sign in sign up
<<
Home , Buddhist architecture, Chaitya

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in

Evolution of Classical Pattern: and Architecture in India

Rajesh Chander Assistant Professor in History, Panjab University Constituent College, Sikhwala, Sri Muktsar Sahib, INDIA

Abstract: The rise and development of in centuries. The manifestation in the architectural the Indian sub-continent has led to the development evolution can be witnessed from nearly one of a unique art and architecture in India and later thousand monasteries, rock-cut architectures, abroad in the form of a number of buildings and and . In addition to these are numerous items monuments of art. The present paper endeavours to of sculpture, icons, emblems and paintings. Hsuan study the various aspects of these art forms from the Tsang has noted the names of a number of monks historical point of . The themes who established monasteries, built and covered in the article are those from the erected images. In this connection mention may be broadly diring the 200 BCE to 300 CE. made of Jayasena of Yaṣ tivana-, an upāsaka but a great teacher and author of Buddhist ṣ āstras.2 Key Words: Buddhist Art, Architecture, , The rise and growth of such pieces of art have been Viharas, Caves, Satupas etc. attributed to various causes such as ‘Almost the entire artistic expression of this age, whether INTRODUCTION architecture or sculpture, centred on Buddhism and The rise and growth of a particular sect in any most of it was made possible through the patronage form has its resultant effects on social cultural and of wealthy merchants, guilds and royal donations.’3 political life but there are certain factors alike in the Therefore most of the Buddhist followers form of art and architecture in that particular age. were the wealthy merchants, traders and royal Similar trends have been seen and explored in the persons who patronised the building of a number of post-Mauryan era when a large number of works of architectures especially in central India where the art and architecture having direct bearing of availability of ‘workable stone’ was there. Buddhism have been developed. Certain special Such was the beginning of the Buddhist art trends followed in the making and development of and architecture in early India. The Buddhist school these architectural styles. It was after the three of sculpture and art has evolved on its own in right centuries later of the start of Christian Era that a since the beginning. It has developed its own unique large number of stupas and chaityas came into being school of art. Which means that the pattern and throughout Indian subcontinent. There are different method rhey evolved in the beginning was a pure in trends and styles which depicted the life and birth- its origin. It did not bring anything special from the stories of Buddha in these works of art. But it should foreign influences. In the art of Satupas of also be borne in mind that the Buddhist thought and we can have a clear idea of post-Mauryan era teachings prevailed to a great extent in India before Buddhist art. It is true that the art and architecture of reaching the far corners of the world. The lack of any region is a mature expression of the long past proper interest in the exploration in Buddhist No region or country can come in contact with a architecture has been a major hindrance in its study great and civilized nation without deriving immense as till now. But despite that we come a number of advantages in arts and civilization. The Hindus first good literary and monumental sources while came in contact with a nation as civilized as studying the particular aspects of Buddhist art and themselves in the fourth and third centuries B.C., architecture. A noted historian and archaeologist and a great deal has been written as to the argue that ‘Archaeologically at least we cannot treat indebtedness of the Hindus to the Greeks in the Buddhism merely as a heresy against a prevailing cultivation of their arts and science. In architecture and fundamental Brahmanical orthodoxy.’1 But it the Hindus were not indebted to the Greeks. has also been noted that despite ravages of time and Buddhist Hindus developed their school of destruction sprees by different invaders, the art forms have survived and walked through the 2 Thomas Watters, On Yuan Chwang's Travels in India, Vol. II (Delhi, 1961), pp. 146. 1 Wheeler, Mortimer, Antiquity, Vol. XXII, No. 89, 3 Thapar, Romila, A History of India, Penguin March 1949, pp.5. Books, U.K., 1966, pp. 124. Imperial Journal of Interdisciplinary Research (IJIR) Page 1449

