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  • Bhimbetka Rock Shelters

    Bhimbetka in Madhya Pradesh stands tall with the grandeur of seven hills and over 750 rock shelters  with cave paintings of ancient times, distributed over 10 km.

    It is a UNESCO World Heritage Site near Bhopal, renowned for its rock shelters and cave paintings. Bhimbetka has the oldest-known rock art in India, as well as it is one of the largest prehistoric complexes.

     The place name Bhimbetka originated from a myth related to Bhima of Mahabharatha . Bhimbetka means “Bhima’s resting place” or “Bhima’s lounge”.

    This amazing rock shelter consists of seven hills: Vinayaka, Bhonrawali, Bhimbetka, Lakha Juar (east and west), Jhondra and Muni Babaki Pahari

    South of these rock shelters are successive ranges of the Satpura hills. It is within the Ratapani Wildlife Sanctuary, embedded in sandstone rocks, in the foothills of the Vindhya Range.

    The Auditorium rock is the largest shelter at Bhimbetka. According to the accounts of Robert G. Bednarik this prehistoric cave has “cathedral-like” ambience with its Gothic arches and soaring spaces.

    There is an ancient Mata Vaishavi Temple in Bhimbetka.

    Location

    Bhimbetka rock shelter is situated at Bhojpur Raisen in Bhopal District about 45 kilometres south-east of Bhopal, at the southern edge of the Vindhya Range.

    Historical significance

    Bhimbetka is a scenic and picturesque site with it is world famous rock shelters  which throw light into the earliest traces of human life in India and evidence of the Stone Age starting at the site in Acheulean times.

    Some of the Bhimbetka rock shelters feature prehistoric cave paintings and the earliest are dated to 10,000 BCE, corresponding to the Indian Mesolithic.

     These cave paintings depict various types of animals and human figures with early evidence of community living with dance and hunting from the Stone Age.  The paintings also depict warriors on horseback from a later time.

    Link with Mythology

     Indigenous people of Bhimbetka believes that Bhima during his exile used to rest here to interact with the locals. There is also a narrative that Bhima Worshiped Mata Vaishavi at this location and blessed for concurring the forthcoming war.

    Auditorium cave.

    The cave is one of the prominent features of Bhimbetka which throws light into the history of this place.  It is surrounded by quartzite towers.

    The cave’s plan is similar to a “right-angled cross” with four of its branches aligned to the four cardinal directions. The main entrance points to the east. At the end of this eastern passage, at the cave’s entrance, is a boulder with a near-vertical panel that is distinctive, one visible from distance and all directions – Chief’s Rock” or “King’s Rock]. The boulder with the Auditorium cave is the central feature of the Bhimbetka.

    Cave paintings of Bhimbetka unravel the evolution of a civilization

      The rock shelters and caves of Bhimbetka have a large number of paintings. Some of the oldest paintings are dated to 10,000 BCE.

    It was W. Kincaid, a British India era official who first mentioned Bhimbetka in a scholarly paper in 1888.But the archeological significance of this rock caves was found by V. S. Wakankar. However, the prehistoric significance of Bhimbetka was revealed only in the 1970s.

     There was human settlement here from the Stone Age through the late Acheulian to the late Mesolithic until the 2nd century BCE. The artefacts from the excavation site and the pigments present in deposits, as well as the rock paintings points to that.

     The drawings and paintings of Bhimbetka can be classified under seven different periods.

    V. S. Wakankar classified the drawings and paintings into seven different periods and dated the earliest paintings to have belonged to the upper Palaeolithic to be as early as 40,000 years ago

     The colours used are vegetable colours which have endured through time because the drawings were generally made deep inside a niche or on inner walls.

    Period I – (Upper Paleolithic): These are linear representations in green and include humans dancing and hunting.

    Period II – (Mesolithic): small figures in this group show linear decorations on the body. There is animal as well as human figures and hunting scenes with the weapons such as barbed spears, pointed sticks, bows and arrows. The types of weapons used are clear indicators to the periods of history.

     Tribal wars also have been portrayed here. The depiction of communal dances, birds, musical instruments, mothers and children, pregnant women, men carrying dead animals, drinking and burials are detected among the paintings.

