• This photo feature by art historian Benoy K Behl tells you about Sanchi Stupa, including its sculptures. It has o/s pictures with detailed captions. Some images are found in churches of Spain and Portugal, captions have the details.

An earlier article Who Made Sanchi Stupa. Text and Photographs by Benoy K Behl

The Sunga and Satvahana periods

Between 185 and 73 BCE, during the rule of the Sunga Dynasty, foundations were laid for the rich traditions of art of the Indian subcontinent. The harmony and interrelatedness of the whole of creation became the underlying theme of all art. This is best represented by the continuous, undulating vine of life, from which springs the bounty of nature, the numerous forms of the world around us. 

The forms of the world were sculpted on the railings and gateways around stupas. These vedikas and toranas separate the mundane, day-to-day world from the sacred space, at the centre of which is the stupa. These sculptural representations help us to appreciate all forms of life in their true perspective, as reflections of that formless eternal, towards which we must proceed. Beyond the railings and gateways a profoundly simple representation, a stupa, points out the Truth towards which we must strive, leaving behind the forms and attractions of the world.

Another tradition that was clearly established at this time was that of the indirect royal patronage of all sacred monuments, which lasted through most of the ancient period. No king patronised the making of such edifices dedicated to any faith. However, they provided revenues to all faiths, for the upkeep of these establishments and for the monks and bhikshus gathered there. The earliest Buddhist art, with themes from the Buddha’s life and Jataka stories, was made under the rule of the Sungas. Sunga rulers generously endowed the revenue from many villages for the running and maintenance of Buddhist places of worship.

Sanchi Stupas

The city of Vidisha, present-day Besnagar in Madhya Pradesh, was on the trade route which connected the plains of the Ganga to the Western Coast. It was also a great market place, at the centre of the vast and fertile plains of Central India.  Among the earliest objects to be found here is a large stone pillar with an inscription, dated between 120–100 BCE. It was set up by a Greek devotee named Heliodorus, in honour of Vasudeva, another name of Lord Vishnu.

At Sanchi, on a low hill next to Vidisha, are the finest surviving early Buddhist stupas. Halfway up the hill, is a stupa which contains the relics of prominent Buddhist teachers of the Mauryan period. The Vedika made around the stupa dates to around 100 BCE. The Vedika has medallions and half-medallions which contain sculptural relief. Corner pillars at the entrances are fully carved. The deity of prosperity and abundance Lakshmi is seen with elephants pouring water over her. The panel is carved in shallow relief and the style is similar to that of Bharhut.

The greatest surviving Buddhist stupa of the BCE period is on top of the hill at Sanchi. It is likely to have enshrined the relics of the Buddha. The stupa was originally made in the third century BCE. There is an Ashokan pillar at the southern entrance of the stupa. In the middle of the second century BCE, it was doubled in size and its previous wooden Vedika was replaced with a massive stone one. 

By the end of the first century BCE, the Satavahanas, kings of the Deccan region, extended their rule to Central India. Major stone renovations that were carried out during their reign made this stupa one of the most significant of all Buddhist monuments. Four gloriously carved stone Toranas, 34 feet in height were made. They were completed in the first century CE. The traditions of art established during the time of the Sungas became more sophisticated in these magnificent Toranas, made in the time of the Satavahanas.

The carvings were a result of the donations by the people of Vidisha, a fact revealed by the 631 inscriptions on the toranas. The donors included gardeners, merchants, bankers, fishermen, housewives, householders, nuns and monks. Interestingly, almost half the donations were made by women.  

The massive Vedikas are plain and without carvings. The Toranas have two upright pillars, which support three horizontal bars or architraves. On the east and north Toranas, between the pillars and the architraves, are superbly made elephants, sculpted almost completely in the round. The west gateway has Ganas or dwarves. The one on the south has Lions.  

