Bharhut, situated in the Satna district of Madhya Pradesh, central India, gained historical significance in 1873-74 when Alexander Cunningham unearthed the remnants of a Buddhist Stupa. Constructed with brick and adorned with an exterior coat of plaster, the Stupa was located on a low rise at the base of Lal Pahar hill, half a mile north of the village.
Although the majority of the stupa had already been destroyed by the neighbouring villagers quarrying for bricks and stone (Cunningham informs us that the present village of Bharhut, then consisting of upwards of 200 houses, was built entirely of the bricks taken from the Stupa), Cunningham managed to salvage sections of the monumental stone railing (vedika) and the Eastern Gateway (torana). These artifacts were later gifted to the Indian Museum in 1875 by the Raja of Nagod. Some remaining pieces were subsequently transferred to the Residency Garden at Satna and later acquired for the Museum, arriving in Kolkata in 1926.
The railing pillars shaded-in represent those he recovered in-situ
Altogether 35 railing pillars, more or less perfect, were found on the site of the Stupa, along with numerous fragments of others. Six other pillars were discovered at the neighbouring village of Batanmâra and no less than eight more at Pathora, making a total of 49, or considerably more than one half of the original number of 80. Cunningham thought it possible that some more pillars could be found around Pathora; but they would most probably be split down the middle, and their sides cut off, to fit them as beams for present buildings. Four of the eight pillars recovered from Pathora were found in this state.
Photographs taken Cunningham’s assistant David Joseph Beglar in 1874
The Bharhut sculptures, representing some of the earliest examples of Indian and Buddhist art, are considered later than Ashoka’s monumental art (circa 260 BCE) and slightly later than the early Shunga-period reliefs at Sanchi Stupa No.2 (circa 115 BCE). Although more provincial than Sanchi and Amaravati Stupa, the Bharhut sculptures, dating around 125–100 BCE according to recent scholars, exhibit a developed iconography. There’s debate over the dating; historian Ajit Kumar proposes a later date in the 1st century CE, aligning with stylistic comparisons from Mathura. Despite the levels of destruction the stupa was subjected to prior to Cunningham’s rediscovery, a large amount of exquisite sculpture has survived, generally in good condition.
The central stupa, potentially initiated by Maurya king Ashoka in the 3rd century BCE, was surrounded by a stone railing and four Torana gates, akin to Sanchi Stupa. Much of the railing has been recovered, but only the eastern gateway remained more or less in-situ. The Shunga period likely saw additional architectural elements, particularly in the 2nd century BCE.
The distinctive aspect of Bharhut carvings lies in the abundance of inscriptions covering the monument. Each panel, labeled in Brahmi characters, details the depicted scenes along with numerous dedication and donor inscriptions. Mason’s marks, found throughout the architecture, provide insights into the builders’ backgrounds. Northern (likely Gandharan) masons, using Kharosthi marks, crafted the gateways, while local Brahmi script marked the railings. Cunningham noted the artistic refinement of the gateways, suggesting Northern artisans, while local artists were responsible for the railings.
Most of the recovered stupa artifacts are housed here in the Bharhut Gallery at the Indian Museum in Kolkata. The original site now features only the stupa’s foundations and a few scattered masonry fragments.
Before delving into a closer examination of certain decorative reliefs, it’s important to acknowledge that the representation of the stupa railing in the museum gallery does not faithfully depict how Cunningham initially rediscovered this section of railing. The reconstruction relies on the best-preserved elements and fragments excavated by Cunningham, as well as those recovered from nearby villages. It serves to showcase the finest imagery originating from Bharhut within the dedicated gallery.
The Stupa was surrounded by a great railing (vedika), composed of a series of stone posts or pillars , rectangular in section, joined together by three parallel sets of lenticular (lens-shaped cross-section) cross-bars mortised into the pillars on either side, and capped by a huge coping stone, rounded at the top.
The following short virtual tour of the Bharhut Gallery is far from complete, primarily because photography is prohibited in this gallery. In fact, as far as I’m aware it is the only gallery in the Indian Museum to have such restrictions, and quite honestly I fail to understand the logic behind this. Why is it possible to visit Sanchi, a comparable monument still in-situ and photograph it at will, and yet here where everything has been already removed from context I am not allowed to do likewise ?
