EARLY BUDDHIST ART IN INDIA

Course: History of Indian buddhism

Student: Patetta Heber

Date: March from 2017

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When the buddha died, his remains were divided and placed in tumults. These tumults
were called stupas, Which became in the first buddhist monuments in strict sense.
Three types of building constitute the principal contribution to the architecture of the first
buddhist stage, the stupa, the chaitya (which is a type of sanctuary making in rock) and
the vihara or monastery. Another types of constructions in this period disappear
because the material used was precarious.
It is important to note that at this stage, it is not represented him even to the buddha in
his physical appearance. The artists in this stage represented jatakas, which were
stories from previous lives of the Buddha, or through a rich symbolism represented
aspect of Buddhism. The most outstanding were the wheel of the law, the lotus, the
throne, the tree of enlightenment. It is as well as symbols, such as the wheel of the law,
the Triple Gem Buddhist are mixed with lions, elephants, spirals, peacocks and different
types of flowers.
The first samples of Buddhist art develop during the Mauryan dynasty. The most
important figure of the Maurya was the Emperor Ashoka (274-237 BC), whose kingdom
acceded to Buddhism, supporting their development and expansion. Ashoka Spread
Buddhism throughout the territory of India, and sent missions to Sri Lanka and East
Asia. He recorded his edictos and judgments in commemorative columns, promoting the
construction of caves and caverns to ascetics and to erect a large number of stupas,
among which we find the dharmarajika in Taxila and the Butkara.1
Commemorative columns (stambha) were erected by Ashoka, of about 9 meter in
height, were crowned by a capital with animal motifs. Among the most important are
those of Bihar and Sarnath. The most famous is the one that is topped by four lions
located toward the cardinal points, on a disc that shows the wheel of the law, all laying
on a lotus. It would be difficult to find in any country an example of such ancient animal
sculpture, superior or even equal to this beautiful work of art, which successfully
combines realistic modelling with idealistic dignity, and is finished in every detail with
perfect accuracy2.These characteristics give us an idea of what was the art of Sanchi
and Bharut. A sublime taste for nature and a great devotion to the buddha represented
by different symbols.3
The first representative Buddhist architecture were the stupas. These stupas were
tumults funeral which were erected as image of their cosmology. It was overlay of
bricks, in the shape of hemisphere, surrounded with balustrades and crowned by one of
the symbols Buddhists, the stupa develops in small space and constitutes a symbol
erected to sky.
Apart from the remains of stupa of previous periods, it corresponds indicates those of
Sanchi, Bharut, Amaravati, Sarnath, Ratnagiri, Ramareddipalli or Nagarjunakonda as
the most importants.
As we can read in the Aokvadna and Mahvasa as well, emperor Ashoka erected
84000 stupas. This is one of the acts considered larger toward the Buddhist community.

1
Barnouw J. Buddhist art in India, Ceylon and Java pages 11-17
2
Chauley C. Early Buddhist art in India page 8
3
Chauley C. Early Buddhist art in India pages 5-39

