BUDDHIST ROCK CUT AS ARCHITECTURE RELIGION, ROCK-CUT ASSOCIATED WITH BUDDHIST

ARCHITECTURE IN INDIA RESOLVES ITSELF INTO TWO DISTINCT MOVEMENTS, THE EARLIEST OR 'HINAYANA' PHASE LASTED UNTILL THE 2ND CENTURY A.D. WHICH REVIVED AGAIN ABOUT THE 5TH CENTURY A.D. WHICH CAME TO BE KNOWN AS THE 'MAHAYANA' PHASE. THE ART OF THIS PRIMITIVE BUDDHISM IS DISTINCTIVE ON ONE IMPORTANT CONVENTION, FOR IT ORDAINED THAT IN ALL ITS PRODUCTIONS, THE BODILY FORM OF THE BUDDHA SHOULD NOT BE PORTRAYED IN THE WORKS OF 'BRAMHAJALA SUTTA' "ON DISSOLUTION OF THE BODY NIETHER GODS NOR MEN SHALL SEE HIM". (1) this paragraph is not clear,either write in own words or else dnt include this

THE HINAYANA ROCK-CUT MONASTARIES REPRESENT A DEFINITE REGIONAL DEVELOPMENT, AS THEY ARE LIMITED TO THE WESTERN SIDE OF INDIA, MANY OF THEM LYING WITHIN THE BOMBAY STATE (MAHARASHTRA). TAKING NASHIK AS THE CENTRE THEY ARE ALL SITUATED WITHIN A CIRCLE HAVING A RADIUS OF LESS THAN 2OO MILES FROM THAT TOWN. (2) location map required to show the spread of the monasteries

WESTERN GHAT TERRAIN IS NATURALLY ADAPTED TO ADMIT THIS FORM OF ARCHITECTURAL TREATMENT AS MUCH OF IT CONSISTS OF HORIZONTAL STRATA OF CONSIDERABLE THIKNESS AND UNIFORM TEXTURE. THE EDGES OF THESE STRATA TERMINATE IN NEARLY PERPENDICULAR CLIFFS, WHICH PROVIDED AN IDEAL SURFACE FOR THE ROCK-CUT ARCHITECTURE ONTEMPLATED. (3) this is important highlight this and explain

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THIS ARCHITECTURE RESOLVES ITSELF INTO GROUPS OF ESTABLISHMENTS EACH ORIGINALLY CONSISTING OF A PRAYER HALL AND ITS ACCOMPANYING MONASTERY.

THE PRAYER HALL OR BUDDHIST TEMPLE USUALLY REFFERD TO AS THE 'CHAITYA' HALL, AS IT ACCOMODATED A 'CHAITYA' OR A 'STUPA', TOOK THE FORM OF A LARGE VAULTED HALL HAVING AN APSIDAL END AND DIVIDED LONGITUTUDINALLY BY TWO COLONNADES INTO A BROAD NAVE AND TWO AISLES. IN THE APSE STOOD THE STUPA ALSO CARVED OUT OF NATURAL ROCK.

THE OTHER ARCHITECTURAL FORMATION IN THESE ROCK-CUT MONASTERIES WAS AN ARRANGEMENT OF APARTMENTS FOR THE ACCOMODATION OF THE MONKS AND KNOWN AS 'VIHARA'.

A TYPICAL VIHARA CONSISTED OF A SQUARE CENTRAL HALL, ENTERED BY A DOORWAY IN FRONT OF WHICH WAS A VESTIBULE, VERANDAH, OR PORTICO. OUT OF THE CENTRAL HALL DOORWAYS OPENED INTO SQUARE CELLS, CARRIED STILL FURTHER INTO THE ROCKS.

AS THE PRIESTLY COMMUNITY INCREASED, MORE CELLS WERE REQUIRED TO BE EXCAVATED ALONG THE CLIFF. ACCOMODATION WAS DONE ACCORDING TO THE RANKS OF THE PRIESTS.