    Period III – (Chalcolithic) – These resemble paintings of the Mesolithic. These paintings denote that during this period the cave dwellers of this area were in contact with the agricultural communities of the Malwa plains, exchanging goods with them.

    Period IV & V – (Early historic): The figures of this group have a schematic and decorative style and are painted mainly in red, white and yellow colors.

    The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods.

    The figures of yakshas, tree gods and magical sky chariots also have been found here.

    Period VI & VII – (Medieval): These paintings are geometric linear and more schematic, however they show degeneration and crudeness in their artistic style. The colors used in these paintings seems to be prepared by combining black manganese oxides, red hematite and charcoal.

    In one of the desolate rock shelters, the painting of a man holding a trident-like object and dancing has been found and it is assumed by many as Lord Shiva.

    Many paintings of Bhimbetka has been lost or degenerated overtime.

     It has been estimated that paintings of at least 100 rock shelters might have eroded away.

     Bhimbetka stands with its numerous rock shelters in the lush green valley of Vindya ranges, since many centuries unravelling the history of mankind. It offers new lessons for exploring our roots taking a stroll through the depth of the caves which unfolds the untold history of people who thrived here centuries and decades ago.

    How to reach Bhimbetka?

    By air : Raja Bhoj Airport is the major airport of Bhopal, located around 15 km from the city center in Bairagarh suburban area on National Highway 12. Bhopal is well connected to the metros other cities by various companies’ airlines.

    To reach Bhimbetka Rock Shelters from Bhopal, you can take a bus or taxi on NH46, which is about a 46 km drive.

    By rail: The nearest railway station to the Bhimbetka Rock Shelters is Bhopal Junction (BPL]. It is served by the West Central Railways. Bhopal is on one of the two main Delhi to Mumbai railway lines and also on the main line to the southern state capitals of Chennai, Hyderabad, Bangalore and Thiruvananthpuram.

    By road:

    The nearest bus stand to the Bhimbetka Rock Shelters is Obaidullaganj, which is about 9 km away, and buses from Bhopal can take you there.

    References

  • Sanchi Buddhist Monuments

    The stupas, temples, viharas, and stambha monuments at Sanchi in Madhyapradesh,India are among the oldest and most relevant examples of aniconic arts and free-standing architecture that comprehensively document the history of Buddhism in ancient India.

    Dr.Sanjana p Souparnika

    Sanchi Stupa is a Buddhist complex, famous for its Great Stupa, on a hilltop at Sanchi Town in Raisen District of the State of Madhya Pradesh, India. It is located 46 kilometres (29 mi) north-east of Bhopal, capital of Madhya Pradesh.

    The stupas, temples, viharas, and stambha at Sanchi in central India are among the oldest and most mature examples of aniconic arts and free-standing architecture that comprehensively document the history of Buddhism from the 3rd century BCE to the 12th century CE. It is an important monument of Indian Architecture originally commissioned by the Mauryan emperor Ashoka in the 3rd century BCE. The stupa at Sanchi built during the Mauryan period was made of bricks.

    The monuments at Sanchi now comprise a series of Buddhist monuments starting from the Mauryan Empire period (3rd century BCE), continuing with the Gupta Empire period (5th century CE), and ending around the 12th century CE. It is probably the best preserved group of Buddhist monuments in India.

    The oldest, and also the largest monument, the Great Stupa also called Stupa No. 1, initially built under the Mauryans, and adorned with one of the Pillars of Ashoka

       Sanchi is the center of a region with a number of stupas, all within a few miles of Sanchi. These include

    • Satdhara (9 km to the W of Sanchi]
    • The  Relics of Sariputra and Mahamoggallana
    • Bhojpur (also called Morel Khurd, a fortified hilltop with 60 stupas11km away)
    •  Andher (17 km SE of Sanchi)
    • Sonari (10 km SW of Sanchi)
    •  Saru Maru stupa [ 100 km away ]
    • Bharhut is 300 km to the northeast.

    During the reign of under the Shungas and the Satavahanas, the Great Stupa was enlarged and decorated with gates and railings, and smaller stupas were also built in the vicinity, especially Stupa No.2, and Stupa No.3

    Sanchi monuments were rediscovered by the British colonialists general Henry Taylor in 1818.The first excavation of this site was done under the supervision of Major Alexander Cunningham in 1851.

