BHARHUTQUEEN MAYA’S DREAMDr.Guneeta ChadhaAssociate Professor, Dept of Fine-Arts,P.G.G.C.G-11

INTRODUCTION In 185 B.C the last Mauryan emperor was

killed by one of his Brahman generals. He then became the ruler and gave his name

of Shunga to the new dynasty. This particular piece of relief sculpture

belongs to the Shunga period. The Shunga dynasty dominated for 112 years

from here on and Buddhism was their major reliogion.

STUPA The finest monuments of the Shunga period

are, in, fact Buddhist creations. During this period the Stupa emerged as the

central focus of the Buddhist worship. Stupa a symbolic representation was made in

simple dome shape, more so in the shape of a hemispherical mound.

It was symbolic as the symbol for release of material bindings and sufferings and the attainment of nirvana.

The stupa is also symbolic and represents Buddha’s parinirvana, his passage from the world of pain and illusion to the world of bliss and true reality.

BHARHUT STUPA The stupa was built by Ashoka, but it was further

extended during the Shunga period. It was re-discovered in 1873 A.D. This mound was 212 feet in diameter from its base

and 88 feet high. This was made in red sandstone.

Bharhut stupa is one of the important monuments of the Shunga Dynasty.

Buddha was never depicted as in human form, but represented only by symbols.

The pillars and the lintels of the gateway of the stupa were decorated with beautiful narratives from the lives and various births of Buddha.

Decorated in Bas-relief, these railings had relief sculptures based on various Jataka Kathas.

THE DREAM OF QUEEN MAYA

QUEEN MAYA’S DREAM It is a relief done on the railing of the Bharhut

stupa. It is a medallion carving. The period is Shunga dynasty Time period is 2nd C. B.C. It is made of red sandstone. Diameter is 54 cms (21.5 inches) Its now in the Indian Museum, Calcutta.

The dream of queen Maya is an excellent example of the narrative scenes in relief depicted at Bharhut.

This remarkable composition is done on a large round medallion on the railing.

According to the Buddhist legend, Buddha took the form of a white elephant in one of his lives.

This medallion depicts the queen maya has a dream, and in that dream Buddha took the form of a white elephant and entered the womb of the royal queen.

The divine elephant descends from the heaven. The queen sleeps on the bed with her right hand

under her head. The left hand rests comfortably on her leg.

She is accompanied by her attendants and her ladies-in-waiting in her resting chamber.

The two attendants seated on the cushion seem half asleep while the third one has her hands folded in adoration.

The divine elephant approaches her from above.

The lamp flickers at the foot of her bed. The medallion is only 21.5 inches, yet the sculptor

has very beautifully and with ease accommodated all the details in the circular space.

Each figure is made in distinct and poised form. The detail in the jewellery and clothing of the queen are remarkable.

Her sleeping figure is the centre of interest in the whole composition.

Floral depiction is noticed above with feet of the nymphs on the upper two corners while the creeper is laden with fruits.

VIEW OF THE RAILING

STYLISTIC FEATURES: The Bharhut relief appears flat, without any

suggestion of depth at the background. They look like plasticine figures on a flat board. The Bharhut railings had remarkable relief

sculptures which had a freshness of vision. They manifested and in a war celebrated life with

interest and delight.

CONCLUSION Bharhut is one of India’s earliest and most

significant monuments. It is important as a ‘library’ of Buddhist

mythology. It also has prime value because it preserves

the early iconographic motifs. These motifs are of immense value and

importance as they later matured in the art forms in the centuries to come, both in the Buddhist and the Brahamanical Art.