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For centuries, the pilgrims who visited the stupas, dating back to the erected by Ashoka.
Obviously these 84000 stupas is symbolic. This number refers to the sections that is
divided Buddha's dharma according to what Muggaliputta Tissa taught to Ashoka. But
no only refered to dharma but also to rpakya, it was tought that the human body was
made by 840000 atoms.4
In both texts there is equivalence in terms of some of the issues, in both it is said that
these stupas were erected in just a single day. Another point of agreement is that these
works were supervised by monks with magical powers (yaksas).This symbolism is to
show the great development and expansion of Buddhism during the reign of Ashoka.
Since then, Ashoka went from being known as Dharmoka Caoka to
Dharmoka.
The three stupas of Sanchi, between the centuries II and I A.C. are the best examples
in his kind. Between the most impressive, we find one with a diameter of thirty two
meters and a height of six meters. A solid balustrade around the tumulus, which stand
out the four doors (torana), oriented toward the four cardinal points and composed of
two pillars traversed by three horizontal beams. In these toranas we discover what has
been classified as the narrative art of sanchi, comprising a series of reliefs admirable,
similar in terms of their technical assistance to a delicate carved in ivory dig. These
reliefs would seem to mean access to all the art of india5.
It is assumed that the lay people were those who began with the cult of the worship of
the stupas. The evidence is found in the scriptures, in fact is in the
mahaparinirvanasutra where Buddha reply to ananda on the sarira-puja or worship on
the physical remains.
However, there are archeological data that show also monks and nuns cult to the
stupas. At least forty percent of sanchi was donated by monks and nuns. Also were
written different rules concerning the worship of the stupas belong to Mahasanghikas,
Dharmaguptakas, Mahayasakas, Sarvastivadins and MulasarvastivadinsIn the pali
Vinaya there are no such rules.
An important text that gives us details about the cult of the stupa is Apadana, which
specifies how to build a stupa and aspects related to the relics and how to worship
them.6
The relics of the Buddha could be one of three types, those related to him body
(saririka), such as the bones left after cremation. Those objects related to him body
(paribhogaka), this refers to objects that use to used, such as clothing or bowls for
almsgiving. Finally those objects that remind to him (uddesaka) such as the images of
the Buddha.
From all of these items, the most important are those related to the physical remains,
which are located inside the stupa. Within a capsule was also placed gold and silver.
However it was not only the relics of the Buddha which was placed within the funeral
pyre, but also the remains of important monks were placed in stupas.
Those who donated for the construction of stupas appear in inscriptions as gahapati
(householder), also appears in inscriptions as pavajita (one who has gone forth from
home) or those who were mendicants were named as samana. A clear example could

4
Anuradha S. King Ashoka and Buddhism pages 141-182
5
Hirakawa A. A history of Indian Buddhism page 223-243
6
KArlsson K. Face to face with absent buddha pages 174-187

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be found in the registration of stupa Nagarjunakonda where appear the inscription of the
donor, the royal family Iksvaku.7
At first, stupas were built near to temples, in te way auarters were built for the monks,
making it easier give gifts to stupas. Many stupas were erected in various areas were
thronged with worshippers and pilgrims.

The important role that stupas has been in the history of Buddhism is that its building
created accumulation of properties around them and did possible that groups of
religious live near to stupas. These people began to form order and developed
particular doctrine concerning to heterodox Buddhism. Many Mahayana account talk us
about the central role of these orders in the rise of Mahayana. A good example is the
weel know saddharmapundarikasutra, the chapter apparition of the jeweled stupa refer
to stupa worship. In some Mahayana account groups known like bodhisattvagana was
mentioned as existing at the same time that orders of monk belongin to nikaya
Buddhism, who was named like sravakasangha. The news groups do probably arise its
origin around to stupas.
The three sources that appear to have made significant contributions to rise of
Mahayana Buddhism are sectarian Buddhism, biographical literature of the Buddha and
stupa worship. So, Study this aspect of art is the key for to know about early history
from nikaya Buddhism to Mahayana.

Another important Buddhist architecture were the chaitya or sanctuary, which is a

building carved in the rock, while the most well know were the Buddhists, there are also
dedicated to the Brahmanism and the Jainism. The caves used for worship are called
cetiyaghara. The stupas found in them are made of stone and are much smaller than
those found above the ground. The most important are KArli, Nasik, Bhaja Caves,
Bedsa, Khondane, Ajanta and Ellora.
It is considered to the chaitya of Karla from century I B.C. as the most important, due by
its size, but mainly to its three beautiful entries and the beauty of its reliefs.
The Vihara or monastery, it was dug in the rock, served as the dwelling of the monks,
who were their rooms there (sangharama), and mainly it were close to the chaitya. Its
shape was round, square or rectangular, its appearance was generally bleak. The most
important are those of Ajanta, Taxila, kondani and especially Ellora. While Ajanta
temples are entirely Buddhist (30 cave temples including two unfinished ones), those in
Ellora have 12 Buddhist temples/viharas, and a few Jain and Hindu temples. There is
no archeological data that show us how were financed these caves. Some inscriptions
suggest that were financed by lay people some sculptures and paintings. But surely
these caves were sponsored by royal families. The Ajanta and Ellora cave temples are
actually chaityagrihas, places of worship as well as viharas for the accommodation of
Buddhist monks. There are 5 chaityas and 24 viharas. The oldes date back to second
century BC. This type of building were so popular because give to monk goods
possibilities for meditate, because this structure are cool in summer and dry during
monsoon rain.