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in architecture themselves from the very temples and boulders of Mahabalipuram was also commencement; they created their own style, which carved from rock but although they share the same is purely Indians; they borrowed from no foreign aesthetic, thus can’t be classed as caves. The school of architecture or building. In Gandhara and sanctuaries, cells and assembly halls were cut from in the Punjab columns have been found distinctly nearly perpendicular cliffs to a depth of a hundred belonging to the Ionic order, and the general feet or more in some cases. They were excavated architecture, too, bears a Greek character. But in the with a chisel about ¾” wide and included complete vast continent of India itself, from Bombay to halls, temples with elaborately decorated columns, Cuttack, the architecture immediately before and galleries, shrines. The two largest structures at Karle immediately after the Christian Era is purely Indians and Ellora are staggering in their dimensions. in character. This would not have been the case if An example of Karle cave, an earlier work, the Hindus had learnt their first lesson in is 135 feet long and 50 feet wide. Its location in in a architecture from the Greeks. dense forest been occupied for a century or so. There We can see in the case of the Bharut and Sanchi is a to the mother goddess Ekavira, (also stupas, the Buddhist art of the post-Mauryan period, Yami) built by the Koli fishermen. The caves began like the new Buddhist religion incorporated the ‘old about 150 BC and completed by 150 AD. They are Gods’ within the new system. Art does not so much located near the junctions of trade routes to the coast. create new experience, but deepens and purifies the Ajanta, Bedsa, Kondane, and Bhaja are all located on old. Treasures of knowing and feeling which were the ancient routes. The Nasik caves are close to the no more than potentialities diffused through the old river crossing having ferries. There are many names order, are brought together in new patterns. It’s a of Greek donors donating in the construction and process of reculer pour mieux sauter. The maintenance of Karle caves. There are found the psychological habit of conservation of traditional names of many ports in the Western coast in the forms was used by the Buddhists to develop new Periplus of Erythrean Sea. Moreover there existed forms. The retreat to the primeval dark woods meant many local guilds who donated liberally to such retreat to the hidden depths of the mind as well. erections and carvings of such monuments. In the These inner wanderings are projected by the creative earlier period caves were built on a unified plan. imagination in analogous convulsions of line. The There seems to be a close co-operation intricate plant motifs, both painted and carved but between different sections of a new, flexible and especially the great carvings, sweep in lateral developing society that was not yet settled into a rhythms of sinuous undulation across the monastic closed village economy. But on the other hand cave sanctuaries. Such labyrinthine plasticity, which produced a commodity producing economy under the attains an unusual monumentality in the caves, is Satvahanas. It was certainly making ready donations man’s most artistic mode of expressing inner to the artisans for the work done on such long lasting richness and a yearning for self realization in a projects. But the late period of post Satvahana shows severely inhibiting setting. The cave sanctuaries clear signs of disappearing patronage to such projects impose precisely these very restricted limitations. such as Elaphanta and Ellořa. By this time open For a thousand years almost all the most important Satvahana economy was no longer. sculptural monuments were caves. There are many Some Features of Buddhist Art in India examples of cave engravings in other places also i.e. Having thus cleared our ground, we will Abu Simbel, Petra and the cliffs of Shansi. The rock now proceed to give a very brief account of some of hewn chambers tradition originally appeared in the most striking specimens which still exist of the Egypt, spread to Persia and reached India during the architecture and sculpture of the Hindus of the Mauryan period. Chinese art of the Six Dynasties centuries immediately before and after the Christian (AD 220-589) and T’ang dynasty (618-906) was Era, and Dr. Fergusson will be our guide on this derived from Indian models. Cave 19 at Ajanta was subject. Such specimens are nearly all the works of probably one of the actual prototypes. But nothing Buddhists. Architecture in stone, previous t the in the extensive remains of this great Chinese Buddhist movement, was confined mostly to offshoot can be compared with that of India for its engineering works, such as city walls, gates, bridges, profound sense of organic unity. In India it was and embankments; and if palaces and religious and essentially an art of mass, whereas in China it was civil edifices were also sometime built of stone, no refined into a more linear treatment. There are specimens of such have come down to us. On the nearly 1200 man made caves in all which were other hand, the Hindu and Jaina edifices of stone excavated between 3rd and 10th century AD. One of which abound in all parts of India belong to the the earliest bears the stating that it was constructed period subsequent be the fifth century of the on the behalf of the Ajivikas under the patronage of Christian Era, and will therefore be treated of when Aśoka. The most important of all are the Bedisā, we come to the Puranic Period. In the Present Bhaja, Karle, Udayagiri, Ajanta, Ellora, chapter, therefore, we will speak of works , Badami, Elaphanta. The group of

