of a monastery. Prince }eta, the owner of the bnd, agreed to part with it if the entire ground was covered by the gold coins. The hard term was accept.ed and the coins were brought In bullock C2rtS and spread in the grove, typified by the trees. The man standing behind the buUs may be the Prince }eta examining the coins. From the literary sources it is revealed that a total number of eighteen crores of masuran.s (gold coins) were spread On completion of this taSk the merchant held a spouted water vessel to .make gift to the Buddha whose presence has been conveyed by a Bodhi tree in railing.

The depiction of two cottages labelled as 'Gandbakutf" on top and 'Kosambakufl' on side further confirms his offer for erection of the monastery. The event is witnes.'lc:d with great surprise and respect by the dtlzens. The Brihmi epigraph below reads: ]ewvane Anadbaptndako dett kotlsantbatena lteta ' I.e. Anathapindaka presents }etavana. after Its. purchase for crores of coins.

The past is represented by the trees in the }etavana grove, the present is shown · by spreading of coins and Anathapindaka's posture of making the gift to the Buddha (Bodhi tree) wblle future is lndlcai.~ by the twO cottages which would form lbe part of the moii2Stery to be built on the site.

The other side of the pillar depicts the Mrlga Jiitaka tale.

Ace. No. 156 24

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ERAPATA WORSHIPS THE BUDDHA

The scene iS illustrated in the ml(ldle compartment of a minutely carved corner pillar. The Naga king Edpata or Elipatra comes to pay respect to the Buddha who has been shown here as Bo<lbi tree on a platform an<ltwo garlan<ls suspending from it. First he appears in hiS serpent form with five boo<ls. He comes torwaro and appears in human form with a five-bOO<Ied serpent crest. He is foUowe<l by his two queens who wear single-hoo<led canopy. They arc aU In a<loration pose. Lastly the king kneels un<lcr the Bo<lb1 tree to pay homage to the Bu<klha. The epigraph bebin<l him rca<ls 'Erapato Nagariija Bbagavalo Vandale' I.e. the Naga king Edpata pays respect to the Lor<l.

Yet another loscrlption on the left lofonns that it is the gift of the rcvercrut Isadlna of Bbanaka, 'Aya Isadinasa Bbanakasa danain'.

The part of the upper compartment represents Prasenajit's last visit to the Buddha in a chariot <lrawn by four horses whose· manes have been shown In stylised fashion. To right is seen the city gate from which the king is <lepartlng. 1be Inscription on its top rea<ls: Raja Parenaji Kasalo i.e. King Prasetiajit of Kosala.

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G.t\JA-LAKSHMI

This beautiful motif is carved In a medallion on both sides of a l"ltilposL It shows a full vase (PUI"f}Qgba{a or MangalakalaJa) with overtlowing stalked lotus buds and llowers. On the central flower Stands Lakshmi holding a stalked lotus with her left hand and touching the left breast with the right hand. She is llanked by two elephants who stand on the full·blown lotuses and anoint the deity with the vases held In their upraised trunks. From the lower outer ends of the medallion suspend buds w)lile upper part on two corners shows swans perched on the full-blown lotuses.

Between them is incised an inscrip tion reading 'Moragirlbma Tbupadiistsa ddnain tbabbo' i.e. the pillar is the gift of Thupadasi of Moragiri. The inscription is Important for the fact that the name of the donor is recorded as Thiipadasi i.e. maid-servant of the stupa. Either she was employed in the stiipa complex or for her respect to the monument she made the gift. If the name is taken to be a real name and not the tide this points to th.e popu.larity and reverence of the Bharhut stiipa among the masses.

Ace. No. 177 28


m lLJ r ku

FULL VASE

The: mmaiJion on the cross bar shows a full VliSC (~or Mangalakalata) with overflowing stalked lilies, lotuS buds aod full-blown lotuses. Four swans arc. seen perched on the perlcarp of the overblown dowers. The full vase symbolises life and merriments. This is an cxquislle depiction of ftGra and fauna Cor which the sculplures of Bharhul are known. The left upper cornc:r bears a rubbed olf inscription recording the: gift of some devolee.

