STUPA - ITS BASIC STUCTURE

The monument itself propagates 'Doctrine' and

construction is a praiseworthy work.

These stupas are circular mound or tumuli of earth,

faced with stone or brick.

The plan, elevation and section are all, forms,

derived circle- one of powerful architectural form of
Buddhism.

These mounds are called as "stupas" in Prakrit

language.

They are nothing but tombs erected over sacred

relics of monks and worshipped by Buddhist as
'Relic-shrines'.
The stupa was planned like a Vedic village .

The spherical dome was the symbol of infinite

space of the sky, abode of God.

The dome is also called 'Anda' or 'womb' as it

contains the seed namely relics of the monk.

At the top of the dome, is a pedestal enclosed by

small square balcony in decorative form called
'Harmika'.

Over the pedestal, a three-tiered stone or wooden

umbrella, supported on shaft was raised, which was
the vedic altar of burnt sacrifice and represented
village shrine.

Later the Harmika was covered into an

inverted stepped pyramid. This was covered by
an umbrella forming the finial. Over its top, was a
rain vase to receive rain or dew.
A wooden or stone railing called 'vedica'
surrounded the whole stupa leaving an ambulatory
or passage.

TORANAS- These were originally based on timber

gateways of Aryan village and are unique
architectural features of Buddhist style.

Sometimes at the base of the dome one more

terrace around for 'pradakshina' was added called
'Medhi', perhaps a separate way for monks. This had
access to climb from a double staircase or 'sopana'
with high balustrade on the south side. The
traditional 'pradakshina' path at ground level was
for the public devotees.
EVOLUTION OF STUPA:
ASHOKAN PERIOD
The origin of stupa or dome was nothing but the earthen
mound in which Buddha's ashes were enshrined.
During his time the stupa constituted of a dome or anda
resting on a simple medhi.

CLASSICAL TIMES - stupa at Sanchi can be

considered as a typical. Here the simple dome top was
made elaborate by adding chitravali and Hermica and the
lower portion was added with upper and lower vedikas,
sopanas and entrance toranas.

the dome was prominent and the horizontality was

maintained while hermica, chitravali, vedikas etc. were
proportionately subordinated to make the structure
impressive.
THE STUPA AT GANDHARA
Here Chitravali and hermica dominated and the
dome was subdued which resulted in verticality.
Also, the base was made high with two square
blocks forming terraces for ambulatory path.

The surfaces of the base were ornamented

elaborately with richly carved sculptures,
omitting the vedikas, toranas etc. In general this
structure maintained verticality with the chitravali
and hermica making the top-heavy proportion.

STUPA AT KARLI
Later the stupa at Karli was on the similar lines of
that of sanchi but again verticality was
emphasised, the hermica was tapering upwards
with chitravali resembling an umbrella. The lower
and upper pradakshina patha was predominant
and vedica railing and toranas were missing.
AJANTA CAVE 19

Here the lower part was made ornamental like a

pedestal, and just below the egg shaped stupa
was supported by the columns. The hermica and
chitravali were almost combined together and was
dominating, giving emphasis on verticality. Thus it
looks like an ornamental tower.

LATER PHASE

The last stages of development of stupa can be

seen south Asian countries like Burma, Java,
Indonesia etc.These stupas were completely
contrasting the original stupa both aesthetically
and structurally. They contained terraces tapering
upwards to a point. The verticality was so much
given importance that the actual stupa itself
became insignificant. The best example for this
was the Tawyagyaung stupa in Mandalay at Java.
STHAMBHA- BASIC STRUCTURE
The basic parts of the sthambha are the shaft,
capital, abacus and the finial.

Most of the sthambhas of Buddhist period consists

of smooth circular shaft and occasionally octagon
as in Sanchi, with an inverted lotus bud capital.

This capital along with the abacus and finial were

carved out of single stone.

Relief sculpture adorns the sides of the shaft and

the abacus.

The finial consisted of animal figures normally

lion, elephant, bull or four lions sitting back to
back
The sthambha at Saranath well known as Ashokan
pillar

It is the finest and grandest of all the types mainly

due to the proportion. capital, the four lion finial
supporting a wheel with 24 spokes known as
'wheel of law' .

The inverted lotus capital supports a circular

abacus with sculpture of a wheel 4 in number and
the figures of an elephant, lion, bull and horse in
between them.

These four animals are symbols of 4 principal

directions of the universe.

The capital was elegant and its height itself was

more than 2m in height.

