UNIT II BUDDHIST ARCHITECTURE 6

Evolution of Buddhism
Buddhist thought, art and culture
Hinayana and Mahayana Buddhism
Interaction of Hellenic & Indian Ideas in Northern India
Evolution of building typologies- The Stupa, Vihara and the Chaitya hall
Symbolism of the STUPA
Architectural production during Ashoka's - Ashokan Pillar
Rock cut caves at Barabar - Mauryan in Bihar-Sarnath - UP
Sanchi Stupa
Rock cut Architecture - Ajanta and Ellora and Vihara at Nasik
Karli- Maharashtra
Rani gumpha - Udaigiri
Takti Bahai- Gandhara
Origins of Jainism
Mahāvīra, also known as Vardhamāna,
was the twenty-fourth and
last tirthankara- omniscient teacher who
preaches the dharma (righteous path)

Mahāvīra was the last tirthankara

of avasarpani(present descending phase

Mahavira was born into a royal family in

what is now Bihar, India.

At the age of 30, he left his home in pursuit

of spiritual awakening.
• For the next twelve and a half years, he practiced intense
meditation and severe penance, after which he
became omniscient.

• He traveled all over South Asia for the next thirty years
to teach Jain philosophy.

• Mahavira died at the age of 72 and

attained nirvana (final release) or moksha (liberation from
the cycle of birth and death).
Jainism: The Religion
• The Jain community is composed of
monks, nuns, laymen and
laywomen.

• There are two distinct religious

groups: the Digambaras (the sky-
clad) and the Svetambaras (the
white clad).

• This division probably occurred

around 300 B.C. over two issues:
the nature of Mahavira and
monastic nudity.

• Though they both believe in the

same doctrines that are important to
Jainism, their practices are
different.
 Jainism: Key Beliefs
• Ahimsa - The central Jain belief is an agreement to avoid physical
violence and conduct that can be mentally and emotionally damaging
to oneself or others. It also involves commitment to all life forms on
earth and not engaging in practices which may bring harm.
• Karma – the belief that for every action, there is a consequence.
• Reincarnation – One’s soul that is reborn into different bodies over
the course of many lives.
• Proper Conduct - Jains are encouraged to make a vow to conduct
themselves according to the following five principles:
1) Non-violence (ahimsa)
2) Truthfulness
3) Non- Stealing
4) Celibacy
5) Non-possession
 Jainism: Key Beliefs
• Moksha - Results in the elimination of
the effects of karma in one’s life
(achieved through meditation)
• Atomism - Jains believe that every
living thing on the planet possesses a
soul or “Jiva”. They also believe that
people are bound to act more
compassionately if they acknowledge
that everything is composed of a spirit
or soul.
• No absolutes - No perspective of any
person is wrong, despite the fact that
different perspectives have different
effects on the specific situation.
Symbol of Jainism
• The outline of this picture represents the universe in
the Jain description. It is supposed to resemble a
person standing on his feet with his feet apart,
and the arms are rested on the hips.
• The swastika represents the soul in which it can be
reborn and reincarnated into during the time it is in
the universe.
• There are three dots above the swastika. They
represent Right Faith, Right Knowledge, and
Right Conduct. The three dots are the three jewels
of Jain philosophy in which they believe liberation
can be found.
• The half moon is where the liberated soul is being
kept, and the dot inside of it is the liberated pure
soul.
• The hand below the swastika is a gesture of
blessing and protection.
• Inside the hand, there is a wheel of 24 spokes, and
this represents Jinas. In the middle of the wheel, a
word is inscribed which says: “ahimsa”
 BUDDHISM – GAUTHAMA BUDDHA ( 563 – 483 BCE)

• It was all started by Buddha, who was a prince in Lumbini, 2500

years ago.
• He was very unhappy in his royal life, so he set off on a 6 year
journey, exploring other religions.
• After his long journey and much meditation he was finally
“enlightened”.
• He found the middle path, the key to human happiness. For the
rest of his life he wandered Asia, preaching his new religion.
• Attained enlightenment under the Bodhi tree in Bodh Gaya, India.
• Spent rest of his life, teaching others to realize what he himself
had discovered.
Gauthama Buddha from BodhGaya went to Sarnath ( 5 weeks after enlightenment)
Crossed the ganges.

In Sarnath his deciples were the Five monk.

The earliest school of Budhhism was formed in SARNATH . Which are remarkable
in their construction.
 THE FOUR NOBLE PATHS
The first was that life is suffering
You can’t live without death, frustration, etc.

The second is that suffering is caused by craving and

aversion
Getting what you want doesn’t guarantee happiness, it deprives you
of it

The third is that suffering can be overcome, and true

happiness attained
If we stop craving useless things, and live each day at a time (not
living in the future) we will be happy and free.

The fourth is that the Noble eight fold path leads to the
end of all suffering
 The Eight-Fold Path

Right
Knowledge
Right Right
Meditation Resolve

Right
Right
Speech
Mindfulness

Right
Right
Conduct
Effort
Right
Livelihood
"Buddha" means "the awakened one"--that is, someone who
has woken up from the dream of being a separate ego in a
material universe.
Gautama Siddhartha, whom we affectionately, [mistakenly],
call the Buddha, taught for forty-five years.
In all those years, and in the hundreds of thousands of
teaching words that he uttered, his message was simply this:
"You are all Buddhas. There is nothing you need to achieve.
Just open your eyes.“
Buddha had a vision in which he saw the human race as a bed of
lotus flowers
 BELEIFS OF BUDDHISM
• Dharma is understood as the practice (paripatti) of the truth. To
take refuge in the Dharma is to take refuge in Buddha.

• Karma is intentional action, physical, verbal or mental. Good

karma brings happiness, bad brings suffering.

• Avijja and Tanha is ignorance or not knowing the true nature of

things and craving are the two root causes of Karma.

• Cycle of Rebirth – We are born and reborn in six realms of

exhistence based on one’s previous Karma.