(4) This explaination should be accompanied by plans or sketches compulsorily

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THE ROCK WORK HAD SUBSTANTIAL AMOUNT OF WOOD CONSTRUCTION ATTACHED TO ITS SURFACES. THE FACaDE OF LARGE WALLS HAD NUMEROUS MORTICE HOLES FOR FIXING WOODEN FRONTAGES . THE EARLIER EXAMPLES WERE HENCE PRACTICALLY HALF TIMBER.

EVEN THE EARLIEST EXAMPLES OF ALL THESE EXCAVATED HALLS ARE THE MOST PERFECTLY ALIGNED, PLANNED AND WROUGHT WITH EVERY LINE MATHEMATICALLY STRAIGHT AND EVERY ANGLE TRUE.

ON THE VERTICAL SURFACE OF THE HILL SIDE THE FACADE OF THE HALL OR MONASTERY, WAS MARKED OUT. THE WORK OF HEWING THIS INTO SHAPE WAS BEGUN FROM THE TOP.

THE CHRONOLOGICAL SEQUENCE IN WHICH THE CHAITYA HALLS WERE EXECUTED IS BASED MAINLY ON THE PRINCIPAL THAT THE EARLIER THE EXAMPLE, THE CLOSER IT COPIES WOODEN CONSTRUCTION. (4)

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STUPAS
The stupa is the oldest Buddhist religious monument and was originally only a simple mound of mud or clay to cover supposedrelicsof theBuddHA.

After theparinirvanaof the Buddha, his remains were cremated and the ashes divided and buried under eight stupas with two further stupas encasing the urn and the embers.

Little is known about these early stupas, particularly since it has not been possible to identify the original ten monuments.

The shape of the stupa represents the Buddha, crowned and sitting in meditation posture on a lion throne.

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His crown is the top of the spire; his head is the square at the spire's base; his body is the vase shape; his legs are the four steps of the lower terrace; and the base is his throne.

Harmika-It is built on the top of the oval shaped stupa. Medhi-It is an elevated circular path around the stupa used for Pradhikshina. Toran-It is the Gateway to the stupa. Vedica-It is a railing meant for the protection of the holy place.

In the third century BC, after his conversion to Buddhism, the emperor ASHOKAhad the original stupas opened and the remains distributed among the several thousand stupas he had built. Nevertheless, the stupas at the eight places associated with the life of the Buddha continued to be of particular importance. Accordingly, the importance of a stupa changed from being a funerary monument to being an object of veneration. (5)this is not required here,you can use it instead to start your answer
LOTUS BLOSSOM STUPA: THERE ARE EIGHT DIFFERENT KINDS OF STUPAS, ALL THIS STUPA REFERS REFERRING TO MAJOR EVENTS INBUDDHA TO THE BIRTH SHAKYAMUNI'SLIFE. OF THEBUDDHA. IT IS SAID THAT AT BIRTH BUDDHA TOOK SEVEN STEPS IN EACH OF THE FOUR DIRECTIONS(EAST, SOUTH, WEST AND NORTH). IN EACH DIRECTION LOTUSES SPRANG, SYMBOLIZING THEFOUR I 4/28/12 MMEASURABLES: LOVE, COMPASSION, JOY AND

THE FOUR STEPS OF THE BASIS OF THIS STUPA IS CIRCULAR, AND IT IS DECORATED WITH LOTUS-PETAL DESIGNS. OCCASIONALLY, SEVEN HEAPED LOTUS STEPS ARE CONSTRUCTED. THESE REFER TO THE SEVEN FIRST STEPS OF THE BUDDHA.

ENLIGHTENMENT STUPA ALSO KNOWN AS THESTUPA OF THE CONQUEST OF MARAOR. THIS STUPA SYMBOLIZES THE TIME THE 35-YEAROLDBUDDHAREACHED ENLIGHTENMENT UNDER THE BODHI TREE INBODH GAYA. IT IS SAID THAT HE CONQUERED WORLDLY TEMPTATIONS AND ATTACKS MANIFESTING ITSELF IN THE FORM OFMARA(EXTINCTION OF SUFFERING).