The stone shaft was polished to shine like a

mirror.
CHAITYAS
Initially Buddhists assembled for worshipping in open
like : palaces in the forest clearings.

After Buddha’s death

• followers needed some covered place for their
assembly, as open-air assembly was impractical

• As they did not believe in mage worship they needed a

symbolic representation of Buddha’s image.

• In this period image worship was not done. As stupas

were already used for worship, a miniature stupa was
represented in side the Chaitya hall.

• During the initial period it was circular in shape for

easy circumambulation.

• Later the circular chamber became

semicircular and it was part of the
rectangular hall, known as apse.
INFLUENCE OF WOODEN
STRUCTURES:
The imitation of this wooden construction in stone
can be seen in all the chaityas like, arches, ribs in
ceilings, railings etc.

Classification of chaityas
• structural /wooden
• non structural /rockcut
ROCK CUT CHAITYAS:
All the rock cut chaityas posed the sculptural
problems rather than structural problems.

CONSTRUCTION PROCEDURE:
Initially a perpendicular rock was selected and was
smoothened and over this the façade out line was
marked.

• Then a window was cut and through which the

tunnel begins from front to rear.

• In some cases the carving was done from upper

part of the façade i.e. from the ceiling. This
helped to remove debris from the façade opening
and also saved the scaffolding i.e. the supports
and working was also easy as it was from top to
bottom.

• After completion the opening was normally

covered with a wooden frame.
ADVANTAGES:

The main reason for rock cut option was that it saved
the workmanship involved in wooden construction,
saved wood which was also not permanent like
stone.

• Even to this day the rock cut buildings are

existing. This rock cut architecture was also cost
effective
• no need of supply of stone,

• saved in transportation of materials, stone

dressing,column construction, slabs, beams,
capitals etc.

• Also the debris after carving could be reused for

some other purpose.
•
DEVELOPMENT OF CHAITYAS
PHASE 1
EARLY HINAYANA PERIOD: Kondavite, Guntupalle, and Junar.

PHASE 2
LATER HINAYANA PERIOD:
Bhaja, Kondane, Ajantha, Nasik,
Bedsa, and Karla.

PHASE3
MAHAYANA PERIOD:
Ajantha and Ellora.
The earliest Chaityas can be traces during Ashokan period and
they were of Hinayana type and rock cut Chatyas. These were also
the earliest forms of rock cut caves

The Chaityas of Ashokan period:

• the Loma-Rishi
• Sudhama (Barabar hill)
• Sita mahi (Nagarjuna hill)
they were caves built for Ajivaka Jains for

SUDHAMA CAVES
• The peculiarity of Sudhama cave was its entrance from the side

• It had a rectangular hall with barrel shaped roof which was

connected to a circular cell with a dome.

• The exterior of circular chamber has grooves imitating wooden

planks or bamboo.
LOMAS RISHI

It is mainly a rectangular hall with a circular chamber

which originally had the object of worship but now empty.

The façade of Lomas Rishi resemble imitation of wooden

construction with following features.

• The two tapering vertical posts in stone.

• The arching beam at the top.
• Curved rafters.
• Rafters in the vaulted ceiling to resemble thatch roof.
• A finial crowns at top.
The chaitya Bijak ki pahadi

• in Bariat Rajasthan* believed to be built during

Ashoka’s period was probably one of the earliest
chaitya.

• These earliest chaityas were circular in shape

resembled the round stupa and also for easy
circumambulation.
•
• The chaitya at Bariat was circular in shape with a
central stupa, surrounded by circular wall with
wedge shaped bricks and octagonal wooden
pillars in between.

• Outer to this was ‘Pradakshina patha’ enclosed by

an outer wall.

• The entrance was from the east through a portico

connecting the hall.
Guntupalle

• which is circular in plan.

• It has very thick wall made out of mud and mortar
without wooden pillars in between.

• The thickness almost equivalent to

circumambulation width.

• It was plastered on both sides. The entrance was

from west with the projection of a porch.
LATER HINAYANA PERIOD:
BHAJA*:

The chaitya is more elaborate,

rectangular in plan with an apsidal end.

The columns are placed parallel to plan shape,

dividing the plan in to nave and aisles.

The columns were octagonal and simple without any

base or capital.

Imitation of wooden construction can be observed

in this.The use of timber in the cave also can be
traced but now none of them exists.

