Buddhist stupa in Sanchi. Great Stupa at Sanchi - India

Asia

Northern gate of the stupa in Sanchi

(3rd century BC)

Sanchi is a modern village near the city of Bhilsa in the state of Madhya Pradesh in Central India. Here in the 3rd century BC the ancient Vidisha was located - the capital of the state of Eastern Malva, which was the local center of Buddhism.

Nearby on a hill there are remains of a complex of Buddhist buildings, mainly temples and stupas. The great stupa at Sanchi gained worldwide fame thanks to the “torans” - four gates in the enclosure surrounding it. Abundantly decorated with reliefs and round sculpture, they are an example of the synthesis of plastic and architectural forms that has been so characteristic of Indian art for thousands of years.

The peculiar hemispherical shape of the stupa is a symbol of one of the most important concepts of Buddhism - nirvana - a state in which liberation from karma has been achieved. Since Buddha was considered the first person to achieve nirvana and show the way to it, the stupa became a symbol of Buddha himself. In a Buddhist monastery, a stupa is the most sacred object of worship.

The stupa in Sanchi was erected at the behest of the Indian ruler Ashoka Maurya in the 3rd century BC on the spot from where, according to legend, his son went to the island of Lanka (now Sri Lanka) to spread Buddhism there. In the 2nd century BC, the stupa was surrounded by a massive vedika fence and increased in volume. In the second half of the 1st century BC, four gates were built, oriented towards the cardinal points. The southern gates were built first, later the northern, eastern and lastly the western. They were created at intervals of about a decade.

In the fences of Buddhist stupas, the gates were built of stone, with rich sculptural decoration. Their name - torana - comes from the Sanskrit word “tor” - “passage”.

When constructing the gate of the Great Stupa in Sanchi, the craftsmen unwittingly continued the traditions of wooden architecture common in Ancient India. Therefore, the upper half of the gate is too heavy for a stone structure. It gives the impression of instability. Nevertheless, they were able to stand for two millennia without even being attached to a powerful fence.

The gate is completely covered with reliefs, which, together with the round sculpture decorating it, together with the abundant plastic decoration of this simple structure at its core, turn it into a solemn portal. However, the plastic design of the torans does not give the impression of being overloaded, and the subjects of the reliefs themselves exactly correspond to the traditions and legends.

In general, the sculptural design of the gates can be divided into three main groups. The first is a sculpture that is part of the gate structure. These are the so-called elephant capitals and next to them are consoles in the form of female figures. The second is a round sculpture crowning the gate: symbolic figures, as well as figures of lions and horsemen. And, finally, the third - larger reliefs, clearly visible from the ground, located on pillars and at the intersection of pillars and architraves, as well as miniature reliefs covering the beams of the architraves in a continuous mass.

As the researcher of Indian culture S.I. Tyulyaev writes: “The observed variety of techniques for combining sculpture and architecture is highly characteristic of Indian art.

Each pillar is covered with a low square slab - an abacus; between it and the edge of the lower beam, four half-figures of elephants with figures of men and women sitting on them protrude from the solid column. These beautiful sculptural groups, the so-called elephant capitals, create a transition from the lower to the upper part of the gate and to all the other, smaller sculpture.

The compositional significance of the elephant capitals in the architectonics of the torana is reinforced by the large vrikshaka figures occupying the outer right angle between the pillars and the protruding ends of the lower beams on the northern and eastern gates.

The small round sculpture on the architraves plays a decorative role. These include figures of lions seated on volutes, and horsemen placed in tight spaces between vertical lintels connecting horizontal beams.”

It should be noted the dominant position of a number of figures towering on the upper beam. The visual and thematic center here is the Buddha Wheel, mounted on elephants - this is the visual and semantic dominant of the gate dedicated to Buddha. On the sides of the Buddha Wheel there are Guardians of the cardinal points in the form of male figures with fans on their shoulders and Buddhist symbols on a lotus. There are also figures of yakshas - lower deities personifying the forces of nature - and winged lions. All of them complete the decoration of the gate as a decorative whole.

As S.I. Tyulyaev notes: “In general, the sculptures and reliefs of the four torans in Sanchi reflect the whole world, both real and fantastic. Here are presented the people of India and its nature, architecture, life of different segments of the population, images of the poetic myth-making of the people in the form of nature spirits and fantastic creatures, as well as traditions and legends telling about the Buddha, in particular the “jatakas” - legendary stories about the previous lives of the Buddha on earth when he was called Bodhisattva.

