SANCHI STUPA

gateways

By – Anwesha Marik
Roll no.- 520219005
 SOUTHERN GATEWAY NORTHERN GATEWAY

WESTERN GATEWAY
EASTERN GATEWAY
 ARCHITRAVES
VERTICAL POST

CAPITAL

ABACUS
JATAKA
SHAFT

BASE
SOUTHERN GATEWAY:
THE MAIN AND THE
MOST SIMPLE
GATEWAY OF SANCHI
STUPA
 • This gateway is one of the two which were reconstructed by Major Cole in
1882-83.

• The whole of the right jamb and half of the left are new, as well as the west
end of the lowest architrave, the east end of the middle architrave, and the
six vertical uprights between the architraves are blank.

• It is the main one as it was

erected in front of the steps by
which the terrace was ascended.
The Southern Gateway was also
the first to be erected.

• It is probable, however, that not more than three or four

decades intervened between the building of the Southern
and Western gateways.
Outer Side of
the southern
gateway
 Top Architrave : Outer Side

The Birth Of Lumbini

Top Architrave –
The birth scene of the Buddha. In the
center, the figure of Maya standing on a
full blown lotus, with an elephant to right
and left pouring water over her head.
The rest of the lintel is occupied with Floral Pattern
flowing lotus leaves and blossoms and Men on
among which birds are perched. Horses
 King Asoka Visits Ramagrama
Middle Architrave –
The visit of the Emperor Asoka to the stupa at Ramagrama. The relics
of the Buddha were originally divided into eight portions, and it is
related that Asoka took seven of these portions, divided them up, and
distributed them among 84,000 stupas, which he himself erected. He
failed only to secure the relics of Ramagrama in the Nepal Tarai, in
face of the resolute opposition of their devoted guardians, the Nagas.
Here, in the center of the architrave, is depicted a stupa, with an
inscription on its dome recording that the architrave was the gift of
one Balamitra, pupil of Aya-chuda (Arya-Kṣudra), the preacher of the Carving Is Lost
Law.
On the projecting end of this architrave (left side)
Above the stupa are heavenly figures bearing garlands in their hands.
is an elephant in a lotus-pond with mahaut and
To the right of it is the Emperor Asoka approaching in his chariot,
females on its back, and a second female
accompanied by a retinue of elephants, horsemen and footmen; and
scrambling up behind; in the background, a
to the left, the Naga and Nagis, in human form with serpent hoods,
pavilion with female figures looking out. To what
worshipping at the stops, bringing offerings, or emerging from the
particular incident this relief refers, is not known.
waters of a lotus-pond.
 Lowest Architrave –
Dwarf-like figures, known as kichakas, are
holding garlands in their hands and ‘spouting
forth all summer' from their mouths. On the
right end of the architrave is a decorative
peacock with rocks and creepers in the
background.
Kichakas With Garlands

In left side projecting

end of lower
architrave, the
carving is lost.

Maya On Lotus, Couple On

Horse And Peacock Worshiping And Men On Horses
 The pillars of the Southern
Gateway feature lions in the
manner of the Pillars of Ashoka.
They are the only pillar capitals of
the Sanchi complex to do so.

Left Right Dharmacakra at Rsiptana

Left Pillar: Front Face: Top Panel – A Perspolitan column, rising
from a stepped base and supporting a wheel with thirty-two spokes
and an equal number of triratna devices on its outer rim. This is the
dharma-chakra or "Wheel of the Law," the emblem of Buddha's first
sermon. On either side of the wheel are celestial figures with garlands;
below them are four groups of worshippers, and below the latter, deer,
to indicate the spot where the first sermon was preached, namely, in
the "Deer Park" (Migra-dava) near Benares.
King on Elephant Lower Panel- Middle Panel -
The Cortege of Mara. According to Marshall, Procession of
relating the panel to the next one on the inner king Ashoka on his
face, deities are seen on foot, on horseback chariot. The Emperor
and on elephants, hastening to do homage to Asoka in his chariot
the Bodhisattva's locks. with his retinue
Emporer Asoka around.
inner Side or
rear side of the
southern
gateway
 Top Architrave : Inner Side