• Nirvana (Enlightenment) – To go beyond the cycle and achieving

blissful state is Nirvana.
• Five Rules to abstain from: killing, stealing, sexual
misconduct lying, taking intoxicants such as alcoholic
drinks

• Meditation: Various types of meditation in various

traditions

• Chanting: Hymns of homage to Buddha, refuge in

Buddha, Dhamma and Sangha etc.
Comparison between the two schools (chart)
Theravada (Hinayana)
Teaching of the elders
Small vehicle
Man as an individual
Man on his own in the universe
Key virtue: wisdom (bodhi)
Religion is primarily for monks
Ideal: the Arhat (lonely saint)
Nirvana- oneself
Buddha is a saint or sage
Avoids metaphysics (speculation)
Avoids ritual
Conservative
Pali texts – kamma and dharma
Old wisdom school
Escape Samsara, and reach Nirvana
Ceylon, Burma, etc. (Southern Bism)
Mahayana
Spirit of the elders
Large (great) vehicle
Man involved with others
Man is not alone (grace is real)
Key virtue: compassion (karuna)
Religion is for laypersons as well
Ideal: the Bodhisattva
Nirvana + heavens, hells-for all
Buddha is a savior
Elaborates metaphysics
Includes ritual
Liberal
Many later texts
(Sanskrit)karma,dharma
New wisdom school
Samsara is Nirvana (identity)
China, Korea, Japan (N Bism)
 Jainism Buddhism
Based on The teachings of The teachings of
thirthankaras like Gautama Buddha
Mahavir
Branches/sects Digambara, Svetambara, Theravada, Mahayana
Terapantha and Vajrayana, and so on
Notion on soul Believes that soul is a They do not believe in
living entity which sticks the ideas of eternal self or
to different types of soul (Atman) and
non-living matter. eternity. Soul is treated as
an ever changing entity.
Notion on Karma It is a real substance that Is a process, (an
is attached with each jiva impression of karma
or body. Not effected determines the future).
from the person’s Karma is the direct effect
actions. of one’s own action
Founder Vardhamâna Gautama Buddha

Knowledge Knowledge for liberation Knowledge of purpose of

life
INTERACTION OF HELLENIC AND INDIAN IDEAS IN NORTH INDIA
The 2nd century BC was a period of great expansion of international trade, and these
monasteries, remote as they may seem to us, were built on the trade routes of their time.
The valleys they crown once saw the frequent passage of the caravans of the great
merchant houses bringing luxury goods – ebony, teak and sandalwood, elephant tusks
and translucent Indian textiles, pepper and cinnamon – to the coast where they would be
shipped by Egyptian Jews and Greek middle men to the Red Sea and hence, via
Alexandria, to Antioch and Rome.
•Like Egyptian pharaohs they built everlasting monuments in honor of the gods
•Ashoka showed THE ENDURANCE OF THE GOOD LAW
•Thus arose the pillar for a beginning which was 50' high which carried the Buddhist emblem
•Other monolithic productions were
•Railings
•Stupa finials- umbrellas
•Lion thrones
•Colossal figures
•Hypostyle halls at the royal palaces of Pataliputra
•Most important aspect of these stone structures was the smooth enamel finish
•This was the infancy of stone architecture and yet it reached its peak immediately after wood
•Stone art developed even without a background and traces of Greek, Persian and Egyptian
•Influence in the method of usage of stone could be seen.
•The Graeco-Persian culture influence in Indian art could be seen from above examples
Artistic influences
•Numerous works of Greco-Buddhist art display the intermixing of
Greek and Buddhist influences, around such creation centers as
Gandhara.
•The subject matter of Gandharan art was definitely Buddhist, while
most motifs were of Western Asiatic or Hellenistic origin.
•The anthropomorphic representation of the Buddha

Standing Buddha, ancient region of Gandhara, northern Pakistan, 1st century

AD.
•Many of the stylistic elements in the representations of the Buddha point to
Greek influence: the Greco-Roman toga-like wavy robe covering both shoulders
•A large quantity of sculptures combining Buddhist and purely Hellenistic styles
and iconography were excavated at the Gandharan site of Hadda.
•During the following centuries, this anthropomorphic representation of the
Buddha defined the canon of Buddhist art, but progressively evolved to
incorporate more Indian and Asian elements.
A Hellenized Buddhist pantheon
Several other Buddhist deities may have been influenced by Greek gods. For
example, Heracles with a lion-skin (who also happens to be the protector deity of
Demetrius I)

Garland-bearing cherubs, vine scrolls, and such semi-human creatures as the centaur
and triton, are part of the repertory of Hellenistic art introduced by Greco-Roman artists
in the service of the Kushan court.

Religious interactions
The length of the Greek presence in Central Asia and northern India provided
opportunities for interaction, not only on the artistic, but also on the religious plane.

Philosophical influences
•The close association between Greeks and Buddhism probably led to exchanges on the
philosophical plane as well.
•Many of the early Mahayana theories of reality and knowledge can be related to Greek
philosophical schools of thought.
•Mahayana Buddhism has been described as the “form of Buddhism which (regardless of
how Hinduized its later forms became) seems to have originated in the Greco-Buddhist
communities of India,
Capital of one of the Pillars of Ashoka (c. 250 BC), for which Hellenistic
artistic influence is often suggested (Boardman).
•Chandragupta's grandson Asoka converted to the Buddhist faith and
became a great proselytizer in the line of the traditional Pali canon of
Theravada Buddhism, insisting on non-violence to humans and animals
(ahimsa), and general precepts regulating the life of lay people.

The Indo-Greek kingdom and Buddhism (180-–1 BC)

•Buddhism flourished under the Indo-Greek kings, and it has been
suggested that their invasion of India was intended to protect the Buddhist
faith from the religious persecutions of the new Indian dynasty of the
Sungas (185–73 BC) which had overthrown the Mauryans.

Coinage
•Some of the coins of Menander I and Menander II incorporate the
Buddhist symbol of the eight-spoked wheel, associated with the Greek
symbols of victory, either the palm of victory, or the victory wreath handed
over by the goddess Nike.
A coin of Menander I (r.160-135 BC) with an eight-spoked wheel and a palm.
 Cities
•A large Greek city built by Demetrius and rebuilt by
Menander has been excavated at the archaeological
site of Sirkap near Taxila, where Buddhist stupas were
standing side-by-side with Hindu and Greek temples,
indicating religious tolerance and syncretism.

Scriptures
•Evidence of direct religious interaction between
Greek and Buddhist thought during the period
include the Milinda Panha, a Buddhist discourse in
the platonic style, held between King Menander and
the Buddhist monk Nagasena.

The Kushan empire (1st–3rd century AD)

•The Kushans, one of the five tribes of the Yuezhi
confederation settled in Bactria since around 125 BC,
invaded the northern parts of Pakistan and India
from around 1 AD.
•Gold coin of Kushan emperor Kanishka I (c.100-–126 AD) with a Hellenistic representation of
the Buddha, and the word "Boddo" in Greek script.
 BHUDDIST ARCHIECTURE-STUPA
• Buddhism(Pali/Sanskrit: B
auddha Dharma) —
• religion and philosophy
encompassing a variety of
traditions, beliefs and
practices, largely based on
teachings attributed
to Siddhartha Gautama,
commonly known as
the Buddha “the awakened
one”.
• Buddhism began as an
offspring of Hinduism in
the country of India. The
founder was Siddhartha
Gautama.
• Siddhartha Gautama was
born in approximately 560
B.C. in northern India
 TEACHING AND BUDDHIST
ARCHITECTURE

• VIRTUE – Right Speech

Right Action
Right Livelihood

MIND - Right Effort

Right Mindfulness
Right Concentration

WISDOM - Right View

Right Intention

• The Buddha's threefold training is similar to the threefold

grouping of the Noble Eightfold Path.
 Buddhist Architecture
• Principal place of early Buddhist worship is the stupa.
Mound shaped shrine with no interior.
• A stupa is a reliquary and worshipers gain spiritual
merit through being in close proximity to its contents.
• Buddhists pray while walking around stupa in an
easterly direction (direction of sun’s course).
• Central mast at top of stupa with 3 umbrella shapes
(Chatras). Symbolizes three jewels of Buddhism
(Buddha, Law, and the community of monks).
• The Buddhist architecture has its root deeply implanted
in the Indian soil- the birthplace of the Buddha's
teachings.