Imperial Journal of Interdisciplinary Research (IJIR) Page 1450

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in constructed in the Buddhist Period, and such works starting to find that after an exposure to wind and rain are all Buddhist. for fourteen centuries, it is unrusted, and the capital Dr. Fergusson classifies these works under five and inscription are as clear and as sharp now as when heads, viz.: put up fourteen centuries ago.” 1. Lats or stone pillars, generally bearing 2. SATUPA Architecture inscriptions; We find various types of Staupas in the Indian 2. Stupas or topes, erected to mark some sacred event subcontinent built during this period having a grtat or site, or to preserve some supposed of variation temporally and spatially. In such the Bhilsa Buddha; topes are most famous. 3. Rails often of elaborate workmanship; often erected to surround topes; 4. Chaityas or churches; and 5. Viharas or Monaastries. Detailed Account of the Above Classifications Following the above scheme of classification on the different types of we will now discuss the various forms of works of art related to this. 1. Lats The oldest Lats are those which were erected by Asoka in different part of India, and bearing inscriptions conveying to his subjects the doctrines and moral rules of the Buddhist religion. The best known Lats are those of Delhi and Allahabad, the inscriptions on which were first deciphered by James Prinsep. Both of these bore the inscriptions of Asoka, while the Allahabad Lat also bore a subsequent inscription of Samudragupta of the Gupta dynasty of STUPAS ARE THE CIRCULAR TUMULI BUILT OF kings, as we have stated before, and detail the glories EARTH, COVERED WITH STONE OR BRICK, THE of his reign and the names of his ancestors. The Lat PLAN, ELEVATION, SECTION AND THE TOTAL seems to have been thrown down and was re-erected FORM OF WHICH WERE ALL DERIVED FROM by Emperor Jahangir in 1605 A.D., with a Persian CIRCLE. inscription to commemorate the commencement of Within an area ten miles East and West and six his reign. Like most other Lats this has lots its miles North and South, near the village of Bhilsa, in crowning ornament, but a Lat in Tirhoot bears the the Kingdom of Bhopal (modern ) , figures of a lion Kanouj, bears the mutilated figure of there are no less than five or six groups of topes an elephant of an elephant so mutilated that Hiuen containing about twenty-five or thirty individual Tsang mistook it for a lion. At Karli, between examples. General Cunningham first published an Bombay and Poona, a Lat stands in front of the cave account of them in 1854, and since then they have of Karli surmounted by four lions. The two Lats at been repeatedly described in various ways. The Eran are said to belong to the era of the Gupta Kings. principal of these topes is known as the Great Tope The remarkable iron pillar near the Kutub of Sanchi, and has a base 14 feet high and a dome 42 Minar at Delhi is 22 feet above ground and 20 inches feet high, and 106 feet in diameter at the point just under ground, and its diameter is 16 inches at the above the base. The rails are 11 feet in height, and the base and 12 inches at the capital. There is an gateway, covered with the most elaborate sculpture, inscription bearing on it, as on other Lats, but which will be subsequently described, is 33 feet in unfortunately the inscription bear no date. James height. The centre of this great mound is quite solid, Prinsep ascribed it to the fourth or fifth century, Dr. being composed of bricks laid in mud, but the Bhau Daji to the fifth or sixth century. Admitting the exterior is faced with dressed stone. Over this there fifth century to be its date, ”it opens our eyes,” as Dr. was a coat of cement which was no doubt adorned Fergusson states,” to an unsuspected state of affairs with painting and figures in relief. The art and to find the Hindus at that age forging a bar of iron literature of Buddhism was produced through the larger than any that have been forged even in Europe donations not only of upāsakas and upāsikās but also to a very late date, and not frequently even now. As of monks and nuns. For instance there are 827 we find them, however, a few centuries afterwards Brāhmī inscriptions on the monuments of Sānchī using bars as long as this Lat in roofing the porch of alone. Among the donors are mentioned the names of the temple at Kanarak, we must believe that they were much more familiar with the use of this metal than they afterwards became. It is almost equally