Nearly six years ago Prime Minister Modi gave a speech upon opening the new building of Archaeological Survey of India in New Delhi, where he specifically touched on this issue :
While the Sardar Sarovar dam was being built, people wanted to visit it. Sometimes the water used to overflow. People wished to see that. However, huge boards with ‘Photography is prohibited’ written on them were put up everywhere. I was the Chief Minister at that time. So I did exactly the opposite. I told the people that whoever would click the best photograph would be rewarded on the condition that they had to upload the snaps on the website. You will be surprised to know about the level of public participation. The people started taking the snaps and uploading on the website…
Prime Minister Modi, 12th July, 2018
…Once the history is on their finger tips, you will see that gradually India’s grand heritage and thousand year old history will turn out to be a wonder! We don’t have to offer anything else to the world. We just need to showcase the legacy left behind by our ancestors.
The very day of his speech, the ASI issued an order to allow photography at all protected monuments and sites aside from Ajanta Caves, Leh Palace, and inside the Taj Mahal.
I spend a lot of time and money traveling to India each year to specifically showcase and promote the wealth of heritage this country has to offer, often exploring sites even the locals seem unaware of. There seems to be no valid reason why a ban on photography should be in place in this specific gallery, and ironically it is the museum itself that will ultimately pay the price. For a more concrete example of how allowing photography can help promote a museum, take a look at this presentation from the National Gallery of Denmark, which tells how visitors’ photography and social media increased their museum’s reach by 2500% !!
As you can probably guess from what follows in this blog, I did take photographs when I was able to, which wasn’t very often at all. I don’t enjoy behaving like this, but I can be stubborn as well, and I am after all only trying to promote the museum and encourage people to visit themselves. Please let me know your thoughts on this, I’d be interested in your comments.
Rant over – now let’s explore…
Please click on any of the images to view them in a larger format.
Medallion Carvings on Pillars and Rails
The edges of all the pillars, except the corner ones, are slightly beveled on both faces; and they are ornamented by a round boss or full medallion in the middle, and by half medallions at the top and the bottom. All these medallions as well as the beveled edges of the pillars are filled with elaborate sculpture. Each horizontal section of rail also contains a single sculptured medallion. There were 228 cross-bar rails in the complete railing, of these about 80 have been recovered from the site, with a further six being found at the nearby village of Unchhera.
In this comical depiction found within a medallion on a rail pillar, a colossal Yaksha is seated on a stool, enduring playful torment from mischievous monkeys who serve as troublemakers. Using a sizable clipper, the monkeys diligently remove hair from the Yaksha’s nostril. The instrument, fastened with a rope, is pulled by an elephant compelled forward through a combination of beatings, prodding with a goad, and the clamor of trumpets and drums. One audacious monkey even bites the elephant’s tail, while another scratches the palm of the Yaksha. Remarkably, the Yaksha remains unmoved by these simian antics and torture, embodying the true spirit of a Bodhisattva by neither reacting nor protecting against teasing and torment. Stalked lotus buds adorn all four sides of the medallion. On the reverse side of the pillar, the narrative of the Yavamajhakiya Jätaka unfolds.
Gaja-Lakshmi
This exquisite motif is intricately carved into a medallion on both sides of a rail pillar. The portrayal features a complete vase (Pürnaghata or Mangalakalaśa) overflowing with stalked lotus buds and flowers. At the center of the floral arrangement stands Lakshmi, holding a stalked lotus in her left hand and delicately touching her left breast with her right hand. She is accompanied by two elephants positioned on fully blossomed lotuses, showering the deity with anointments from vases held in their upraised trunks. An inscription above this medallion reads Moragirihma Thūpadāsisa dānam thabbo, signifying that the pillar is the generous gift of Thūpadāsī from Moragiri. The inscription holds significance as it records the donor’s name as Thūpadāsī, suggesting she might have been a maid-servant associated with the stupa complex. Alternatively, her gift could be a testament to her respect for the monument. Whether her name is a title or a real name, it underscores the popularity and reverence of the Bharhut stupa among the broader population.