The reliefs are mainly devoted to the depiction of previous incarnations of the Buddha in the form of a snake, bird, animal and man, constantly sacrificing themselves for others. Jatakas are usually of a Buddhist didactic nature, but they also contain a lot of folk wisdom. They were very popular in Ancient India and provided abundant material for the visual arts.

The torans in Sanchi can be called Buddhist only formally, since they are associated with the object of the Buddhist cult, the stupa, and the subjects of the reliefs describe events from the life of the Buddha. But there are also images of lower deities of pre-Buddhist origin, widespread in ancient folk beliefs. This includes various kinds of nature spirits: yakshas, vrikshakas and others who are not directly related to Buddhism as a religion and ethical system.

The depiction of flora and fauna occupies an important place in Indian art, an example of this is the sculptural decor of the toran.”

In art, animals appear in a poetic form. On the gate you can see various animals, including such exotic ones as a multi-headed snake. The abundance of figures and objects, leaving no free space, forms a decorative composition, united by a single rhythm and visual balance of the parts. However, even more than the external decorative integrity of the reliefs, one is attracted by the feeling of the joy of being of all nature, the fullness of life. In the first place here is a person and an act of good as an expression of natural popular feeling. Specifically religious motifs are noticeable only in scenes such as the “worship of elephants at the stupa” or “miracles of Buddha.”

In Ancient India, all sculptors - both ordinary and outstanding masters who worked for rich customers - were equally considered artisans. Although their work is usually anonymous, it is by no means impersonal.

Their work was observed by a powerful and learned caste of Brahmin priests. They took care of strict observance of the corresponding signs of deities and their correct iconography. So folk craftsmen worked within the confines of priestly religious canons. But in depicting the animal and plant world, artisans were free from the direct interference of the priesthood.

The decoration of the northern gate gives the most vivid idea of the richness of the visual motifs of all the gates, which, in essence, should be considered together.

The relief of the upper architrave of the northern gate (from the outside) depicts the last seven Buddhas. Here their symbols are five stupas and two trees, with a throne in front of each, signifying a place of reflection. The tree has been revered in India since ancient times.

The pillars at the top depict fantastic animals in higher relief: on the left is a pair of winged horses, and on the right is a winged antelope. These reliefs skillfully diversify the entire decoration, enhance the dynamics of the composition of the stupas and the rhythm of their alternation.

On the middle architrave, the main motif is the seven tree species associated with the seven Buddhas. At the right end of the lower beam is a scene from the Alambusha Jataka. In one of his incarnations, the Bodhisattva was an ascetic, and a female deer fell in love with him. She gave birth to a boy who had a horn on his forehead, hence the child was nicknamed One-Corn. Over time, the boy became, like his father, an ascetic. His great virtues at some point began to threaten the high position of the king of the gods, Sakra himself. Then Sakra sent a temptress to him in the form of a celestial apsara dancer named Alambusha. Alambusha managed to seduce the ascetic, and they lived together for three years. Later, she revealed everything to him, but, nevertheless, was forgiven and returned to heaven. The relief depicts the moment when a newborn boy with one horn takes his first bath among the lotuses, while his mother deer stands behind. In the middle of the scene, a grown-up boy listens to the instructions of his father, who warns him against the deceit of beautiful women.

The Vessantara Jataka scenes begin on the middle part of the lower architrave of the façade. They tell of the penultimate incarnation of the Bodhisattva, when he was Prince Vessantara and, showing the highest mercy, gave everything to those who asked.

On the relief on the reverse side of the lower architrave the whole family is depicted in the jungle, on the way to the place of exile. The middle part shows scenes from the life of a family in exile.

Every animal, bird, plant or flower is executed with perfection and completeness. Here, for example, a pair of deer stands under a pizang tree. They seem to be talking to each other. The third deer, throwing back his head, watches the monkey in the branches. In the foreground, an elephant enjoys a swim in a pond. The animal lies among the lotuses. The elephant's eyes are closed with pleasure, and he lazily holds the escape with his trunk. A couple of geese can be seen on the plants nearby.

On the middle architrave the plot of the temptation of Buddha by the demon Mara unfolds. This Brahmanical deity of love passion was transformed into a tempting demon because in orthodox Buddhism sexual sensuality was considered the greatest obstacle to liberation. To achieve enlightenment - nirvana - it was necessary to defeat Mara and his army.

