The visit
to this Archaeological Museum at Sanchi, the Buddhist Monument at Sanchi and a
UNESCO Heritage Site, was a part of the “Bhopal, Udayagiri Rock Cut Caves,
Bhimbetka Rock Shelters, Sanchi, Bhojpur, and Khajuraho – of Madhya Pradesh
Heritage Walk” organized by the எண்திசை வரலாற்று மரபுநடைக்குழு, between 25th and 28th December 2024.
ABOUT
SANCHI
Sanchi is uniquely placed in the world of Buddhist Archaeology and Tourism. In ancient times, it is variently known as Kakanaya, Kakanava, Kakanadabota, and Bota Sri Parvata. Like the pinnacle among the mountains, a diamond among gems,
Sanchi stands as numerous amidst a string of sites within the district Raisen,
and contiguous districts Sehore and Vidisha. The genesis of the story at
Sanchi, in fact, has some of its moorings in both the latter districts that go
back to nearly 2300 years, if not more evidently, the heir apparent to the
mighty Mauryas, Asoka had visited Panguraria (dist.Sehore), as known by the
inscription engraved at Upanitha Vihara as the Buddhist site was known then.
Ancient chronicles of Sri Lanka mention that Asoka married Devi, daughter of a
merchant of Vidisha while going to Ujjain as a viceroy. References of
inscriptions engraved on rock surfaces during his reign (273-236 BCE) mention
that he converted to Buddhism and only after many years of coronation did he take an active interest in the religion, Asoka selected this place because of some
reasons like strategic location, perfect place for meditation, close proximity
to the city of Vidisha, piety of the rich mercantile community of Vidisha and
strategic situation at the confluence of two rivers ie. The Betwa and the Bes,
closeness to important trade routes, etc.
The Buddhist establishment continued the genesis of Buddhist art and
architecture, spanning nearly thirteen hundred years from the 3rd century BCE to the 12th century CE. From about the end of the twelfth century or so activity at Sanchi
came to a standstill and the last surviving populace at the site abandoned Sanchi.
It was a blessing in disguise, from the point of view of the art at Sanchi. The
physical disappearance of Buddhism as an institutional religion had mostly died
out in India by the 13th century CE due to the destruction of monasteries,
massacre of Buddhist monks on a large scale, loss of royal patronage,
deprivation of the zeal of masses, the ultimate separation of the laity from the Sangha,
internal dissensions, foreign invasion, and some scholar stated that the Tantrism
is said to be one of the cause of the downfall of Buddhism upto certain be one of the cause of the downfall of Buddhism upto certain extent. Sanchi has
no escape from such an unfortunate situation. For nearly 600 years, Sanchi
remained unknown, when in the year 1818, General Taylor discovered the site
hidden beneath the canopy of dense vegetation and brought it to public attention.
Buddhism was long forgotten and the stupas were now thought to be the mounds of
mother-in-law and daughter-in-law.
STUPA COMPONENT, PANGURARIA, DIST. SEHORE
The most interesting one from Panguraria, dist, Sehore,
is a pillar and chhatra of a Buddhist Stupa, which has been displayed in the
open courtyard of the museum. This was brought here from the site of Panguraria
a Buddhist place in the Sehore district of Madhya Pradesh which was lying for a
long time in the Museum building premises. The original stupa belonged to the
3rd century BCE, i.e. Mauryan period. It turned into ruins at the site. Therefore
the components of the original stupa are scattered at the site. As stated above only two
components i.e. pillar and chhatra were brought here. The different dimensions
of these chhatra and pillars show that the stupa of which these parts are might
be much bigger than the Stupa of Sanchi,
Buddha in
Meditation, Period 400 - 500 CE, Gupta period, and Sand Stone
Description: Buddha seated in meditation.
Head refixed. The neck, left ear lobe, nose, hands, eyes, and lips are slightly
broken. The drapery (Cheever) is covering both the shoulders. Chakra and
auspicious symbols are depicted on feet.
Standing Nagaraja, 700-800 CE, and Sand Stone
Depicted on a pedestal in human form Nagaraja is in a sthanaka posture. The back slab shows snake coils in a zigzag form, hooded canopy out of which only 5
hoods are seen. The headdress is arranged like a twisted garland. Wearing ear
ornament, necklace, armlet (Katakvalaya), and wristlets (Keyura) wearing dhoti
hanging up to the knee. The right-hand holds a lotus while his left hand is held on the
left waist. Both the arms are partly broken.