Ace. No. 101 30


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DANCING PEACOCK

This medallion is carved on a cross bar which was fixed between the r:wo posts of the stupa railing. It shows a dancing peacock with full plumage. Two peahens gently approach him from either side ticking the paws of their dancing companion in a sense of appreciation.

The Inscription on the left top corner reads 'Sfrimasa dimain· i.e. the gift of Sirimii. The back of the cross bar also illostrates the dancing peacock.

Ace. No. 12S 32


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Matcnal chron1ony prawer1 autorskun

HUMOROUS SCENES A. MONKEYS AND EI.EPHANT

The medallion on the cross bar shows monkeys. playing with an elephant wbo has been tied with a rope. Three monkeys are seated on the bade, one .of wbom holds a goad The founh one is standing on the. tuSks of the elephant In a bid to

' climb while the fifth one climbs from the back. Besides, three monkeys In the foreground play on musical Instruments viz. trumpet, drum and IJamaru. It is quite likely that the elephant Is a Bodhisatn'll wbo ungrudglngly bears the torture caused by the monkeys wbo are knQwn for mischief. Execution of monkeys and specially the elepbant is natural and rem;uicable.

The epigraph on the top is 'Veatsa Tabbuta .Raksbltasa Danam' i.e. the gift of Tabhuta Rakshlta of Vedlsa.

The back of the pillar is also carved with scene depleting the elephant and monkeys.

Ace. No. 119 34


Elements sous arOits a auteur

B. YAKSHA AND MONKEYS

This is another humorous scene shown in a medallion of a railpost where a giant Yaksha seated on a stool is being tortured by the monkeys who play their role as trouble·shooters. They are using a large clipper to remove the hair from the nostril of the Yaksha. The instrument tied with a rope iS being puUed by an elephant who is being driven by beating, piercing of goad and also by making noise through trumpet and drum beating. One monkey ev~'D bites the tail of the elephant. Another monkey is scratching the palm of the Yaksha but he is neither moved by monkey tricks and torture nor does he protect against teasing and torture in the true spirit of a Bodhisattva.

Stalked lotus buds are seen on four sides of the medallion.

On the back side of the pillar is the story of Yavamajbakiya Jiitaka.

Ace .. No. 191


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CHHANDA YAKSHI

The corner pillar Is carved with a beautiful damsel Yakshi wearing several ornaments such as flat necklace, Stanabiira- stringed necklace falling between the breasts, girdle with five strings, armlets, wristlets and a cluster of anklets. Besides a jewel on the forehead, she has covered her head with some embroidered scarf. The entwined tr~'Sscs suspend on front from the right shoulder and fall behind. With her left hand she seems to be tightening her girdle and the arm is raised up bending the branch of a blossomcEI tree the s tem of which is held in the grip of the left leg. She stands on a winged deer.

This posture when a lady standing under a tree bends its branch became very favourite in the sculptural art of India and was known as Satabbanjlkii. If she kicks the trunk of the ASoka tree with her left foot it is supposed to blossom. Such act was called as Oobada and the tree was always desirous of such kick (Vamapitdiibhilasbi). Artistically the figure of the woman betrays grace and chann and the body is fuU of action alongwith the feet which suggest a dancing pose. The inscription labels her as 'Cbbandii Yakhi' i.e. the Yakshlni Chhanda.


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WARRIOR

The upright railpost represents probably a warrior witb a sword suspending to his left side and in his left hand he holds a ftower witb leaf. His other wearings befitting a soldier are armour, Oat large fillet behind head, broad wailit·band and buskined boots tied witb laces. Lower dhotl·type garment •hangs down forming schematic rows of loops looking like chains. Uke otber standing figu.res of Bharhut his feet are spread in opposite directions. His position on 'the. r;liling and ftower in tbe hand gi\•e him somewhat divine status and some scholars are inclined tO identify hlm as Silrya (Sun god) who in tbe later period was shown witb stitched garments and shoes and tbis fashion was known as Udicbya vesba ( nortbem attire) prevalent in tbe nortb.