• The Buddhist architecture began with the development

of various symbols, representing aspects of the
Buddha's life (563 BCE - 483 BCE).

• Indian emperor Ashoka, not only established Buddhism

as the state religion of his large Magadh empire, but
also opted for the architectural monuments to spread
Buddhism in different places.
• The major features of
this style are
Stupas
stambhas/pillars
chaitayas
viharas
• these have been mere
spectators of different
eras quietly speaks
about the phases of the
Buddhist stages.
Sanchi Stupa
Sanchi Stupa
 STUPA
• A stupa is a mound-like
structure containing
buddhist relics, typically
the remains of Buddha,
used by Buddhists as a
place of worship.
• These stupas are the
circular tumuli built of
earth, covered with stone
or brick, the plan,
elevation, section and the Stupa become a cosmic
total form of which were symbol in response to a major
all derived from circle. human condition: death. With
the enlightenment of the
Buddha, stupa became a
 SANCHI STUPA
• there are mainly
three main stupas
on the top of the
sanchi hill which
rise about 100m
above the plain.
• Of the three stupa
the biggest one is
known as the great
stupa.
 THE GREAT STUPA, SANCHI
•The 'Great Stupa' at Sanchi is
the oldest stone structure in India
and was originally commissioned by
the emperor Ashoka the Great in
the 3rd century BCE.
•Its nucleus was a simple
hemispherical brick structure built
over the relics of the Buddha.
•It was crowned by the chatra, a
parasol-like structure symbolizing
high rank, which was intended to
honour and shelter the relics.
•It has four profusely carved
ornamental gateways and a
balustrade encircling the whole
structure- torana
•DOME- is a solid brick-work
32.32m in diameter and 12.8m
high.
•The dome has a slight ‘crushed’
profile at top and was
surmounted by HARMIKA
with a central triple
UMBRELLA.
•The facing of the dome consists
of dry masonry composed of
hammer dressed stones laid in
even courses.
•The terrace 4.87m high from
ground was added thus creating
a separate and upper
AMBULATORY passage
1.8m wide access to which was
provided by a double staircase
with high BALUSTRADE,
on the south side Plan and elevation
Axonometric drawing
•There are four
gateways known as
‘TORANAS’ at
the cardinal points
to the compass and
are slightly
staggered from the
railing enclosing
stupa.
•The ambulatory or
pradakshina path is
fenced by railing
3.35m high all
around the stupa.
•Outside the
railing there once
stood the famous
ashoka pillar, the
fragments of which
are noticed now to
the right of
Diff b/w a temple and stupa
The symbolism of the form of the stupas is a vast and complex subject, as is the
meaning behind every item placed within a stupa.

The shape of the stupa represents the Buddha, crowned and sitting

in meditation posture on a lion throne.

The stupa also symbolizes the five elements and colors and their relationship

to Enlightened Mind:

Base – Square – Yellow – Earth - Equanimity

Dome – Circle – White – Water - Indestructibility
Spire – Triangle – Red – Fire – Compassion
Parasol – Half Circle – Green – Wind – All-
accomplishing Action
Jewel – Dewdrop (no shape/no color/void) – Space – All-
pervading Awareness

The Moon/Sun shapes represent the union

of COMPASSION and  WISDOM joining the all-
accomplishing ACTION of  COMPASSION with the all-
 TORANA
•Toranas, the entrance to the
ambulatory were accepted as the
traditional type of ceremonial potals
and excel the array of architectural
embellishment.
•Torana consists of two square uprite
columns with capital of lion or elephant
heads denoting strength.
•These columns support three
separate horizontal panels between
each of which is a row of ornamental
balusters.
•These panels are supported by
atlantean figures, a group of dwarfs,
lions and elephant.
•The total height of this erection is
somewhat 10.36m with a width of 3m
 ASHOKA
PILLARS
•The authentic examples of these pillars are those which king Ashoka set up
to bear inscriptions conveying to his subjects the leading doctrines of the new
faith he had adopted, Buddhism. These are sturdy, finely proportional and
properly balanced religious sign posts
•The pillar at sarnath more than 15m
high has a group of four addoresed lions
with flowing manes, surmounting the
capital.
•These lions originally supported a
massive metal wheel with 24 spokes
called ‘wheels of the law’.
•The capital more than 2m high
resembles the shape of a inverted bell or
lotus bub with series of fluted petals.
•Above the capital is the abacus which
is circular, having broad edge carves with
ornamental borders, containing four
figure of animals alternate with the four
small wheels
 RAILING OR VEDICA
•The vedica or railing consists
of upright octagonal plan 45cm
in diameter spaced at 60 to
90cm from each other and
connected by three lens
shaped horizontals called
‘suchi’ or needles 60cm deep
being threaded through the
holes of the upright.
•The top horizontal bar is
provided with coping to drain
out rain water.
Dhamek Stupa,Sarnath(500BCE)

