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Encyclopedia of India–China Cultural Contacts v1.c7.s2.t13.2

Encyclopedia of India–China Cultural Contacts v1.c7.s2.t13.2

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English

v1.c7.s2.t13.2

The Mahabodhi Vihar has gone through several structural changes during its existence. The original tree shrine was expanded into a two storeyed structure enclosing the tree in Sunga period (2nd -1st century BCE) with Vajrasana and the Bodhi tree as main objects of veneration. The first mention of the rising of a structural temple is found in Faxian's travelogue who visited the place in 5th century CE. He notes a tall tower standing near the sacred tree and Vajrasana. Depiction of tower–shrines on reliefs of the Kushana period, link structural expansion of the temple to 1st-3rd centuries CE. By the time of Xuanzang's visit (7th century CE), a large brick temple of the late Gupta style had been erected there. Xuanzang provides a detailed description of the temple, stating – "The Vihar stood in the east of Bodhi tree and was about 170 feet high. It was made of blackish-blue fired bricks and covered with lime. Golden figures of Buddha adorned all the niches carved in each row. All the four sides of the wall were full of heavily ornamented wonderful design-work depicting strings of pearl or figures of gods. Surmounted on the spire of the Vihar was a gilded bronze model representation of *aamlak* (mango fruit). The main building consisted of three storeys and the outer gates of the building had niche like chambers in right and left sides. The left side had a statue of Boddhisattava Avalokiteshwar and the right had Bodhisattava Maitreya. Both the statues were made of silver and were of 10 feet in height." He also notes existence of a small temple made by Emperor Asoka and many other smaller temples and *stupas* erected by his disciples. The temple housed a seated Buddha, which according to legends is the exact replica of the historical Buddha created by the Maitreya Buddha himself. This became the model of many later Buddhist images. According to an inscription of 588-89 CE, this image was renovated by a Sri Lankan devotee, Mahånåman.