The Ganas are shown with rolls of fat and vast bellies which bulge over their dhotis. They have individualized facial expressions. Ganas continued as a favourite motif of the Indian artist, in the centuries to come. They deepen the sense of the reality presented in the art, where the humorous and the sublime co-exist, reminding us that everything has its place in existence. In later times, ganas become an integral feature in Shiva temples.

The veneration of nature’s fertility and abundance, as seen at Bharhut, continues here. Twenty-four auspicious Yakshis are made as bracket figures on the gateways. On the east Torana is a beautifully-made Yakshi who holds the branch of a mango tree above her. The notion of the creative vitality of nature and its fruitfulness is convincingly portrayed. Though she is physically attached to the matrix, she is sculpted as though fully in the round. Details, seen from all possible angles, including the rear, are carefully articulated.    

As at Bharhut, male figures are made guarding the entrances to the sacred stupa. One figure is in Indic garb, a dhoti and turban. Another wears Greek garments and carries a foreign-type shield and spear. It may be noted that, in early Indian art, soldiers are generally depicted as foreigners.   

The reliefs on the Toranas depict incidents from the Jatakas, as well as events from the life of Gautama Buddha. The focus is still not on the personality of the Buddha, who is represented by symbols. The wheel represents the first teaching of the Dharma; the Bodhi tree represents Enlightenment; while footprints and an umbrella over a vacant space proclaim the presence of an Enlightened One.  

The Toranas of the stupa at Sanchi present a view of the overflowing activity of life. The pictorial setting of the narratives richly reflects contemporaneous town and village life. These reliefs at Sanchi are the most important visual record of the architecture and lifestyles of the period. Stylistically, the Sanchi reliefs display a greater sophistication than the ones at Bharhut. Whereas single figures were made at Bharhut, here there are large groups of many figures. Men, women, children and animals are shown in a variety of poses and in the midst of exuberant life. They are no longer depicted only frontally: instead, three-quarter profiles are also seen. The Sanchi artist also depicts a wide range of expressions effortlessly.

The Sanchi artists utilized multiple perspectives and viewpoints. This allowed them to present that view through which the object or person was most easily recognised. Events that occurred and figures that are in the distance are represented in the upper part of the panel, while those figures which are closest to the viewer, are shown in the lower section. The technique of receding perspective is not employed here. All elements which are considered important are presented large and in clear detail. Another feature of Indian art seen from earliest times is that the leaves of a plant or tree were large, so they could be recognized.  

There is an inscription on the eastern Torana of the stupa which mentions that the exquisite carvings on the toranas are the work of ivory carvers of Vidisha.  Indeed, the stone is so finely carved here that it reflects the care and detail of work on delicate ivory.    

A smaller stupa at Sanchi contained the relics of the Buddha’s close disciples Modgalyana and Sariputra. The only torana here was also made under the supervision of the Satavahanas in the first century CE.  As in the earlier stupas, the sculptures present a vision of the world which sees the unending rhythm in all of creation. There are numerous representations of Purnaghatas, or ‘vases of plenty’, from which come forth the joyous forms of the world. The vine of creative blossoming moves with a pulsating life through the Vedika. It brings to us the natural order in its myriad forms: flowers, fruit, animals, humans and composite creatures. 

These are traditions which continued in Indian art in later times and spread far and vide, beyond the shores of India. Purnaghatas, with pillars rising out of them, as in Buddhist caves, are seen in the early mosques and even sometimes in contemporaneous pillars in Indonesia. All these motifs of the fruitfulness of nature are depicted in similar form and in profusion in the early churches of Spain and Portugal.

While the great stupas at Sanchi were being built and carved in the plains of Madhya Pradesh, the Satavahanas and the Kstrapas ruled over the Deccan. They encouraged and extended their benevolent patronage towards Buddhist establishments. Scores of caves dedicated to the Buddhist tradition and numerous impressive stupas were made during their rule, across the Western Ghats and the Deccan, in present-day Maharashtra, Andhra Pradesh and Karnataka.