The entire right half of the architrave is occupied by a solid crowd of terrible demons with Mara at their head. A host of demons grimace fiercely, trying to instill terror. It presents a disgusting, but at the same time quite humorous picture. The reliefs of the upper architrave show one episode from the Chhaddanta Jataka - the story of an elephant with six tusks, one of the incarnations of the Bodhisattva. The elephant was killed by a hunter sent out of jealousy by Chhaddanta's ex-wife.

Symbols of three of the four most important events in the life of the Buddha - birth, turning of the Wheel of the Law and death - are shown on those parts of the pillars that are located between the architraves.

The sculptural decoration of the gate, so rich in moralizing meaning, extends below the capitals, to the main part of the pillars. On the right, on the front side, the reliefs form three panels, one above the other. At the top you can see the scene of Buddha's descent from heaven to earth. A staircase descends along the central axis, next to it is the tree of knowledge and a throne below it. Brahma and Indra accompany the descending Buddha, who is invisible. On the sides of the tree one can see those who worship it: at the top are deities, at the bottom are people.

The lower panel partially shows scenes of the Shakiya conversion to Buddhism and the miracle at Kapilavastu, the capital of the Shakiya tribe: this plot is shown in fuller form on the other side of the pillar.

Most of the scenes on the front side of the left pillar are dedicated to the events in the city of Shravasti. The inner side of the pillar is dedicated mainly to events associated with Rajagriha, the capital of Magadha during the time of Buddha.

The reliefs do not end there; they also cover the outer sides of the pillars, and on their reverse side, where they rise above the adjacent fence, one small relief is also placed. Themes from the Jatakas continue and are sometimes repeated at different gates.

Both in terms of their antiquity and artistic merit, the torans of the Great Stupa in Sanchi are a remarkable phenomenon in the art of India. From the period to which their construction dates back, almost no monuments have survived that are equally richly decorated with sculpture and, moreover, have interesting inscriptions. The stupa at Sanchi was obviously very revered. Its gates were often depicted in reliefs of various monuments.

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In the 3rd century BC, under Emperor Ashoka, Buddhism became a recognized religion in India. Ashoka contributed in every possible way to its spread. The construction of many stupas - Buddhist sanctuaries - dates back to this time. More than 8 thousand of them were built during the reign of Ashoka. Among them, eight Great Stupas stood out, which are reported in Buddhist manuscripts, but not one of them has survived. However, from the buildings of Ashoka’s time, an outstanding structure has survived to this day, a unique structure known as Great Stupa in Sanchi.

It is located in the state of Madhya Pradesh a few kilometers north of the city of Bhopal and is the oldest surviving Buddhist structure in India. In the 2nd-1st centuries BC. it was rebuilt from an even more ancient and smaller stupa. Among other historical places in India associated with the origin and development of Buddhism, the settlements of, and should be noted. The fourth sacred site of Buddhism is located in Nepal.

Great Stupa in Sanchi, architectural features

The stupa at Sanchi, very simple in its rounded outline, appears to be sculpted rather than built. But in its organic simplicity one senses a hidden internal upward movement.

The stupa stands on a round plinth with a diameter of 31 m with a terrace that was used for ceremonies. Stairs lead to the terrace on the south side. Like the platform on which it rests, the stupa is made of large bricks and stones. There is no interior, but the sacred remains of Buddha and other relics associated with his activities are walled up in the thickness of the brickwork.

The stupa was originally painted white, and the terrace and gate were painted red. Once upon a time, the entire complex of the sanctuary was surrounded by wooden monastery buildings, but they have not survived to this day.

Above the harmika rises a rod running through the entire dome to its base with round umbrellas placed on it, successively decreasing in diameter from bottom to top. The rod symbolizes the world axis, the umbrellas mean the three sacred heavens.

Around the stupa there is a massive stone fence, devoid of any decorations. On the four sides, corresponding to the four cardinal directions, there are gates in the fence, richly decorated with sculpture. Solemn processions entered through the gate to perform a sacred rite: it consisted of walking around the stupa and ascending the procession to the top of the platform.

Torana Gate, a masterpiece of ancient Indian architecture

The gate of the fence of the Great Stupa (they are called torana) is an outstanding work of ancient Indian architecture. They gained worldwide fame and today have become the same symbol of India as the famous “Lion Capital” - the three lions depicted in the country’s coat of arms. The gate to Sanchi has long been replicated in hundreds of thousands of prospectuses and booklets dedicated to India, and can be seen on Indian banknotes.

