Topic overview
- Sanchi is a prominent Buddhist complex located in the Raisen district of Madhya Pradesh, near the city of Bhopal.
- The site represents the pinnacle of Post-Mauryan art and architecture, flourishing particularly between the 3rd century BCE and the 12th century CE.
- It is world-renowned for its magnificent stupas, monolithic pillars, toranas (gateways), and early monastic architecture.
- The monuments at Sanchi were designated as a UNESCO World Heritage Site in 1989 due to their exceptional universal value in Buddhist art history.
Concept 1
Mauryan Origins and Ashokan Foundation
Sanchi was established as a Buddhist center by Mauryan Emperor Ashoka in the 3rd century BCE.
Details
- Emperor Ashoka chose Sanchi for its proximity to Vidisha, the native city of his principal queen, Devi.
- Ashoka commissioned the construction of the Great Stupa (Stupa No. 1) using brick and mud mortar.
- An Ashokan pillar featuring the classic lustrous Mauryan polish was erected near the Southern gateway of the Great Stupa.
- The Schism Edict (Sanchi Pillar Edict) was inscribed on the Ashokan pillar to warn monks and nuns against creating divisions within the Sangha.
- Mahinda, the son of Ashoka, is traditionally believed to have visited Sanchi on his way to Sri Lanka to propagate Buddhism.
Remember
- Founded by Emperor Ashoka in the 3rd century BCE.
- Original core of Stupa No. 1 was roughly half the present size and made of brick.
- Houses a fragmentary Ashokan Pillar with Brahmi script.
- Features the Brahmi Schism Edict concerning monastic discipline.
Examples & sources
- Stupa No. 1 original brick core
- Sanchi Ashokan Pillar fragments with mirror-like polish
Compare
- Contrast with later Sunga additions: Mauryan phase emphasized brick core and monolithic pillars, whereas Sunga phase added stone casing and elaborate gateways.
- Contrast with Bharhut: Sanchi maintained continuous patronage well into the Gupta period, unlike Bharhut which declined earlier.
Common confusions
- Misconception: All structures at Sanchi were built during the Mauryan period. Correction: Only the core of Stupa 1 and the pillar date to Ashoka; most visible art belongs to the Sunga and Satavahana periods.
- Misconception: Ashoka built the carved toranas. Correction: The stone gateways were added during the later Sunga period.
Exam points
- Association with Queen Devi of Vidisha
- Content and purpose of the Sanchi Schism Edict
- Mauryan brick core dimensions versus later expansions
Concept 2
Sunga Period Expansion and Architectural Evolution
The Sunga dynasty oversaw the massive enlargement and stone-casing of the Great Stupa.
Details
- During the 2nd century BCE under Sunga patronage, the original brick stupa was doubled in size.
- The brick core was encased in thick layers of dressed sandstone blocks.
- A terraced berm (medhi) and a double staircase (sopana) were added to allow ritual circumambulation (pradakshina) at an upper level.
- A wooden-style stone railing (vedika) with crossbars (suchis) and upright pillars (thabhas) was constructed around the stupa.
- Inscriptions on the railing pillars record numerous individual donations made by commoners, guilds, and bhikkhus.
Remember
- Dated to the 2nd century BCE under Sunga rule.
- Stupa doubled in diameter using stone masonry.
- Introduction of the circumambulatory path (pradakshina patha) at two levels.
- Extensive use of donor inscriptions (danas) on railings.
Examples & sources
- Stupa No. 2 with its early uncarved railing
- Stupa No. 1 stone casing and ground railing
Compare
- Contrast with Mauryan plain architecture: Sunga architecture introduced extensive narrative reliefs and standardized stone railings.
- Contrast between Stupa 1 and Stupa 2: Stupa 1 features elaborate gateways, while Stupa 2 is noted for its early medallion carvings on railings without toranas.
Common confusions
- Misconception: The Sunga rulers were hostile to Buddhism and destroyed Buddhist monuments. Correction: Epigraphic evidence at Sanchi proves that Buddhist art flourished significantly under Sunga rule.
- Misconception: Railings were funded solely by royal treasuries. Correction: Most Sanchi railings were funded by popular collective donations recorded in Brahmi.
Exam points
- Structural modifications from brick to stone
- Significance of donor inscriptions for social history
- Evolution of the vedika and pradakshina patha
Concept 3
Satavahana Dynasty and the Four Toranas
The four magnificent stone gateways (toranas) were added during the rule of the Satavahanas in the 1st century BCE.
Details
- Four elaborately carved gateways facing the cardinal directions were added to Stupa No. 1 around the 1st century BCE.
- An inscription on the southern gateway records that it was carved by the ivory-carvers (dantakaras) of Vidisha.
- Each torana consists of two square upright pillars supporting three curved architraves with volute ends.
