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• Rock-cut architecture is the practice of creating a structure, by carving out of the solid natural rock. Indian rock- cut architecture is mostly religious in nature and contain artwork of global importance, adorned with exquisite stone carvings representing significant achievements of structural engineering and craftsmanship through which glimpses of early Indian art and History is represented – o Way of life ▪ The Barabar caves throw light on the kind of tools used by prehistoric people and evolution from Palaeolithic to Chalcolithic era. ▪ Lomas Rishi caves illustrate Jataka tales and put light on daily ways of life during the period. o Trade ▪ traders many a times travelled the active international trade routes through India in company of the Buddhist missionaries. • The caves at Kanheri and Ajanta show indications of association between the religion and commerce. • For instance the Bhaja Caves lies on a significant age old trade route that ran from the Arabian Sea eastward to the Deccan plateau. o Religion ▪ Buddhism: Ajanta Caves, Bhaja caves, Karle caves. ▪ Hinduism: Kailasanath temple at Ellora ▪ Jainism: Udaygiri and Khandavgiri caves ▪ Ajivika Sect : Barabara caves o Political Aspect ▪ Caves were patronized by kings across country Example - Barbara caves by Ashoka, Ellora caves by Rashtrakutas ,Badami by Chalukyas and sathavahanas. o Education center: Kanheri caves were biggest education center in Western India. o Environment Conservation: Water resources are prevalent at Kanheri which shows water harvesting was practiced at caves. o Gender equality: Mandapeshwar, a small cave at its entrance shows equality of gender in the form of sculptures of donor couples. • Therefore, rock cut architecture helps us to trace the life in India from its origin and its Evolution through socio - political perspective and how it changed the Indian way of life. .

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ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore
GOVERNMENT OF INDIA TOURISM LOK SABHA UNSTARRED QUESTION NO:403 ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore Will the Minister of TOURISM be pleased to state: (a) whether tourist sites have been categorised grade-wise in the country and if so, the details thereof; (b) the details of tourist sites covered under Buddhist circuit and developed as world heritage tourist sites during the last three years and the current year; (c) whether the Government has any tourism related proposals for Vaishali in Bihar including financial assistance; and (d) if so, the details thereof? Answer MINISTER OF STATE FOR TOURISM (INDEPENDENT CHARGE) (DR. MAHESH SHARMA) (a): Madam. At present there is no grade wise categorization of tourist sites. (b): The Ministry of Tourism has identified following three circuits to be developed as Buddhist Circuits in the country with the help of Central Government/State Government/Private stake holders: Circuit 1: The Dharmayatra or the Sacred Circuit - This will be a 5 to 7 days circuit and will include visits to Gaya (Bodhgaya), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu) with a day trip to Lumbini in Nepal. Circuit 2: Extended Dharmayatra or Extended Sacred Circuit or Retracing Buddha's Footsteps - This will be a 10 to 15 day circuit and will include visits to Bodhgaya (Nalanda, Rajgir, Barabar caves, Pragbodhi Hill, Gaya), Patna (Vaishali, Lauriya Nandangarh, Lauriya Areraj, Kesariya, Patna Museum), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu, Shravasti, Sankisa) with a day trip to Lumbini in Nepal. Circuit 3: Buddhist Heritage Trails (State Circuits). i. Jammu and Kashmir - Ladakh, Srinagar (Harwan, Parihaspora) and Jammu (Ambaran).
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6. Art of Mauryan Period
ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE 1 ARTS OF THE MAURYAN PERIOD 3 Royal Palace 4 Pillars, Sculptures and Rock-cut Architecture 5 Pillars 5 LION CAPITAL, SARNATH 6 Bull Capital , Rampurva 8 Sculptures 9 DIDARGUNJ YAKSHINI 9 Yaksha, Parkham, Mathura 11 Rock Cut Cave- Lomus Rishi 12 Chaitya, karle 14 Stupas 15 Pottery 19 Coins 20 Donors and Patronage 21 ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE Ashoka occupies a unique place in the history of India. His policies of universal peace, non-violence and religious harmony ﬁnd no parallel in the monarchs of the world. Ashoka stands out as a monarch who combined successful kingship with idealism and philosophy. Like other rulers, Ashoka too began his reign with war - the conquest of Kalinga. However, the mindless destruction of life and property in this war shattered him so greatly that he vowed never to wage any war again. Instead he adopted the policy of Dhamma Vijaya that is conquest through dhamma. Page !1 of !22 In his thirteenth major Rock Edict, Asoka states that true conquest is by piety (the quality of being religious or reverent) and virtue. Such a decision taken by a king, who lived in an era where military might was the measure of power, earned him a unique place in history. Ashoka was a true humanist. His policies were oriented towards the welfare of his people. His dhamma was based on social responsibility. Besides giving importance to respecting brahmins, and servants, obedience to elders, abstention from killing living beings, dhamma also asked people to live in religious harmony.