Dhamekh Stupa has a particular significance at Sarnath as it signifies the

place where buddha delivered his first sermon. The present name Dhamekh
proves that it certainly has some connection with Buddha's Dharma.
According to the Archaeologists, the Dhameka might have been the Stupa
built by Ashoka to mark the spot where Lord Buddha preached the
Dharmachakrapravartana (set in motion the wheel of law) for the first time to
MAURYAN PILLARS
INTERACTION OF HELLENIC AND INDIAN IDEAS IN NORTH INDIA
Like Egyptian pharaohs they built everlasting monuments in honor of the gods
Ashoka showed THE ENDURANCE OF THE GOOD LAW
·         Thus arose the pillar for a beginning which was 50' high which carried the Buddhist
emblem
·         Other monolithic productions were
• Railings
• Stupa finials- umbrellas
• Lion thrones
• Colossal figures
• Hypostyle halls at the royal palaces of Pataliputra
·         Most important aspect of these stone structures was the smooth enamel finish
·         This was the infancy of stone architecture and yet it reached its peak
immediately after wood
·         Stone art developed even without a background and traces of Greek, Persian and
Egyptian
·         Influence in the method of usage of stone could be seen.
·         The Graeco-Persian culture influence in Indian art could be seen from above
examples
Source of inspiration-
·         Pharoic-Hellenic-Iranian elements
·         Spread by Alexander's conquest of Persia together with the downfall of Achaemenid
Empires
·         Downfall in 330 BC, which ensured the rise of the Macedonian empire by the
extension
of Greek colonies to east till the borders of the Mauryan Empire
·         This was the time when Ashoka wanted to build, so he used the workmen already
proficient in
MAURYAN PILLARS
Originally there were 30 in number of which only 10 exist
·         2 lion capitals in Bihar
·         erected at sites sanctified by Buddha and routes to holy sites
·         line of pillars at Champaran and Muzzaffarpur districts are classic examples
·         No pillar is isolate, there is always a stupa in the vicinity
Each pillar consisted of
·         a plain ornamental shaft circular in section 30' - 40' high
·         No base, straight from the ground and tapering towards top
·         Top of the shaft was 2' in dia
·         On top is the campaniform capital ( Bell shaped) its abacus acting as a
·         A base for the Buddha symbol.
·         total height was 50 '
In due course of time it was worshipped, which existed even before-
shown by the bas relief’s of barhut- 150 BC
·         columns were gods in early days and the forerunner of temples
Aesthetic quality-
concentrated on the superstructure
·         around 7' in height
·         made of a single piece of stone with the shaft in another piece
·         Both fitted by a copper bolt by tenon joint without cement
·         the bolt was barrel in shape 2' long
·         iron was not used because they probably knew the rusting property of iron
·         Capitals are 3' in dia-campaniform in shape
·         fluted petals falling down taking the shape of a bell
·         The one at Nandan garh was stunted-probably the 1st one on an experimental basis
MAURYAN PILLARS
Fluting is of foreign origin from the Persian and Greek pillars
Palace
fluting of Artaxerxes at Susa built in 404-358 BC contains
Ionic temples of Apollo at Diona at Ephesus- 560 BC
Above the capital is a circular abacus with a broad edge
carved with ornamental border of a special character
On this the repetition of Buddhist emblems like
goose-hamsa
honey suckle
palmette
bead and fillet
though they cable molding all derivatives of Hellenistic ideas, even
·        
quarters Above the abacus mostly animals adorned the pillar Symbolizing the four
of the
universe. LION CAPITAL - SARNATH
Elephant guardian of the east
Horse -south The Lion capital is a polished sandstone carving of four lions
Bull- west atop an abacus (the slab forming the top of a column).
Lion- North The lions are facing in four directions and on the abacus are
eight images.
Immediately below each lion is a dharmachakra, or wheel,
with twenty-four spokes.
This wheel has been incorporated into the national flag of
India.
Between the wheels are four animals – a lion, a horse, an
elephant and a bull.
Falling from the abacus is an upturned, bell-shaped lotus
flower.
The pillar at Sarnath was 50’ tall and carried a Schism Edict
LION CAPITAL -
·         The monks and the monastery have long since disappeared, but Sarnath remains an
SARNATH
important place for Buddhists, as it is the place where the Buddha gave his first sermon.
·         Modern scholars argue about the provenance of the pillar, with some claiming that its
design may have been influenced by Alexander the Great.
·         Because lions are not generally part of Indian culture, it is suggested that there is a
Hellenistic influence at work in the design.
·         There is a wheel on top of the animals
·         The animals were an inspiration from the Vedic period
·         the Rig-Veda places
the lion in the 1st Place
Horse- sun
Bull-Indra God/Dyaus/Sky god
Thus it is a continuation of the Vedic mythology.
·         It was boldly designed
·         Finely proportioned
·         Well balanced conception
·         Satisfying the purpose being
Monumental
It was not a part of any architectural composition LION PILLARS AT SANCHI
·         The wheel was of metal at Sarnath
·         The limbs and tense muscular anatomy depict Greek Hellenistic achievements
·         Lion head spouts of Greek
·         Detailing is remarkable
BUDDHIST STUPA - 250 BC
·         Evolution of the Stupa
The first Buddhist 'shrines' were mere piles of
stone or rubble containing relics of the Buddha.
·         Over time it became necessary to 'upgrade' these
structures, in conformity with Buddhism's rising status.
·         For structural reasons it was necessary to have a
wide base, tapering towards the top.
·         The form chosen for the Buddhist Stupa was that
of a sphere - as much for the shape's metaphysical
associations as for the fact that it was an antipode to the
square/rectangular form of Hindu temples.
·         "The embryo of the most powerful architectural form of
Buddhism, the famous Stupa, thus emerged for the first time
under the architectural patronage of Ashoka".
•The buddhist practice of circumambulation was in the
form of a processional passage or Pradakshina
Patha
•It was enclosed in a wooden railing- Vedika leaving a
space for promenading with an entrance at each of the
cardinal points
•Surmounted by a finial or the Harmika The harmika on
top represented the Bodhi Tree under which the Buddha
first gained enlightenment.
Characteristic features of a
Stupa
The Stupa was the most sacred symbol of
the Buddha
These were tumuli of brick with a great
spiritual significance
Normally consisted of:
•Masonry hemisphere 70’ 0” dia.,35’0” high
•Solid of large unburnt bricks each around
16”x10”x3”
•In the center of this mound or Anda was a
small space for a receptacle containing the
relic of the Buddha
•On the summit was an honorific umbrella –
wooden parasol Chattrayashti
•The brickwork of the stupa was finished of
with a thick layer of plaster in which recesses
were left at intervals for small lamps to be lit
during festivals
SANCHI STUPA - 150 BC
After the end of the Mauryan dynasty in
185 BC we had the Sungas taking over
and ruling till 70 BC in the N and W
regions
The Sungas were tolerant to the
Buddhists
During the Sungan period we had the main
change being- improvement of the stupa into
a more dignified architectural structure
Replacement of the impermanent materials
with permanent materials such as stone
This is understood by analysing the
Details alterations made to surviving egs., the chief
•Reconstructed around 150 BC one being Sanchi