The design of the gate is simple: it consists of two pillars with three horizontal crossbars. However, the pillars and crossbars are covered with a variety of relief and sculptural images and create the effect of visual contrast against the background of the smooth surface of the stupa, devoid of decoration.

The gate of the sanctuary in Sanchi is a unique collection of religious-symbolic, historical and everyday scenes and images, folk tales and legends about Buddha. The gate reliefs are evidence of a great step forward made by Indian stone sculpture masters in the 1st century BC. and the most mature work of Indian art of that era.

The main themes of the reliefs are the life of Buddha in different incarnations. There are numerous symbols of Buddhism here - a wheel, a tree, a lotus. The gate is decorated with sculptures of nature spirits - yakshins, as well as birds and animals - elephants, lions. In the plots of the Sanchi gate, Buddhist doctrine and ancient Indian folk mythological tales are closely intertwined.

Great Stupa in Sanchi

In the 3rd century BC. BC, under Emperor Ashoka, Buddhism became a recognized religion in India. Ashoka contributed in every possible way to its spread. The construction of many stupas - Buddhist sanctuaries - dates back to this time. More than 8 thousand of them were built during the reign of Ashoka. Notable among these were the eight Great Stupas reported in Buddhist manuscripts, but none of them survive. However, from the buildings of Ashoka's time, an outstanding architectural structure known as the Great Stupa at Sanchi has survived to this day. It is located a few kilometers north of the city of Bhopal and is the oldest surviving Buddhist structure in India.

The stupa in Sanchi, very simple in its rounded outline, was built in the 2nd–1st centuries BC. e. was rebuilt from an even more ancient and smaller stupa. It appears more sculpted than built. But in its organic simplicity one senses a hidden internal upward movement. The stupa stands on a round plinth with a diameter of 31 m with a terrace that was used for ceremonies. Stairs lead to the terrace on the south side. Like the platform on which it rests, the stupa is made of large bricks and stones. The sacred remains of Buddha and other relics associated with his activities are embedded in the thickness of the brickwork. The stupa was originally painted white, and the terrace and gate were painted red. The entire complex of the sanctuary was surrounded by wooden monastery buildings, but they have not survived to this day.

Buddhist ensemble in Sanchi

The shape of the stupa is strictly subject to the developed proportions and rules, which had a deeply symbolic meaning. The hemisphere symbolizes the vault of heaven. At the top of the dome there is a harmika - a superstructure with a square base in the shape of a balcony. It symbolizes the sacred Mount Meru. Above the harmika rises a rod running through the entire dome to its base with round umbrellas placed on it, successively decreasing in diameter from bottom to top. The rod symbolizes the world axis, the umbrellas symbolize the three sacred heavens.

The gates of the Great Stupa fence (they are called torana) are an outstanding work of ancient Indian architecture. They gained worldwide fame and today have become the same symbol of India as the famous “Lion Capital” from Sarnath. The image of the gates in Sanchi has long become a textbook story, replicated in hundreds of thousands of prospectuses and booklets dedicated to India, they can be seen on Indian banknotes. The design of the gate is simple: it consists of two pillars with three horizontal crossbars. However, the pillars and crossbars are covered with an infinite variety of relief and sculptural images, and stand out in contrast against the background of the smooth surface of the stupa, devoid of decoration.

The gate reliefs are evidence of a great step forward made by Indian stone sculpture masters in the 1st century BC. e. and are the most mature work of Indian art of that era. They represent a whole collection of religious, symbolic, historical and everyday scenes and images, folk tales and legends about the Buddha. The main themes of the reliefs are the life of Buddha in different incarnations. There are numerous symbols of Buddhism here - a wheel, a tree, a lotus. The gates are decorated with sculptures of nature spirits - yakshins, birds and animals - elephants, lions.

In the plots of the Sanchi gate, Buddhist doctrine and ancient Indian folk mythological tales are closely intertwined. Here you can also see fantastic images unknown in Indian art: for example, flying lions. And the figures of Yakshins - female deities of nature - on the gate to Sanchi determined the ideal of the female physique in Indian stone carvings for many centuries to come, becoming the standard of Indian sculpture.