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Buddhism in the Northern Deccan Under The
BUDDHISM IN THE NORTHERN DECCAN UNDER THE SATAVAHANA RULERS C a ' & C > - Z Z f /9> & by Jayadevanandasara Hettiarachchy Thesis submitted for the Degree of Doctor of Philosophy to the University of London 1973* ProQuest Number: 10731427 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10731427 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ABSTRACT This study deals with the history of Buddhism in the northern Deccan during the Satavahana period. The first chapter examines the evidence relating to the first appearance of Buddhism in this area, its timing and the support by the state and different sections of the population. This is followed by a discussion of the problems surrounding the chronology of the Satavahana dynasty and evidence is advanced to support the ’shorter chronology*. In the third chapter the Buddhist monuments attributable to the Satavahana period are dated utilising the chronology of the Satavahanas provided in the second chapter. The inscriptional evidence provided by these monuments is described in detail. The fourth chapter contains an analysis and description of the sects and sub-sects which constituted the Buddhist Order.
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Updated in June, 2016 SALE COUNTERS OF
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V Comparative Study of Buddhist Art and Iconography of Western India
CHAPTER: V COMPARATIVE STUDY OF BUDDHIST ART AND ICONOGRAPHY OF WESTERN INDIA “The Sanskrit word ‘Kala,’ for the term ‘Art’, served a specific function, covering the many varieties of creative expressions, such as painting, sculpture, poetry, music, dance and architecture.”1. The relation between art and religion has been emerging hand in hand from the dim recesses of pre-history. There can be no great art, or great periods of art, without an intimate link between art and religion. Even in antiquity, man noticed that art “educates while entertaining”. They also render art its power of suggestion. The set of these issues inevitably leads the researcher up to the question of human nature, which is what determines the qualities of art. The simple word ‘art’2 is most usually associated with those arts which is distinguished as ‘plastic’ or ‘visual’, but properly speaking it should include the arts of literature and music. Indian art is an expression of Indian life and thought attuned to its vast natural background and its socio-religious traditions. It is not exclusive or sectarian in the narrow sense of the term. Its style, technique or general tenor has nothing to do with any particular religious outlook. It is fed and fostered upon a vast storehouse of Indian traditions, symbols and designs. The term Hindu, Jaina or Buddhist art is but a popular nomenclature to distinguish one group of monuments, including Sculpture, painting, cave-temples and architecture, etc., from another standpoint of the predominance of one or the other religious theme. Hence, by Buddhist art is meant popularly those monuments and paintings which have for the main purpose the edification or popularization of Buddhism.
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Buddhist Tourism Report
TOWARDS SUSTAINABLE SPIRITUALISM Buddhist Tourism - Linking Cultures, Creating Livelihoods TITLE TOWARDS SUSTAINABLE SPIRITUALISM: Buddhist Tourism - Linking Cultures, Creating Livelihoods YEAR September, 2014 AUTHORS Public and Social Policies Management (PSPM) Group, YES BANK No part of this publication may be reproduced in any form by photo, photoprint, COPYRIGHT microfilm or any other means without the written permission of YES BANK Ltd. & ASSOCHAM. This report is the publication of YES BANK Limited (“YES BANK”) & ASSOCHAM and so YES BANK & ASSOCHAM has editorial control over the content, including opinions, advice, statements, services, offers etc. that is represented in this report. However, YES BANK & ASSOCHAM will not be liable for any loss or damage caused by the reader's reliance on information obtained through this report. This report may contain third party contents and third-party resources. YES BANK & ASSOCHAM takes no responsibility for third party content, advertisements or third party applications that are printed on or through this report, nor does it take any responsibility for the goods or services provided by its advertisers or for any error, omission, deletion, defect, theft or destruction or unauthorized access to, or alteration of, any user communication. Further, YES BANK & ASSOCHAM does not assume any responsibility or liability for any loss or damage, including personal injury or death, resulting from use of this report or from any content for communications or materials available on this report. The contents are provided for your reference only. The reader/ buyer understands that except for the information, products and services clearly identified as being supplied by YES BANK & ASSOCHAM, it does not operate, control or endorse any information, products, or services appearing in the report in any way.