•Enlarged to nearly twice the size retaining the original Brick tumulus
of Asokan period
•The Stupa was hence encased within an envelope – Achchaday
•The structure was hence 120’0” dia. 54’0” high
•A terrace- Medhi was added 16’0” from the ground providing a
separate lower and upper ambulatory
•Access to the medhi was on the S side by a double stairway-
Sopana
SANCHI STUPA
•The whole structure is finished by means of dry
masonry of hammer dressed stones laid in even
courses
•The Anda is flattened on the top and is
surmounted by a square railing enclosing a pedestal-
Harmika which supported the shaft- Yashti and a
triple umbrella- Chattri made of stone
•This form of the finial is seen only in the earlier
Stupas, which developed into a shape resembling an
inverted stepped pyramid or cone in later egs.
•The work during Asoka’s period of the wooden
palisade structure is hence lost
•The structure has projections at the cardinal points
•There are large elaborately carved gateways or
Toranas providing access to the Stupa
•The Toranas are designed in a Swastika pattern
thereby enabling privacy for the m,monks using the
Pradakshina Patha inside
•The Toranas are provided with relief work based
on tales from the Jataka or stories from the life of the
Buddha
SANCHI STUPA
•Vedika-
•made entirely of stone
•1100” high with an entrance in each of the cardinal points
•The emblem of protection from the Vedic times
•Large in proportion and austere in treatment
•Uprights consist of octagonal posts 9’0” high placed at an interval of 2’0” in
between
•Three horizontal bars or rails connect these posts, each 2’ wide and separated by a
narrow space of 3.25”
•An immense beam was placed over this forming a coping stone to the whole
The reason for such a large barrier is not known,
might have been to keep with the proportions and
dimensions of the overall structure
•As distinctive as the proportions of the railing was
the construction

•The railing is entirely of stone but is a copy of the wooden original it replaced
•The shape and the joints of the railing are common to timber as seen in the tenon of
the Thaba, and the scarf jointing of the coping- Ushnisha,
•The triple cross bars- Suchi are derived from the bamboo rails of the palisade
fence
•The craftsmen were hence thinking in wood although they were working with stone
SANCHI STUPA
SANCHI STUPA
·       
  Ornamentation:
•Highly carved
•It was a copy of the wooden railing
•A bit out of proportion
•Inspiration from the megalithic stone age
•Joints used are appropriate for wooden than for stone
•Shows primitive craftsmanship
·         Gateway
•Square vertical posts totaling 34' high 2 thk.
•Ornamental balusters in-between the horizontal
members
•The four gateways took 50 years
•style remained constant
•1st gate was built by Andhras in 75BC in the south
•10 years gap for the N, E and W gateways
•Best carved gateway on the south
•Less detailed gateway on the north
•South gateway bears inscriptions made by ivory carvers
of Mortise holes to hang chains and bells
•   Decoration overtook construction techniques
SANCHI STUPA
Torana:
The entrances to religious buildings were always imposing structures with ornamental
treatment
The Torana ( tor in sanskrit is pass) was designed on the same principle as the
bamboo and wood portcullis
It was an archway accepted as a ceremonial portal
There are 5 gateways in the complex- 4 for the main Stupa and one Stupa 3 added
later
•Consists of 2 square uprights 15’ high, prolonged vertically and connected by 3
separate lintels between each of which is a band of ornamental balusters
•The total ht. Is 34’ with a width of 20’ at the broadest part
•The thickness averages 2’ and it stands without support for 2000 years
•Top heavy with a jointing which is highly irrational
•Indigenous composition as there is no recognizable form of pillar or capital
•In comparison with the unadorned railing the elegant intricacy of the gateways forms a
contrast
OTHER STUPAS Sarnath

Barhut::
•68’0” dia.with a reconstructed railing
•Half the size of the great Sanchi Stupa
•Railing was 7’0” high with rich carvings of the Jataka tales and social life
•The torana in Barhut is the oldest surviving eg. Of 4 similar gateways
built during the Sungas- 184-72 BC
•Hellenistic influence obvious – fluted bell shaped capitals and use of the
honeysuckle motif in the large acroteria at the apex

Bodh Gaya:
•Quadrangular railing 145’ x 108’ conforming to the square plan of the
building
•Railing of 6’8” ht.
•Presence of a Chankrama or promenade – pillared passage covered by
a roof
•The pillars had a stepped pedestal and vase shaped bases, decorated
with a caryatid figure
BUDDHIST ARCHITECTURE

Architectural production under Asoka’s rule

Rock cut Caves at Barabar
Rock cut architecture in the Western and the Eastern
Ghats
Egs. At Karle, Viharas at Nasik, Udaigiri, Gandhara
ROCK CUT CAVES AT BARABAR - 3 rd c. BC

During the mauryan period in the 1st century AD, under

the patronage of Ashoka, a few caves were carved into live
rock to serve as retreats for the Ajivika monks. (Jains)
•There are Rock cut sanctuaries in the hills about 19 miles
N of Gaya.There are a total of seven chambers
• 4 of which are at Barabar: Karna Kaupar
Sudama
Lomas Rishi
Features of the Rock cut Caves: Viswajhopri
The earliest egs. of rock cut method in •3 on the Nagarjuni hill ½ mile NE
India.Exact copies of identical structures
Gopika(Milkmaid)
in wood and thatch from the earlier
period.Quarried out of large boulder like Vahijaka
masses of Quartzose Gneiss
Vadalhika
•Sitamarhi is another eg. 23 miles E of Gaya
•Gopi or the Milkmaids cave is the largest of the group
•Tunnel like excavation rounded in the plan at both ends
•44’ x 19’ x 10’ at the apex with a vaulted roof
LOMAS RISHI AT BARABAR - 3 rd c. BC

•The Lomas Rishi and the Sudama are cut adjacent to one another on the hill
•The interiors are very similar except for the façade of Lomas Rishi which is very
ornamental
•The doorways of the caves have a sloping jamb and are on the longer side of
the chamber
•The entrance unlike later caves, is not from the front but from the side, the cave
has a vestibule or a path connecting two rooms.
•The excavation was carried out this way and not axially due to the
configuration of the whale backed hill
•Barrel vaulted hall of 32’9” x 19’6” x 12’3”(ht.)
•At the end of the chamber entered by an interior doorway is a circular cell 19’0”
dia. With a hemispherical domed roof 12’3” high