- The spaces between architraves are filled with upright balusters, dwarf figures, elephants, and horse riders.
- The craftsmanship reflects the translation of perishable wood and ivory carving techniques into permanent stone architecture.
Remember
- Dated to the 1st century BCE to 1st century CE.
- Patronized by the Satavahana dynasty (specifically mentioning Satakarni).
- Crafted by the ivory workers' guild of nearby Vidisha.
- Features double-curved architraves and elaborate bracket figures (salabhanjikas).
Examples & sources
- Southern Torana of Stupa No. 1 with ivory carvers' inscription
- Northern Torana featuring best-preserved elephant brackets
Compare
- Contrast with Bharhut gateways: Sanchi toranas are much more dynamic, deeply undercut, and structurally complex with three architraves instead of two.
- Contrast between Sunga railings and Satavahana toranas: Railings are relatively flat and formal, whereas toranas exhibit high-relief, volumetric, and narrative-heavy compositions.
Common confusions
- Misconception: Toranas were built at the same time as the original Ashokan stupa. Correction: They represent the final major architectural phase, added roughly two centuries later.
- Misconception: The toranas serve a structural load-bearing purpose for the dome. Correction: They are freestanding ceremonial entrance arches independent of the hemispherical dome.
Exam points
- Vidisha ivory workers' guild inscription
- Structural components of a Sanchi torana (pillars, architraves, brackets)
- Satavahana chronological attribution
Concept 4
Aniconic Representation of the Buddha
Sanchi art famously portrays the Buddha through symbols rather than in human form.
Details
- Early Buddhist art at Sanchi adheres strictly to the aniconic tradition, avoiding direct anthropomorphic depictions of Siddhartha Gautama.
- The Buddha's presence is indicated by a rich vocabulary of auspicious symbols and sacred footprints.
- The Bodhi tree represents his Enlightenment (Bodhimanda).
- The Dharmachakra (Wheel of Law) symbolizes his First Sermon at Sarnath (Dharmachakra Pravartana).
- The Horse (Kanthaka) signifies the Great Departure (Mahabhinishkramana), and the Stupa represents his Parinirvana.
Remember
- Absence of human images of the Buddha in early reliefs.
- Use of symbolic vocabulary: Footprints (paduka), Triratna, Umbrella (chhatra), and Empty Throne.
- Narrative panels depict scenes from Jataka tales and Buddha's life aniconically.
- Reflects early doctrinal reverence and psychological distance from humanizing the Master.
Examples & sources
- Panel showing worshippers adoring an empty throne beneath the Bodhi tree
- Relief depicting the Miracle of Walking on Water symbolized by footprints on the river
Compare
- Contrast with Gandhara and Mathura art: Post-Mauryan Sanchi is strictly aniconic, whereas Kushana art introduced the human Buddha image.
- Contrast with later Mahayana developments: Sanchi represents Hinayana/Early Buddhist phase of revering symbols over idols.
Common confusions
- Misconception: Sanchi artists did not know how to carve human figures. Correction: Yakshis, devatas, and royal patrons are carved with extreme realism; only the Buddha was intentionally left aniconic.
- Misconception: Sanchi contains no Buddha images at all. Correction: Later Gupta period shrines added standing anthropomorphic Buddha statues to the stupa base.
Exam points
- Identification of specific symbols for Buddha's life events
- Difference between aniconic Sanchi and iconic Kushana art
- Philosophical implications of the empty throne motif
Concept 5
Narrative Reliefs and Jataka Stories
The architraves and pillars are densely packed with continuous narrative reliefs illustrating Jatakas and historical events.
Details
- Relief carvings on the gateways narrate episodes from the previous lives of the Buddha (Jataka tales) and key events from his final earthly life.
- The continuous narrative technique is employed, where the same character appears multiple times within a single frame to show temporal progression.
- Popular Jatakas depicted include the Vessantara Jataka, Chhadanta Jataka, and Shyama Jataka.
- Secular and royal scenes are also depicted, such as King Ashoka visiting the Ramgrama stupa.
- Animals are portrayed with remarkable naturalism, empathy, and emotional depth, reflecting a deep ecological harmony in early Indian thought.
Remember
- Continuous narrative method used in stone panels.
- Depiction of popular moral tales from the Jatakas.
- Integration of contemporary animal, floral, and architectural motifs.
- High degree of spatial depth and crowded compositional arrangements.
Examples & sources
- Vessantara Jataka panel on the Northern Gateway
- Chhadanta Jataka panel illustrating the six-tusked elephant
Compare
- Contrast with Bharhut narratives: Sanchi narratives are more fluid, less stiff, and show advanced spatial perspective and overlapping figures.
- Contrast with Ajanta murals: Sanchi stone relief predates Ajanta paintings but shares the same continuous storytelling format.
