සාංචිය

**සාංචි ස්තූපය** ඉන්දියාවේ මධ්‍ය ප්‍රදේශ් ප්‍රාන්තයේ රායිසේන් දිස්ත්‍රික්කයේ සාංචි නගරයේ පිහිටා ඇත. එය මධ්‍ය ප්‍රදේශ් හි අගනුවර වන භෝපාල් සිට කිලෝමීටර 46ක් (සැතපුම් 29) ඊසානදිගට වන්නට පිහිටා තිබේ.

සාංචියේ මහා ස්තූපය ඉන්දියාවේ පැරණිතම පාෂාණමය ඉදිකිරීමක් වන අතර, එය ඉන්දියානු ගෘහනිර්මාණ ශිල්පයේ වැදගත් ස්මාරකයක් වේ. මෙහි මුල් නිර්මාණය ක්‍රි.පූ. 3වන සියවසේ අශෝක අධිරාජයාගේ මූලිකත්වයෙන් සිදු විය. එහි ගර්භය සරල අර්ධ ගෝලාකාර ගඩොළු ව්‍යූහයක් වූ අතර, එහි බුදුන් වහන්සේගේ ධාතූන් තැන්පත් කොට තිබිණි. It was crowned by the *chhatri*, a parasol-like structure symbolising high rank, which was intended to honour and shelter the relics. The original construction work of this stupa was overseen by Ashoka, whose wife Devi was the daughter of a merchant of nearby Vidisha. Sanchi was also her birthplace as well as the venue of her and Ashoka's wedding. In the 1st century BCE, four elaborately carved toranas (ornamental gateways) and a balustrade encircling the entire structure were added. The Sanchi Stupa built during Mauryan period was made of bricks. The composite flourished until the 11th century.

Sanchi is the center of a region with a number of stupas, all within a few miles of Sanchi, including Satdhara (9&nbsp;km to the W of Sanchi, 40 stupas, the Relics of Sariputra and Mahamoggallana, now enshrined in the new Vihara, were unearthed there), Bhojpur (also called Morel Khurd, a fortified hilltop with 60 stupas) and Andher (respectively 11&nbsp;km and 17&nbsp;km SE of Sanchi), as well as Sonari (10&nbsp;km SW of Sanchi). Further south, about 100&nbsp;km away, is Saru Maru. Bharhut is 300&nbsp;km to the northeast.

Sanchi Stupa is depicted on the reverse side of the Indian currency note of Rs 200 to signify its importance to Indian cultural heritage.

## හැඳින්වීම
වර්තමානයේ සාංචියේ දක්නට ලැබෙන ස්මාරක මෞර්ය අධිරාජ්‍ය යුගයේ (ක්‍රි.පූ. 3වන සියවස) සිට අඛණ්ඩව ගුප්ත අධිරාජ්‍ය යුගය (ක්‍රි.ව. 5වන සියවස) දක්වාත්, සහ අවසානයේ ක්‍රි.ව. 12වන සියවස අවට දී නිර්මාණය වූ බෞද්ධ ස්මාරක සමූහයකි. මෙය බොහෝවිට ඉන්දියාවේ වඩාත්ම හොඳින් සංරක්ෂණය වී ඇති බෞද්ධ ස්මාරක සමූහය විය හැක. මෙහි මධ්‍යය බුදුන් වහන්සේගේ ධාතු නිධන් කොට තැනූ අර්ධ ගෝලාකාර  ගඩොල් නිමැවුමකින් සමන්විත විය. මෙහි මුල් ස්‍තූපය වර්තමාන ස්තූපයේ විෂ්කම්භයෙන් අඩක් පමණ වූ අතර, ශුංගයන් විසින් එය විශාල කොට ඇත. වර්තමානයේ පාෂාණයෙන් ආවරණය කිට තිබුණ ද, අතීතයේ එය ගඩොල්වලින් ආවරණය කොට තිබිණි.

### අශෝක ස්තම්භය 
 of the Sanchi pillar of Ashoka, as discovered (left), and simulation of original appearance (right). It is very similar to the Lion Capital of Ashoka at Sarnath, except for the abacus, here adorned with flame palmettes and facing geese, 250 BCE. Sanchi Archaeological Museum.]]
A pillar of finely polished sandstone, one of the Pillars of Ashoka, was also erected on the side of the main Torana gateway. The bottom part of the pillar still stands. The upper parts of the pillar are at the nearby Sanchi Archaeological Museum. The capital consists in four lions, which probably supported a Wheel of Law, as also suggested by later illustrations among the Sanchi reliefs. The pillar has an Ashokan inscription (Schism Edict) and an inscription in the ornamental Sankha Lipi from the Gupta period.