The inscription above reads 'Bbadanta Mabilasa tbabbo diinam' i.e. Pillar gift of tbe lay brotber Mahila.

Ace. No. 112 42


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NAGA KING CHAKAVAKA.

"llte Nagas were the popular deities or chiefs held in high esteem by the masses, hence their depiction naturally found place on the Bharhut rails. Their main cognizance was the Nag;~ (serpent) hond over the head. They were accepted b)' the Buddhi>-r church as devotees who often came to pa)' homage to the Buddha. Eriipara and Chakav:ika are the well-known figures.

Here on the corner railpost stands the Nag;~ King Chakavaka with his hands clasped in adoration across the chest. Besides a double-knotted turban, he also wears a five-headed snake canopy over the head. Necklaces, armlets and wristlets with several strings are his ornaments. His feet are shown spread in opposite directions as by this period frontal depiction of hands and feet had not emerged.

The horizontal inscription on top reads 'Dbanna Raksbitasa Dilnam · i.e. the gift of Dharma Rakshita. Curiously, we find that Brabmi alphabets in the second epigraph have been used vertically also, the reading is 'CbaJuwiiko Nagariija' i.e. the Nag;~ King Chakavfu. TI1e back side of this rail post shows Ganglta Yaksba and on another s ide Viri•dhaka Yaksha. The Yaksha worship was equally popular in early India and the Yaksha.s like Nagas were also assimilated in the Buddhist fold .

Ace. No. 195 44

Marep1-1an. 3atlll-1llleHHbl~ asropCKI-1M npasoM

Marep"'an .lW"'lUC~Wbll-i .J& ropCK"'M npilnOM

COPINGS

The topmost component of the stripa railing was called as Usb'!isba (coping). Titc horizontal block of the stone had recesses cut on the base to receive the tenons of two or three rail posts. The upper part of the coping was made round and smooth. Tite two sides were c:trVed with decorative motifs, lows creepers, row of bells,

M

Rowers, Kalpalatii sometimes issuing from the kneeliog elephant trunk an<! forming several loops emitting garments, ornaments, trees, birds and anintals. The jiitaka episodes or mher stories are also depicted inside tbe scroU.

Of tbe two copings illustrated here tbe first represents a Kalpalatii (wish-ful611ing scroU) flowing from tbe elephant trunk and issuing garments and ornaments. A charging lion is seen in one of tbe loops. The epigraph recorded behind tbe elephant reads 'Ay.mag;adevasa danam' i.e. the gift of reverend Nagadeva.

The second coping inside tbe flowing loops represents from left a bird-faced animal, rwo large fru.itS, story of Sujiita Gahutajiitaka, pearled necklaces and Bidlila and Kukku!a Jiitaka. Two Jataka tales. are as under:

A BJ:IU)'S EYE VIEW OF INHERITANCE OF SYMBOLS OFBUDDHAFROMBARHUTTOBOROBUDUR

The miracle tlt:u legends of the Buddha's Ufe-scarch contmued for centuries after his Nirvana ( deathlessness) is a miraculous fact of our sp iritual history!

1be first existentialist of the world, Gautama Buddha, who believed in phenomena as passing sho w, for which tlte cause was not known, and of which deatlt was the inevitable end has been rcmcmber<.-d as an immonal. And talcs of his various incarnations, as Bodhisanva, Potential Buddhas, have been told from the time when he passed away.

1bls is a miracle Indeed.

The illumined One bad exhoned that there will be an image of him.

But, as was said in the early forest books 'ldt:as for tlte learned - images for tlte folk', popular will prevailed.

And tlto ugh tltere have survived some sacrificial altars of the Vedic period, mere is no surviving image, if tltere were indeed·aAy, carved or painted, only word images and tltoughts of tlte Vedas have come down.

The earliest finds of Buddhist imagery are of 2nd·lst century B. C. in Barhut e:"cept for the Ashokan shrine in Sanchi of 3rd century B. C.