Imperial Journal of Interdisciplinary Research (IJIR) Page 1451

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in over two hundred monks and nuns; the rest are lay height. The beams had no human figures on them. followers.4 The lower beam had a procession of elephants, the There are many other groups near Sanchi, middle beam of lion, and the upper probably of viz., one at Sonari, six miles away, one at Satdhara, crocodiles. The rail was 9 feet high, and the inner three miles further on and a numerous group at side was ornamented by a continuous series of bas- Bhojpur, seven miles from miles from Sanchi. reliefs, divided from each other by a beautiful Another group is at Audhar, five miles from Bhojpur. flowing scroll. About a hundred bas-reliefs have been Altogether there are no less than sixty topes within recovered all representing scenes or legends, and one small district. Most of our readers who have nearly all inscribe with the title of the Jataka visited Benares have seen the tope of , erected represented. It is the only monument in India which in the old deer park, where Gautama first preached is so inscribed, and this gives the rails a his new religion. It consists of a stone basement 93 unique value. . feet in diameter, solidly built to the height of 43 feet. Above it is brickwork, rising to a height of 128 feet above the surrounding plain. The lower part is relieved by eight projecting faces elegantly carved, and with a niche in each. General Cunningham believes the date of this to be the sixth or seventh century A.D. another Bengal tope is known as Jarasandha-ka-Baithak,28 feet in diameter and 21 feet in height, resting on a base of 14 feet. It is mentioned by Hiuen Tsang, and its date is probably 500 A.D. The central or Dagoba at Amaravati which Hiuen Tsang saw no longer exists. In the Gandhara country there are numerous examples. The great Dagoba, however, of , over 470 foot in height, which Fa Hian and Hiuen Tsang saw, is no more. The most important group of the Gandhara topes is that of Manikyala in the Punjab between the Indus and the Jhelum. Fifteen or twenty were found in the spot, some of which were first opened by Vedica or Railing consists of upright octagonal plan Ranjit Singh’s French generals, Ventura and Court, in 45cm in diameter spaced at 60 to 90cm from each 1830. The principal tope has a dome which is an other and connected by three lens shaped horizontals exact hemisphere, 127 feet in diameter, and therefore called ‘suchi’ or needles 60cm deep being threaded about 400 feet in circumference. Therefore through the holes of the upright. sometimes we come across larger areas inhibiting many satupas whereas some areas have their According to Dr. Fergusson the state of Indian scattered existence. sculpture as disclosed by rails of when Hindu 3. RAILINGS sculpture first dawns upon us in the rails of a Buddha These are the most elaborately ornamented Gaya and Bharhut B.C 200 to 250, it is thoroughly architectural works of the Buddhist period. The Rails original absolutely without a trace of foreign and gateways are generally found around Stupas. The influence but quite capable of expressing its ides and two oldest rails are those of Buddha Gaya and of of telling its story with a distinctness that never Bharhut; Dr. Fergusson assigns 250 B.C. for the surpassed at least in IndianSome animals such as former and 200B.C.for the latter. The former formed elephants deer and monkeys are better represented a rectangle 131 feet by 98 feet, and the Pillars were 5 there than in any sculpture known in any part of the feet 11inches in height. Bharhut is situated between world; so, too, are some animals, such as elephants, Allahabad and Jabbalpore. The tope enclosed here deer, and monkeys, are better represented there than has entirely disappeared, having been utilized for in any sculptures known in any part of the world; so, building villages, but about one-half of the rail too, though very different from our standard of remains. It was originally 88 feet in diameter, and beauty and grace, are truthful to nature, and where therefore about 275 feet in length. It had four grouped together combine to express the action entrances guarded by statues 4.5 feet high. From intended with singular felicity. For an honest, general cunningham’s restoration, it appears that the purpose –like-pre Raphaelite kind of art, there is pillars of the eastern gateway were 22 feet 6 inches in probably nothing much better to be found anywhere.” The rail surrounding the great tope of Sanchi, in the kingdom of Bhopal, is a circular enclosure 140 feet in 4 John Marshall (ed.) The Monuments of Sānchī, Vol. diameter, and consists of octagonal pillars 8 feet in I, (Delhi 1940), pp. 264 ff. height and two feet apart. They are joined together at Imperial Journal of Interdisciplinary Research (IJIR) Page 1452