The vaulted ceiling too contained wooden ribs

. The mortise holes in the façade indicate the
existence of a wooden gate.
 The horseshoe shaped
chaitya arch flanked on
both sides with well-
decorated huge chaitya
arched entrance was the
main feature of the
exterior façade.

chaitya entry at Bhaja

• Pandulena chaitya.
• NASIK*: The name is Pandulena chaitya.

• The façade is elaborate and unlike the earlier

chaitya here traces of timber in nil, but imitation
of wood technique can be seen.

• The columns had pot shaped base and capital.

•
• The façade or the main entrance has a rectangular
opening with a horseshoe shaped chaitya arch
above.
• The arch had decorative motifs.

• Above this is the huge chaitya window with

horseshoe shaped arch.Flanking this window is
octagonal columns with animal capitals.

• Between these columns are small chaitya arches

in horse shape, with trellises and stupa figure in
front. Below them were railing resembling the
vedika of stupa.
AJANTHA* –Cave no. 9:

It is rectangular in plan with a stupa at the end.

Octagonal columns surround this to define it as apse.

Wooden ribs can be seen in the nave where as the aisle contains
only stone ribs.

There are no wooden attachments in the façade of the cave.

The usual chaitya windows, railings, chaitya arch above the

rectangular door are the aesthetic features of the façade.
•

• BEDSA*:

• This chaitya is also rectangular with apse.

• The unique feature is the beautifully proportioned columns in
the entrance vestibule. -The column had pot base, fluted shaft,

• Ashokan percepolitan bell capital over which amalakas in

box like coffers and abaci in the form of inverted steps.
•
• The capital consists of animal pairs.
• The chaitya window, rhythmic patterns of big and small
chaitya arches, vedika etc make the façade impressive.
• There is no trace of woodwork in the façade.

• This interior is simple and plain and the nave ceiling has
wooden ribs.
• The columns are octagonal with out the base.
•
KARLI*:
It is the best example as a typical chaitya. It is also known as an
architectural gem.

It is rectangular in plan with an apsidal end containing a stupa

Most of the chaityas studied till now, except Bedsa has direct
entrance to the chaitya hall.

But in this case the entrance was more elaborate and pronounced.

Before the chaitya hall there was a vestibule with two octagonal
columns in the centre with attached pillars on both sides.

These columns and pillars are multifaced but without base and
capital.

In front of the porch two lion pillars or Simha sthambha are

standing. Now only one of this exists and resembles the lion pillar
of Saranath.
• The lion pillar has features like, multyfaced shaft,
• no base, inverted lotus capital and a figure with
four lion and a wheel above the capital.
•
• The internal columns have features like, steps
at base, pot shaped base, multifaced shaft,
inverted pot capital and sculpture above the
capital.
•
• The solid portions of wall between these
entrances were once painted with scenarios of
Buddha’s life, with a railing below.

• Above this entrance portion with three arches, is

the dominating great chaitya arch window. This
window is the main source of light to the chaitya
hall. The bright sunlight diminishes and filters
gradually by the time it reaches stupa and aisles,
which, produces impressive and beautiful effect.
•
• The chaitya hall is rectangular in plan with
an apsidal end.

• In total there are 37 columns out of which,

7 are behind the stupa with multifaced
shaft, without base and capital.
•

• The other thirty columns have pot base

with steps (the vedic origin), multifaced
shaft and inverted lotus capital.

• Above the capital has inverted steps

serving as base to the sculptured group of
figures mounted on elephants and horses.
•
• The roof of the nave is barrel shape with
separate pieces of wood. The stupa has
ornamental base with railing motifs. A
massive harmika with wooden umbrella
crowns stupa. The ribs of the barrel ceiling
of nave forms a semidome shaped ceiling.
•
MAHAYANA PERIOD:

• During mahayana period many hinayana chaityas

were face lifted with Buddha’s images and at
Ajantha and Ellora many mahayana rock cut
chaityas were also built.

• The plan almost remains same as that of Hinayana

period but the treatment of façade, pillar varied.

• Use of sculpture and adoption of idols and figure

of Buddha became a feature.

• Imitation of wooden construction features came

down drastically and importance was given to
stone for its quality, strength and mass.
AJANTHA*, CAVE NO. 19: Belongs to 6th century
AD.

It has a porch in the front with two ornamental

pillars supporting massive entablature.

In line with this and slightly behind was the big

chaitya window.

Flanking this window were the two figures of

Yaksha.