The sandstone out of which the pillar is carved came from the quarries of Chunar several hundred miles away, implying that the builders were able to transport a block of stone over forty feet in length and weighing almost as many tons over such a distance. They probably used water transport, using rafts during the rainy season up until the Ganges, Jumna and Betwa rivers. Temple 40 has remains of three different periods, the earliest period dating to the Maurya age, which probably makes it contemporary to the creation of the Great Stupa. An inscription even suggests it might have been established by Bindusara, the father of Ashoka. The original 3rd century BCE temple was built on a high rectangular stone platform, 26.52&times;14&times;3.35 metres, with two flights of stairs to the east and the west. It was an apsidal hall, probably made of timber. It was burnt down sometime in the 2nd century BCE. 

Later, the platform was enlarged to 41.76&times;27.74 metres and re-used to erect a pillared hall with fifty columns (5&times;10) of which stumps remain. Some of these pillars have inscriptions of the 2nd century BCE. In the 7th or 8th century a small shrine was established in one corner of the platform, re-using some of the pillars and putting them in their present position. The original brick stupa was covered with stone during the Shunga period.

Given the rather decentralized and fragmentary nature of the Shunga state, with many cities actually issuing their own coinage, as well as the relative dislike of the Shungas for Buddhism, some authors argue that the constructions of that period in Sanchi cannot really be called "Shunga". They were not the result of royal sponsorship, in contrast with what happened during the Mauryas, and most of the dedications at Sanchi were private or collective, rather than the result of royal patronage.

The style of the Shunga period decorations at Sanchi bear a close similarity to those of Bharhut, as well as the peripheral balustrades at the Mahabodhi Temple in Bodh Gaya.
. The Sungas nearly doubled the diameter of the initial stupa, encasing it in stone, and built a balustrade and a railing around it.]]

### Great Stupa (No 1) 
During the later rule of the Shunga, the stupa was expanded with stone slabs to almost twice its original size. The dome was flattened near the top and crowned by three superimposed parasols within a square railing. With its many tiers it was a symbol of the dharma, the Wheel of the Law. The dome was set on a high circular drum meant for circumambulation, which could be accessed via a double staircase. A second stone pathway at ground level was enclosed by a stone balustrade. The railings around Stupa 1 do not have artistic reliefs. These are only slabs, with some dedicatory inscriptions. These elements are dated to circa 150 BCE, Some reliefs are visible on the stairway balustrade, but they are probably slightly later than those at Stupa No2, Some authors consider that these reliefs, rather crude and without obvious Buddhist connotations, are the oldest reliefs of all Sanchi, slightly older even than the reliefs of Sanchi Stupa No.2. slightly before the reliefs of Bharhut for the earliest, with some reworks down to the 1st century CE. For the first time, clearly Buddhist themes are represented, particularly the four events in the life of the Buddha that are: the Nativity, the Enlightenment, the First Sermon and the Decease.

The decorations of Stupa No. 2 have been called "the oldest extensive stupa decoration in existence", and this Stupa is considered as the birthplace of Jataka illustrations. The reliefs at Stupa No.2 bear mason marks in Kharoshthi, as opposed to the local Brahmi script. Foreigners from Gandhara are otherwise known to have visited the region around the same time: in 115 BCE, the embassy of Heliodorus from Indo-Greek king Antialkidas to the court of the Sungas king Bhagabhadra in nearby Vidisha is recorded, in which Heliodorus established the Heliodorus pillar in a dedication to Vāsudeva. This would indicate that relations had improved at that time, and that people traveled between the two realms.

### Stupa No. 3 
Stupa No. 3 was built during the time of the Shungas, who also built the railing around it as well as the staircase. The Relics of Sariputra and Mahamoggallana, the disciples of the Buddha are said to have been placed in Stupa No. 3, and relics boxes were excavated tending to confirm this.

The reliefs on the railings are said to be slightly later than those of Stupa No. 2. That it belongs to about the period of the Sunga, is clear alike from its design and from the character of the surface dressing.

The height of the pillar, including the capital, is 15&nbsp;ft, its diameter at the base 1&nbsp;ft. 4 in. Up to a height of 4&nbsp;ft. 6 in. the shaft is octagonal; above that, sixteen-sided. In the octagonal portion all the facets are flat, but in the upper section the alternate facets are fluted, the eight other sides being produced by a concave chamfering of the arrises of the octagon. This method of finishing off the arris at the point of transition between the two sections are features characteristic of the second and first centuries BCE. The west side of the shaft is split off, but the tenon at the top, to which the capital was mortised, is still preserved. The capital is of the usual bell-shaped Persepolitan type, with lotus leaves falling over the shoulder of the bell. Above this is a circular cable necking, then a second circular necking relieved by a bead and lozenge pattern, and, finally, a deep square abacus adorned with a railing in relief. The crowning feature, probably a lion, has disappeared. This gave the Satavahanas access to the Buddhist site of Sanchi, in which they are credited with the building of the decorated gateways around the original Mauryan Empire and Sunga stupas. From the 1st century BCE, the highly decorated gateways were built. The balustrade and the gateways were also colored.

