South gate, Sanchi. Middle section of bottom architrave on back of South gate, working drawing of left hand section
Artist: Maisey, Frederick Charles (1825-1892)
Medium: Pencil on paper
Pencil drawing by Frederick Charles Maisey, dated 1847-1854, of the left hand section of the scene of the War over the Buddha's relic at the Stupa of Sanchi. This scene is carved on the middle section of the bottom architrave on the back of the South gateway. This is a working drawing for part of the final plate published in Maisey's 'Sanchi and its Remains' of 1892. Lieutenant Maisey spent the cool seasons of 1849-50 and 1850-51 at Sanchi to prepare an illustrated Govenment report of the antiquities of the site. He was joined by Major Alexander Cunningham in 1851. The result of his work was published in 'Sanchi and its remains' of 1892, illustrated by reproductions of his own drawings. The Buddhist site of Sanchi is of outstanding importance for the number and variety of its monuments and sculptures as it has preserved numerous Buddhist structures, mostly stupas, built between the third century BC and the sixth to seventh centuries AD. Stupas are Buddhist monuments consisting of a domed-shaped mound often containing sacred relics. Situated in a peaceful and meditative site crowning a hilltop, Sanchi was ideally located in close proximity to the prosperous city of Vidisha. The foundations of this monastic centre were laid by the emperor Ashoka (reigned circa 269-232 BC.) who built the original stupa (Stupa1) and erected a monolithic pillar in the third century BC. The stupa was later enlarged and encased in stone around the1st century BC under the Shungas and four magnificently carved gateways called toranas were added at the cardinal points. These consist of square posts supporting three curved architraves with scrolled ends. They are completely covered with relief sculptures depicting Jatakas (stories of the Buddha's earlier incarnations), scenes from the life of the historical Buddha and Buddhist symbols. In the earliest stages Buddhist art was aniconic and therefore Buddha was never represented in human form. His presence was alluded through emblems such as a riderless horse, an empty throne beneath a bodhi tree, a wheel or a trident.