Here we can see the change in the chaitya window

shape. Even though basically it was horseshoe in
shape, ornamental curves can be seen at springing
level and at finial.
• The pillars inside the chaitya were 15 in number
with square base; octagonal or circular fluted
bands.

• The capital was cushion shaped with heavy

brackets. Above the capital was the triforium,
which was divided into panels.

• The ribs were out of stone unlike the Hinayana

chaitya.The roof above aisle portion of the
chaitya was flat unlike Hinayana chaitya.
•
• The stupa inside has a very low pedestal and an
elongated drum*.
• The elongated drum was richly ornamented.
• In front a pair of columns supported an arch and
a standing figure of Buddha was enclosed within
this.
• The stupa was elliptical in shape with tiers of
Hermika and chatri, giving vertical effect.
•
AJANTHA*, CAVE NO. 26: The plan is typical with
chaitya shape. The chaitya shaped plan indicates a
rectangular plan with apsidal end or Gajaprishtakriti.
Its porch was more elaborate with four columns in the
entrance. This porch was destroyed during a landslide and
now only the base part exists.

The chaitya arch window is bigger and almost similar to

that of cave no 19 flanked by numerous panels with figures
of Buddha.
Vaulted floral motifs decorate the finial.
The central door leads to nave where as there are two more
side doors, which leads to aisles.
The frames of all these doors are decorated with figures and
sculptures.

The interior measures 20x11x9.3m and architecturally

resembles cave no 19 but is more ornate. The triforium
panels above the columns are filled panels of Buddha’s
figures. The front of Stupa has a frame of pillar with a
seated figure of Buddha. The wall of the left aisle has
sculpture about 7m long depicting ‘Mahaparinirvana’ of
Buddha. This shows the artistic work of stone mason
eliminating the imitation of wooden sculpture.
ELLORA, CAVE NO 10:

This is the only Mahayana chaitya at Ellora.

It is known as Vishwakarma cave also.

In this typical chaitya window has been reduced in

size and the ornamentation at springing point is very
elaborate.

Thus the entire façade appears different when

compared to other chaityas.

The plan is typical i.e. chaitya shape but the entrance

part is very elaborate.

The entrance has a courtyard with corridors, which

opens to various cells on both sides for shrines.
One of the corridors ends up with a stairs to reach
upper gallery. Multifaced pillars separate nave and
aisles.The roof is covered with stone ribs. The stupa
is insignificant but Buddha’s figure in front of the
stupa is dominating.
BUDDHIST VIHARAS
Most part of the life of a Buddhist Bhikshu was spent
out side.

They needed a proper shelter during the rainy

season. But gradually this shelter was extended to the
other parts of the year also. This was the first phase
in the development of viharas.

In the beginning viharas were built as separate

building with timber or stone as the material.

None of these wooden structures are existing and

even among those out of stone, only the foundation
exists, as at Sanchi, Gandhara etc.

These viharas are cells built around a courtyard

entered through a gateway in the vestibule.

Since these viharas were built detached and

independently unlike rock cut structures they are
termed as structural viharas.
The structural viharas were basically developed from
thatched huts but developed to bigger scale,

The location of these vihara were based on two basic

needs
• close to a village so that Bhikshus can gather alms from
the village and
• At the same time a secluded area for their peaceful
meditation etc. There was no place for luxury in viharas.
•
• The viharas included living rooms, private
dwellings, halls, service corridors, halls with fire
places, porches, promenades, room with
promenades, store houses,toilets, wells tanks etc.

• At later stage the viharas are developed, as

educational centres for Buddhist learning, like
Nalanda, Vikramashila, etc.
The vihara no. 45 at Sanchi* is the perfect example
for this.
Since Chaityas were the worshipping places, at the
same time located in a secluded area, the rock cut
viharas were developed near these chaityas.

This new method of construction resulted in some

modifications from the structural viharas i.e. the
courtyard was eliminated (as it is not possible to
make open courtyard in rock cut buildings) and
instead an open hall was provided with cells around
it.

The drawback due to this change was the shortage of

light and ventilation to the inner parts.

Built in stone beds were provided inside these cells

for sleeping.
BEDSA
BEDSA*: The unique feature of this is, it had
chaitya shaped plan with vaulted roof.

The hall was 5.45x9.73m with 9cells around with

chaitya arch shaped door.

The door had railing motif in between and the

inclined doorposts indicate the influence of wood.
The cells have built in stone beds.