    The architecture of great stupa at Sanchi

    The “Great Stupa” at Sanchi is the oldest structure and was originally commissioned by the emperor Ashoka the Great of the Maurya Empire in the 3rd century BCE.

    Its nucleus was a hemispherical brick structure built over the sacred relics of the Buddha, with a raised terrace encompassing its base, and a railing and stone umbrella on the summit, the chatra, a parasol-like structure symbolizing high rank.

    The original Stupa only had about half the diameter of today’s stupa at Sanchi , which is further enhanced by the Sungas. It was covered in brick, unlike the stones that now cover it.

    During the later rule of the Shunga, the stupa was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at ground level was enclosed by a stone balustrade.

    Myths & history associated with Sanchi stupa

      According to one version of the Mahavamsa, the Buddhist chronicle of Sri Lanka, The emperor Ashoka is closely linked with the region of Sanchi. It is believed that While he was heir-apparent and was journeying as Viceroy to Ujjain, he is said to have halted at Vidisha (10 kilometers from Sanchi), and there married the daughter of a local banker who was named as Devi. Sanchi was the venue of Devi and Ashoka’s wedding.

     The original construction work of this stupa was overseen by Ashoka. In the 1st century BCE, four elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire structure were added.

    Inscriptions

    Sanchi, especially Stupa 1, has a large number of Brahmi inscriptions. Although most of them are small and mention donations, they are of great historical significance. James Prinsep in 1837, found that most of them ended with the same two Brahmi characters. Princep took them as “danam” (donation), which permitted the decipherment of the Brahmi script.

        An analysis of the deciphered scripts  denote that most of the donors were from Ujjain, Vidisha, Kurara, Nadinagar, Mahisati, Kurghara, Bhogavadhan and Kamdagigam. Three inscriptions are known from Yavana (Indo-Greek)donors at Sanchi,. The script denoting which reads “Setapathiyasa Yonasa danam” (“Gift of the Yona of Setapatha”), Setapatha being an uncertain city.

    The art of Sanchi

    The  art of Sanchi  developed considerably in the 1st century BCE/CE and is thought to predate the blooming of the Greco-Buddhist art of Gandhara, which went on to flourish until around the 4th century CE.

    The art of Sanchi is considered as the ancestor of the didactic forms of Buddhist art that would follow, such as the art of Gandhara. The Buddhist monuments at Sanchi contain an appreciable concentration of early Indian artistic techniques and Buddhist art, referred to as its Anionic School or Phase. Depicting Buddha through symbols, the sculpted art shows the evolution in sculpting techniques and the elaboration of icons, especially depicting Buddha.

    Ashoka pillar

    A pillar of finely polished sandstone, one of the Pillars of Ashoka, was also erected on the side of the main Torana gateway. The bottom part of the pillar still stands. The upper parts of the pillar are at the nearby Sanchi Archaeological Museum. The capital consists in four lions, which probably supported a Wheel of Law.

    The pillar has an Ashokan inscription (Schism Edict)[13] and an inscription in the ornamental Sankha Lipi from the Gupta period.[6] The Ashokan inscription is engraved in early Brahmi characters. It is unfortunately much damaged, but the commands it contains appear to be the same as those recorded in the Sarnath and Kausambi edicts, which together form the three known instances of Ashoka’s “Schism Edict”. It relates to the penalties for schism in the Buddhist sangha:

    … the path is prescribed both for the monks and for the nuns. As long as (my) sons and great-grandsons (shall reign; and) as long as the Moon and the Sun (shall endure), the monk or nun who shall cause divisions in the Sangha, shall be compelled to put on white robes and to reside apart. For what is my desire? That the Sangha may be united and may long endure.

    Now  Sanchi group of monuments are owned by the Government of India and is conserved, prot

    ected, maintained, and managed by the Archaeological Survey of India under the Ancient Monuments and Archaeological Sites and Remains (AMASR) Act (1958

    Sanchi Monument listed by UNESCO

    Currently , around fifty monuments remain on the hill of Sanchi, including three main stupas and several temples. The monuments have been listed among other famous monuments in the UNESCO World Heritage Sites since 1989.

    How to reach Sanchi?

    The nearest airport is Bhopal which is 55 km away from it. Trains are available from Bhopal and Rani Kamlapati to Sanchi railway station.

    References