We now feature pictures by author. 

Stupa II, c. 100 BCE. Photograph by Benoy K Behl

Made in Sunga times, the reliefs on the Vedika of this stupa are among the oldest Buddhist art in the world. These depictions continue the rich visual lore of the land and show the roots of the specific Buddhist imagery to come in later centuries. 

Composite Creature, Stupa II, Sanchi c. 100 BCE. Photograph by Benoy K Behl

The depiction displays the oneness of all life forms.  It is such a delightful and joyous creature, with the qualities of an elephant, cow, deer and even a horse.  All of creation is seen in a vision full of warmth.

Shalabhanjika, East Gateway Stupa I, Sanchi first century CE. Photograph by Benoy K Behl

The best-known sculpture of the Sanchi stupas is this exquisite shalabhanjika, who depicts fertility and abundance.

The Great Stupa, East Gateway, inner view, Stupa I, Sanchi first century CE. Photograph by Benoy K Behl

The Vedika creates a passage for the circumambulation of the stupa.

Ganas supporting architraves, West Gateway Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

Ganas are among the early images of Indian art, which continue through all the ages. They deepen the reality conveyed in the art, as the whole of life includes multiple aspects, from the humorous to the sublime. 

Detail, the unending vine of the natural life force, South Gateway Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

The art of Bharhut and Sanchi brings us the unending vine, which carries the numberless forms of the natural world. The Yaksha comes out of the undulating vine of life, carrying a garland. Out of his mouth is again disgorged the vine of life, bringing forth the fruits and flowers of the natural world. 

Detail, Graceful Devas, Enlightenment Scene, West Gateway, inner face, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

This scene is one of the finest sculpted at Sanchi, with gentle and graceful expressions on the faces of the figures. These devas are gathered on the occasion of Enlightenment, to pay homage to Gautama Buddha. 

Detail, Vessantra Jataka, North Gateway, inner face, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

Prince Vessantra is a previous birth of Gautama Buddha. In this Jataka tale, he exemplifies the quality of generosity. He gifts everything that he has and was left with nothing.

Worship of Seven Buddhas, represented by trees, East Gateway, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

The Seven Manushi Buddhas are the Buddhas or Enlightened Ones of the world, of whom Gautama Buddha is one. As individual personalities were not as yet shown in Indic art, they are represented here as trees.

Lakshmi, deity of abundance and prosperity, with elephants pouring water on her, East Gateway, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

This is also interpreted as Queen Maya, mother of Prince Siddhartha. From the earliest Sanchi stupa and the Bharhut stupa onwards, one of the earliest deities we see in Indic art is Lakshmi, who represents the abundance and riches of nature.  Photograph by Benoy K Behl

Lord Indra with Vajra, Pillar of East Gateway, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

 Among the earliest deities seen in Buddhist art is Lord Indra. The vajra or thunderbolt which he holds in his hand, later became the symbol of the Vajrayana school of Buddhism. 

North Gateway, inner view, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

These magnificent gateways, carved on both sides, are among the finest works of Indian art. The themes are carved in fine detail remind us of the inscription which mentions that these reliefs were the work of the ivory carvers of Vidisha.

Worship of stupa, pillar, North Gateway, Stupa I, Sanchi, first century CE. Photograph by Benoy K Behl

As images of individual personalities were not shown in Indic art at this early stage, symbols such as this stupa indicate the Buddha in the art of Sanchi. 

Detail, the unending vine of the natural life force, South Gateway Stupa I, Sanchi, first century CE.  Photograph by Benoy K Behl.

Yakshas are seen here, disgorging the unending vine of the life of the natural world around us. The vine is continuous and brings the forms and fruits of the world. The yakshas carry auspicious flower garlands in their hands. This is a theme in Indian art which runs through the ages to come. As we go to the stupa or to the temple, we are constantly shown the illusory world of forms all around us. This art is a remarkable lesson, which shows how the force of Maya or Mithya creates the world of nature in which we live.  

