Several cities in Madhya Pradesh are extraordinary for their architecture and or scenic beauty. Three sites in Madhya Pradesh have been declared World Heritage Sites by UNESCO: the Khajuraho Group of Monuments (1986) including Devi Jagadambi temple, Buddhist Monuments at Sanchi (1989) and the Rock Shelters of Bhimbetka (2003). Other architecturally significant or scenic sites include Ajaigarh, Amarkantak, Asirgarh, Bandhavgarh,Bawangaja, Bhopal, Chanderi, Chitrakuta, Dhar, Gwalior, Indore, Maheshwar, Mandleshwar, Mandu, Omkareshwar, Orchha, Pachmarhi, Shivpuri,Sonagiri and Ujjain. MP being very large geographically, and the history being spread over several millennia, a developing a comprehensive picture of heritage and architecture is a monumental task.
Bhimbetka
Surrounded by the northern fringe of the Vindhyan ranges, Bhimbetka lies 46 km South of Bhopal. In this rocky terrain of dense forest and craggy cliffs, over 600 rock shelters belonging to the Neolithic age were recently discovered. Here, in vivid panoramic detail, paintings in over 500 caves depict the life of the pre-historic cave-dwellers making the Bhimbetka group an archaeological treasure, an invaluable chronicle in the history of man.
Surrounded by the northern fringe of the Vindhyan ranges, Bhimbetka lies 46 km South of Bhopal. In this rocky terrain of dense forest and craggy cliffs, over 600 rock shelters belonging to the Neolithic age were recently discovered. Here, in vivid panoramic detail, paintings in over 500 caves depict the life of the pre-historic cave-dwellers making the Bhimbetka group an archaeological treasure, an invaluable chronicle in the history of man.
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Executed mainly in red and white with the occasional use of green and yellow, with themes taken from everyday events of eons ago, the scenes usually depict hunting, dancing, music, horse and elephant riders, animals fighting, honey collection, decoration of bodies, disguises, masking and household scenes.Animals such as bisons, tigers, lions, wild boar, elephants, antelopes, dogs, lizards, crocodiles, etc. have been depicted in some caves. Popular religious and ritual symbols also occur frequently.
Executed mainly in red and white with the occasional use of green and yellow, with themes taken from everyday events of eons ago, the scenes usually depict hunting, dancing, music, horse and elephant riders, animals fighting, honey collection, decoration of bodies, disguises, masking and household scenes.Animals such as bisons, tigers, lions, wild boar, elephants, antelopes, dogs, lizards, crocodiles, etc. have been depicted in some caves. Popular religious and ritual symbols also occur frequently.
Believe it or not
The colours used by the cave dwellers were prepared combining manganese, hematite, soft red stone and wooden coal. Sometimes the fat of animals and extracts of leaves were also used in the mixture. The colours have remained intact for many centuries due to the chemical reaction resulting from the oxide present on the surface of the rocks.
The colours used by the cave dwellers were prepared combining manganese, hematite, soft red stone and wooden coal. Sometimes the fat of animals and extracts of leaves were also used in the mixture. The colours have remained intact for many centuries due to the chemical reaction resulting from the oxide present on the surface of the rocks.
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The superimposition of paintings shows that the same canvas was used by different people at different times. The drawings and paintings can be classified under seven different periods:
The superimposition of paintings shows that the same canvas was used by different people at different times. The drawings and paintings can be classified under seven different periods:
Period I - (Upper Paleolithic)
These are linear representations, in green and dark red, of huge figures of animals such as bisons, tigers and rhinoceros.
These are linear representations, in green and dark red, of huge figures of animals such as bisons, tigers and rhinoceros.
Period II - (Mesolithic)
Comparatively small in size, the stylized figures show linear decoration of the body. In addition to animals, there are human figures and hunting scenes, giving a clear picture of the weapons they used - barbed spears, pointed sticks, bow and arrows. The depiction of communal dances, birds, musical instruments, mother and child, pregnant women, men carrying dead animals, drinking and burials appear in rhythmic movement.
Comparatively small in size, the stylized figures show linear decoration of the body. In addition to animals, there are human figures and hunting scenes, giving a clear picture of the weapons they used - barbed spears, pointed sticks, bow and arrows. The depiction of communal dances, birds, musical instruments, mother and child, pregnant women, men carrying dead animals, drinking and burials appear in rhythmic movement.
Period III - (Chaleolithic)
Similar to the paintings of Chaleolithic pottery, these drawings reveal that during the period, the cave dwellers of this area had come in contact with the agricultural communities of the Malwa plains and started an exchange of their requirements with each other.
Similar to the paintings of Chaleolithic pottery, these drawings reveal that during the period, the cave dwellers of this area had come in contact with the agricultural communities of the Malwa plains and started an exchange of their requirements with each other.