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The Locational Geography of Ashokan Inscriptions in the Indian Subcontinent
Antiquity http://journals.cambridge.org/AQY Additional services for Antiquity: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Finding history: the locational geography of Ashokan inscriptions in the Indian subcontinent Monica L. Smith, Thomas W. Gillespie, Scott Barron and Kanika Kalra Antiquity / Volume 90 / Issue 350 / April 2016, pp 376 - 392 DOI: 10.15184/aqy.2016.6, Published online: 06 April 2016 Link to this article: http://journals.cambridge.org/abstract_S0003598X16000065 How to cite this article: Monica L. Smith, Thomas W. Gillespie, Scott Barron and Kanika Kalra (2016). Finding history: the locational geography of Ashokan inscriptions in the Indian subcontinent. Antiquity, 90, pp 376-392 doi:10.15184/aqy.2016.6 Request Permissions : Click here Downloaded from http://journals.cambridge.org/AQY, IP address: 128.97.195.154 on 07 Apr 2016 Finding history: the locational geography of Ashokan inscriptions in the Indian subcontinent Monica L. Smith1, Thomas W. Gillespie2, Scott Barron2 & Kanika Kalra3 The Mauryan dynasty of the third century BC was the first to unite the greater part of the Indian subcontinent under a single ruler, yet its demographic geography remains largely uncertain. Here, the HYDE 3.1 database of past population and land-use is used to offer insights into key aspects of Mauryan political geography through the locational analysis of the Ashokan edicts, which are the first stone inscriptions known from the subcontinent and which constitute the first durable statement of Buddhist-inspired beliefs. The known distribution of rock and pillar edicts across the subcontinent can be combined with HYDE 3.1 to generate predictive models for the location of undiscovered examples and to investigate the relationship between political economy and religious activities in an early state.
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DAY 27 VISUAL ARTS .Indd.Indd
VISUAL ARTS ARCHITECTURE AND SCULPTURE SINCE MAURYAN AGE Introduction The earliest remains of Indian architecture have been found in Harappa, Mohenjodaro, Ropar, Kalibangan, Lothal and Rangpur under the Harappan Civilization. In Harappan Civilization, town planning was excellent. Burnt brick was widely used, roads were wide and at right angles to one another, city drains were laid out with great skill and forethought, the corbelled arch and baths were constructed with knowledge and skill. The architechture and sculture though fl ourished in Indus valley and Vedic and Later Vedic era but during this time sculpture and architecture was utilising organic and perishable materials such as mud, mudbrick, bamboo, timber, leaves, straw and thatch, these have not survived the ravages of time. Hence the knowledge about this period is not available. Mauryan Art The monuments before the period of Ashoka were mostly made of wood and therefore perished. In the time of Chandragupta Maurya and his son, brick and stone seem to have been used chiefl y for the foundations and plinths of timber superstructures. Wooden architecture implies the execution of most of the decorative features in material equally perishable. The general use of stone in northern India for building, sculpture, and decoration certainly dates from the reign of Asoka, who was infl uenced by Persian and Greek example. The Architecture of Mauryans included: Pillars: The Mauryan pillars are rock-cut pillars. Stone pillars were erected all over the Mauryan Empire with inscriptions engraved on them. www.10pointer.com 120 DAYS PLANNER IAS 2021 | DAY 27: ART & CULTURE | 1 The top portion of the pillar was carved with capital fi gures like the bull, the lion, the elephant, etc.
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Buddhist Heritage of the India..Pdf
Shrine, Mahabodhi Temple, Bodhgaya, Bihar, India. Photograph by Benoy K Behl Buddhist sculpture and paintings are some of the gentlest and most sublime art of mankind. These are also the oldest surviving art of the historic period in the Indian subcontinent. Mahabodhi Temple, Bodhgaya, Bihar, India. Photograph by Benoy K Behl Mahabodhi Temple, Bodhgaya, Bihar, India. Photograph by Benoy K Behl This photographic exhibition provides a comprehensive perspective of the monuments and art heritage of Buddhism, from the earliest times. It also takes us on a visual pilgrimage through the life of the Buddha: to the places of his birth, enlightenment, first sermon and final renunciation. Dhamek Stupa, Sarnath, Uttar Pradesh, India. Photograph by Benoy K Behl Chaitya-griha, Kushinagara, Uttar Pradesh, India. Photograph by Benoy K Behl Gilded statue of the Parinirvana, Kushinagara, Uttar Pradesh, India. Photograph by Benoy K Behl The Buddha, 5th century AD, Sarnath, Uttar Pradesh, India. Photograph by Benoy K Behl Buddha in dharmachakrapravartana mudra, Sarnath, Uttar Pradesh, 5th century AD, India. Photograph by Benoy K Behl Kapilavastu, Piprawaha archaeological site, Uttar Pradesh, India. Photograph by Benoy K Behl Vaishali, Ananda stupa and Ashokan Pillar, Bihar, India. Photograph by Benoy K Behl Stupa and Ashoka Pillar, Vaishali, Bihar, India. Photograph by Benoy K Behl Angulimal Stupa, Sravasti, Uttar Pradesh, India. Photograph by Benoy K Behl Rajgir, Newly excavated stupa, Bihar, India. Photograph by Benoy K Behl Stupa, Lauriya Nandangarh, Bihar, India. Photograph by Benoy K Behl Inscribed Column with Lion Capital, Lauriya Nandangarh, Bihar, India Photograph by Benoy K Behl Ashokan Edict carved on the shaft of the pillar, Lauriya Nandangarh, Bihar, India.
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10.1: Literature: Sanskrit, Pali, Prakrit and Tamil 10.2: Scientific and Technical Treatises Author: Dr
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