Fragments of sculptures from the Sanchi sanctuary, in particular, the torso of a yakshini from the southern gate, can today be seen in the Boston Museum (USA). And the Great Stupa complex in Sanchi itself is one of the outstanding historical and cultural monuments of India, included in the UNESCO World Heritage List.

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In the 3rd century BC, under Emperor Ashoka, Buddhism in India was recognized as a religion by the state. Ashoka contributed in every possible way to the spread of Buddhism. The construction of many stupas - Buddhist sanctuaries - dates back to this time. More than 8 thousand of them were built during Ashoka’s reign.

Notable among these were the eight Great Stupas reported in Buddhist manuscripts, but none of them survive. However, from the buildings of Ashoka's time, an outstanding structure known as the Great Stupa at Sanchi has survived to this day. It is located a few kilometers north of the city of Bhopal.

The Great Stupa is the oldest surviving architectural structure of Buddhism in India. In the II-I centuries BC. e. it was rebuilt from an older and smaller stupa. The stupa at Sanchi is a hemispherical structure with no interior. It stands on a round plinth with a diameter of 31 meters with a terrace that was used for ceremonies. Stairs lead to the terrace on the south side. Just like the platform on which it rests, the stupa is made of large bricks and stones. The stupa houses the sacred remains of the Buddha and other relics associated with his activities. The stupa was originally painted white, and the terrace and gate were painted red. Once upon a time, the entire complex of the sanctuary was surrounded by wooden monastery buildings, but they have not survived to this day.

The shape of the stupa is strictly subject to the canons, which had a deeply symbolic meaning. The hemisphere symbolizes the vault of heaven. At the top of the dome there is a harmika - a superstructure with a square base in the shape of a balcony - it symbolizes the sacred Mount Meru. Above the harmika rises a rod running through the entire dome to its base with round umbrellas placed on it, successively decreasing in diameter from bottom to top. The rod symbolizes the world axis, the umbrellas represent the three sacred heavens.

The stupa at Sanchi, very simple in its rounded outline, appears to be sculpted rather than built. But in its organic simplicity one senses a hidden internal upward movement. This monumental structure was clearly built to last.

Around the stupa there is a massive stone fence, devoid of any decorations. On the four sides, corresponding to the four cardinal directions, there are gates in the fence, richly decorated with sculpture. Solemn processions entered the sanctuary through the gate to perform the sacred rite: it consisted of walking around the stupa and ascending the procession to the top of the platform.

The gate of the Great Stupa fence (they are called torana) is an outstanding work of ancient Indian architecture. They gained worldwide fame and became the same symbol of India as the famous “Lion Capital” from Sarnath - the three lions depicted in the country’s coat of arms. The image of the gates in Sanchi has long become a textbook story, replicated in hundreds of thousands of prospectuses and booklets dedicated to India, they can be seen on Indian banknotes. The design of the gate is simple: it consists of two pillars with three horizontal crossbars. However, the pillars and crossbars are covered with an infinite variety of relief and sculptural images, and create the effect of visual contrast against the background of the unadorned smooth surface of the stupa.

The gates of the sanctuary in Sanchi constitute a whole unique collection of religious, symbolic, historical and everyday scenes and images, folk tales and legends about the Buddha. The reliefs of the gate at Sanchi are evidence of the great strides made by Indian stone sculptors in the 1st century BC. e. and are the most mature work of Indian art of that era. The main themes depicted on the reliefs are the life of Buddha in different incarnations. There are numerous symbols of Buddhism here - a wheel, a tree, a lotus. The gates are decorated with sculptures of nature spirits - yakshins, birds and animals - elephants, lions.

In the plots of the Sanchi gate, Buddhist doctrine and ancient Indian folk mythological tales are closely intertwined. Among the reliefs of the gate at Sanchi one can see fantastic images hitherto unknown in Indian art: for example, flying lions. And the figures of Yakshini - the female deity of nature - on the gate to Sanchi determined the ideal of the female physique in the stone carvings of India for many centuries to come, becoming the standard of Indian sculpture.

Fragments of sculptures from the Sanchi sanctuary, in particular, the torso of a yakshini from the southern gate, are in the Boston Museum (USA). And the Great Stupa complex in Sanchi itself is one of the outstanding historical and cultural monuments of India, included in the UNESCO World Heritage List.