Rectangular Hall

Circular room

Barrel vault
Domical roof
LOMAS RISHI AT BARABAR - 3 rd c. BC
Exteriors :
•The façade is an accurate reproduction of the gable end of a wooden structure
chiselled in rock
•2 stout uprights inclined slightly inwards, 13’ high forms the main support
•The principal rafters are jointed on the top with the other parallel rafters
•On the rafters are fixed the curved roof of 3 laminated planks, the lower extremities
of which are kept in place by short tie rods, circular in section (lathe)
•The doorway is 7½’ is recessed within a semi circular archway above which are 2
lunettes forming a fanlight
•The lower lunette has a procession of elephants.The elephants are exquisitely
modeled performing an obeisance before a stupa
•The upper lunette has a pattern of lattice work both designed copied from
perforated wood
•Surmounting the gable is a finial which gets its shape from a terracotta original
•Sharply chiselled and a highly polished surface
The circular cell has an overhanging cave
like a thatch
The walls have irregular perpendicular
grooves in imitation of the upright battens
of wood or bamboo ( beehive hut)
A highly burnished surface resembling
glass
PALACES – KUMRAHAR PATNA - 3rd c. BC
•Excavation at Kumrahar-South of patna reveal the existence of palaces
•From these excavations it was found that
•the palace was an aggregation of structures enclosed by a high brick wall
•Most important was the immense pillared hall 3 storied high with 250'
square
•15 pillars in 15 rows at 15' spacing
•Ceiling of one floor supported by colossal caryatid figures
•Each pillar 20" dia at base and tapering to 20' high.
•No base/capital
•Masons work inscribed similar to the ones in Persia
•Wooden beams- destroyed by fire
•Ashoka's palace inspired by
•Achaemenid's Palace of Persepolis
•Similar to the pillared hall-100 columns by Xerxes
•Bas relief’s representing figures supporting upper storey on their
raised
•doorway- apart of a large portico
•Figures as pillars used at Sanchi and Bodh gaya too
•Façade of Ashoks palace made of carved stone-now preserved at
the mathura museum
•was built during 1st century AD
•Contained two or more storey, each storey had an arcade of horse
shoe arches
•With bays in-between.
•Each bay has a hanging balcony supported on a pillar
•Central
HINAYANA / EARLY PHASE -2nd c BC – 2nd c. AD
Two types of structures started making their
Evolution of the Chaityas and the Viharas appearance by 2nd c. BC
Evolution of the Chaitya:
•the appearance of the stupa as a symbolic object led to
a kind of a building or a structure to house it
•The ritual of circumambulation led to a portion of the
structure being circular in plan with a domical roof
•As the huts had originally been for the monks and the
hermits the beehive huts with the conical roofs and thatch
were readily adapted
•Thus the rudimentary beginning of the chaitya hall is
evident in the caves at barabar in the Asokan period
•The inner cells of the Lomas rishi and Sudama were
adapted to place the Stupa
These were the Chaitys – temple for rituals
Vihara – monastery for the priests
Salient features of the
Chaitya:
•It is a Vaulted hall
•Consisting of a Colonnade
•An Aisle
•Central nave
•Stupa in the apsidal end
Chaitya grihas orBasilica
•Resembling halls of of
worship were built
the Roman Empireall over the
country either of brick or excavated from rocks.
Ruins are located in the districts of Srikakulam at
Salihundam, of Visahkapatnam at Kotturu, of West
Godavari at Guntapalli, of Krishna at Vijayawada, of
Guntur at Nagajunakonda and Amaravati belong to the
3rd century BC and later. The largest brick  chaitya hall
was excavated at Guntapalli.
Some of the most beautiful rock-cut caves are those at
Ajanta, ElIora, Bhaja, Karle, Bagh, Nasik and Kanheri.
Some of the chunar sand-stone rock­-cut chaityas of
Bhaja. Kondane. Karle and Ajanta, all in Maharashtra
state are earlier excavations and belong to the first phase
or Hinayana creed of Buddhism and are similar to the brick
and wooden structures of Ashokan times
HINAYANA / EARLY PHASE -2nd c BC – 2nd c. AD
Evolution of the Chaityas and the Viharas

Salient features of the Chaitya:

•Square central hall
•Vestibule in front of the door
•From the central hall to the cells
•High level priest called the Bodhisatvas- had separate cells as in Karli
•Style of architecture - wooden replications
•Lot of wood was attached to the surfaces
•Quarry man was the chisel man
•Quarried from top to bottom to avoid scaffolding

Viharas or monasteries constructed with brick or excavated from rocks are found in different parts
of India.
Usually built to a set plan, they have :
•hall meant for congregational prayer
•running verandah on three sides or
•an open courtyard surrounded by a row of cells and
•a pillared verandah in front.
•These cells served as dwelling places for the monks.
•These monastic buildings built of bricks were self-contained units and had a Chaitya hall or Chaitya mandir
attached to a stupa - the chief object of worship.

Some of the important Buddhist viharas are those at Ajanta, Ellora. Nasik, Karle, Kanheri, Bagh and Badami.
The Hinayana viharas found in these places have many interesting features which differentiate them from the
Mahayana type in the same regions. Though plain from the point of view of architecture, they are large halls with
cells excavated in the walls on three sides. The hall has one or more entrances. The small cells, each with a door
HINAYANA / EARLY PHASE -2nd c BC – 2nd c. AD
Evolution of the Chaityas and the Viharas
Earlier the huts of the monks were grouped around an open
space to form the first monasteries

Evolution of the Vihara:

•An arrangement of a series of cells enclosing the 3 sides of
an open courtyard
•The other side is left open for the entrance
•Spatial planning:
• rooms normally opened onto an interior quadrangle
with the backs forming an outside wall
•This maintained the privacy and security
•An inside verandah was added along the perimeter of
the square for the monks
•A number of viharas are attached to a chaitya
hallresembling cloisters in the abbey church of the west
•Built mainly of wood and other perishable materials
•Evidence from bas reliefs
•Frequently a 2 storeyed structure, barrel vault, horse
shoe gable ends, light admitted through dormer
windows
•Outer façade containing an entrance with woodwork,
including a pillared portico supporting a balcony- view
processions and ceremonie
•Modest structures of utilitarian character changing
 HINAYANA BUDDHIST VIHARAS
ROCK CUT – ORISSA
MAHAYANA Monasteries- GANDHARA

Viharas at Ajanta, Ellora, Nasik,Kondane

Rock Cut Architecture of the Eastern Ghats
Rani Gumpha, Udaigiri
Mahayana or theistic Monasteries
Graeco Buddhist
Takht I Bahai
HINAYANA VIHARAS

The Hinayana Viharas are not of architectural significance as

the Chaityas
Salient features of the Vihara during the Hinayana
Period:
•Open simple central hall
•The assembly room was a large compartment
•The whole space was uninterrupted by columns or pillars
•The cells opening from the central hall always had rock cut
beds and couches
•A small recess for use as a locker
•Cell was usually 9’0” square
•Due to the presence of the couch in the cell the doorway was
normally to one side
•The central hall normally corresponded to the open courtyard
•The façade, vestibule and cells were translations in rock of the
original wooden viharas
•The surviving egs. are at Ajanta nos. 8,12,13,
11(Mahayana), Kondane, Nasik
HINAYANA VIHARAS – 200 BC – 200 AD
Ajanta cave nos. 8,12,13, Kondane
The first series at Ajanta consisted of 5 excavations of
which cave 9,10 were Chaityas and the remaining
8,12,13 were Viharas
•Chaitya 10 with Vihara 12 is the earliest
•Vihara 13 added later
•Chaitya 9 along with Vihara 8 constructed later
•Vihara 12 is typical eg.
•Single storied, façade destroyed CAVE 13
•Around the central square is the carved horse shoe arch
resulting in a pleasant frieze
•Every feature is planned and cut with precision
The vihara at Kondane is an
exception which has a pillared
central hall
•Pillared portico
•Massive cornice and detailing of
wooden construction
•Screen wall with 3 square
openings CAVE 12
•Hall 23’0”x29’0” surrounded by
colonnade and cells
HINAYANA VIHARAS – 200 BC – 200
AD
Ellora & Ajanta
HINAYANA VIHARAS – 200 BC – 200 AD
Viharas at Nasik 100 AD