Riding A Canopied Horse

Stupas and Bodhi Trees representing the Seven Buddhas

Top Architrave – On each of the projecting ends of this lintel is a horse

In the central section are three stupas alternating with four trees with attendants and royal umbrella, issuing from a city
with thrones in front of them, adored by figures both human and gate. Possibly it is Kaṇṭhaka, the horse of Gautama,
when he was going forth from the city of Kapilavastu.
divine. These represent the six Buddhas of the past and
Gautama Buddha – three symbolised by their stupas, and, four
by the trees under which each respectively attained
enlightenment. The tree on the extreme right is the pipal tree of
Gautama Buddha and the one next to it is the banyan tree of
Kasyapa Buddha. The identification of the others is less certain.
The inscription on the dome of the central stipa, reads as follows
:– rano Siri Satakaṇisa avesaṇisa Vasisthiputasa Ana?dasa
dāna?; translation: Gift of Ananda, the son of Vasiṭhi, (Vasiṣṭhi),
Men On Bulls
the foreman of the artisans (avesaṇin) of rajan Siri Satakaṇi.
 Men On The Bulls

Chaddanta Jataka
Middle Architrave –
The Chaddanta Jataka. The story runs that the Bodhisattva was once born as the king
of a herd of elephants. He had six tusks and was of great stature. He dwelt near the
lake Chaddanta in the Himalayas, under a banyan tree and had two wives,
Chullasubhadda and Mahasubhadda.
Chullasubhadda became jealous of Mahasubhadda and prayed that she might be
reborn and marry the king of Benares, when she could vent her wrath on her present
lord. Her prayer was granted and she became chief queen to the king of Benares. Elephants
Then she summoned together all the hunters of the realm, chose one named
Sonuttara, and sent him to the far-off lake Chaddanta to kill the six-tusked elephant
King.
Here we see the Bodhisattva, towards the left of the relief, disporting himself among
the lotuses, with attendant elephants holding the umbrella and the fly-whisk (chauri)
above him, to mark his royalty.
Then we see the same figures repeated towards the right of the relief, where the king
is walking with the rest of the herd under the trees, while Sonuttara, ensconced among
the rocks, makes ready his bow.
Carving Is Lost
 Part of the
war
scenes
The War over the Buddha's Relics

Lowest Architrave – The war of the relics. This was

the war which the chiefs of seven other clans waged against
the Mallas of Kusinara for the possession of the Buddha's
relics. In the centre of the architrave, the siege of Kusinara
is in progress ; to right and left, the victorious chiefs are
departing in chariots and on elephants, with the relics borne
on the heads of the latter. The scene is carried through on to Men on
the projecting ends of the architrave, and the seated elephants
elephants on the intervening false capitals are clearly
intended to be part and parcel of the scene.
Jatakas In Between The Top And Middle Architrave Of Inner Side Of South Gateway

Lotus And Bowl Tree And Men

Motif Holding Garlands

Jatakas In Between The Middle And Lower Architrave Of Inner Side Of South Gateway