The Great Stupa in Sanchi (Mahastupa) was built much to the south of the places where the Buddha lived and preached, and is not directly related to his activities. King Ashoka, who came to power in the third century BC, began to revive Buddhism, which had already begun to fade by that time, making it practically the main religion of the state. He identified from the remains of buildings many places associated with the activities of the Buddha and erected many religious Buddhist buildings throughout the country, a total of more than eighty thousand.

The construction of many stupas dates back to this time. Unlike other types of Buddhist buildings, living quarters - viharas, and prayer halls - chaityas, which had interior spaces, the stupa was monolithic.

The Great Stupa in Sanchi, the first of its kind, served as a prototype for all the others.

This particular stupa is considered the oldest of all Buddhist stupas that have survived to this day.

Inside the stupa in Sanchi, in its very center, is a cubic urn with the remains of Buddha. According to legend, Buddha, when asked about the shape of his future tomb, supposedly instead of answering, folded his cloak several times, on which he placed his round begging bowl, turned upside down, and crowned it all with his staff. Most of the stupas in India are built in this form. Initially, stupas served specifically to store relics or remains, but later they began to be interpreted as a symbolic embodiment of the cosmos.

In the rather complex design of stupas - and over time they became much more intricate than the first bowl-shaped forms - there is not a single element, from the steps of the base to the position of the hands of sculpted images of Buddhas or the decorations on their clothes, that would not have its own specific meaning .

The base of the stupa in Sanchi, with the terrace used for ceremonies, symbolizes the Earth, with all its inherent passions and temptations. The stupa itself is built in the shape of an ideal hemisphere, symbolizing the vault of heaven and, corresponding to it, the world of the gods. A rod starting from the base runs through the entire dome, symbolically denoting the World Axis, the World Tree, Mount Meru. At the top of the dome, the pillar is surrounded by a harmika - a miniature copy of the main fence, hiding the “axis mundi” from immodest eyes.

Hiding the central pillar is due to the ancient Indian custom of enclosing sacred objects, such as a sacred tree or temple. The central pillar at the top is decorated with three umbrellas: attributes in Buddhism signifying the highest level of the universe, accessible only to beings who have achieved enlightenment, the three upper heavens. In addition, the three umbrellas symbolize the three jewels: the Buddha, the Dharma and the monastic community, or Sangha.

In the 2nd century BC, the stupa was expanded twice its original size and surrounded by a massive stone fence - vedika (a symbol of the protection of the shrine), devoid of any decorations.

During the Satavahana dynasty (1st century BC), powerful square gates (torana) were built around the large stupa, oriented to the cardinal points, “exits to the universe.” Each of the gates is a filigree work of art; they were created decades apart. The southern gates were built first, later the northern, eastern and lastly the western.

The capitals of the columns are made in the form of figures of four elephants, lions or dwarf yakshas supporting transverse beams. Numerous images on the gate, covered with abundant carvings, tell about the life of Buddha Shakyamuni, reproducing the plots of the Jatakas, that is, stories about his previous births. Buddha himself in numerous stories does not always appear in human form; his presence is often conveyed through symbols - a lotus, a wheel, a tree. The lotus signified his birth, the Bodhi Tree signified enlightenment, the wheel signified his teaching, and the footprints and throne signified his presence. For example, the scene of enlightenment depicts only an empty throne. Another image shows a monkey offering a bowl of honey to the Buddha (represented as the Bodhi Tree). This approach was characteristic of early Buddhism. You can spend hours walking around the stupa, studying the bizarre bas-reliefs, the plots of which tell about ways to get rid of suffering associated with the cycle in samsara.

Passing through such a gate to the stupa can in itself be considered a sacred act. But visitors have the opportunity to do a full parikarma, walk around the stupa and even climb to the second circle.

There are two circular walkways around the great stupa at Sanchi: the first at ground level between the stupa and the fence, and the second on the upper terrace of the platform around the dome of the stupa. The upper bypass is enclosed by a low fence, similar to the external fence and imitating the style of wooden fences of antiquity. Although there are four gates in the outer enclosure leading to the lower circular walkway, access to the upper level is only possible through a single entrance with two staircases, located on the south side of the stupa. From here, from the “second floor,” it is easier to mentally transport yourself to the platform located on the dome under three umbrellas, that is, on a symbolic level, to ascend from our earthly world, full of passions, to the world in which enlightened beings live.