7
Hirakawa A. History of Indian Buddhism pages 240-243

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The main important aspect in Ajanta is that combine an awesome architectural style,
different sculpture of bodhisattvas and many painting, all of them in the same cave.
Unlike, Ellora Buddhist cave temples were not paintings, but their importance lies in the
many buddhas and bodhisattva that contain it. May some painting had existed but none
of them has survived. The temples found in the southernmost group were built from the
sixth to eighth century during the reigns of early Western Chalukyas
With the arrival of Alexander the Great began the contact with Hellenistic culture. This
contact between the two cultures generated a remarkable influence on various aspects
of India. With regard to the art, several aspects of the hellenistic mingled with the local
thought . Nevertheless, it would be unreasonable to claim that the Indians in general
and the Buddhists in particular were not influenced by their invaders, especially those
with whom they were on friendly term 8
Especially established in Gandhara and Kapisa, the Greek culture, such as the Buddhist
of Mathura and Amaravati, were the first to represent the figure of Buddha, identified
only by symbols in Sanchi or Bharut. The Monarchs Kushana, in particular under the
reign of king Kanishka, defended the Buddhist law proceeding to the development of art
representative. The bas relief represented the cycle of incarnation, where Vedic gods
and bodhisattvas appear related with the advent of Buddha.
The school of Mathura, flourishing between the centuries I and III, receives equal
influence Greco Roman, but the memory of Sanchi, for example, converts it to a
differential treatment of the art of Gandhara, and at the same time is half way between
the previous and the style of amaravati. The naturalism and the opulence of the style of
Sanchi is evident in the first period of Mathura, and later, announces the Gupta style.
Although the prominent figures are buddhists, there were also other of the Brahmanic
cult and the Jaina, as well as certain images profane. It is evident that this style is well
and offers creative and personal differences with the gandhara, in particular in the
treatment of clothing, the skulls shaves and flattened, as in the force and opulence of
the shapes
In this period, the appearance of the Buddha image was an event of most importance.
Previously the stupa had been the only object of worship, but now, Buddhas image
began to be part of the devotion. Great amount of buddhas was placed in central part of
the monastery, cells or arrayed in uniform rows along the walls of the convent courts.
In some cases we find the Buddha is located between two royal figures, which later will
become very typical in Buddhist art. An exceptional case is the appearance of the figure
of the Bodhisattvas. In the monasteries of Gandhara, several of them, usually up and
around to other types of buddhas as Maitreya (the future savior)9
We see for first time what could be the bodhisattva of compassion, avalokitesvara,
which is recognizable by the attribute of the red lotus, who was a leading figure in the
later mahayana devotion. Thus we see in Greek Buddhist art the beginning of Buddhist
Mahayana devotion, which put the emphasis on the figure of the bodhisattvas.
In the heyday of the dynasty Andhra develops the style of Amaravati (century II to IV),
considered to be the most original and vital part of the Schools of Ancient India.10 So

8
Etienne L. History of Indian bhudism page 429
9
Barnow Buddhist art in India and Ceylon pages 18-28
10
Bhalla A. Buddhist art in Asia pages 116-140

