Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c15.s2.t2: Mahāchetiyas
Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c15.s2.t2
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Mahāchetiyas
c15.s2.t2.1
The Stūpas of northern India are generally of solid brick-construction, but the architecture of the Stūpas at Nagarjunikonda follows the plan of a wheel, with hub (nābhi), spokes (ara) and encircling felly (nemichakra). The open spaces between the radiating walls forming the spokes were filled in with earth before the brick-casing of the Stūpa was built up and the dome closed. As the walls were raised towards the dome their cross-section took the form of a giant umbrella since with their curvature they were higher towards the centre and lower at the periphery. [Fig. 217].
c15.s2.t2.2
The Stūpas were built in all sizes; the smallest being 20' in diameter and the biggest Mahāchetiya 120'. In the smaller Stūpas, the central hub took the form of a square pillar, but in larger ones it was circular. After the brick-work and mud-filling was finished the exterior of the Stūpa was plastered with lime, the technical process being known as sudhākamma and the truncated top crowned with umbrellas known as chhatrakamma. At the base was a drum and above it the oval dome gradually rising to a towering height of 60 to 90 feet in proportion to its diameter. At the level of the height of the drum were four projecting platforms (āyaka-mañcha or mañjūshā) with a row of five pillars (āyaka-khambha), which was a distinguishing feature of all the Āndhra Stūpas as already stated.
c15.s2.t2.3
There were three flower-offering platforms called puphadhāna or pushpagrahaṇi vedikā (Mahāvaṃsa, 33.22), on each of the four sides of the Stūpa and in a line with the central one was built the āyaka platform. The āyaka platforms were regarded as the most important features of the Stūpas and no trouble or expense was spared in making them as beautiful and attractive as possible. This is shown by the sculptured slabs and lintels most beautifully carved recovered from the actual remains of the āyaka platforms of the Nagarjunikonda Stūpas.
c15.s2.t2.4
Two types of Stūpas may be distinguished at Nagarjunikonda, viz. plain and profusely decorated. This is shown by the representations on the Stūpa-paṭṭas and by the actual remains. The first one was faced with stucco work (sudhākarma), but gradually the conception of beautifying the Stūpa with several friezes of carved slabs developed. This was conceived as a śilāmaya-kañchuka or lithic robe enveloping the Stūpa, also spoken of as a deva-dūshya or divine garment (Mahāvaṃsa, 33.23, 25) owing to which the Stūpa was given the new name of Dussa-thūpa (Skt. Dūshya-stūpa, Mahāvaṃsa, 31.11). Its construction was naturally regarded as a miracle (riddhi). In the plain type the upper part of the dome is shown encircled by a festoon-ornament, presumably executed in plaster. The drum and āyaka-platforms are ornamented with the vedikā design and a few Jātaka scenes.
c15.s2.t2.5
In the second type embellished with elaborate decorative frieze several rows of sculptured slabs (ūrdhvapaṭṭa) were added to the exterior face of the brick-work from the drum to the middle portion of the dome or the level of the āyaka platform above which the decoration was executed in stucco owing to the fact the curved surface of the dome did not fit in with the flat slabs. The front portion of the āyaka-platform was carved with the figure of Buddha or one of his life-scenes and the other slabs depicted the various Jātakas and popular life-scenes. The other friezes consisted of rows of Stūpa-paṭṭas, Puṇṇagaṭapaṅkti, Chakrapaṭṭas, dancing gods (naṭchaka devatā), divine figures playing on musical instruments (turiyavādaka devatā), gods paying adoration (añjalipaggahā devā), women in dramatic poses (naṭakaṭṭhi), many other kinds of lotus (padumaka) and floral (pupphapaṅkti) decorations and animal motifs (chatuppadapaṅkti). The body of the Dhātugarbha was beautified with many such decorative forms (sabbarūpaka) and was gilded (hemakuṭṭima).
Linked texts (1)
- Mahāvaṃsa — Pāli