Common confusions
- Misconception: Sanchi art only depicts religious dogmas. Correction: It vividly portrays contemporary secular life, courtly dress, musical instruments, and architecture of the Post-Mauryan era.
- Misconception: Each panel tells a separate, unrelated story. Correction: Panels are arranged hierarchically to guide the pilgrim through moral and spiritual journeys.
Exam points
- Identification of continuous narrative technique
- Major Jataka stories represented on Sanchi toranas
- Artistic comparison between Bharhut and Sanchi relief styles
Concept 6
Yakshi Figures and Syncretic Motifs
The sculptural program of Sanchi integrates indigenous fertility cults through voluptuous Yakshi and Salabhanjika figures.
Details
- Bracket figures (salabhanjikas or yakshis) project diagonally from the capitals of the gateway pillars to support the lowest architrave.
- These female figures are depicted grasping or bending the boughs of flowering trees, symbolizing fertility, abundance, and auspicious growth.
- The style showcases heavy ornamentation, transparent drapery, full volumetric bodies, and dynamic sway (tribhanga posture).
- Folk deities like Yakshas, Nagas, and dryads are harmoniously assimilated into the mainstream Buddhist architectural framework.
- Foreign influences are also traceable in certain decorative details, such as Persian palmettes, Hellenistic acanthus leaves, and foreign soldiers wearing tunics.
Remember
- Salabhanjika bracket figures function as structural supports and auspicious symbols.
- Depicts pre-Buddhist folk earth and tree worship (Yakshas/Yakshis).
- Exemplifies the tribhanga (triple-bend) posture characteristic of classical Indian sculpture.
- Displays multicultural motifs including Greco-Roman and Achaemenid stylistic elements.
Examples & sources
- The famous Eastern Torana bracket figure grasping a mango tree branch
- Foreign-looking soldier figures wearing tunics and boots on pillar bases
Compare
- Contrast with Mauryan court art: Mauryan art was official, imperial, and foreign-influenced, whereas Sanchi folk art represents indigenous popular religion and local guilds.
- Contrast with Mathura Yaksha figures: Sanchi bracket figures are more dynamic, deeply carved, and integrated into architectural frames as structural brackets.
Common confusions
- Misconception: Female bracket figures are secular dancing girls. Correction: They are traditional Yakshis/Salabhanjikas symbolizing auspiciousness and fertility.
- Misconception: Sanchi art is purely isolationist. Correction: It absorbs West Asian and Hellenistic decorative motifs via trade networks.
Exam points
- Function and iconography of salabhanjikas
- Tribhanga posture in Post-Mauryan sculpture
- Synthesis of folk religion and Buddhism at Sanchi
Concept 7
Gupta Period Additions and Later Decline
The Gupta period contributed refined temple architecture and anthropomorphic Buddha shrines to the Sanchi complex.
Details
- During the 4th to 6th centuries CE under Gupta patronage, several small stone shrines and temples were constructed at Sanchi.
- Temple No. 17 at Sanchi is a classic example of early Gupta flat-roofed temple architecture with a pillared porch and sanctum.
- Standing anthropomorphic Buddha images were carved against the four sides of the Great Stupa's base, marking the shift to Mahayana devotionalism.
- Inscriptions from the Gupta era document donations made by kings like Chandragupta II.
- The site experienced a gradual decline after the 7th century CE with the waning of Buddhism in central India, eventually falling into ruins until its rediscovery in 1818 by General Taylor.
Remember
- Gupta era marked by structural stone temples (e.g., Temple 17).
- Introduction of iconic Buddha images on Stupa No. 1 drum.
- Epigraphic records of Gupta monarchs (Chandragupta II).
- Rediscovery in 1818 by British officer General Henry Taylor.
Examples & sources
- Temple No. 17 (classic Gupta pillared portico shrine)
- Gupta-era seated and standing Buddha images carved onto the Great Stupa
Compare
- Contrast with Post-Mauryan stupas: Gupta additions introduced enclosed interior shrines for idol worship, whereas early Sanchi focused exclusively on open-air stupa circumambulation.
- Contrast in sculptural style: Gupta figures exhibit serene spiritual calm, translucent drapery, and subdued ornamentation compared to the robust, dynamic Post-Mauryan figures.
Common confusions
- Misconception: Sanchi was built entirely in one continuous campaign. Correction: It evolved over 1,500 years, spanning Mauryan, Sunga, Satavahana, and Gupta periods.
- Misconception: Sanchi was never forgotten. Correction: The site was abandoned and overgrown by jungle until its rediscovery in the 19th century.
Exam points
- Architectural features of Gupta Temple No. 17
- Shift from aniconic Sunga/Satavahana art to iconic Gupta art
- Rediscovery date and officer (1818, General Henry Taylor)