Human busts are typically found on the cross-bars of the middle row of the railings.
Full Vase
Adorning a cross bar’s medallion is a depiction of a complete vase (Pürnaghata or Mangalakalaśa) brimming with cascading stalked lilies, lotus buds, and fully blossomed lotuses. The symbolism of the full vase extends to represent life and celebratory occasions, showcasing an exquisite portrayal of the rich flora and fauna characteristic of Bharhut sculptures.
Prior to the birth of Gautama, his mother, Māyā Devi, experienced a dream wherein a divine elephant descended from the Tushita heaven and entered her womb. This poignant scene is intricately carved on the medallion of the rail pillar. The queen reclines on a couch, her right hand at rest, while a lamp on a tall stand illuminates the space near her feet. Two attendants, seated on cushions, appear half-asleep, while the third one folds her hands in adoration. From above, the divine elephant approaches Māyā Devi. An inscription medallion identifies it as the descent of the Lord: Bhagavato Ukramti. On the reverse side of the pillar unfolds the tale of the Isisinga (Rishishringa) Jataka.
Each one of the pair stands, placing one leg, on an eminence that resembles the back of a tortoise. This may represent Prajipati in the form of tortoise, from whom the original Mithuna pair is supposed to originate.
Middle : Cross-bar medallion showing Makara.
The mythical creature is represented as having an elephant’s scalp to which a crocodile’s snout with parted jaws set with peg-like crocodile teeth has been engrafted. Its body resembles that of a fish and is covered with scales, but the tail is coiled like that of a serpent. It has elephantine forelegs and fish-like pectoral and tail fins. The upper jaw is curbed upwards to form an incipient proboscis, but not the long trunk of the elephant.
Right : Unknown scene
This medallion depicts a humped bull standing in a pond of water, and two wolves, one of which is seated on the bank of the pond, while the other has been caught in a snare and is hanging by one of his hind legs from the top of a pole.
The Bodhi Tree is a prevalent theme in Buddhist sculpture; however, it is uniquely at Bharhut that we encounter the significant addition of the names of the Buddhas to whom these trees belonged. The names of six out of the last seven Buddhas have been identified, although the Bodhi Tree of Krakuchanda is damaged, yet his name remains intact. The earliest Buddha whose Bodhi Tree has been discovered is Vipasin. His tree is depicted with a Throne or Bodhimanda in front, with two individuals kneeling, and a crowd of others with joined hands standing on each side of the tree. The sculpture is labeled “Bhagavato Vipasino Bodhi,” translating to “the Bodhi Tree of the Buddha Vipasyin.” Vipasin’s tree is identified as the Pâtali, or Trumpet Flower, specifically the Bignonia Suaveolens.
In Sri Lanka this legend is called the Latukika Jataka. When Cunningham first saw this Bharhut sculpture he recognised the story as one which he had heard in Kashmir as long ago as 1839. He subsequently received a translation of the Jataka from a colleague and learned Buddhist priest from Sri Lanka. As the scenes represented in this Bharhut bas-relief agree in almost every minute detail with the Singhalese Pali version of the legend, here is the story in full :
In days of yore when Brahmadatta was Raja of Benares, Bodhisattva was born as an Elephant, and was the leader of 80,000 other Elephants, it happened that a Latukika built her nest on a certain pathway, and laid her eggs in it. One day when she was sitting in her nest watching her young ones who were still unable to fly, she was frightened by the appearance of Bodhisattva attended by his herd of 80,000 Elephants. Seeing the imminent danger to which her young brood were exposed she straightway flew towards the leading Elephant Bodhisattva and besought him to save her young ones from being crushed under the huge feet of his herd. Moved by the earnest appeal of the mother bird, Bodhisattva stood over her nest until all the Elephants had Passed by. He then left himself, first warning the bird that a Solitary Elephant of savage temper would shortly come by this way, and might do her little ones some harm. As one danger often succeeds another, the poor Latukika was not yet relieved from her fears, but was still dreading the approach of an enemy whom no entreaties might move. Then seeing the Solitary Elephant approaching she flew towards him.