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STUPA OF MANY DOORS OR GATES AFTER REACHING ENLIGHTENMENT, THE BUDDHA TAUGHT HIS FIRST STUDENTS IN A DEER-PARK NEAR SARNATH. HERE HE GAVE HIS FIRST BASIC TEACHINGS, WITH SERIES OF DOORS ON EACH SIDES OF THE STEPS . THE TEACHINGS ARE CALLED THE "FOUR NOBLE TRUTHS, THE SIX PERFECTIONS, THE NOBLE EIGHT FOLDED PATH AND THE TWELVE LINKS IN THE CHAIN OF DEPENDENT ORIGINATION."

STUPA OF DESCENT FROM THE GOD REALM 42 YEARS OLD, BUDDHA SPENT A SUMMER RETREAT INTUSHITA HEAVEN, WHERE HIS MOTHER HAD TAKEN REBIRTH. IN ORDER TO REPAY HER KINDNESS HE TAUGHT THE DHARMA TO HER REINCARNATION. LOCAL INHABITANTS BUILT A STUPA LIKE THIS INSANKASYAIN ORDER TO COMMEMORATE THIS EVENT. THIS STUPA IS CHARACTERIZED BY HAVING A CENTRAL PROJECTION AT EACH SIDE CONTAINING A TRIPLE LADDER.

STUPA OF GREAT MIRACLES ALSO KNOWN ASSTUPA OF CONQUEST OFTIRTHIKASTHIS STUPA REFERS TO VARIOUS MIRACLES PERFORMED BY THE BUDDHA WHEN HE WAS 50 YEARS OLD. LEGEND CLAIMS THAT HE OVERPOWERED SEVERAL GREAT SAGES OF THE RELIGION KNOWN ASTIRTHIKASBY ENGAGING THEM IN INTELLECTUAL ARGUMENTS AND ALSO BY PERFORMING MIRACLES. THIS STUPA WAS RAISED BY THE LICHAVE TRIBE TO COMMEMORATE THE EVENT.

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STUPA OF RECONCILIATION THESANGHAHAD BEEN DIVIDED INTO DISPUTING FRACTIONS. HOWEVER BUDDHA MANAGED TO REUNITE THE SANGHA, AND A STUPA IN THIS DESIGN WAS BUILT IN THE KINGDOM OFMAGADHA. IT HAS FOUR OCTAGONAL STEPS WITH EQUAL SIDES.

STUPA OF COMPLETE VICTORY THIS STUPA COMMEMORATES BUDDHA'S SUCCESSFUL PROLONGING OF HIS LIFE BY THREE MONTHS. IT HAS ONLY THREE STEPS, WHICH ARE CIRCULAR AND UNADORNED.

STUPA OF NIRVANA THIS STUPA REFERS TO THE DEATH OF THEBUDDHA, WHEN HE WAS 80 YEARS OLD. IT SYMBOLIZES THE BUDDHA'S COMPLETE ABSORPTION INTO THE HIGHEST STATE OF For IT IS BELL-SHAPED AND MIND. all stupas ,please label the ORNAMENTED. USUALLY NOTrespective

sketches,atleast the important parts

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CHAITYA HALL AT KARLA: THIS WAS THE MOST IMPRESSIVE PRODUCTION OF THE HINAYANA PHASE. ALTHOUGH LARGEST OF ITS KIND, ITS DIMENSIONS ARE NOT GREAT AS IT IS ONLY 124 FT LONG, 46 FT WIDE AND 45 FEET HIGH. THE MAIN FEATURE OF ITS FRONTAGE ARE THE TWO LARGE FREE STANDING PILLARS WITH LION CAPITALS IN FRONT OF THE TEMPLE, ONE ON EACH SIDE OF THE FACADE AND SLIGHTLY IN ADVANCE TO THE ENTERANCE. EACH PILLAR STOOD ON A WIDE CYLINDER OF ROCK. IT WAS ATLEAST 50 FT IN HEIGHT. THE ADDITION OF BASE, THE SIXTEEN SIDES TO THE SHAFT, THE FLUTED ABACUS ABOVE THE CAPITOL FORMED A SQUARE PEDESTAL FOR THE LIONS.