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in the top by a rail 2 feet 3 inches deep, and between the are much appealing. The former represents a king pillars . This is , however about the simple strail seated on his throne and receiving a messenger, while arrangement and the ornamentation on the rails his army in front defends the walls. Lower down the increases in other places, until the scrolls and discs infantry, cavalry, and elephants sally forth in battle and figures become so elaborate and profuse as to array, while one the enemy sues for peace. The latter, completely hide the pillars and bars from the sight, i.e., the woodcut from the inner rail, represents three and to entirely change the character of the original object of worship viz., a Stupa with its rails, a Chakra design. or wheel religion, and a congregation worshipping a The great tope of Sanchi, of which we have relic or sacred tree. spoken before, was probably constructed in Asoka’s time each rails shown, by the inscription on if to be the rail probably during the chrisitian Era. Dr. 1. CHAITYAS Fergusson thus describes them, “All these four Chaityas are also called assembly halls or churches gateways, or toranas, as they are properly called, for the gatherings of the Bhikhsus, Bhikshunis or the were covered with the most elaborate sculptures both other lay followers from the surroundings habitat. in front and in rear,-wherever in fact their surface The great distinguishing feature of these Buddhist was not hidden by being attached to the rail behind churches is that they are known to exist, and all of them. Generally the sculptures represent scenes from them with one the life of Buddha…In addition to these are scenes from the Jatakas of legends, narrating events or actions that took place during five hundred births through which Muni had passed before he become so purified as to reach perfect . One of these, the Wessantara or the “alms-giving” Jataka, occupies the whole of the lower beam of the northern gateway , and reproduces all the event of that wonderful tale , exactly as it is narrated in Ceylonese books at the present day… Other sculptures represent sieges and fighting and consequent triumphs, but, so far as can be seen, for acquisition of relice or subjects connected with the faith. Other pourtray men and women eating and drinking and making love… The sculpture of these gateways from a perfect picture of Bible of Buddhism, as it esisted in India in the first century of at KARLE. the Christian Era.” The date of the Sanchi rail said to Features The Chaitya Hall is 38.5m long and 13m be three centuries after that of Buddha Gaya and wide with a vaulted roof rising to a height of 13.7m. Bharhut rails; and the Amaravati rail is again three The roof is supplemented by a series of wooden centuries posterior to the Sanchi rail. The date of the ribs which are closely spaced. Amaravati rail is said to be the fourth or fifth century The hall is divided by two rows of columns forming A.D. Amaravti is situated on the southern bank of the a broad nave in the centre. Krishna river near its mouth, and was long the capital Each column is 1.22m in diameter and 7.32m high, of the Andhara empire of Southern India. The with bell shapes capital which supports a pair of Amaravati rail is leaded with ornament and kneeling elephants carrying male and female riders sculptures. The great rail is 195 feet in diameter and and those of horses and tigers in the rear. the inner 165 feet, and between these two was the The shaft is octagonal in shape and has a vase- procession path. Externally the great rail was 14 feet shapes base. and internally 12 feet, wile the inner rail was soild At the end is a stupa, caved in natural rock, with and 6 feet high. The plinth of the great rail was railing and inverted stepped pyramid or tee at the ornamented by a frieze of animals and boys, and the top. pillars as usual were octagonal and ornamented with A beautiful ‘lat’ surmounting with four addorsed discs. The inside of the great rail was more richly lions is erected at the entrance of the Chaitya. ornamented then the outside, and the upper rail was one continuous basrelief 600 feet in lingth. The inner exception are excavated rocks. The external view rail was even more richly ornamented than the great of European churches and of Hindu temples forms with figures most elaborately carved with scenes their most distinguishing and noble feature: but of the from the life of Buddha, or from legends. Buddhist churches,-excavated in rocks- there is no Dr. Fergusson’s words on two woodcuts, external view except the front age, while is often one form the great rail and one from the inner rail, ornamented.