KONDANE*: This had square central hall with

columns, which influenced the later Mahayana
viharas.

There is a portico in the entrance with 5 pillars but

now does not exist. The hall is 6.9x8.7m and 2.5m
high.

Beams, rafters adorn ceiling indicating the

influence of wood. The cell doorways had chaitya
arches with railing pattern in between. The wall of
the cells are badly damaged and consisted of stone
beds.
UDAYAGIRI & KHANDAGIRI*:

Here the caves are ‘u’ shaped overlooking the open

yard.
The facades are not as delicate as in Western Ghats

There are pillared passage behind which are the cells.

The pillars are square with brackets at top.

The arch is semicircular resting over pilasters.

The cells are rectangular with varied sizes indicating

that some were even used as dormitories. The floor
itself was made sloping upward to form a couch
instead of a bed.
The Rani Gumpha*

cave was double storeyed so that the open yard was

also serving as an open-air theatre.

This probability was further enhanced by a throne

located over the terrace of the passage.

This served as a seat for the head of monastery.

bedsa kondane udayagiri / khandagiri rani gupha

• chaitya shaped plan square central hall • U shaped plan • double storeyed
• had a vaulted roof • portico • open yard • had an open yard
• chaitya shaped • beams and rafters on • not delicate-like • open yard was also
doorway - inclined roof - resembled vedic western ghats (due to used as a theatre
doorposts huts the kind of stone present
• had a throne over the
• twin stone beds • chaitya doorway with tthere)
• square pillars terrrace-for the head
a railing pattern - cell
• chaitya shaped of the monastry
doorways
doorway
• different sized cells -
indicating presence
of dormitories
AJANTHA*, Cave no 1:

It consists of a square central pillared hall

surrounded by passage with cells behind.

There was a front portico parallel to the passage with

a central entrance, which do not exist now.

The pillars of the façade had square pedestal,

octagonal and 16 sided shaft with beautiful tracery
pattern.

Each pillar upholds a ribbed cushion like member

above which the bracket with capital divided into 3
parts with the centre having the figure of Buddha.
ELLORA*, Cave no 5: This stands out because of
its rectangular hall when compared to the squarish
halls.

The hall size is 17.55x35.10m, almost comparable to

the rectangular chaitya with out apsidal end.

It had nave, aisle with 24 cushion capital pillars. At

the rear end of the hall there was a transverse
passage or vestibule leading to a central shrine and 2
cells at the ends.

The aisles lead to cells directly as well as through

vestibule. In the nave there are two low platform
served as seating for the monks.
ELLORA*, Tin Tal (3 storeyed) cave 12:

It is one of the unique vihara of this period because it

is three storeyed.

The total height is about 15m with a veranda in each

floor supported by 8 columns.

The ground floor consists of a hall with 3 rows of 8

pillars.

The hall leads to another small central hall with 6

pillars which further leads to the shrine and two
small cells on both sides.

The main hall further leads to 10 more cells and one

of the cells further leads to a stair to go to the upper
level.

The exterior is simple and plain when compared to

ornate interior.
AJANTHA*, Cave no 1: ELLORA*, Cave no 5: ELLORA*, Tin Tal (3 SOMAPURA
• a square central pillared storeyed) cave 12: MAHAVIHARA*
hall - surrounded by a had a rectangular hall
passage with cells with sqarish cells it is three storeyed
behind example for a fully
developed vihara or
the rectangular hall had - a had veranda in each floor
• The pillars of the façade ‘Sangharama’.
nave, aisle with 24 cushion supported by 8 columns.
had square pedestal capital pillars.
with octagonal base big square enclosure
The hall leads to another
and 16 sided shaft measures cells on all sides
the nave led to the central small central hall which to
overlooking the courtyard
shrine through a vestibule the shrine
• each column had a except the entrance gates.
bracket with capital & In the nave there are two
the central one had a In the axis of the gate is the
low platform served as
statue of budha on it temple in the centre of
seating for the monks.
courtyard rising in three
tiers
SOMAPURA MAHAVIHARA*, Paharpur:

This is the best example for a fully developed vihara

or ‘Sangharama’.

The big square enclosure measures 246.6m and with

continuos rows of cells on all sides overlooking the
courtyard except the entrance gates.

The main entrance is from north with elaborate

arrangements.

In the axis of the gate is the temple in the centre of

courtyard rising in three tiers and ‘pancharatha’ in
plan.

The other space of the courtyard occupies many

other structures.
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