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Stupa is essentially a Buddhist commemorative monument housing sacred relics associated with Buddha or other saintly persons. The hemispherical form of the stupa seems to have been derived from the pre-Buddhist burial mounds in India. While conducting case studies for my thesis project, “Buddha Smriti Stupa and Buddha Samyak Darshan Sangrahalaya in Vaishali, Bihar”, I have come across various instances which has revealed that, in addition to the various elements that make a stupa, the structure is built to “certain proportions”. This study aims at understanding the basic structure of the stupa in accordance to these proportions.
Chapter 1 in Amaravati: the Art of an Early Buddhist Monument in Context, edited by M Willis and A. Shimada, pp. 12-22. British Museum Press, London. 2016
Each style of Architecture mirrors an essential rule that represents a specific culture and time. In this setting the Indian Jain temple architecture are not just the house of Tirthankar idol and place of worship, they are additionally the depository of information, craftsmanship, architecture and culture. The practices and customs of temples exist in history as well as in present time impact. The socio-cultural existence of its kins offers congruity to conventional religious and cultural qualities. The advancement of Jain architecture is set apart by its strict adherence to the first ancient models that were gotten from religious thought and that proceeded over numerous centuries. The Jain religion and its logic incredibly affected Jain temple Architecture in its developmental procedure which proceeds till this date. Hence this exposition through authentic research and other narrative, literary works and hypothetical examination on ancient treatise and current research works on the Jain temple Architecture of India draws out the ideas that have been received since ancient circumstances for the construction of the holy Jain caves and temples, the science associated with the construction of the temple structure and the procedures required alongside the expertise it took to build such buildings. India has given with the gifts of the different religious beliefs. Jainism is one of them, Jain Tirthankars - religious ministers spread the message of peace, peacefulness, love and edification everywhere throughout the world. The center of this awesome religion and its proclaiming is clear in its temples, in the concentrated shaped and in the various outlined remains. The commitment of Jain workmanship to the standard craftsmanship in India has been extensive. Each period of Indian workmanship is represented by a Jain form and every single one of them is deserving of careful study and comprehension. The considerable Jain Architecture and formed landmarks of Bihar region like Khandgiri, Udaygiri, Sammed Shikhar, Koluha, Patna, Ara, Bhagalpur, Jammui, Rajgir, Nawada, and Nalanda are world iv eminent. The most awesome of every Jain temple are found in Bihar Region. In India, Bihar has a portion of the essential examples of Jain Artchitecture. Jain architecture can't be certified with its very own style, for in any case it was just about a branch of the Hindu and the Buddhist styles. In the underlying years, numerous Jain temples were made abutting the Buddhist temples following the Buddhist rock-cut style. At first these temples were basically cut out of rock faces and the utilization of blocks were relatively insignificant. In any case, in later years Jains began building temple-urban communities on slopes in view of the idea of mountains of interminability. Contrasted with the quantity of Hindu temples in India, Jain temples are few and dispersed out. The Jain used to separate their more prepared and harmed sanctuaries and made new ones of every comparable place. Then again Jain temples had a specific aggressor air around them, likely as a result of looters who may have diverted wealth. Encompassed by troubled dividers, the Jain temples are partitioned into wards in a way like sustained urban communities with parapets and specialties to repulse equipped animosity. Each ward thusly was watched by monstrous bastions at its closures, with an invigorated portal as the principle entrance. The reason being that Jain temples are the most extravagant temples in the world, outperforming even Mughal buildings as far as loftiness and material richness. Together these viewpoints draw out the workmanship, science and theory behind the construction of the Jain temple which is as significant today as it used to be in the ancient circumstances. A congruity of custom and a science which has its root in the beginning of human consciousness. India has a profound established culture and human progress returning to 5000 years ever. India's ancient yet proceeding with human advancement has entranced and hypnotized the world. Exceptionally rich and differing culture has been a subject of study over the world. A voyage through popular Jain temples in Bihar, India was made to study the visual theory in architecture of temples and symbols of Jain groups. Amid the study a voyage through celebrated Jain journey puts in particular, Patna, Vaishali, Ara, Bhagalpur, Nalanada, Kundalpur, Rajgir, Nawada, Jharkhand and Orissa were gone by over the Bihar region of India. It has been watched that all the concentrated sacred spots are remarkable for their v ancient history, architecture of icon and temple. The temples are of profound feeling of recommendation and the inside for peace and contemplation. The present work investigates, to some degree impressionistically, the geometrical, engineering, building material and construction examination of brilliant Jain caves of Orissa and Jain temples in Bihar and Jharkhand States. Over a traverse of this time and space, the author takes note of, a masterful development and development inside "a tolerating cultural stillness that can be best comprehended with a specific mythopoeic reference that goes past the negligible actualities of history.'' Using these temples as nodal focuses for a photographic and intelligent study, the author has presented the inconspicuous wonders and the imaginative subtleties of the gems like plan form, elevation form, interior layout and intricate carvings of the Jain temples through his delicate focal points and persuasive explanation.