Headless Sthanaka Buddha, 500 CE, and Sand Stone
Headless standing Buddha carved in Mathura sandstone. Drapery (Cheever)
covers both shoulders while the left hand holds the upper garment near the waist.
Bodhisattva
Padmapani, 400- 500 CE, Gupta Period, and Sand Stone
Bodhisattva Padmapani standing in sama bhanga posture. Wears elaborate ornaments,
earrings, necklaces, armlets, bracelets. Drapery (uttariya) and short dhoti, tied
with a plain girdle. The end part of the dhoti is hanging down on the left side.
The right uplifted hand holds a lotus while the left one holds the end part of the uttariay.
Lion Pillar Capital, 300 BCE, Mauryan Period, and Sand Stone.
Lion Pillar Capital is made out of Chunar sandstone, consisting of a bell-shaped lotus with cable necking surmounted by a circular abacus which is carved
with Madhu Malti flower and Geese supporting four lions seated back to back.
Bell, below the abacus, is decorated with sixteen conventional petals. It has fine polish, a typical example of the Mauryan period.
Bodhisattva, 400 to 500 CE, Gupta Period, and Sand Stone.
Standing Bodhisattva Vajrapani is depicted in dhoti, earrings,
necklaces, armlets, bracelets, and headdresses. Hair curls fall on the shoulder. The right-hand holds the vajra, which is traceable on the right hip, and the left hand holds the end part of uttariya. A small halo is provided at the back of the head which
has twelve holes.
Standing Buddha, 700 CE, and Sand Stone.
Standing Bodhisattva Vajrapani is depicted in dhoti, earrings, necklaces,
armlets, bracelets, and headdresses. Hair curls fall on the shoulder. The right hand holds the vajra, which is traceable on the right hip, and the left hand holds the end
pard of uttariya. A small halo is provided at the back of the head which has twelve
holes.
Seated Buddha, 700 CE, and Sand Stone
Buddha seated cross-legged on a lotus seat supported by two lions. Head
refixed. Partly broken male and female devotees are carved on pedestals male is
shown with beard.
Lion Pillar Capital, 600 CE, Gupta Period, and Sand Stone
Lion capital datable to the Gupta period was an effort to replicate the lion
capital of the Mauryan period. It consists of an inverted lotus, a circular abacus, and four
lions seated back to back surmounted by dharma chakra. Unfortunately, dharma
chakra and lions are damaged.
Headless Sthanaka Buddha, 700 CE, and Sand Stone
Sthanaka Buddha is shown in samabhanga posture. His drapery, toes are
partly damaged. He is accompanied by a lady on the left and while male on the right
side.
Naga, 400-500CE,
Gupta Period, and Sand Stone
Naga in human form with the same dress
and ornaments as seven hooded Naga displayed in front. The hood and facial features
are badly damaged. His right hand is holding a lotus.
Sthanaka Buddha, 800-900 CE, and Sand Stone
Standing Buddha is accompanied by chauri bearers on either side. Most
parts of this sculpture are damaged.
Sthanaka Bodhisattva, 900 CE, and Sand
Stone
The standing Bodhisattva is depicted on a pilaster in which the head is
refixed. Most parts of the body are mutilated. An oval-shaped halo decorated
with full-bloom flowers.
Buddha in meditation, 600 CE, and Sand Stone
Buddha in meditation. Broken head re-fixed. Auspicious Symbols are carved
on both the palms and soles.
Gaja Lakshmi, 1000 CE and Sand Stone
Four armed Gaja-Laxmi; both upper arms are holding lotus buds with an elephant on either side. Her right hand is in varad mudra while her left one is
holding a pot. (Acc.No.-2870).
(3) Head of Avalokiteshvara with the figure of Dhyani Buddha Amitabha on it.
(500-600CE)
Fragment of a door jamb, 1000 CE, and Sand Stone
Description: Fragment of a Door Jamb which is divided into two facets; the
left facet contains a male figure standing in a pillared niche, while another
facet is shown with a female figure with a padma (Lotus) in her left hand.
(1) The head of the Bodhisattva wearing a crown, hallo appears with flower decoration
behind the head. (1200CE)
(3) Head of the deity with board lips and long ears, Jata tied with ornamented
band, mutilated halo behind the head. (1200CE)
(5) Head of deity with damaged face. (1000CE)
Varuna, 1200 CE, and Sand Stone
Dikpala
Varun is displayed under a pilastered niche. He is adorned with a crown,
ornaments, and a long mala. He carries a pasha in his left hand. His mount makara
is also carved near the left leg.
Avalokitesvara,
1200 CE, and Sand Stone
Avalokitesvara is seated in lalitasana holding the steam of lotus in his left hand while his right hand
is in varad mudra. He is accompanied by his mount peacock.
