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Studies of details, Sanchi, including figures and horses, with notes

Studies of details, Sanchi,  including figures and horses, with notes

Artist: Maisey, Frederick Charles (1825-1892)

Medium: Pencil on paper

Date: 1850

Shelfmark: WD3602

Item number: 3602

Length: 25.3

Width: 30.5

Scale: Centimetres

Genre: Drawing

Pencil drawing by Frederick Charles Maisey of studies of details from the sculpural decoration of the stupa of Sanchi, including figures and horses, with notes, dated 1847-1854.

Lieutenant Maisey spent the cold 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 top two drawings in this view are the working drawings for Plate V in that book.

The Buddhist site of Sanchi is of outstanding importance for the number and variety of its preserved Buddhist monuments and sculptures, 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 proximity to the prosperous city of Vidisha. The foundation 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. The scene to the left in this drawing depicts Buddha in Jetavana grove; the scene to the right illustrates the miracle of Sravasti. The other small drawings are studies of details for other drawings and represents figures of musicians and horses harnessed in a chariot (East gateway).

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