Bodhi Tree Bodhi Tree

And And
Worshippers Worshippers
 Left pillar, Inner face
Top panel
Bodhi tree temple of Bodh Gaya built by
Ashoka. The temple around the Bodhi
Tree (the pipal tree beneath which the Buddha
had attained enlightenment) was erected by
Asoka himself. This Temple is hypaethral. Here the
sanctity of the tree is indicated by umbrellas and
garlands, and on the throne inside the shrine are
three triratna symbols
2nd panel
Ashoka in grief, supported by his two Queens.
Ashoka is in grief as he saw the pipal tree of the
Buddha being neglected by the jealous
Queen Tishyarakshita. He is so shocked that he has
to be supported by two of his wives. He would
thereafter build a temple around the tree, seen in the
panel above, and which would become the sacred
temple of Bodh Gaya.
 Left pillar, Inner face
3rd panel
Worship of the Bodhisattva's hair. In the lowest
panel of the inner face is a company of deities in
the Trayastrimsa heaven, where Indra held sway,
rejoicing over and worshiping the hair of the Bodhisattva.
The story told in the Buddhist scriptures is that, before
embracing a religious life, Gautama divested himself of
his princely garments and cut off his long hair with his
sword, casting both hair and turban into the air, whence
they were borne by the devas to the Trayastrimsa heaven
and worshiped there.
Unique panel
To the left of the panel, a royal figure is seated
beneath a canopy, holding a female by the hand; in
the middle, another female seated on a low stool; to
the right, two other figures standing, with a child
behind bearing a garland. At the back of them is
a plantain tree, and above, a Chaitya's window with
an umbrella on either side. The meaning of this
scene is uncertain.
northern GATEWAY:
THE MOST decorative
GATEWAY OF SANCHI
STUPA
 • The Northern Gateway, topped by a broken wheel of law, is the best preserved of
the toranas. Elephants support the architraves above the columns, while delicately
carved yakshis (mythical fairylike beings) hang nonchalantly on each side. Scenes include
a monkey offering a bowl of honey to the Buddha, who is represented by a bodhi tree
(western pillar, east face, second panel down).
• The northern gateway consists of two
square posts crowned with a group of four
elephants and two shalabhanjika, females
figures grasping the branch of a tree. These
support a triple architrave with scrolled
ends.
• The gateway is completely covered with
sculptures depicting various episodes of
the life of Buddha Shakyamuni who is
represented aniconically.

• Scenes on the architraves

include Prince Vessantara
demonstrating excellence
in giving (danaparamita)
by giving away everything he has for the sake of others and the
Bodhisattva instructing his child, Isisinga in the excellence of wisdom
(prajnaparamita) by warning him against the wiles of women.
Outer Side
of the
northern
gateway
 Lion And Yaksini
One Of Seven Buddha’s Stupa

One Of Seven Buddha’s Tree

Yaksini

Vessantara Jataka
Inner Side or
rear side of
the northern
gateway
 Left Section
of Top
Architrave

Top Architrave –
The Chaddanta Jataka. Compare the similar scene on
Right Section of
the back of the middle architrave of the South Gate. Here
Top Architrave
the huntsman Sonuttara is omitted, and the execution of
the relief is far inferior to that on the South Gate, of which
it is but a poor imitation.

Men On Horses
Back Of Yaksini
Floral Design
And Lion
 Temptation of the Buddha with Mara and his
daughters, and the demons of Mara fleeing
Peacocks
Middle Architrave :-
Central Section – The temptation of the Buddha. Towards the left end of the panel is the
pipal tree at Bodh-Gaya with an umbrella and streamers above, and, in front, the
diamond throne of the Buddha, whereon he sat when he withstood the temptations and
threats of Mara, and when he attained to Buddhahood. Human and celestial beings are
adoring it.
The figure to the left of it is perhaps Sujata, bringing the meal which she prepared for
Gautama before he began his last meditation prior to his enlightenment.
Near the middle of the panel is Mara, seated on a throne with attendants around, and
advancing from him towards the throne are his daughters, who sought by their
blandishments to seduce Gautama from his purpose.
On his other side, i.e., in the right half of the panel, are the hosts of Mara's demons,
personifying the vices, the passions and the fears of mankind. The vigour and humour Peacocks
with which these fantastic beings are portrayed is very striking, and far more forceful
than anything of the kind produced by the artists of Gandhara.
 Men Riding Elephants
Elephants Lustrating Queen Maya

