Buddhist ruins at Sanchi – World Cultural Heritage in India

On a hill overlooking the plain and about 40 kilometers from Bhopal, the Sanchi site consists of a group of Buddhist monuments (monolithic columns, palaces, temples and monasteries) all in a state of preservation. It is the oldest surviving Buddhist holy site and was a major Buddhist center in India until the 12th century AD.

Accreditation year: 1989
Criteria: (i)(ii)(iii)(iv)(vi)
Madhya Pradesh

Table of Contents

Outstanding global value

The stupas, temples, viharas and stambhas at Sanchi in central India are among the oldest and most mature examples of independent architectural and symbolic art that chronicles the history of Buddhism in a single way. comprehensively from the 3rd century BC to the 12th century AD. About 10 kilometers from Vidisha, the Buddhist monuments at Sanchi, located on a peaceful and picturesque forested plateau, are also considered impregnable Cetiyagiri in the Buddhist annals of Sri Lanka, where Mahindra is located. , son of Emperor Aśoka, made a stop before performing his duty. missionary journey to Sri Lanka. The enshrined remains of Sariputra and Maudgalyayana (the main disciple of the Buddha) at Sanchi were venerated by Theravadins, and continue to be venerated to this day.

The beginning of Sanchi as a sacred center is attributed to the Mauryan emperor Aśoka. His reign in the 3rd century BC is considered instrumental in spreading Buddhism throughout the Indian subcontinent. With the establishment of the monolithic Aśoka Stambha (pillar) whose capital was very elaborate, Emperor Aśoka considered Sanchi a site of great importance. Contemporary to the stambha was a brick stupa, later enlarged during the Sunga dynasty (184-72 BC), covered with an ash stone veneer, and supplemented with circular walkways. and stairs with ornate balustrades, harmika, yashti, chhatra, and four toranas, later decorated during the Satavahanas dynasty in the 1st century AD. The last addition to the great stupa was during the Gupta dynasty (5th century CE), when four shrines were added at the main entry points. Today, this great structure of Sanchi (“stupa 1”) is considered a one-of-a-kind example of the maturity stage of Indian stupas. Since the Aśokan period, subsequent powerful empires to rule the area – such as the Sunga, Kushana, Kshatrapa, and eventually Gupta dynasties – continued to contribute to the expansion of Sanchi with the construction of temples other temples and shrines, relatively smaller stupas (stupas 2 and 3), and many viharas. Attested by the inscriptions contained in the property, Sanchi remained an important seat of Buddhism until the 13th century AD. Subsequent powerful empires that ruled the region—such as the Sunga, Kushana, Kshatrapa, and eventually Gupta dynasties—continued to contribute to the expansion of Sanchi with the construction of the hypostyle, apsidal, and temples. other temples and shrines, relatively smaller stupas (Stupas 2 and 3), and many viharas. Attested by the inscriptions contained in the property, Sanchi remained an important seat of Buddhism until the 13th century AD. Subsequent powerful empires that ruled the region—such as the Sunga, Kushana, Kshatrapa, and eventually Gupta dynasties—continued to contribute to the expansion of Sanchi with the construction of the hypostyle, apsidal, and temples. other temples and shrines, relatively smaller stupas (Stupas 2 and 3), and many viharas. Attested by the inscriptions contained in the property, Sanchi remained an important seat of Buddhism until the 13th century AD.

The Buddhist monuments at Sanchi contain a considerable concentration of early Indian artistic techniques and Buddhist art, known as its School or Anion Period. Depicting the Buddha through symbols, the art of sculpture shows the advancement in sculpting techniques and the refinement of images, especially in depicting the Buddha. Stories and events of great historical and religious significance, animated by basic bas-relief and high relief techniques, are also depicted. The quality of craftsmanship in expressing the symbolic range through plants, animals, people and Jataka stories shows the evolution of art through the integration of indigenous sculptural traditions. and non-native.