“O noble Elephant who livest in the forest, I adore thee with my two wings, and humbly beseech thee to spare my young ones who have only just escaped from a threatening danger.”
But her prayer was in vain, for the savage Elephant unmoved by her entreaties answered :
“What can a poor thing like you do if I should harm your young ones ?”
And trampled them to death with his left foot. Then the heart-broken Latukika alighting on the branch of a tree and brooding on revenge exclaimed:
“You shall see what a weak little bird can do against thy boasted strength.”
So she then became assiduous in her attentions to a Crow, who when he heard her story promised to peck the eyes of the Elephant as a reward for her services. In a similar way she secured the services of a Flesh-fly and a Frog. Then the Crow pecked at the eyes of the Elephant, and the Flesh-fly laid her eggs in the wounds, which soon made him blind. Lastly, the Frog, who had taken up his position on a hill, allured the Elephant by his croaking to believe that water was near. Then descending the hill he croaked again, and the Elephant attempting to follow him fell headlong down the rocks and was killed. Then the Latukika seeing the Elephant lying dead at the foot of the hill, alighted on his body and walked to and fro, and being fully satisfied with the completion of her revenge flew away.”
The close agreement between the scenes of the Bharhut Sculpture and the Sinhalese version of the legend is very remarkable. In the medallion we see:
- The Bird’s nest with the young ones lying on the ground beneath the Elephant’s foot.
- The Bird sitting on the tree and brooding over her revenge.
- The attack of the Crow and the Flesh-fly, the former on the Elephant’s head the latter on his eye.
- The Elephant running away frightened with his tail between his legs.
- The Frog seated on the rocky mount.
- The fall of the Elephant down the rocky cliff
Middle : Pillar medallion showing lotuses (padmas) and blue lotuses (utpalas)
Right : Pillar medallion showing a female bust —bearing lotus.
Doner inscription above medallion : Samanaya Bhikhuniya Chûdathilikâyâ dânam
“Gift of the Nun Samanâ of Chudathilika”
In the Mahakapi Jataka, the Buddha, in a past life as a monkey king, altruistically sacrifices his own body to serve as a bridge for his fellow monkeys fleeing an attack by a human king. The relief depicts a river with fish designs denoting the escape route for the monkeys. Below, humans eagerly await with a blanket to catch the monkey king as he descends from his self-made bridge. The continuous narrative extends to the bottom where the now recovered Buddha-to-be imparts teachings to the king.
The boar on the right is shown being attacked by two dogs, one confronting it and trying to bite its snout, the other has leapt over its back and has dug its canines into the shoulder of its prey. A male or a female, holding a club in the left hand, is shown urging the dog on the left to continue the attack. The boar with its interlocking tusks and cloven hoofs has been correctly and to some extent naturalistically depicted; but it is difficult to recognize the dogs as such. These may represent some sort of wild dogs found in the forests of Central India. The upper horizontal border to the half-medallion is formed by two water elephants jalebhas or jalakaris) seated back to back facing opposite directions. Their heads, trunks, tusks and forelegs resemble those of the elephant, but their tails are formed by the coils of a sea-serpent and are furnished with fish-like end-fins.
Inscription below this medallion reads : Bibikána Dikați Suladhasa Asavárikasa dânam
“Gift of Dikshița Suladha, the Asavárika”
(The term Asavárika is most probably intended for an Aswár, Sawár, or “horseman”)
The horse, decked out in rich decorative coverings, is being led by a woman holding its reins and followed by a man holding a spear in the right hand. The significance of the scene is not known. It appears that the man following the horse is intended to represent the horseman (asavärika) Sulabdha, the donor of the pillar according to the inscription engraved on it, and the woman his wife, who might have accompanied her husband in his pilgrimage. The profession of the donor appears to have been alluded to by showing him accompanying the horse. The upper border to the half-medallion is formed by two Makaras seated back to back facing opposite directions. These fantastic animals lack the elephantine proboscis and possess instead gaping crocodilian snouts; and their bodies are those of fishes furnished with lateral, ventral and caudal fins.