Yaksini From Behind

Around The Chaitya
 Vessantara Jataka
Lower Architrave –
The Vessantara Jataka story. In the end section to the right we see the Prince
with his wife and children in the wilds, on the way to Mount Vanka. On Mount
Vanka he takes up his abode in the hut which Sakra, king of the gods, had Vessantara Jataka
made ready for him, adorning its approach with plantain trees. A little later
(towards the centre of the panel) he proceeds to make a gift of his children to the Brahman Jujaka, while, above,
three gods, in the forms of a lion, a tiger and a leopard, keep the mother Maddi away from the hermitage. To the
left of Maddi, the archer who had been set by the Cheta princes to watch over Vessantara, is threatening to shoot
the Brahman Jujaka and, below, Jujaka is seen driving the children away with a stick.
Finally, to the left of the same panel, Vessantara is depicted giving away his wife, but, thanks to the intervention
of Indra, both wife and children are restored to him after the children have been taken to their grand-parents by
the Brahman. The reunion of the prince with his wife and children is shown in the left hand top corner of the
middle panel; and the children in the palace of their grand-parents at the left end of the architrave.

Left
Right
Elephants facing the four directions decorate the
top of the gateway pillars and support the
architraves. They are gathered around a central
pillar of square section decorated with a
large flame palmette design. The capitals are
flanked by a dancing Yakshini under foliage.
Left. The external side of the left pillar (facing the
east) doesn't have narrative reliefs, but only
displays Buddhist symbols as well as intricate
vegetal designs. The external face is separated
vertically in three bands, the central band consisting
in a superposition of numerous flame
palmettes (nine in total), and the two external bands
consisting in a superposition of hooks
holdings garlands. The bottom of the pillar face has
two footprints of the Buddha with a wheel of the
Law on their sole. The pillar face is crowned by a
decorated Shrivatsa symbol.
Right. The external face on the right side has
the same background decoration, with the
three vertical bands and the superposition
Left of flame palmettes, and hooks
holdings garlands, but lacks the bottom and top
symbols of the Buddha footprint and the
decorated Shrivatsa.
Right
 Top panel Left pillar, Front face (Most of the scenes on this face appear to relate to Sravasti.)
2nd panel 3rd panel

Presumably, the long band on

Great Miracle at
Sravasti (also called
Mango Tree Miracle,
when the Buddha
walks in the air)
4th panel
Jetavana of Sravasti,
showing the three
preferred residences Aerial promenade of
of the Buddha the Buddha.
Procession of
King Prasenajit of Kosala
leaving Sravasti to meet
the Buddha.
A royal procession issuing
from a city gate,
probably Prasenajit of Kosala g
oing forth from Sravasti to
meet the Buddha.
top of the heads of devotees is
the promenade the Buddha is
walking on. The long open
pavilion (mandapa) calls to mind
the one at Sravasti, which is
portrayed in the Bharhut relief.
Paradise of Indra (nandana).
The meaning of this scene, which
is analogous to several others on
the gateways, is not clear.
Perhaps, like the scene on the
gateways ofStupa No3, it may
represent the Paradise
of Indra (nandana), where
pleasure and passion held sway
5th panel
 Left pillar, Inner face (This face refers particularly to Rajagriha)

Royal cortege
Visit of Indra to leaving Rajagriha. A
the Buddha in king and his royal
the Indrasaila cortege issuing from a
cave near city.
Rajagriha.

2nd panel
Top panel

Dvarapala guardian deity.

Bamboo garden Positioned as it is, in the inside
(Venuvana) panel of the gateway, the deity
at Rajagriha, the visit guards the left side of the
of Bimbisara. entrance to the stupa. This
Dvarapala is faced by another
one on the right side.

3rd panel
4th panel
 Right pillar, Inner face

Offering of a bowl of
Foreigners making a honey to the Blessed
dedication to Southern One by a monkey.
Gateway of the Great
Stupa.

2nd panel
Top panel
Dvarapala guardian deity.
Miracle Positioned as it is, in the inside
at Kapilavastu. Suddhodana panel of the gateway, the deity
praying as his son guards the right side of the
the Buddha rises in the air, entrance to the stupa. This
praised by celestial beings Dvarapala is faced by another one
(only his path is visible). on the left side.

3rd panel 4th panel

 Right pillar, Front face

The Great Departure of the

Buddha from Kapilavastu. A
Descent of the Buddha from royal figure in a chariot drives
the Trayastrimsa Heaven forth from a city gate, with a
at Sankissa. horse in front.