Tara, 1200
CE, and Sand Stone
Four armed
Tara badly chopped off seated in padmasana. Her lower right hand is in varada
mudra while her right upper hand holds an akshamala (rosary). Her upper left hand carries a lotus while the lower left one rests upon her lap and holds a bowl.
Sitatara, 100
CE, and Sand Stone
A unique
figure of Tara represents her as Sadbhuj (six-armed) Sitatara. She is
generally endowed with three faces and six armeds now heads are missing. She is
adorned with various ornaments.
Khardirbani
Tara, 1000CE and Sand Stone
Tara with
one face and two hands, the right one is in the varad mudra while the left is
holding a blooming lotus (utpala). She is seated in lalitasana and is
accompanied by two attendants (Asokanta Mariachi and Ekajata) on either side.
Unfortunately, the figure is badly mutilated.
Niriti, 1200CE,
and Sand Stone
Dikpala
Niriti is in tribhanga pose and the lower part of his left leg is broken. Both hands are slightly damaged. Wears ornaments, sacred thread, and long garland. The left hand rests against the thigh while the right hand holds a sword. In the lower right part, a
curious animal is standing and wearing a conical cap-like object.
Kubera, 900-1000
CE, and Sand Stone
Dikpala
Kubera standing in a samabhanga posture carrying the tail of a mongoose while he holds a
casket in his right hand.
Relic
Casket,1000 CE, and Sand Stone
This lid
of the relic's casket contains an inscription on top in Brahmi character Sir
Alexander Cunningham, together with Captain F.C. Maisey excavated stupa No. 3
in 185 where they found relic caskets of two famous disciples of the
Buddha, Sariputtra and Mahamoglayan. The chamber was placed in the center of the
Stupa No. 3. It contained two stone boxes each bearing a short inscription: on
one the word Sariputasa of 'Sariputtra' and on the other 'Mahamogalanasa' of 'Mohamogalana'.
Inside each of the boxes was a casket of some small fragments of human bone
beads, pearls, garnets, lapis lazuli, crystals, and amethysts.
(1) Partly
broken Vishnu head crowned with Kiritamukuta. (Gupta period)
(4) Torso
of Avalokitesavara (1200CE)
Mother and
Child, 1000 CE, and Sand Stone
Description:
Mother and Child laying on an ornamented bed, surmounted by two male and two
female figures and one female seated on her feet. A child now mutilated shown
on the left side of the lady. Below her bed, three images with two unidentified
characters are depicted. Most parts of the sculpture are mutilated.
Shiva, 1200
CE, and Sand Stone
Pilastered
niche displayed with four armed Siva in lalitasana. He carries a trident in his
upper right hand and a Kamandala in his lower left hand. Rest hands are broken.
His mount Nandi is shown seated below his feet.
An architectural fragment
Chauri bearer
Agni, 1000CE,
and Sand Stone
Standing
image of Dikpala Agni under a pilastered niche. His face is damaged but his beard can
be seen. Left hand hanging down on holes in a water pot.
Buddha on
4 sides of a Pillar.
Buddha is
shown seated in, a bhumisprasha mudra under a tree. The forefinger is touching the
earth.
Buddha
stated in padmasana under the tree between pilasters. His right palm is resting
upon the left one.
Buddha
figures are seated under a tree and separated from each other by pilasters. One
side of the Stupa is broken. Two of the figures are in bhumisprasha mudra and one
in meditation.
Winged
Lion, 100 BCE Satvahana, and Sand Stone
The image of a
winged lion in three pieces, Mouth, ears, top of the wings, and a portion of fore
legs, missing mane, and wings are conventionally beaded.
A. Bodhisattva,
200 CE, Sandstone
Bodhisattva
carved out in Mathura red sandstone partly broken. The inscription on it
suggests its creation during the 22nd year of king Vashiska.
B. Bowl, 300
BCE, and Sand Stone
The broken
bowl is made of Chunar sandstone with an octagonal tapering shaft surmounted by a
cup-shaped- capital
C. Inscribed
Pedestal, 200 CE, and Sandstone
Pedestal
with feet of sthanaka Buddha. The right side is carved with six male worshipers.
The dedicatory inscription on it suggests its creation during the Kushana period.
Royal
figure on torana, 100 BCE, and Sand Stone
A part of
torana depicts a standing Royal person in the middle. Wearing Indian style
bracelets and left hand holds the end part of dhoti. Decorated with a floral
design at the back.
TEMPLE No 18.
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