Criterion (i): The perfection of proportions and the abundance of decorative sculpture on the four gates make Stupa 1 an incomparable artistic achievement. The group of Buddhist monuments at Sanchi – stupas, temples and monasteries – is unique in India for its age and quality.

Criterion (ii): Since the time when the oldest preserved obelisk at this site was erected, i.e. Aśoka’s column with a protruding lion’s head inspired by Achaemenid art, the role of The Sanchi were the mediators of the spread of their peripheral arts and cultures throughout the Mauryan Empire, and later in the India of the Sunga, Shatavahana, Kushan and Gupta dynasties, which have been confirmed.

Criterion (iii): Remaining a major center of Buddhism until the early medieval period of India following the spread of Hinduism, Sanchi is unique evidence as a major Buddhist holy site during the period. from the 3rd century BC to the 1st century AD.

Criterion (iv): The stupas at Sanchi, especially Stupa 1 and Stupa 3, represent the most complete form of this type of monument. Egg-shaped dome (anda), hemispherical, topped by a cube-shaped relic chamber (harmika), built on a circular terrace (medhi); it has one or two ambulances for use by devotees (pradakshina patha). Representing the transition from wood to stone structures, the balustrade (vedika) and gate (torana) also testify to the continued use of primitive megalithic forms covered by an outer layer and covered with surrounded by fence.

Criterion (vi): Sanchi is one of the oldest surviving Buddhist holy sites. Although the Buddha never visited the site in any of his previous lives or during his earthly existence, the religious nature of this temple is evident. The relic chamber of Stupa 3 contains the remains of Sariputra, a disciple of Shakyamuni who died six months before his master; he was especially revered by the occupants of the “small carriage” or Hinayana.

Integrity

Within the boundaries of the heritage are all the known elements necessary to manifest its Outstanding Universal Value, including sculpted monolithic columns, sanctuaries, temples and viharas on top. and along the hillside of Sanchi. These elements represent the complete vocabulary of mature Buddhist art and independent architecture. The property, which also includes a setting close to nature, is therefore properly sized to ensure the full expression of the characteristics and processes of conveying the meaning of the Buddhist Monuments at Sanchi. Property is in good condition. Potential threats and threats to property integrity include pressure from local villagers to use preemption in a prohibited area (as was the case in the historical past), intrusions into this area,

Authenticity

The archaeological remains of the Buddhist Ruins at Sanchi are authentic in their location and setting, form and design, materials and materials, and to some extent, their spirit. These representations of mature independent Buddhist architecture and iconic sculpture remain in their original locations and in a relatable setting. The Sanchi stupas (numbered 1, 2 and 3) were restored in the early 20th century and exhibit all the original features characteristic of mature stupas in India. Although abandoned for about 600 years, Sanchi has seen a resurgence of a pilgrimage from around the Buddhist world, especially from Sri Lanka, thus attesting to the religious significance of this place. The site remains alive with chants and prayers to make the remains of Sariputra and Maudgalyayana immortal,

Protection and management requirements

The property is owned by the Government of India and is conserved, protected, maintained and managed by the Archaeological Survey of India under the Antiquities and Archaeological Monuments and Monuments Act (AMASR) ( 1958) and its Rules (1959), and the Amendment and Confirmation Act (2010). The rural landscape around the property is managed by the Nagar panchayat (municipality) and governed by the Madhya Pradesh Bhumi Vikas Rule (1984), which can regulate and protect the properties. In addition, Paragraph 17 of Section 49 of Madhya Pradesh Panchayati Rajya Adhiniyam (1993) provides additional assistance in safeguarding the heritage. Governed by the aforementioned legislative instruments, including the 2010 AMASR Act, Sanchi vikas Yojna Praroop (2001) and a scheme under the Nagar tatha gram nivesh Adhiniyam (1971),

Conducting regular monitoring activities, especially assessing conservation status before and after peak season, remains a long-term goal to ensure protection of the site’s properties that maintain its Outstanding Universal Value. produce. Assessment of issues in protected areas, including development in villages and dissemination of information, remains a long-term management need.