The architectural plan of the stupa fully reflects the swastika in motion. On the plan, the contours of the entrances and geographical axes form a symbolic figure - a mandala in the shape of a swastika - a solar symbol, so important for ancient peoples. The lines connecting the cardinal points symbolize space, and the entrances, curved entrances repeating the direction of movement of the stars, symbolize time. A monk or pilgrim who performs parikarma, upon entering the mandala, becomes part of the world order. Its energy fits into the cosmic vortex, revolving around the world center, the center of the mandala.

Over time, a whole complex of seven stupas was built in Sanchi, of which two more have survived to this day, while the rest were practically destroyed.

The second stupa, built in the hundredth year BC, is located in the middle of the western slope. It has curved entrances, their L-shaped shape in plan also develops into the image of a regular swastika, twisted clockwise and is a geometric expression of harmony, creation, order.

Since the ideal form of a stupa does not allow any decoration, early stupas could only be decorated with a fence - with geometric or floral patterns, images of mythological animals, scenes from sacred texts. Archaeologists suggest that this place was used by the teachers of the community in order to retire from the bustle, which is why the stupa was placed half a kilometer from the main complex.

The third stupa is located to the northeast and in design largely copies the Great Stupa, but it is much smaller in size. The path to it is marked by a single carved gate. This stupa contained the remains of two of the Buddha's main disciples: Sariputra and Maudgalyayana. In 1853 they were transported to London, but later returned to India. Now they rest in a vihara specially built for this purpose on the territory of the park (literally the word “vihara” is translated as “tomb”).

The stupas were surrounded by wooden monastic buildings, but they have not survived to this day. The very first monasteries were built of wood, and they collapsed long ago. They usually consisted of a central courtyard surrounded by monastic cells. Only the courtyards and stone foundations have survived to this day.

The Sanchi complex includes other ancient architectural attractions - there is the so-called Ashoka Column, centuries-old temples, as well as an archaeological museum with a collection of antiquities. Interesting are the tiny cave temples carved into very hard rocks.

During Ashoka's time, the Sanchi complex was a major religious center. The stupas were plastered and painted, and during festivals they were lavishly decorated with flowers and other ritual offerings. Crowded processions flocked here, consisting not only of monks, but also of laymen.

The relief on the northern gate of the Mahastupa depicts a large ceremonial procession with gifts and musical instruments heading towards the shrine. At the head of the procession are elephants. In this relief we can see what the stupa looked like, decorated with garlands and flowers. Religious life was in full swing in ancient Sanchi, and the monks constantly communicated with their secular patrons.

In the second and first centuries BC, Sanchi remained an important religious center, however, it was subsequently abandoned. Everything here is overgrown with jungle. Sanchi became the main Buddhist center of northern India during the Gupta dynasty, in the 5th century AD. At this time, stupas are repaired and new temples are erected. At the turn of the millennium, Buddhism in India began to fade away, being absorbed into Hinduism. Archaeological finds of the 13th century are already completely Hindu in nature. In the 14th century this place was completely deserted.

In 1818, these buildings were discovered and described by the British. Later, in 1851, the remains of two of the most famous preachers of Buddhism - Shariputra and Maudgalyayana - were discovered on Sanchi Hill by Colonel of the British Army Alexander Cunningham. The entire complex was significantly damaged as a result of unprofessional attempts to open the stupas. In 1822, Captain Johnson hacked the Mahastupa by making a hole in one of its sides, which led to significant destruction of the monument. The monolithic column of Ashoka, split into pieces by local vandals, was used as a sugar cane press.

From 1881 to 1884, under the leadership of Major Cole, a series of restoration work was carried out. The gap in the wall of the “Great Stupa” was repaired, and the destroyed gates were reinstalled and restored. In the twenties of the twentieth century, the stupas were given their current appearance. Now a museum has been opened on this site, and the Great Stupa complex in Sanchi is considered one of the outstanding historical and cultural monuments of the country.

According to Ashoka's plan, the complex was conceived as a place of meditation and introspection. It had to be located outside the bustle of large cities and monastic settlements, but at the same time within reach of everyone. The village of Sanchi was ideal for this project. Situated isolated and at the same time close to the city of Vidishya, it became an ideal place for practice for many centuries.

Here, even those who are not adherents of Buddhism feel amazing energy and cannot help but admire the ancient buildings that have passed through millennia, bearing the memory of world harmony, of the great cosmic order. Just for the sake of these sensations, for the sake of the view of the stone masses that carry the energy of the practice of many generations, it is worth going to India - a mysterious country that has saved so much valuable things for us.