Human Depictions on Pillars
Corner pillars, where the railing changes direction to facilitate entrances, have spaces for even more elaborate sculpture in the form of life-size figures of Yaksha, Yakshini, Naga, or Devati. Examples of these reside within the gallery itself, but also in the foyer of the museum at the entrance to the Bharhut gallery. Interestingly, the examples outside of the gallery are of a completely different colour (grey), which makes me wonder if they are in fact cast copies of the originals. Below are some examples, followed by more detailed close-ups.
Left : Unknown
Middle : Military standard bearer
Right : Unknown
Left : Sudarsana Yakshini
Middle : Chakavâka – King of the Nagas
Right : Military Figure
For me the standout figure has to be this one, what appears to be a depiction of a soldier with clear hints that he may have originated from Greece.
The clear inscription above the figure reads : Bhadanta Samakasa thabho dânam
“Pillar-gift of the lay brother Samaka”
Amongst the Bharhut Sculptures there are no battle scenes or sieges as in the later sculptures of Sanchi. There is, however, a single figure of a soldier, nearly of life size, and in such fine preservation, that all the details of his costume can be distinguished with ease. His head is bare, and the short curly hair is bound with a broad band or ribbon, which is fastened at the back of the head in a bow, with its long ends streaming in the wind. His dress consists of a tunic with long sleeves, and reaching nearly to the mid- thigh. It is tied in two places by cords; at the throat by a cord with two tassels, and across the stomach by a double-looped bow. The loins and thighs are covered with a dhoti which reaches below the knees, with the ends hanging down to the ground in front in a series of extremely stiff and formal folds. On the feet are boots, which reach high up the legs, and are either fastened or finished by a cord with two tassels, like those on the neck of the tunic.
In his left hand the soldier carries a flower, and in his right a monstrously broad straight sword, sheathed in a scabbard, which is suspended from the left shoulder by a long flat belt. The extreme breadth of the sword may be judged by comparing it with the thickness of the man’s arm, which it exceeds, while its length may be about 60cm, or perhaps somewhat more. The belt of the sword is straight, and without a guard. The face of the scabbard is ornamented with the favourite Buddhist omega symbol of tri-ratna, or the triple gem. The sword belt, after being passed through a ring attached to the side of the scabbard, appears to be twice crossed over the scabbard downwards, and then fastened to a ring at the tip, below which the broad ends hang down like the ends of a scarf. In person the figure of the soldier is rather stouter and broader than a native of India. Perhaps more telling is his hairstyle (short curly hair with Greek royal headband), and that in his right hand he holds a grape plant, emblematic of a Greek origin. It would appear this Greek warrior has been transformed into a dvarapala, a gate guardian.
Left : Sonaya danam thabho – “Pillar gift of Sonâ”
Middle : Supávaso Yakho – “The Yaksha Supravasu”
Right : Chakaváko Naga Raja – “Chakavâka , King of the Nâgas”
Left : Unknown
Right : Military standard bearer
Left : Sudarsana Yakshini
Right : Unknown
Left : Chulakoka – South gate guardian
Right : Chakavâka – King of the Nagas
Complex Scenes on Pillars
The most intricate pillar carvings are reserved for the pillars associated with the four gateways positioned at the cardinal points around the railing.
The subjects represented in these pillars are both numerous and varied, and many of them are of the highest interest and importance for the study of Indian history. Thus we have more than a score of illustrations of the legendary Jatakas, and some half dozen illustrations of historical scenes connected with the life of Buddha, which are quite invaluable for the history of Buddhism. Their value is chiefly due to the inscribed labels that are attached to many of them, and which make their identification absolutely certain. Amongst the historical scenes the most interesting are the processions of the Râjas Ajâtasatru and Prasenajita on their visits to Buddha; the former on his elephant, the latter in his chariot, exactly as they are described in the Buddhist chronicles. Another invaluable sculpture is the representation of the famous Jetavana monastery at Sravasti, with its Mango tree, and temples, and the rich banker Anatha-pindika in the foreground emptying a cartful of gold pieces to pave the surface of the garden (not photographed).