Imperial Journal of Interdisciplinary Research (IJIR) Page 1453

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in

2. VIHARAS OR MONASTERIES Finally, in the Ferguson’s classification, we come to Viharas or monasteries. Largest and important of the Buddhist Viharas was that of (South of Patna), visited by Hiuen Tsang in the seventh century. Successive kings had built here, and one of them surrounded all the Viharas with a high wall which can still be traced, measuring 1600 feet by 400 feet. The architecture of this great monastery, however, has not been properly restored nor the arrangements made clear. There are some reasons to suspect the superstructure was of wood, and if that be so, scarcely a trace of it can now be left. a) UDAYAGIRI AND KHANDAGIRI Near Cuttack and Bhuvaneswara are seen the caves in the two hills, Udayagiri and Khandagiri, about Plan of a Buddhist . SOME OF THE twenty miles from Cuttack. There is an inscription on IMPORTANT BUDDHIST VIHARAS ARE THOSE the Hathi Gumpha, or the Elephant cave, to the effect AT AJANTA, ELLORA. NASIK, KARLE, KANHERI, that it was engraved by Aira, king of Kalinga, who BAGH AND BADAMI subdued neighboring kings. The Ganesa Gumpha and i) VIHARA NO. 16 measures 65 feet each way, and the Rajrni Gumpha are both said to have been has twenty pillars. It has sixteen cells for monks on excavated before the Christian Era, and a curious two sides, great hall in the centre, a verandah in the story is sculptured on them both. A man sleeps under front, and a sanctuary in the back. All the walls are a tee, and a woman, apparently his if introduces a covered with frescoes representing scenes from the love. A fight ensures, and the victor caries away the life Buddha or from the legends of saints, and the female in his arm. Older than these cave are smaller roofs and pillars have arabesques and ornaments, and and simpler one, among which the Tiger Cave in all this combines to produce a peculiar richness of Udayagiri is the best known. effect, judging from the presentations of the frescoes (b) THE NASIK GROUP which have been published, the painting was by no The western region also known as western ghats, means contemptible. The figures are natural and have the Nasik group, containing three principles elegant, the human facee are pleasant and expressive, Viharas known under the names of , and convey the feelings which they are meant to Gautamiputra and Yaduyasari. The first two are on convey, and the female figures are supple, light and the same plan, being hall 40 feet square, with sixteen elegant, and have an air of softness and mild grace small cells for monks on three sides, and a six- which mark them peculiarly Indian in style. The pillared verandha on the fourth side. An inscription in decorations are chaste and correct in style and the Nahapana Vihara shows that it was excavated by singularly effective. It is to be hoped that fairly the son in – law of that chief, who, we have seen complete representations of these curious paintings elsewhere, heads the list of Shah kinds; and the date will yet be published for the elucidation of the art of of this Vihara is therefore about 100 A.D. The painting in Ancient India; and Such a work will be as Gautamiputra Vihara is supposed to the two or three valuable to the historian of Indian art as the paintings centuries later. This Yaduyasari Vihara has a hall 60 recovered from Pompii, and preserved in the Museum feet by 40 feet to 45 feet, and twenty, one cells for of Naples, are valuable to the historian of ancient monks. It has also a sanctuary with two richly carved European Art. Dr. Fergusson, however, apprehends pillars and a colossal figure of Buddha with many that the means adopted to heighten the colour of the attendants. The date of this Vihara appears from an Ajanta paintings in order to copy them, and the inscription to the fifth century. “destructive tendencies of British tourists, have (c) AJANTA VIHARAS NOS. 16 AND 17 already spoilt these invaluable treasures. Of all the Viharas, the Ajanta Viharas Nos. 16 and ii) VIHARA NO.17 is similar in plan to No. 16, and 17 are the most fascinating ones. They are beautiful is known as the Zodiac cave, because a figure of the specimens of Buddhist monasteries , and possess Buddhist Chakra or when was mistaken for the signs aunique value, as they still contain fresco paintings of the Zodiac. with degree of distinctness unequalled in any other (d) BAGH GROUP Vihara in Indi. Their date has been ascertained; they Nearly eight or nine Vihara exist at Bogh located were excavated early in the fifth century, when the about thirty miles west of Mandu. The great Vihara Guptas were the emperors of India. here has a hall 96 feet square and a shala or