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soon to naturalism traditional adds an elegant elongation of the figures, a composition
that increases the movement of the characters.
The main stupa of Amaravati should reach 50 meters in height and its past splendor
could be guess from admirable stone reliefs, in the flora and fauna, the symbol of the
wheel of the law, a great number of celestial figures together to the Buddha. The figures
of yaksas and yaksis, female goddesses of Indian tradition, are usually up in a lotus or
riding an elephant. Surrounded by kings and queens, as well as among a number of
nagas. We see how local goddesses are mixed with buddhist representations.
The differences in the quality of workmanship of the different types of railings may be
explained by the artisans professional experience and qualifications. The Sanchi stupa
received royal patronage of the kings who hired highly trained artisans. On the other
hand, the railings built in Bodhgaya and Bharhut may have been the work of individual
artisans who did not enjoy any royal patronage or may not have possessed the requisite
skills. They may have worked happily out of religious zeal and devotion.
Toward the year 320 of our time began on the domain of the Gupta king Chandragupta
I, turning the period in what is known as the "golden era", that it would be up to the 6th
century and extend up to the 8th within the so-called post-Gupta. One of the aspects of
cultural development was due to the intelligent protection of the Monarchs, who
supported the development of the religion, philosophy, arts, poetry, dance, music and
theater. It allowed the development of the knowledge of Buddhism, as well as of
Brahmanism and the Jainism. It was a period of great philosophical works where they
settled and developed various Buddhist schools of thought. The style gupta is
considered to be the greatest perfection, due to the balance between the aesthetic ideal
and religious representation. The development of architecture in stone is awesome and
a particular salient point of this period. An example of this is found in Ajanta, Ellora and
Elephanta. The thirty caves of Ajanta demonstrate great faith in the pursuit of
sustainability. The Vihara and sangharama are mostly covered with reliefs, and about
half of them contain the paintings considered to be the most important of india.
For this period of time the mahayana ideal already had marked their predominance, and
it is for this reason that the figure of the Bodhisattva repeats continuously. The buddha
accompanied by bodhisattvas of foot or in the traditional way of padmansana was
commonly represented.
It is as well that many Buddhist monuments were built during the reigns of the above
two kingdoms, it is believed that these works were sponsored by royal families.
However there is no data supporting this and there is no reliable information on how
were sponsored and built the Temples of Ajanta. Some inscriptions suggest that some
families have financed the excavations of these temples and the sculptures and
paintings. However it is inconceivable that this caves temples were built without royal
patronage.

The period that has been studied is of great artistic importance, not only for the history
of India, but for the whole world. The buddhist style has its own characteristics which it
has received notable influence of foreign peoples like the Greeks and has given an art
unique. The devotion to the Buddha has manifested itself in the art with great wealth.
The brahminic religion many times mingled with the Buddhism and elements of both
religions were intermingled. Through the century will begin to separate, representing

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each one their own deities. However in the artistic development of India was the
Buddhism precursor, and that showed greater dynamism and wealth at the time of
capture and create by means of architecture, sculpture or painting. In the development
of art we see that buddhist devotion as it was evolving toward own characteristics in
relation to a period of time. In its beginnings, as I have tried to demonstrate, not
representing human figures and elements of the Triple Gem were represented
symbolically. Thus, the wheel of the law to expose the doctrine, the bodhi tree
representing the illumination of the teacher or various floral reliefs. With time and the
foreign influence began to represent buddha and worship his image, which previously it
was performed worship her relics in stupas. With the development of the various sects
and especially with the advent of the Mahayana, the buddhist pantheon multiplied and
appeared various buddhas and, above all, the figure of the Bodhisattva who began to
be in first place in the representations and the devotion of the monks and the laity.
I tried to show in a very brief writtings the great wealth of the Buddhist art and the great
contribution that it has made not only in India, but the whole world. A religion that was
predominant throughout the Indian subcontinent and how expressed his greatness in
the art.

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BIBLIOGRAPHY

ANURADHA Seneviratna, King Ashoka and Buddhism, Buddhist publication society,

Singapore, 1994
BAPAT P. 2500 years of Buddhism, Publicatiosn divisions, India, 1956
BARNOW A. Buddhist art in India, Ceylan and Java, Oxford Clarendon press, 1936
BATTACHARYA B. The Indian Buddhist iconography, Mukhopadyay, India, 1956
BHALLA A. Buddhist art in Asia, Austin Macauley publisher, 2014
CHAULEY C. Early Buddhist art in India, Sundeep prakashan, India, 1998
GRUNWEDEL, Buddhist art in India, London Bernard Quaritch
HIRAKAWA Akira, History of Indian Buddhism, University of Hawaii press, USA, 1990
KARLSSON Klemens, Face to face with the absent Buddha, Upsala, 1999
LAMOTTE Etienne, History of Indian Buddhism, Institut orientaliste de Louvaine,
France, 1988
NAKAMURA Hajime, Indian Buddhism, Motilal Banarsidas, India, 1987

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