North Gate Corner Pillar
Also known as the Vidhura Pandita Jataka, this tale narrates a previous life of the Buddha as Vidhura Pandita, a wise and compassionate advisor. In this story, Vidhura imparts valuable counsel to a king, emphasizing the principles of justice, righteousness, and moral conduct. The Jataka underscores the significance of wisdom and ethical guidance in leadership and the pursuit of a virtuous life.
South Gate Corner Pillar
The visit of Prasenajit Rája of Kosala to the Punya-Sala (house of charity) of Buddha is represented by this pillar of the South Gate, clearly labelled at the very top of the pillar.
When the Chinese pilgrim Hiuen Tsang (Xuanzang ) visited Sravasti in circa 635 BCE, the Punya Sala of Prasenajit was already a complete ruin, on the top of which the people had built a small Stupa. But on this ancient pillar we have what appears to be a detailed representation of the famous building which is quite possibly an actual view of the Punya Sala which Raja Prasenajit erected in the city of Sravasti for the use of Buddha.
The building itself is a two-storied edifice, the lower part being an open-pillared room for the establishment of a large wheel, which occupies the middle of the front. This is appropriately labelled as the “wheel of law”, a symbol which here takes the place of Buddha himself. The Wheel has a garland hanging from its axle, and is surmounted by an umbrella also with garlands.
Cleary inscribed at the top of this scene is : Bhagavato dharma chakam – “The Dharma Chakra of Buddha”
On each side stands a worshipper, with both hands joined upon the breast in an attitude of devotion. The Panya Sala, or “Hall of Religious Merit,” occupies all the upper portion of the bas-relief, aside from a narrow strip on each side. In these strips we have the head and tail of the procession, the whole of the lower half being occupied with the main body, and the gateway of the palace through which the Raja has just passed. The leader of the procession is apparently a footman, who is closely followed by a horseman, whose back only is represented together with the hind part of his horse. Next comes another foot- man. All these who have turned upwards to the left are closely followed by Raja Prasenajit in a chariot drawn by four horses abreast. The horses are gaily caparisoned with lofty plumes and plaited manes. The Raja is attended by three servants, of whom one carries the Indian Chauri, and a second holds an umbrella over his head. The third is the charioteer. Behind the chariot is the palace gateway, through which three followers are passing. Unfortunately only their heads now remain, as the whole of the lower right corner of the sculpture, including the horses’ legs and the greater portion of the chariot wheels, has been broken off. Behind the gateway, and advancing towards it, are two other followers mounted on elephants, closing the procession.
The lower portion of the pillar depicts the Naga king Eräpata (or Elăpatra) paying respect to the Buddha who has been shown here as Bodhi tree on a platform and two garlands suspending from it. First he appears in his serpent form with five hoods. He comes forward and appears in human form with a five-hooded serpent crest. He is followed by his two queens who wear single-hooded canopy. They are all in adoration pose. Lastly the king kneels under the Bodhi tree to pay homage to the Buddha.
The epigraph behind the king reads : Erāpato Nāgarāja Bhagavato Vandate – “The Naga king Eräpata pays respect to the Lord”
Yet another inscription running vertically on the left informs us : Aya Isadinasa Bhanakasa dānam– “Gift of the reverend Isadina of Bhanaka”
West Gate Corner Pillar
(left side upper panel)
The panel above features celestial beings in the Trayastrimsa heaven, ruled by Indra, expressing joy and reverence towards the hair of the Bodhisattva. According to Buddhist scriptures, the narrative recounts that prior to embracing a religious path, Gautama shed his princely attire and, using his sword, cut off his long hair. He then cast both his hair and turban into the air, and these were carried by the devas to the Trayastrimsa heaven, where they were honored and worshipped.
The visit of Ajàtasatru to Buddha is represented on one of the corner pillars of the Western Gateway. A concise version of the story comes from a translation by Spence Hardy, from the Pali books of Sri Lanka. After the murder of his father, the king had been unable to sleep, and he sought the presence of Buddha, by the advice of his physician Jivaka, in the hope that the great Teacher might be able to ease his troubled mind. The Raja left his palace at night by torchlight, mounted on an elephant, and accompanied by 500 women, also on elephants, and a still greater number on foot.