2nd panel
Top panel

Teaching the Sakyans: This

panel may represent the Buddha Unidentified broken scene.
teaching the Sakyans. It can
also be interpreted in relation to
the panel of the Miracle at
Kapilavastu on the same pillar
(Right pillar, Inner face,3rd
panel). 3rd panel
4th panel
eastern GATEWAY:
THE third GATEWAY
OF SANCHI STUPA
 • The eastern gateway consists of two square posts crowned with a group of four
elephants and two shalabhanjika, females figures grasping the branch of a tree.

• These support a triple architrave with scrolled ends and carved figures of
winged lions, peacocks and elephants.

• The gateway is completely

covered with sculptures depicting
various episodes of the life of
Buddha Shakyamuni.

• The Eastern Gateway

describes historical events
during the life of the
Buddha, as well as several
miracles performed by the
Buddha. It was the third
gateway to be erected.
• This gateway is one of the most
elaborately carved and amongst other
things depicts the life of the Buddha
right from the time of his mother's
dreams before his birth.
Outer Side of
the eastern
gateway
 Five of the Seven Buddhas
Top Architrave – One Of The Seven
The seven last Buddhas, the first and last symbolised by thrones Buddhas
beneath their appropriate Bodhi trees, the rest by the shrines
which enshrined their relics. Around them are the usual
worshippers, human and divine.

Men On Bulls Men On Bulls Queen Maya Lustrated By Worshipping The

Elephants Bodhi Tree
 Elephants
The Departure from Kapilavastu
Middle Architrave –
Buddha's departure (Mahabhiniṣkramaṇa) from Kapilavastu, the city of his birth.
To the left is the city, with wall and moat, and, issuing from its gate, the horse
Kaṇṭhaka, his hoofs supported by devas and accompanied by other devas in
attendance on the Buddha, and by Chandaka his groom, who holds the umbrella
symbolical of his Master's presence. In order to indicate the progress of the
Prince, this group is repeated four times in succession towards the right of the
relief, and then, at the parting of the ways, we see Chandaka and the horses sent
back to Kapilavastu, and the further journey of the Buddha on foot indicated by his
sacred footprints surmounted by the umbrella.
The three sorrowing figures following behind Kaṇṭhaka, at the right hand lower
corner of the panel, appear to be the Yakṣas who accompanied Siddhartha from
the city, sorrowing for his loss. In Gandhara sculptures, the city goddess herself,
portrayed in Hellenistic fashion, is represented sorrowing for the loss of Gautama. Left Right
But they might also be the emissaries whom king Suddhodana sent to bring back Griffins
his son.
 Mauryan
Visit of King Asoka to the Bodhi Tree Peacock

Lowest Architrave –
Visit of Asoka to the Bodhi tree. In the centre, the temple and tree of
Bodh-Gaya; to the left, a crowd of musicians and devotees with water
vessels; to the right, a royal retinue and a king and queen descending
from an elephant, and afterwards doing worship at the tree.
This is the ceremonial visit which Asoka and his queen Tiṣyarakṣita paid
to the Bodhi tree, for the purpose of watering it and restoring its pristine
beauty after the evil spell which the queen in a fit of jealousy had cast
upon it. In the pairs of peacocks at the ends of this architrave (see below)
there may be a special allusion to Asoka, since the peacock (Pali = Mora;
Sanskrit= Mayura) was the badge of the Maurya dynasty.

