Indian Architecture (Buddhist and Hindu Periods) c12.6

c12.6

The production of this particular form of architecture was maintained for a very long period, as the first examples date from the third century B.C., and it continued to be practised throughout the whole of the first millennium only falling into, disuse in early mediaeval times. As associated with the Buddhist religion, rock-architecture in India resolves itself into two distinct movements, separated by a fairly long interval. The earliest or Hinayana phase lasted until the second century A.D., a period of some four hundred years, when for the time being it seems to have naturally declined. Then ensued three centuries of inactivity, but it revived again about the fifth century A.D , after which it was carried on for several centuries with great vigour and attained its richest and most varied form, not only in the hands of the Buddhists but also through similar efforts on the part of the Brahmans and Jains The present outline is concerned only with the first and earliest phase, as developed by the followers of the Hinayana sect, who observed what is known as the "Lesser Vehicle," or primitive aspect of the creed. In its art this primitive Buddhism is distinctive on account of one important convention, for it ordained that in all its productions the bodily form of the Buddha should not be portrayed, in the works of the *Brahmajala Sutta*, "on the dissolution of the body neither gods nor men shall see him "¹ It may be noted that similar restrictions occur in other creeds, as shown by the Hebraic commandment in consequence of which no graven image appeared in the Temple, and the Islamic prohibition regarding representations of the Prophet. In the Hinayana art the spiritual presence of the Master is attested by the introduction in the iconography of certain intimate personal attributes, such as an empty throne, a footstool, cushions, or foot impressions, these symbolized forms being readily recognised and understood by the initiated, but the figure of the Buddha, being sacrosanct, was always omitted. With this convention in mind the classification of Buddhist art and consequently its architecture into its two main divisions is not difficult. It should be observed however that in certain instances attempts were made by the later theistic hierarchy to convert Hinayana monasteries into the Mahayana order by superimposing figures of the Buddha on the earlier work. Such palimpsests may, however, be readily identified, as may be seen on the rock-cut chaitya hall at Kanheri and also at Nasik.