South Asian Studies
The Production and Reproduction of a Monument: The Many Lives of the Sanchi Stupa2013 •
American Journal of Engineering Research (AJER)
An imagination of Bikrampur Buddhist Vihara from the foot-print of Atish Dipankar’s travel.2013 •
Atish Dipankar Srijanan from Bangladesh in Ten-Eleventh century was the most respected educator of the sub-continent to convey the message of Buddha, acted as principal envoy of Vihara based education. In fact, he represents the great monastic learning tradition of more than 350 Viharas in this region within the development of Mahayana sect which lead all of them to contribute in scholarly literary creations including Buddhist mystic songs. If one wants to know the architectural features of that period, especially for the recently excavated Bikrampur Vihar, he or she need to trace Atish and have some observation over his interval points and end the journey in Tibet. To be contextual, the architecture of these Viharas influenced the style of monasteries and temples in South East Asia up to Myanmar, Cambodia to Java (Indonesia) and entire Bali peninsula and also in Tibet by implicit extend. In this regard, the style of gradual receding and crucified plan of the central shrine was most influential for practice. To exchange the thoughts they relied on such cooperation where spatial quality was followed as per their spirituality and architecture became the medium of a friendly brotherhood, as history kept the incident that King Devapala granted five villages attached to Nalanda for the installation of the Matha (individual Cella of vertical exposure) to honor the request of the King Sailendra of Java only for the scholars of Sumatra & Java. However, the aim of this study is to find an imagination of Bikrampur Vihar with the comparisons and similarities of the places which hold this noble sage‟s memories with their ruins. From that sense, this study is hypothetical one.
This article is a humble endeavour to provide an overview of the Early Buddhist Art. Buddhism has been one of the earliest religions in India to have inspired art. The purpose of art in Buddhism was to propagate the ideals of Buddhism. Beginning with the aniconic stage, we see an evolution in the art where comes the anthropomorphic representation of Buddha. Early form of Buddhist art has been divided into categories according to the dynasties that ruled during those times. Thus, the article looks into the characteristics of Buddhist art during Mauryan Empire, Kushana and Gupta Period.
J. Hawkes & A. Shimada (eds.), 'Buddhist Stupas in South Asia: Recent Archaeological, Art Historical, and Historical Perspectives', pp. xi-xli
Approaches to the Study of Buddhist Stupas2009 •
in A. Shimada and J. Hawkes, eds., Buddhist Stūpas in South Asia: Recent Archaeological, Art-Historical, and Historical Perspectives. New Delhi : Oxford University Press.
Stūpas, monasteries and relics in the landscape: typological, spatial, and temporal patterns in the Sanchi area (2009)2009 •
Routledge Handbook of Heritage in Asia
The Unberable Impermanence of Things: Reflections on Buddhism, Cultural Memory and Heritage Conservation2012 •
Ancient India: Identities, Boundaries and Cultural Practices (Kadambi, H. and Prasanna, D. A. Eds.)
Megaliths and Later Monuments2019 •
in, D.K. Chakrabarti and M. Lal (Eds.), History of Ancient India, vol. 4. New Delhi: Vivekananda International Foundation and Aryan Books.
Sanchi as an archaeological area (2013)2013 •
Amaravati: The Art of an Early Buddhist Monument in Context - eds. Akira Shimada and Michael Willis, Research Publication 207, The British Museum, 2016
Money and the Monuments: Coins of the Sada Dynasty of the Coastal Andhra RegionIndo Swedish Author's Collective, Stockholm and Nagpur
Celestial Mysteries of the Borobodur Temple2020 •
Asian Perspectives
Material Practice and the Metamorphosis of a Sign: Early Buddhist Stupas and the Origin of Mahayana Buddhism2012 •
Artibus Asiae 66-1 (2006)
The Great Railing at Amarāvatī: An Architectural and Archaeological ReconstructionCross-Currents: East Asian History and Culture Review - special issue: Buddhist art of Mongolia : cross-cultural discourses, facts, and interpretations
The Cult of Boudhanath Stupa/Jarung Khashar Suvraga in Mongolia: Texts, Images, and Architectural Replicas2019 •
Death rituals and social order in the ancient world: Death shall have no dominion. Cambridge: Cambridge University Press.
Buddhist and non-Buddhist mortuary traditions in ancient India: stūpas, relics and the archaeological landscape2015 •
Journal of Comparative Cultural Studies in Architecture (JCCS-a)
Two Stūpas of Princess Wencheng: A Comparative Study on Two Ancient Terrace Stūpas in Eastern Tibet2015 •
Asian Perspectives
Ritual and Presentation in Early Buddhist Religious Architecture2003 •
South Asian Studies 30.2
2014 ‘Spoiled for Choice?: The sacred landscapes of ancient and early medieval Banavasi’. South Asian Studies, Vol. 30.2.2014 •
Oxford Handbook for the Archaeology of Death and Burial (eds. S. Tarlow and L. Nilsson-Stutz)
The Place of Veneration in Buddhist Mortuary Sites2013 •