Discuss early buddhist stupa art and how stupa become mean for expansion of buddhist ideals
Answers
The Stupa is truly the image, or rather the epiphany, of the Buddha, of his Law that rules the universe, and is moreover a psycho-cosmogram. The form, suggested by the apparent aspect of the vault of the sky, implies in its turn the total presence and intangibility of the Buddha, who in this way is seen not as a human teacher but as the essence of the Universe."
The Stupa (India), Dagoba (Sri Lanka) and Chorten (Tibet) have an ancient and detailed history, and within the confines of this monograph it has been my attempt to provide as much information with regard to their structure and symbolism as possible. By detailing specific examples from chosen categories, I have ventured to typify the Stupa in terms of architectural style and symbolism to give the reader an introduction to the structure that is the most quintessential object of Buddhist adoration and worship.
The study of the Stupa may be approached from three tangents, namely, its historical, stylistic and regional development. The historical development of the Stupa can be roughly divided into two phases:
1. Hinayana or Theravada,
2. Mahayana,
The Hinayana (c. 400 B.C- 250 A.D.) was the 'doctrine of the elders', and Mahayana or later phase (c. 251- 700 A.D.), 'the great vehicle' of Buddhism. The latter phase witnessed a shift from iconic to aniconic imagery of the Buddha, but the Stupa architecture itself remained distinct from all previous monuments and future architecture.
In terms of construction, the Stupa is found in two major forms. First, the free standing or 'built-up', and second the rock-cut or excavated (chaitya hall). Stupas, variegated in size, shape and adornment, are located mainly in India, Tibet, Nepal, Sri Lanka and regions of East Asia. This text deals with the former four regions, concentrating mainly on the Indian Stupa and its variants.
After a brief introduction to its origin, I have ventured to discuss in detail two of the Stupa's major stylistic occurrences: free standing (Sanchi) and rock-cut (Bhaja), both from India. Parallel developments in other regions are then outlined and the styles that characterize Hinayana and Mahayana Buddhism are identified as they occur.
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