Griffins
 Capitals
The pillars of the Eastern Gateway feature elephants
in the four direction, conducted by mahuts holding a
Buddhist banner. They are gathered around a pillar of
square section, decorated with a flame
palmette design. A Yakshini under foliage flanks them
on the side.
The famous Yakshini, under
foliage and hanging in front of
an elephant, on the side.of
Left Right the East Gateway.
The Top Of Upper
Panels within the middle and lower architrave Architrave

Worshipping
The Queen Maya
Dharmachakra Lustrated By
Elephants
 Right pillar, Front Face

The six inferior heavens of the gods (Devalokas ) or

"Kamavachara heavens", in which the passions are still
unsubdued, an integral part of Buddhist cosmology.
Starting from the base they are as follows:

(1) The heaven of the Four Great Kings: the Regents of

the Four Quarters (Lokapala; Chaturmaharajika);
(2) The heaven of the Thirty-three gods (Trayastrimisa)
The six inferior over whom Sakra presides;
heavens of the (3) The heaven over which Yama, the God of Death,
Gods. reigns, where there is no change of day or night;
(4) The Tushita heaven, where the Bodhisattvas are born
before they appear on earth as the saviors of mankind,
and where Maitreya now resides;
(5) The heaven of the Nirmanarati, who create their own
pleasures;
(6) The heaven of the Parinirmita-Vasavartin gods, who
indulge in pleasures created for them by others and
over whom Mara is king.
 Left pillar, Front face
2nd panel
Top panel

The Miracle of Walking in the

air at Savrasti. While the Buddha
walks in the air, devotees are aligned Temple for the Bodhi
and look upwards. The Buddha is not
visible (aniconism), and only his path
Tree in Bodh Gaya.
(chankrama) is, separating the panel
horizontally in two parts.

Miracle of the Buddha

walking on the Bimbisara with his royal
River Nairanjana. cortege issuing from the
The Buddha is not visible
city of Rajagriha to visit
(aniconism), only represented the Buddha.
by a path on the water, and his
empty throne bottom right

3rd panel Bottom panel

Inner side or
rear Side of
the eastern
gateway
 Five of Seven Buddhas represented by a Bodhi Tree One Of Seven Buddhas
Represented By A Bodhi Tree
Top Architrave –
The seven last Buddhas, represented by their thrones and the
Bodhi trees beneath which they attained enlightenment. Figures,
human and divine, are worshipping them.

Men On Lions
Animals and Mythological Creatures round the Bodhi Tree

Middle Architrave –
The illumination (sambodhi) of the Buddha. Animals Around The Buddha
In the centre is his throne, and behind it
the pipal tree at Bodh-Gaya beneath which
he sat. To right and left come animals, real
and mythical, birds and Nagas, symbolising
his new won sovereignty over all creatures.
The presence of the Naga recalls the
episode of Mucalinda, the tutelary deity of a
lake near Gaya, who, shortly after the
Illumination, spread his hood over the Men On The Camels
Buddha to protect him from the rain. A Man And A Woman On The Camels
 Elephants around the Buddha represented by a Stupa
Lowest Architrave –
The centre is a stupa, to which elephants are bringing offerings
of flowers and fruit. It may be the stupa of Ramagrama, the
guardians thereof, who prevented Asoka removing the relics, Elephants Around The Buddha
being portrayed as elephants.

A Man And A Woman

On Rams
 Panels in between Panels in between Panels in between the
the top and middle the middle and lower architrave and
architrave lower architrave capitals

Flower Motif
Worshipping The Chaitya Flower Motif
 Elephants And Yaksini
Elephants And From The Back
Banner

Upper Architrave Elephants With

From The Back Mahout
 Left Pillar, Inner Face
(this face is concerned with the miracles by which Buddha converted the Brahman Kasyapa and his disciples.)
Top panel 2nd panel
Visit of Indra and Brahma to Buddha tames
the Buddha. the Naga at Uruvilva This
panel is about the victory of
Near the center of the panel is the
throne indicating the presence of the the Buddha over the serpent
Buddha, surmounted by the umbrella; in the fire chapel at Uruvilva.
behind it, Indra and Brahma standing
in an attitude of adoration; in the
background, the houses of Uruvilva
and the people at their daily tasks.

