TAokeEN Wait. Buddhist Architecture - Unit II Asoka - Beginning of Buddhist Period (B.C.250) Introduction Emperor Asoka, the third Mauryan ruler of Magadha, grandson of Chandragupta Maurya, accepted the teachings of Buddha. In B.C.255, Asoka filled the religious vaccum by proclaiming Buddhism as state religion. This led to the evolution of Buddhist Architecture. ‘There principal contributions made by the Asokan school of the Buddhist art and architecture were: © A series of edicts inscribed on the rocks, + A number of tumuli or Stupas (structures — significant) * Certain Monolithic pillars (Artistic qualities) * Several Monolithic accessories to shrines. * The remains of a vast palace (Architectural Associations) © A group of Rock — Cut chambers (techniques adopted) Interaction of Hellenic and Indian Ideas in Northern India © The Emperor Asoka carved his famous edicts on the living rocks ~ “Long ~ inspired by the Pharoahs who inscribed endurance of the good law “Everlasting stone monuments” in honour of the gods. * Use of stone — lofty free standing monolithic column, + The art of working in stone which Asoka introduced into the country represents and Indian off shoot of Graceo ~ Persian culture. * The shapes and decorative forms employed were clearly of Greek, Persian and Egyptian extraction. * A dassical art school — developed in the capital cities of the Persian Empire — composed of Pharoic~ Hellenic ~ Iranian elements. * This school brought the full force of Hellenism to the very borders of Mauryan India, e Archaemenid art of Eastern Persia was brought into symbolic monuments (Buddhist) erected by the Asokan school, * This India Monarch — inspired by The columned halls of Archaemenid Kings Sculptured reliefs Inscriptions of the rocks at Behistun * Brought skilled artificers to aid his projects. * Brought imported workmen trained in the Graeco - Persian traditions, made to collaborate with number of selected Indian craftsmen ~ in a quarry workshop near Chunar in Bihar.* The campaniform capital - consisting of fluted petals taking the form of the bell was seen in Early Indian decoration. + But the boldly marked fluting were of foreign origin — common in Persian and Greek Pillars at = Palace of Axtaxerxes II at Susa * Ionic temples of Apollo at Naukratis * Diana at Ephesus + Other extractions were: = Buddhist emblems ~ the goose (hamsa) * Bull capital at Rampurva * Conventional motifs © Honey suckle and palmette © Bead and fillet © Cable moulding * Bell capital — Persepolitan orders * Animal symbolism in the massive Buddhist composition — continuation of the Vedic mythology. * The lions - (Sarnath Capital) provided with metal eyes and flowing manes ~ similarly to lion headed spouts on Greek and Roman buildings — Hellenic Attribution. * The lustrous finish of the crystal, the pillars and other sandstone odjects ~ obtained by the application of an agate burnisher. © Asokan artificers completed their handiwork with glazed effect - followed procedure of Egyptian and Greek masons. * _Asoka’s palace at Pataliputra inspired to some extent by complex palaces at persepolis. © Pillared hall - close agreement with the hall of a hundred columns built by Xerxes. © Colossal supporting figures or atlantes, were in relation to base relief’s representing figures supporting upper stories in + Tomb of Darius at Nakshi Rustam * Throne Room at persepolis ‘The Asokan schoo! lasted for a period of less than fifty years ~ brought Hellenic ideas and Indian ideas in its significant productions (Northern India) — emerged as an outstanding episode in the early history of Indian Art. Asokan Pillars One of the achievements of the Asokan school - free standing monolithic pillars. Several Pillars — erected on sites sanctified by the Buddha, while others— markedthe way to holy places.The line of pillars in the Champaran and Muzaffarpur districts ~ at Rampurva, Laurya Araraj, Lourya Nandangarh and Kolhua — were | placed at intervals from Pataliputra to sacred land of Buddhism on the borders of Nepal. © Asoka Pillars were of great artistic value, boldly designed finely proportioned and well balanced conceptions. © Each Pillar consisted of a plain unornamented shaft, circular in section — tapering towards upper side — 40-50 ft. long. © Campaniform capital (2 feet in diameter) — placed on the top of tapering shaft. © Camaniform capital ~ consisting of a series of petals — elongated and falling together ~ taking form of a bell. © Aesthetic properties — design and execution of the capitals and super structure, © Capital and super structure —average of seven feet in height — one piece of stone. Shaft of the column consists of another piece of stone. These two portions joined by a capper bolt accurately fitted into the tenons ~ without use of cement, © Most of the superstructures consist of figures of animals, placed above a Base pedestal ~ each having a mythological meaning Pillar at Sarnath — Lion Capital * More than 15 m high, has a group of four addorsed lions with flowing manes, surmounting the capital. + These lions originally provided with metal eyes, supporting a massive metal wheel called “Wheel of the law” ~ Dharma Chakra (with 24 spokes) * The capital more than 2 feet high resembles the shape of an inverted bell or lotus bud with series of fluted petals, * Above the capital — broad edge circular abacus is placed. * Abacus carved with omamental borders, containing four animal figures (elephant, bull, borders and lion alternating with four small wheels). + These animals ~ guardians of four quarters of universe * Elephant — guardian of the East + Bull - guardian of the South * Galloping Horse- guardian of the West = Lion - guardian of the North© Finely Polished Pillars ~ display skilled workmanship. © The wheel symbolizes the first sermon delivered by Buddha at Sarnath. © The elephant and the bull symbolize — incidents in his life. © The lion symbolizes Buddha himself, © The horse denotes his renunciation and departure from Kapil vastu, © The other notable pillars still in good condition are = At Kolhua with Lion Capital * At Rampurva with Bull Capital Replica of Asoka Pillar — National Emblem of India © Three lions visible, fourth hidden at the back. © Centre of Abacus ~ wheel with 24 spokes,bull on the right and a horse on the left. © Bell shaped lotus capital below the abacus and the massive wheel mounted on the lions are omitted. Rock Cut Caves at Barabar Asoka and his grandson Dashratha constructed several rock-cut caves in the hills about 19 miles north of Gaya. There are seven of these chambers: Four on the Barabar Hill: © Karna Kaupar ¢ Sudama * Lomas Rishi © Visvajhopri ‘Three on the Nagarjuni Hill (1/2 a mile north ~ east) © Gopika (Milk Maid) * Vahijaka © Vadalhika © Sitamarhi Situated ~ 13 miles south of Rajgriha and 25 miles east of Gaya. © The caves were constructed for the residential purpose of Bhikshuks of Ajvika sect - related to Jain religion. * These chambers - earliest examples of rock ~ cut method in India. © Some of them are exact copies of structures in wood and thatch - of Vedic Period. Lomas Rishi and the Sudama cave* The two most notable, the Lomas Rishi and the Sudama ~ cut adjacent to one another on the Barabar Hill. + The Lomas Rishi and the Sudama ~ interiors are very similar. ¢ The Lomas Rishi cave is the only one to have an ornamental facade. * The Doorways, notable for their sloping jambs are in the long side of the chamber (Sudama & Lomas Ris! * Inside is a barrel- vaulted hall 32°9°* x 19°6"" and 12°3" in height. * At the end of the ante-chamber entered by central interior doorway — separate circular cell 19’ in diameter with a hemispherical dome roof 12°” high at its centre, * Exteriorly - cell has an overhanging eave like a thatch. Walls have irregular perpendicular grooves — imitation of upright batten of wood or bamboo — exact copy of a beehive hut. * The facade surrounding the doorway of Lomas Rishi — reproduction of gable end of a wooden structure. * Two stout uprights inclined slightly inward 13° in height form the main support. * The upper ends are joined to two principal rafters and other rafters lying parallel. * Curved roof is fixed on the rafters composed of three laminated planks. * The doorway 7 % feet high recessed with a semi-circular archway above which are two lunettes. * The lower lunette carved — procession of elephants The upper lunette — diaper pattern of lattice work. * Surmounting the gable is a finial. The facade is sharply chiseled and still retains its high polish. The Gopi / Milkmaid’s cave Is the largest on the Nagarjuna hill. * With shape of a tunnel, rounded in planat each end. © Measures 44 feet long by 19 feet wide and 10 feet high vaulted roof. * Over the doorway — inscription stating that it was excavated to the order of emperor Dasaratha on his accession to the Mauryan throne. Characteristic Features — Stupas + Stupas are circular tumuli built of earth, covered with stone or brick. © The total form - derived from circle — the embryo of the most powerful architectural form of Buddhism. Consisted of a masonry hemisphere some 70° feet in diameter and about 35 feet high,