One is constra.ined to ask why and bow and when were the Birth stories about tlte words and deeds of Buddha of various incarnations as potential Buddha, begun 10 be told.

The reasons for telling of Jataka tales may have been that the scriptures of Buddha's tltoughts, which bad begun to be compiled after tlte First Council of Buddhists, were too subtle to be passed on to Bhlkshus and tlte lay public. Only fitbks about Gautarna's words and deeds as potential Buddha could be told to the fo lk for Inculcation of his teachings.

It so happened, then, tltat, apan from tlte hymns of the Vedic Aryans, and tltc epics Ramayana and Mababbarata, the Jataka tales are the earliest fithlcs, witlt a mocal at tlte end of each, in the fabulous history of mankind.

After Gautarna's sighs of des-pair at tlte sight of tlte to iling peasants, tlte d ying, agc:d and suffering sick humans around him, the event of ltis going away from the luxuries of his palace, leaving his lovely wife Yasbodba.ra and the lnlitnt son Rahula, asleep, is supposed to be the cause of his giving up tlte life o f pleasures, which his tuber !Uja Sarvodhana bad provided to keep him happy in th e enjoyment of family Ufe.


Some unknown causes of his going away on rough paths, which are suggested by the fables, may be his scorn for the Maharaja AjataSatru, for his killings in the wars nf conquest and against tribals waged by the Emperor of 1\!agadba.

And it is likely that, as his own father was a tributary chieftain of t11e Magadha Empire, Gautama felt compelled to leave home in search of meaning of human existt.'OCe and survival on earth.

'Dukha! Oukha! Dukha!' he had cried out. And he had preached that, in seeing the miseries of existence, in pains which people suffer, can only end in lapsing from life in Nirvana, deatWessness.

The Bhikshus of the Buddhist order (one son from each family) who gave up family life and wandered breathing Om Mattt Padmat ( May the tight come), impressed not only the folk but also the chieftains, who were fighting each other. And, because the monks preached non-hurting, it is likely that the ·killers listened to them from had conscience, after their campaigns.

Ashoka's conversion to the faith in non-hurting of the Buddha, which he confessed in the surviving edict of the Kalinga war, suggests that he was moved by his Maharani's hysteria on seeing the corpses of the dead on the battle-field.

The fact that Ashoka offered a shrine at Sanchi, where a great stupa later <.-amc to be built over some alleged remain of the Buddha, and the mound at Barhut which came to be in the 2nd-1st century B.C., may have been offerings of conscience-stricken chieftains.

And it is possible that Maharaja Satkami of the Satavabanas, who marched up from western India and took over the Magadha Empire from the Sungas, got the impulses to b<.'gin patronage fur the scooping out cave temples of western India and the Deccan from revulsion against his wars. Thus the magnificent cathedrals, with symbolic stupas and shrines, in Karla, Badsa, Bhaja, Malkhora, Kondae, Pittalkhora, Nasik and Ajanta.

Ullds were laid waste by wars, folk were decimated, animals were kirted fur fuod, harvests looted, when warriors on horses hunted enemies with spears. And then perhaps the hearts of killers were moved to pity as from the words of Gautama.

It is likely that the carvers of the stupas at Barhut and Sanchi and other Shilpins were brought to Deccan, where they worked in later centuries, to bring about sacred mounds for Buddha in AmraYati and Nagarjunakonda.

One cannot trace the i.nJlucnccs of technical virtuosity, which were communicated from stupa to stupa, but we can guess how the remnants of Alcxandra's wars accepted Buddhism, the faith in compassion, and brought about shrines in reverences for the Enlightened One in 6actria and Gandhara. Had they heard of the stupa of Barhut and Sanchi?

Later, the Kushan west-Chinese Bun conquered Western and Central Asia, Gandbara and North India, and made his capitals in Kabul, Pesbawar and Mathu.ra. And his conversion to non-hurting through the teaching of tl1c Kasbmiri poet Ashvagbosha, was to Dower in Stupa shrin<.-s, around which were recreated the

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