The miracle of fire and

wood. This is a depicting of Dvarapala guardian.
the miracles of the wood, the
fire and the offering. In the story
of Kasyapa's conversion it is
related that
3rd panel
Bottom panel
 Right pillar, Inner Face
(This face of the pillar is devoted to scenes at Kapilavastu, the birthplace of Gautama)
Top panel
Procession of
king Suddhodana
Homage of from Kapilavastu.
King Suddhodana
to the Buddha.
At the top is portrayed the
dream of Maya, the mother of
the Buddha, otherwise called
the conception of
the Bodhisattva. Maya, the
queen, is seen lying in a
pavilion of the palace, and on
her is descending the
Bodhisattva in the form of a
white elephant. This scene,
Dvarapala guardian which was well known to all
Buddhists, serves to identify the
city here represented
as Kapilavastu.

Second panel
Bottom panel
western GATEWAY:
THE fourth GATEWAY
OF SANCHI STUPA
 • The Western Gateway of Stupa 1 is one of the four richly carved gateways
or toranas, surrounding Stupa 1, the "Great Stupa". It is the last of the four
gateway to have been constructed.

• Like the other gateways, the Western Gateway is composed of two square
pillars surmounted by capitals, which in their turn support a superstructure of
three architraves with volute ends.

• The fourth gateway that is

the western gateway exhibits the
seven incarnations of Buddha.

• The western gateway consists

of two square posts crowned
with a group of four pot
bellied dwarfs called yakshas. These support a triple architrave with
scrolled ends. The posts and the gateways are completely covered with
sculptures depicting various episodes from the Jatakas, the stories
about the Buddha's previous incarnations. In these scenes the Buddha
is represented aniconically.
Outer Side of
the western
gateway
 Five (of seven) Buddha
Maitreya Buddha
Top Architrave – Six of the seven last Buddhas and Maitreya,
the future Buddha, four represented by their
appropriate sambodhi trees and thrones, and three by their relic
stupas with attendant worshippers, human and divine. The bodhi-
druma of Maitreya (left end of architrave, see below) is the naga-
pushpa tree (michelia champaka).

Three Griffins
One (of seven) Buddha
 Buddha Vipasyin’s Bodhi Tree
First Sermon at Isipatana
Middle Architrave –
The first sermon in the Deer Park (Mrigadava) at
Sarnath. The "Wheel of the Law" (dharmachakra) is
here set on a throne, and there are numerous deer
to indicate the deer-park in which the sermon was Right
preached. Whether Kaundinya and his four
Men On Elephants Left
companions are intended to be represented among
the figures on either side of the wheel, it is Men On Horses
impossible to say.
At each end of the architrave is a tree with a throne
in front and attendant worshippers. To the left (see
below), is the patali tree of Vipasyin, with the four
guardians of the world presenting their alms-bowls.
To the right it is the nyagrodha of Kasyapa,
Observe the baskets of flower offerings in the right Buddha Kasyapa’s Bodhi Tree
band relief.
 Chaddanta Jataka

Lowest Architrave –
The Chaddanta Jataka In this case, as in the North Gateway, the
hunter Sonuttara is not brought into the scene. At either end of the
architrave is a stupa with attendant worshippers.

Left Right
Worshiping The Stupa

Elephants Lustrated Queen Maya Gautama’s Bodhi Tree

 Left pillar, Front face
Left Right

Paradise of Indra.
Probably the "Paradise
of Indra" (nandana) with the
river Mandakini in the
foreground. This can be
related to the scenes on the
North Gateway and on the
small gateway of the Third
Stupa.
Unique panel

The pillar capitals consist in groups of Unidentified

four Yakshas (tectonic deities) supporting the
architraves.
 Right pillar, Front Face
Top panel 2nd panel
Mahakapi Jataka. The story runs that
the Bodhisattva was born as a monkey,
ruler over 80,000 monkeys. They lived
at a spot near the Ganges and ate of The Bodhisattva preaching in
the fruit of a great mango tree. the Tushita Heaven. In the center of
King Brahmadatta of Benares, desiring the panel is the tree and throne of
to possess the mangoes, surrounded the Buddha, and round about the
the tree with his soldiers, in order to kill throne a company of gods standing
the animals, but the Bodhisattva upon clouds in attitudes of
formed a bridge over the stream with adoration.
his own body and by this means
enabled the whole tribe to escape into
safety.