Purnaghata (vase of plenty), detail, vedika, Stupa II, c. 100, BCE. Photograph by Benoy K Behl

As in the case of the yaksha, the Purnaghata, or ‘vase of plenty’, has the life of nature coming out of it. This is one of the most common motifs in Indian art. Even the pillars in caves of the early period are seen rising out of such ‘vases of plenty’.  

Composite creature, detail, vedika, Stupa II, c. 100, BCE. Photograph by Benoy K Behl

The oneness of all life forms is displayed in these delightful creatures. Here we see the connectedness of the life of fish, a bull and a crocodile. The creature spews out of his mouth the vine of life and flowers, representing the vibrant life of the natural order. 

Lion disgorging the vine of life, detail, fresco, Patio del Yeso, Seville, Spain, late medieval period. Photograph by Benoy K Behl

This image is remarkably similar to the themes of ancient Indian art which are seen everywhere in Bharhut, Sanchi and thereafter. The lion disgorges the vine of life which moves all around him and brings forth the blossoms of the natural world.  

Spain and Portugal were under Arab rule for about eight centuries, from the early eight century onward. This was the period in which Western Europe imbibed many concepts of science, mathematics, medicine, agriculture, art, literature, music, rational thinking and knowledge of Greek philosophy and science, from the Arab rulers. This was the period which transformed Western Europe. Much of what the Arabs brought to Europe was Indian in origin, including Arabic translations of the ancient Indian astronomer and mathematician Aryabhatta. In fact, the numerals of mathematics which the Arabs brought were called ‘Hindi’ by them, as they came from the Indian sub-continent.   

Along with ideas of astronomy and mathematics, the Arabs must have been the carriers of the highly-developed motifs of ancient Indian art, which we see in the early European Churches, after the Arab influence. European art historians were not familiar with ancient Indian art and these thousands of representations have been called “pagan”. Actually, these are highly-developed philosophical themes of ancient Indian art which appear to have travelled to Europe with the Arab influence. 

Composite creature, fresco, Patio del Yeso, Seville, Spain, late medieval period. Photograph by Benoy K Behl

Thousands of such composite creatures were made across the early churches of Spain, Portugal and Italy, showing a remarkable similarity with the themes of ancient Indian art, from the second century BCE onward.

Just like in the art of the Sunga period, this creature shows a connectedness of all life forms, ranging from the plant life seen below, snakes with wings, humans and finally the leaves which are seen on his head. This figure would be termed a kinnara in Indian art. He also reminds us of the numerous naga-devas. The endless vine of life is also seen on either side of him. 

Doorway details, Convento De Cristo, Tomar, Portugal, early medieval period. Photograph by Benoy K Behl

Here we see on the left a creature with horns and a ferocious mouth, disgorging the continuous vine of life. He is made just like the vyalas and yakshas in ancient Indian art, from whose mouth emanates the stream of life. On the right, we see a vase, like the Purnaghatas of Indian art, from which comes forth the treasure of the natural order.

Doorway, detail, Convento De Cristo, Tomar, Portugal, early medieval period. Photograph by Benoy K Behl

To the side of the entrance to the convent, we see a vase, from which comes forth the life of the natural world. This is exactly the theme we see in the ancient stupas and temples, including the easy contiguity which is presented between the animal and plant world.  

Doorway, Convento De Cristo, Tomar, Portugal, early medieval period. Photograph by Benoy K Behl

It is amazing to see the representation of the ‘vases of plenty’, the vyalas and the continuous vine of life, carrying in it numerous creatures, joyously presenting the world of nature, in the carvings around the doorway. These are exactly the themes made at the doorway of ancient Indian stupas. 

In later Indian temples of the ancient and the medieval period, these themes are made in parallel bands which move around the doorway, precisely as we see them made here. 

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