BEHIND THE TWO LION COLUMNS WAS THE VESTIBULE TO THE HALL,HAVING A TRIPLE ENTERANCE BELOW AND PILLARED CLERESTORY ABOVE.

ACCESS TO THIS WAS OBTAINED BY MEANS OF A STAIRWAY AT THE BACK OF THE LION COLUMN ON THE LEFT SIDE.

PASSING THROUGH ONE OF THE DOORWAYS THE VESTIBULE IS ENTERED AND THE WHOLE Labelling of the plan INNER FRONTAGE COMES INTO for VIEW. understanding

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should be done or draw a basic sketch of the plan showing only the arrangmnts

THE GREATER PART OF THE INNER WALL OF THE VESTIBULE IS OCCUPIED BY A TOWERING HORSE-SHOE ARCHWAY. IN THE SPANDRILS ON EACH SIDE OF THE GREAT ARCHWAY IS A VERY DIGNIFIED METHOD OF ORNAMENTING. PERHAPS THE MOST SPIRITED MORTIF IN THE ENTIRE COMPOSITION IS THE SERIES OF SUPPORTING ELEPHANTS AT 4/28/12 THE ENDS, EACH HALF SIZE

ENTERANCE TO THE CHAITYA HALL WAS OBTAINED BY MEANS OF 3 DOORWAYS, ONE IN D CENTRE FOR PRIESTSAND WAS APPROACHED BY RAISED PATHWAY ON EACH SIDE OF WHICH THE FLOOR WAS SUNK TO FORM SHALLOW CISTERNS FILLED WITH WATER. IN THE INTERIOR OF THE CHAITYA HALL, ITS THREE PRINCIPAL ELEMENTS I.E. THE COLLONADE, VAULTING AND SUN WINDOW HAVE EACH IN THEMSELVES BEEN TREATED AND THEN COMBINED TO PRODUCE A CO-ORDINATED WHOLE. THERE ARE 37 PILLARS IN THE COLLONADE AND ARE CLOSELY SET. THOSE ENCIRCLING THE APSE HAVE PLAIN OCTAGONAL SHAFTS WHILE THE FIFTEEN ON EACH SIDE ARE HIGHLY CARVED AND DECORATED REPEATING IN THEIR DESIGN, THE LARGE FREE STANDING LION COLUMNS OF THE EXTERIOR. EACH PILLAR CONSISTS OF A CASE BASE ON A PLINTH, AN OCTAGONAL SHAFT AND A CAPITAL WITH SPREADING ABACUS.

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 UNDER THE SEMI DOME OF THE APSE IS THE STUPA, ITS CYLINDRICAL BASE IN TWO TIERS, DECORATED WITH TWO BANDS OF RAILINGS IN IMITATION OF BALUSTRADES. A PLAIN HEMISPHERE IS SURMOUNTED BY A MASSIVE HARMIKA OR FINIAL, DECORATED WITH A RAIL PATTERN AND HIGH UP OVER THE WHOLE SPREADS A LARGE WOODEN UMBRELLA CARVED IN THE PATTERN OF A LOTUS. ON THE SUN WINDOW OF THE FACADE DEPENDS THE WHOLE SYSTEM OF LIGHTING, IT COULD ONLY BE ILLUMINATED FROM ONE DIRECTION. THE AIM OF THE DESIGNER WAS TO DEFLECT THE GALRING SUNSHINE OUTSIDE THROUGH THE OPENING TO BE DISTURBE MODIFIED AND SUBDUED SO THAT IT PROJECTS NOT SO MUCH OF LIGHT BUT AN EFFULGENCE IN ALL PARTS. ( the meaning of this has to be explained in your words,)

LABELLED PLANS OR SKETCHES ARE REQUIRED FOR BETTER UNDERSTANDING,LESS TEXT THE BETTER 4/28/12