The visit of Sakra. The Buddha, Heraldic lions. Three heraldic lions
represented by his throne, beneath a standing on conventionalized floral
flowery tree with hills and jungle around. device. The turn in the upper leaves is
Possibly the tree is the Rajayatana tree peculiar. This method of treating foliage
at Bodh Gaya, beneath which the is peculiar to the Early School and is
Buddha sat shortly after his never found in later work. The inscription
enlightenment. The figures in the over this panel records that the pillar was
foreground adoring the Buddha appear a gift of Balamitra, pupil of Ayachuda
to be devas. (Arya-kshudra).

3rd panel
4th panel
Inner side or
rear Side of
the western
gateway
 The Mallas In Procession
The Relic Scene at Kusinara
Top Architrave –
The relic scene at Kusinagara (Kusinara). After the death of the
Buddha his relics were taken possession of by the Mallas of
Kusinara, whose chief is here depicted riding on an elephant and
bearing the relics into the town of Kusinara on his own head. The
tree behind the throne in front of the city gate appears to be a
Sala tree (shorea robusta) and to label the town as Kusinara
because the Buddha's parinrvana took place in a grove of those
trees. The two groups of figures carrying banners and offerings,
which occupy the ends of this architrave (see below), are Three Lions
probably connected with the central scene, serving to indicate
the rejoicings of the Mallas over the possession of the relics.
 The Mallas

Claimants To
The War over the Relics The Relics
Arrive
Middle Architrave –
The war of the relics. Here the seven rival claimants,
distinguished by their seven royal umbrellas, are
advancing with their armies to the city of the city of
Kusinārā, the siege of which has not yet begun. The
seated royal figure at the left end of the architrave (see
below) may perhaps represent the chief of the Mallas
within the city. The princely figures in the corresponding
relief at the right end are repetitions of some of the rival
claimants.

Men On Griffins
 Defeat of Mara (gods left, demons right)
Lowest Architrave –
The temptation of the Buddha. This scene
extends over the three sections of the
architrave. In the centre is the temple of Bodh- Part Of The Defeat Scene
Gaya with the pipal tree and the throne of the
Buddha within; to the right, the armies of Mara
fleeing discomfited from the Buddha, to the left,
the devas celebrating the victory of the Buddha
over the Evil One and exalting his glorious
achievements. The temple at Bodh-Gaya, Three Griffins
which enclosed the Bodhi tree, was built by the
Emperor Asoka. Its portrayal in this scene,
therefore, is an anachronism.
 Panel Between The Top And Middle Architrave

Worshipping Worshipping
The Stupa The Stupa

Panel Between The Middle And Lower Architrave

Setting The
Worshipping The
Dhamma Wheel
Stupa
Rolling
 Left pillar, Inner face
Bottom panel

Top panel

Syama Jataka Syama, the

Buddha in a previous life, was the
only son of a blind hermit and his
wife, whom he supports with
devotion.

2nd panel
Miraculous crossing of
Enlightenment of the the Ganges by the Buddha when he
Buddha with left Rajagriha to visit Vaisali (partial
the Nagas rejoincing. The remain). Only the upper part of this panel
scene depicts the remains, but it appears to depict the
enlightenment (sambodhi ) of miraculous crossing of the Ganges by the
Buddha when he left Rajagriha to
the Buddha.
visit Vaisali.
 Right pillar, Inner Face
Second panel
Enlightenment of the Buddha with Mara's
army fleeing. Towards the top of the panel is Bottom panel
the pipal tree and the throne of the Buddha, and
round them a throng of worshipers, men and
women, gods and animals. It is the moment after
the discomfiture of Mara and his hosts.

The Gods entreating Buddha to

preach.
The Buddhist scriptures tell us that after his enlightenment the
Buddha hesitated to make known the truth to the world.
Then Brahma, Indra, the four Lokapalas (Regents of the Four
Top panel Quarters) and the archangels of the heavens approached him Dvarapala guardian.
and besought him to turn the Wheel of the Law.
🙂THANK YOU🙂