The Vihara at Nasik consists of 3 egs. known for the treatment of

the exterior:
1. Gautamiputra no.3
2. Nahapana no.8
3. Sri Yajna no.15
Typical Features:
• Columned porticos
• Large central halls without pillars
• Cells with stone beds

Gautamiputra –no.3:
•In the façade the base of the columns are behind a richly
decorated dwarf wall on which are giant figures appearing
to carry the entire structure, by means of projecting beams
•Above the portico is a large architrave supported on the
superstructure of the pillars
•Each pillar has a pair of elephants, bulls, or other beasts,
while there is a border of animals and scroll of foliage
•The entrance doorway in the inner wall has a square
headed opening with ornamentation similar to the stupa
toranas
•Has lintels and cross bars with voluted ends
HINAYANA VIHARAS – 200 BC – 200
AD
Viharas at Nasik 100 AD

Nahapana cave 8
•The 1st to be executed
•The façade of the cave has a half column at each end which
are exact copies of the Ganesh Lena chaitya at Junnar
•Derived from the portico pillars at Bedsa- lotus base on the
stepped pedestal below Ajanta
•Animal groups on the abacus above

SriYajna no.15
•Last to be executed
•The interiors were modified by the later
•Mahayana priets to make it suitable for rituals
•The floor was sunk to provide a sq. dias at
•the end of the pillared hall
•Large image of the buddha in the 7th c.
Ellora
ROCK CUT E GH ATS ORISSA – 200 BC – 200 AD
Gumphas at Udaigiri 160 BC Sandstone hills
Contemporary to the Monasteries in the W ghats, 16 in Udaigiri hills
we have rock cut cells in the E ghats for the
35 in total
Jains & not the Buddhists
Single celled, 3 or 4 celled
There is a treatment not conforming to the
Buddhist type Many chambers-double storeyed

•No Chaityas Workmanship is clumsy and crude

•Formation of cellular retreats similar to the viharas

•Close grouping of cells indicate the area was of
sanctity
The 2 tree clad hills in which the rock cut chambers
H athi
are located are : Gumpha
•Khandragiri
•Udaigiri
•Excavated during the rule of Kharavella of Kalinga
dynasty
•Probably for a small group of Ajivika hermits who
ROCK CUT E GHATS ORISSA – 200 BC –
200 AD
Rani Gumpha at Udaigiri 160 BC
Tha facades are normally pillared verandahs with the cells
leading out of them
Pillars are simple square shafts with bracket capitals
The Rani Gumpha or the queens cave is the most
important of the series
•the largest constructed in 150 BC
•brackets- Hellenistic influence
•Arches- instead of horse shoe, they were semi circular
•supported on pilasters with capitals ,vase bases
•only in Orissa-A sand-stone ledge or a podium carved like a
bench with back rest in the cells in certain compartments
•The Asana- a stone seat with a sloping back rest
•cells are oblong in plan with 2 or 3 doors
•no stone benches, but the floor was sloped to form a couch
•Roof height was only 4‘ hence only for sleeping
•2 storied
•Cells around 3 sides of a courtyard
•
ROCK CUT E GHATS ORISSA – 200 BC – 200 AD
Rani Gumpha at Udaigiri 160 BC

Broad terrace- supported by columns forming the

verandah below
•Staircase at the side
•One side had a throne
•Other smaller cells for storage existed
•Frieze on the upper storey depicting a story
•Courtyard for special ceremonies
•Pillars- descendants of wood
•Structural elements arch-pilasters, Springer, railings-
corbels
•water system from a common cistern
•Sculptures- Assyrian connections
The arrangement of courtyards and terraces forming an
open air theatre in which the scenes depicted in the frieze
were brought to life on festivals
The other egs. are the Bagh Gumpha, Ganesha,
Manchapuri, Anantha Gumpha
ROCK CUT E GHATS ORISSA – 200 BC –
200 AD
Rani Gumpha at Udaigiri 160 BC
MAHAYANA VIHARAS – 250 BC – 450 AD
Gandhara
The MAHAYANA- THEISTIC
During the birth of Christianity the Buddhist SYSTEM was a reformation which
communities were involved in provided a broader and more progressive
Stupas interpretation of the teachings of Buddha
Chaitya halls ·       Image worship
Monasteries or viharas
·       Production of plastic representation of
In the north western region of the country a movement divine forms on the monuments
was rising which in its setting had offshoots from 4 races
Greeks ·       Statues of Buddha
Parthians ·       Sacred figures
Scythians
Posed, modeled, draped
Indians
·       Inclusion of well known pagan deitiess uch
A distinctively composite style thus evolved which
displayed as Hercules, athene, eros, thinly disguised but
identifiable
Fusion of Hellenistic elements
Buddhist ideal ·       Corinthian capital with a small figure of the
Geographically known as the Gandhara Buddha among the leaves
It was in the sculpture that the style is most distinctive The monastery is the most typical of the style
Fusion of Hellenistic elements with the Buddhist ideals Consists of:
resulted in the Graeco Bactrian designation
Irregular aggregation of structures, Stupa,
Sanghrama- quarters for monks
MAHAYANA VIHARAS – 250 BC – 450 AD, Gandhara
Chronology:
Hellenistic art and culture found its way to central Asia due to Alexander the great to
mountains of the Hindu Kush(N Afghanistan, Balkh)
By 3rd c. BC Bactria boasted of as many as 60 towns, magnificent palaces as mentioned
by Hiuen Tsiang in 7th AD. Graeco Parthian phase by 2nd c. BC- Persian style
Similar situation till 2nd c. BCoverwhelmed by the Scythians in 125 BC from Mongolia
leading to the Bactrians moving to Indus Valley ans Sialkot
By 20-225AD we had the Indo Scythians of the Kushans
1st c AD:
Gandhara was the focus and center of the buddhist movement – Monasteries
Egs. At Taxila,
Architectural style:
Peshawar, Rawalpindi
Surface treatment purely indian and Afghanisthan