Imperial Journal of Interdisciplinary Research (IJIR) Page 1454

Imperial Journal of Interdisciplinary Research (IJIR) Vol-2, Issue-12, 2016 ISSN: 2454-1362, http://www.onlinejournal.in schoolroom attached to it 94 feet by 44 feet; while CONCLUSION verandah 220 feet in length runs in front of the hall Thus in the above descriptions we have found that and the shala. 28 pillars beautify the hall, 16 pillars there cannot be an end to the discussions and are in the schoolroom, while 20 pillars all in a row synthesis on such a beautiful art and architecture the adorn the verandah. At one time the whole of the Buddhist age preserved for the generations. It not back wall of the gallery was adorened with a series of only spread in Indian soils but travelled to far-east fresco paintings, equaling the Ajanta paintings in and west places from the place of its origin. It is a beauty. The principles subjects are processions on very large topic of discussion as it bears a universal horseback and on elephants. Women exceed men in and peaceful appeal. At the beginning in the 6th number, and dancing and love- making are Century BCE and growing and maturing in the prominently introduced. Mauryan and post Gupta period, it travelled through the ravages of time to reach the present generations. And it will continue to reach more and more art (e) ELLORA lovers and historians in the times to come and will There are numerous Vihara attached to the continue to excel their memory and thoughts. Visvakarma Chaitya at Ellora, of which we have spoken before. The great Vihara is 110 feet, 70 feet, Further Readings. and this as well as the smaller Viharas belong A. K., Coomaraswamy, Essays in Early Indian perhaps to the same century as the Chaitya. Architecture, (ed.) Michael W. Meister, IGNCA & Here the three temples which curiously OUP, 1992. illustrate the steps by which Buddhistic excavations Alice Boner, Principles of Composition in Hindu gradually emerge in the Hindu. The first temple is Sculpture, Cave Temple Period, Do-tal, a two-storeyed Buddhist Vihara, Buddhistic Benoytosh Bhattacharaya, Indian Budddhist in all its details. The second temple is Teen-tal, Iconography, Asian Educaional Services, New Delhi, similar to far from simplicity of style as to justify (1925), 1993. Brahmans in appropriating it, as they have done! The M.P. Allen, Ornament in Indian Architecture, third is Das Avatar, still resembling the order two in University of Delaware Press, New York, 1992. architectural details, but entirely Hindu in sculptures. Mitra, Debala, Buddhist Monuments, Calcutta, 1971. Later on, when had completely triumphed Motilal Banarsidass, 1990 over Buddhism, the Hindus of Southern Indian R. ChampakalakshmiThe , Roli, Delhi, excavated in the spot, in the eighth or ninth century 2001. A.D., the famous temple of Kailasa, which has made Saryu Doshi (ed.), Symbols and Manifestations in Ellora one of the great wonders of India. But of this Indian Art, Marg Bombay, 1984. and other Hindu edifices we will speak when we Susan Huntington, The Art of Ancient India: come to treat of the Puranic Period. We need only Buddhist, Hindu, Jain, Weatherhill, 1985. state here that the main distinction between Buddhist Vidya Dehejia, Discourse in Early Buddhist Art: works and Hindu works is this: Buddhist Chaityas Visual Narratives of India, Munshiram M’lal, Delhi, and Viharas are caves excavated in rocks; while 1997. Hindu workers, even when they worked on existing Vidya Dehejia, Early Buddhist Rock Temples: A hills and rocks, imitated structural building by Chronological Narrative, Cornell University Press, clearing hills and rocks, imitated structural building 1972. by clearing away the stone on all sides, and thus allowing the edifices carved to stand out in bold relief against the neighbouring rocks. Such is Kailasa in Ellora. (f) GANDHARA VIHARAS. No doubt that Greek influence greatly modified the style of architecture there, and many capitals and figures discovered in the Punjab are distinctly Greek in style. (g) CEYLONESE ARCHITECTURE. There are numerous ruins of ancient topes and other edifices in that island (Modern Sri Lanka), specially near , which continued to be capital of Ceylon for ten centuries. Two of the largest known topes are in Ceylon, one at Abhayagiri, 1100 feet in circumference and 244 feet high; and the other at , a few feet higher. The former was erected in 88 B.C., and the latter in 275 A.D.

Imperial Journal of Interdisciplinary Research (IJIR) Page 1455