Period IV & V - (Early History)
The figures of this group have a schematic and decorative style, and are painted mainly in red, white and yellow. The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods. The religious beliefs are represented by figures of yakshas, tree gods and magical sky chariots.
The figures of this group have a schematic and decorative style, and are painted mainly in red, white and yellow. The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods. The religious beliefs are represented by figures of yakshas, tree gods and magical sky chariots.
Period VI & VII - (Medieval)
These paintings are geometric, linear and more schematic, but show degeneration and crudeness in their artistic style.
These paintings are geometric, linear and more schematic, but show degeneration and crudeness in their artistic style.
SANCHI
Sanchi is known for its Stupas, monasteries, temples and pillars dating from the 3rd century B.C. to the 12th century A.D. The most famous of these monuments, the Sanchi Stupa 1, was originally built by the Mauryan Emperor Ashoka, the then governor of Ujjayini, whose wife Devi was the daughter of a merchant from adjacent Vidisha. Their son Mahindra and daughter Sanghamitra were born in Ujjayini and sent to Sri Lanka, where they converted the King, the Queen and their people to Buddhism.
Sanchi is known for its Stupas, monasteries, temples and pillars dating from the 3rd century B.C. to the 12th century A.D. The most famous of these monuments, the Sanchi Stupa 1, was originally built by the Mauryan Emperor Ashoka, the then governor of Ujjayini, whose wife Devi was the daughter of a merchant from adjacent Vidisha. Their son Mahindra and daughter Sanghamitra were born in Ujjayini and sent to Sri Lanka, where they converted the King, the Queen and their people to Buddhism.
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A Chunar sandstone pillar fragment, shining with the proverbial Mauryan polish, lies near Stupa I and carries the famous edict of Ashoka warning against schism in the Buddhist community. Stupa 1 was found empty, while relics of the two disciples of Buddha enshrined in the adjacent Stupa 3 were carried away to England. The nearby modern temple has a reliquary containing the remains of a Buddhist teacher from another Stupa outside Sanchi.
A Chunar sandstone pillar fragment, shining with the proverbial Mauryan polish, lies near Stupa I and carries the famous edict of Ashoka warning against schism in the Buddhist community. Stupa 1 was found empty, while relics of the two disciples of Buddha enshrined in the adjacent Stupa 3 were carried away to England. The nearby modern temple has a reliquary containing the remains of a Buddhist teacher from another Stupa outside Sanchi.
The four gateways
Early Buddhist art has no finer expression than these toranas that surround the Great Stupa. The Buddha according to the tenets of early Buddhist art, is portrayed in symbols; the lotus representing his birth, the tree his enlightenment, the wheel derived from the title of his first sermon, the footprints and throne symbolizing his presence. These have been carved with such inspired intensity and imagery that, taken together with the surrounding figures, they are considered the finest of all Buddhist toranas and counter - balance the massive solidity of the stupa they encircle.Carved with stories of the Buddha's past and present lives and with incidents from the subsequent history of Buddhism, the gateways are the finest specimens of early classical art, which formed the seedbed for the entire vocabulary of later Indian art.
Early Buddhist art has no finer expression than these toranas that surround the Great Stupa. The Buddha according to the tenets of early Buddhist art, is portrayed in symbols; the lotus representing his birth, the tree his enlightenment, the wheel derived from the title of his first sermon, the footprints and throne symbolizing his presence. These have been carved with such inspired intensity and imagery that, taken together with the surrounding figures, they are considered the finest of all Buddhist toranas and counter - balance the massive solidity of the stupa they encircle.Carved with stories of the Buddha's past and present lives and with incidents from the subsequent history of Buddhism, the gateways are the finest specimens of early classical art, which formed the seedbed for the entire vocabulary of later Indian art.
Two of the moving stories told on these portals are those of Prince Vessantara, who gave away his wealth, his wife and children out of charity and compassion, and of Buddha who, as the monkey king, sacrificed his life to save his companions.The inscriptions on the gateways mention donors from all over northern India and special mention is made of the ivory workers of Vidisha who sculpted the stone with the precision of jewellers.
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The Sanchi hill goes up in shelves with Stupa 2 situated on a lower shelf, Stupa 1, Stupa 3, the 5th century Gupta Temple No.17 and the 7th century temple No. 18 are on the intermediate shelf and a later monastery is on the crowning shelf. The balustrade surrounding Stupa 2, carved with aniconic representations of the Buddha, was added in the late 2nd century BC under the Satavahanas.The adjacent Gupta temple no.17 was hailed by Sir John Marshall as one of the most rationally organized structures in Indian architecture. Though small, it was a herald of all the principles which went into the engineering of an Indian temple in the early medieval period. The Buddhas in the perambulatory surrounding Stupa 1 are not contemporary with the Stupa but belong to the Gupta period in the mid 5th century AD. The monastery and the temple with the tall pillars adjacent to Stupa 1 and the temple near the monastery on the crowning shelf illustrate the evolution of the architectural form after the 5th century Gupta temple.Below the hill, the Archaeological Survey of India Museum houses some of the earliest known stone sculptures in Indian art from the 3rd to the 1st century BC.