Structure and mode was Greek Takht I bahai, Mohra

Moradu, Jaulain
Hence Corinthian capitals, pediments, entablatures, medallions and
mouldings
Ornamental elements from Parthians- fire altar, animal capital etc.
MAHAYANA VIHARAS – 250 BC – 450
AD
Takht I Bahai - Gandhara
Salient Features:
•axial plan
•Rectangle of 200 ' long
•stupa court on the south
•monastery on the north
•all round terrace for votive stupas, small
chapels
•west is a conference/ assemble hall
•Refectory, Vestment chamber,kitchen
servant
quarters
•Courtyard-45' x 55‘
•platform 20 ' square 8 ' high
•STUPA
•Stupa total height= 50 '
•6 tiered umbrella
•elegant staircase on North
•Circumambulation on top
•processional path below
•Enclosing the stupa on 3 sides small
chapels
•not in Hinayana Style but to accommodate
MAHAYANA VIHARAS –
Takht I Bahai - Gandhara

•Roof-Cupola alternating with trifoil vault

•Cupola beehive hut
•Trifoil -conventional chaitya hall
•No true arches- corbelling was done
•Court of stupa + monastery connected with
•flight of steps passing through an open space

•Open space contained- stupas and other

elements
•Front of the monastery facing court of stupa
•had a range of cells containing images
•Sangrama- open courtyard with cells all
•around,
•rooms simple
•unadorned walls in between were painted.
MAHAYANA VIHARAS –
Takht I Bahai - Gandhara
BACTRIAN TOWNS –

At Sirka (Taxila in modern Pakistan), capital of the Bachtrians and

successive invaders of India, the grid plan is H ellenistic, the palace
Mesopotamian, the so-called Fire Temple Graeco-Roman, and the
image shrine made its first-known appearance
 ROCK CUT
ARCHITECTUR
Rock-cut architectureE  is the creation of structures, buildings, and sculptures,
by excavating solid rock where it naturally occurs.

Rock-cut architecture is designed and made by man from the start to finish.

In India and China, the terms 'cave' and 'cavern' are often applied to this form of
man-made architecture

Interiors were usually carved out by starting at the roof of the

planned space and then working downward.

This technique prevents stones falling on workers below.

The three main uses of rock-cut architecture were 
temples
Tombs
cave dwellings
The most laborious and impressive rock-cut architecture is the
excavation of tall free-standing monolithic structures entirely below the
surface level of the surrounding rock, in a large excavated hole around
the structure.

 Ellora in India provide the most spectacular and famous examples of such
structures.

Rock-cut architecture, though intensely laborious with ancient tools and

methods, was presumably combined with quarrying the rock for use
elsewhere;

the huge amounts of stone removed have normally vanished from the site.

Rock-cut architecture is also said to be cut, hewn, etc., "from the living rock“
 Another term sometimes associated with rock-cut architecture is monolithic
architecture, which is rather applied to free-standing structures made of a single piece
of material.

Monolithic architecture is often rock-cut architecture (e.g.Ellora

Kailasanathar Temple but monolithic structures might be also cast of artificial
material, e.g. concrete. Gomateshwara (Bahubali), the largest monolithic statue  in
the world is situated at Shravanabelagola, Karnataka, India. It was built in 983 A.D
 The beginnings of monasteries

In the early years of Buddhism, following the practices of contemporary

religions such as Hinduism and Jainism (and other faiths that no longer
exist), monks dedicated themselves to an ascetic life (a practice of
self-denial particular to the pursuit of religious or spiritual goals)
wandering the country with no permanent living quarters.

They were fed, clothed, and housed in inclement weather by people

wishing to gain merit, which is a spiritual credit earned through virtuous acts.

Eventually monastic complexes were created for the monks close

enough to a town in order to receive alms or charity from the villagers,
but far enough away so as not to be disturbed during meditation. 
These earliest rock-cut caves include the Gandhara Caves, Bhaja
Caves the Karla Caves and some of the Ajanta Caves

The Buddhist monks naturally moved to caves for use, since cave temples and
abodes was in accord with their religious ideas of asceticism and the monastic
life.

The Western Ghat topography with its flat-topped basalt hills,

deep ravines and sharp cliffs, was suited to their natural
inclination.

The earliest of the Kanheri caves were excavated in the 1 st  and

2 nd  centuries BCE, as were those at Ajanta, which were occupied
continuously by the Buddhist monks from 200 BCE to 650 CE.  

Since the Buddhist ideology encouraged identification with trade,

monasteries became stopovers for inland traders, and provided lodging
houses that were usually located near trade routes  {even Lalitagiri,
Ratnagiri and Udaygiri in Odisha  (known asSilver Triangle)}.
MONASTRIES GROWS AS A SYMBOL
OF PRIDE….
As their mercantile and royal endowment grew, cave interiors became more
elaborate with interior walls decorated with paintings and reliefs, and intricate
carvings.

Facades were added to these exteriors as the interiors became designated

for the specific uses as monasteries/residence of the monks
( vih ā ra s), and congregational worship halls ( chaitya s).

Over the centuries, simple caves began to resemble three-dimensional

buildings needing to be formally designed, and required highly skilled artisans
to execute.

These artisans had not forgotten their timber roots, and

imitated the nuances of wooden structure and wood grain in
working with stone.
mitive beds in early viharas at Kanheri Caves

Rock cut stair leading to Kanheri

RAINWATER
HARVESTING -
DRAINAGE
Rock Cut Monasteries in Nasik
carved between the 3rd century BC and the 2nd century AD, representing
the Hinayana buddhist caves

Most of the caves are Viharas except for the 18th cave which is a Chaityas.The
location of the caves is a holy Buddhist site and is located about 8 km south
ofNasik, Mharashtra, India. The city is situated at the foothills of
the Western Ghats mountains on the banks of the river  Godavari

The caves are located high in the mountains of Trirashmi.

Some caves are intricately connected by stone-cut ladders that join them to the
other caves. Steps lead to the caves from the bottom of the hill.
The caves lodge idols of Buddha and Bodhisattva.

Steps lead to the caves from the bottom of the hill.

Some of the caves are large and contain numerous chambers - these rock-cut
caves served as a viharas or monasteries for the disciples to meet and hear
sermons.
They contain interesting sculptures. One of the vihara caves
is older and finer in sculptural detail and is thought to be nearly
as old as the Karla Cave near Lonavala.

Another cave (cave No. 18) is a Chaitya and is similar in age

to the Karla Cave and has a particularly elaborate facade.

The site has an excellent ancient water management

system and skillfully chiseled out of solid rock are
several attractive water tanks.

The caves were called Pundru which in Pali language means

"yellow ochre color". This is because the caves were the
residence of Buddhist monks who wore "the chivara or the
yellow robes“

The various inscriptions confirm that Nashik in that period

Pandava Caves, Nasik
Partially destroyed Mahavira sculpture

Pandeulena Caves– PRAYER HA

Statue of Buddha