This part of the scene (sadly, not photographed!) is represented in the lower part of the Bharhut Sculpture, where the Raja, driving his elephant with his own hand, is followed by several women on elephants, while an attendant carries an umbrella over his head. In this small sculpture there is no room for the representation of any of the city gates of Rajágriha, and of the garden of Jivaka under the Gridhra kuta, or mountain of the Vulture peak, there is only one trace shown. But within the narrow limits of a very small bas-relief the sculptor has contrived to represent three different phases of the story. First we have the king’s procession to the garden; then his dismounting from the Elephant near the dwelling place of Buddha; and lastly, his devotion at the Bodhimanda, or throne of Buddha, which is the symbol of Buddha, as the sage himself is nowhere represented in any of the Bharhut Sculptures.
(left side middle panel)
In the Sri Lankan version the women, who were mounted on elephants, are said to have carried weapons in their hands. In the present sculpture, however, they carry only elephants’ goads, and these were perhaps the only arms of the original story, which were afterwards converted into weapons. In the second portion of the scene, the dismounted Rája stands with his right hand raised in the attitude of addressing his followers. No doubt this is intended to represent Ajätasatru putting the question to Jivaka, “Where is the Buddha?” or “Which is Buddha?” In both the Indian and the Sri Lankan versions Buddha is described as being seated near the middle pillars of the Vihara. But in the Bharhut sculpture Buddha himself is not represented at all, and accordingly only his footprints are seen on the step or footstool in front of the Bodhimanda throne.
On the right-hand pillar, which serves as part of the frame to this interesting scene, there is the following short inscription : Ajatasatru Bhagavato vandaté – “Ajatasatru worships (the footprints) of Buddha.”
(right side middle panel)
The panel above describes the Buddha’s descent from the Trayastrimsa Heaven, where his mother Maya had been reborn, and where he had ascended to deliver teachings to her. This miraculous event is believed to have occurred at Sankissa (Sankasya). The central focus of the depiction is the extraordinary ladder through which the Buddha descended, accompanied by Brahma and Indra. At the base of the ladder, symbols such as the tree and throne signify the Buddha’s presence, flanked by devotees on either side, signifying his return to the earthly realm.
(right side lower panel)
This scene depicts the Diamond Throne or Vajrasana, decorated in front with four flat pilasters. Behind the throne appears the trunk of the Bodhi tree, which rises up high above the building. The top of the throne is ornamented with flowers, but there is no figure of Buddha. The Diamond Throne was rediscovered in the 19th century at the Mahabodhi Temple in Bodh Gaya, and is remarkably similar to that depicted on this relief carving.
That concludes a short virtual tour of the Bharhut gallery, at least the sections I was able to stealthily photograph away from the ever vigilant attendants. One can only hope that one day they will follow the ASI’s lead and lift the ban on photography here.
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Categories: Bharhut Gallery, Indian Museum, Kolkata, West Bengal
Kevin Standage 
Many thanks Kevin. Very interesting post.
I’ll read again it and the others before my visit in Indian museum, in less than 3 weeks. I hope to have the possibility to stole some pictures…
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Best of luck on your travels, glad I was able to help with your transport issues ! Have fun, I wish I was out there right now…
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Hi Kevin,
Very informative blog-post. Well researched and nicely illustrated. Wholly agree with your photography-related ‘rant’. Hope the govt allows photography there. Liked the ‘cut outs’ of the medallions etc.
Good to see eye-copies and translations of a few inscriptions. Noticed a couple of minor errors though.
For inscriptions, you may like to have a look at this volume of corpus inscriptionum indicarum (this edition is updated in 1960s): https://archive.org/details/in.ernet.dli.2015.107897
Regards,
Suresh
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Hi Suresh,
Thanks for your comments, I confess almost all my translations come from Cunningham’s own documentation of the site, and I was acutely aware that relying on such an early source might not be the best option. Thank you so much for the link, which is just what I really needed. Now I have some more homework 🙂
Best wishes,
Kevin
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I totally agree with you on this. While I understand why some places impose restrictions on photography where ancient paintings are involved (I do appreciate those that still allow people to take photos, but with no flash), I really don’t see any logical reason behind the complete ban of photography. A blanket ban is just lazy, in my opinion.
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