Must see
The Sanchi hill goes up in shelves with Stupa 2 situated on a lower shelf, Stupa 1, Stupa 3, the 5th century Gupta Temple No.17 and the 7th century temple No. 18 are on the intermediate shelf and a later monastery is on the crowning shelf. The balustrade surrounding Stupa 2, carved with aniconic representations of the Buddha, was added in the late 2nd century BC under the Satavahanas.The adjacent Gupta temple no.17 was hailed by Sir John Marshall as one of the most rationally organized structures in Indian architecture. Though small, it was a herald of all the principles which went into the engineering of an Indian temple in the early medieval period. The Buddhas in the perambulatory surrounding Stupa 1 are not contemporary with the Stupa but belong to the Gupta period in the mid 5th century AD. The monastery and the temple with the tall pillars adjacent to Stupa 1 and the temple near the monastery on the crowning shelf illustrate the evolution of the architectural form after the 5th century Gupta temple.Below the hill, the Archaeological Survey of India Museum houses some of the earliest known stone sculptures in Indian art from the 3rd to the 1st century BC.
Great Stupa No. 1
The oldest stone structure in India. 36.5 mt in diameter and 16.4 mt high, with a massive hemispherical dome, the stupa stands in eternal majesty, the paved procession path around it worn smooth by centuries of pilgrims.
The oldest stone structure in India. 36.5 mt in diameter and 16.4 mt high, with a massive hemispherical dome, the stupa stands in eternal majesty, the paved procession path around it worn smooth by centuries of pilgrims.
The Eastern Gateway
Depicts the young prince, Gautama leaving his father's palace on his journey towards enlightenment and the dream his mother had before his birth.
Depicts the young prince, Gautama leaving his father's palace on his journey towards enlightenment and the dream his mother had before his birth.
The Western Gateway
Depicts the seven incarnations of the Buddha.
Depicts the seven incarnations of the Buddha.
The Northern Gateway
Crowned by a wheel-of-law, this depicts the miracles associated with the Buddha as told in the jatakas.
Crowned by a wheel-of-law, this depicts the miracles associated with the Buddha as told in the jatakas.
The Southern Gateway
The birth of Gautama is revealed in a series of dramatically rich carvings.
The birth of Gautama is revealed in a series of dramatically rich carvings.
Stupa No. 2
The stupa stands at the very edge of the hill and its most striking feature is the stone balustrade that rings it.
The stupa stands at the very edge of the hill and its most striking feature is the stone balustrade that rings it.
Stupa No. 3
Situated close to the great stupa. The hemispherical dome is crowned, as a mark of its special religious significance, with an umbrella of polished stone. The relics of Sariputta and Mahamogallena, two of the Buddha's earliest disciples, were found in its inmost chamber.
Situated close to the great stupa. The hemispherical dome is crowned, as a mark of its special religious significance, with an umbrella of polished stone. The relics of Sariputta and Mahamogallena, two of the Buddha's earliest disciples, were found in its inmost chamber.
The Ashoka Pillar
Lies close to the Southern gateway of the Great Stupa, and is one of the finest examples of the Ashokan pillar and is known for its aesthetic proportions and exquisite structural balance.
Lies close to the Southern gateway of the Great Stupa, and is one of the finest examples of the Ashokan pillar and is known for its aesthetic proportions and exquisite structural balance.
The Buddhist Vihara
The sacred relics of the Satdhara Stupa, a few km away from Sanchi, have been enshrined in a glass casket on a platform in the inner sanctum of his modern monastery.
The sacred relics of the Satdhara Stupa, a few km away from Sanchi, have been enshrined in a glass casket on a platform in the inner sanctum of his modern monastery.
The Great Bowl
Carved out of one block of stone, this mammoth bowl contained the food that was distributed among the monks of Sanchi.
Carved out of one block of stone, this mammoth bowl contained the food that was distributed among the monks of Sanchi.
The Gupta Temple
In ruins now, this 5th century AD temple is one of the earliest known examples of temple architecture in India.
In ruins now, this 5th century AD temple is one of the earliest known examples of temple architecture in India.
The Museum
The Archaeological Survey of India maintains a site museum at Sanchi. Noteworthy antiquities on display include the lion capital of the Ashokan pillar and metal objects used by the monks, discovered during excavations at Sanchi.
The Archaeological Survey of India maintains a site museum at Sanchi. Noteworthy antiquities on display include the lion capital of the Ashokan pillar and metal objects used by the monks, discovered during excavations at Sanchi.
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