There are some uncertainties about the date and the identity of the Satakarni in question, as a king Satakarni is mentioned in the Hathigumpha inscription which is sometimes dated to the 2nd century BCE. Also, several Satavahana kings used the name "Satakarni", which complicates the matter. Usual dates given for the gateways range from 50 BCE to the 1st century CE, and the builder of the earliest gateways is generally considered to be Satakarni II, who ruled in 50-25 BCE. 

 have done the carving").]]
The inscription reads: *"Vedisakehi damtakārehi rupakammam katam"* meaning "The ivory-workers from Vidisha have done the carving". Some of the Begram ivories or the "Pompeii Lakshmi" give an indication of the kind of ivory works that could have influenced the carvings at Sanchi.

The reliefs show scenes from the life of the Buddha integrated with everyday events that would be familiar to the onlookers and so make it easier for them to understand the Buddhist creed as relevant to their lives. At Sanchi and most other stupas the local population donated money for the embellishment of the stupa to attain spiritual merit. There was no direct royal patronage. Devotees, both men and women, who donated money towards a sculpture would often choose their favourite scene from the life of the Buddha and then have their names inscribed on it. This accounts for the random repetition of particular episodes on the stupa (Dehejia 1992).

On these stone carvings the Buddha was never depicted as a human figure, due to aniconism in Buddhism. Instead the artists chose to represent him by certain attributes, such as the horse on which he left his father's home, his footprints, or a canopy under the bodhi tree at the point of his enlightenment. The human body was thought to be too confining for the Buddha.

### Architecture: evolution of the load-bearing pillar capital 
Similarities have been found in the designs of the capitals of various areas of northern India from the time of Ashoka to the time of the Satavahanas at Sanchi: particularly between the Pataliputra capital at the Mauryan Empire capital of Pataliputra (3rd century BCE), the pillar capitals at the Sunga Empire Buddhist complex of Bharhut (2nd century BCE), and the pillar capitals of the Satavahanas at Sanchi (1st centuries BCE/CE). Greek influence, as well as Persian Achaemenid influence have been suggested.

The Sarnath capital is a pillar capital discovered in the archaeological excavations at the ancient Buddhist site of Sarnath. The pillar displays Ionic volutes and palmettes. It has been variously dated from the 3rd century BCE during the Mauryan Empire period, with a central anta capital with many rosettes, beads-and-reels, as well as a central palmette design. Importantly, recumbent animals (lions, symbols of Buddhism) were added, in the style of the Pillars of Ashoka.

The Sanchi pillar capital is keeping the general design, seen at Bharhut a century earlier, of recumbent lions grouped around a central square-section post, with the central design of a flame palmette, which started with the Pataliputra capital. However the design of the central post is now simpler, with the flame palmette taking all the available room. Elephants were later used to adorn the pillar capitals (still with the central palmette design), and lastly, Yakshas (here the palmette design disappears).

### Main themes of the reliefs 
.]]

#### ජාතක කථා 
විවිධ ජාතක කථා නිරූපණය කොට ඇත. මෙමඟින් බුදුන් වහන්සේ බෝධිසත්ත්වයකුව සිට පෙර ආත්ම භවයන් නිරූපණය වේ. මෙහි හමුවන ජාතක කථා අතර සාම සාතකය, වෙස්සන්තර ජාතකය සහ මහාකපි ජාතකය කිහිපයකි.

#### Miracles 
Numerous miracles made by the Buddha are recorded. Among them:
* The miracle of the Buddha walking on water.
* The miracle of fire and wood

#### Temptation of the Buddha 
Numerous scene refer to the temptation of the Buddha, when he was confronted with the seductive daughters of Mara and with his army of demons. Having resisted the temptations of Mara, the Buddha finds enlightenment.
Other similar scenes on the same subject:
* Temptation of the Buddha with Mara's army fleeing.
* Enlightenment of the Buddha with Mara's army fleeing.
 and his daughters (center), and the demons of Mara fleeing (right).]]

#### War over the Buddha's Relics 
The southern gate of Stupa No1, thought to be oldest and main entrance to the stupa, has several depictions of the story of the Buddha's relics, starting with the War over the Relics.

After the death of the Buddha, the Mallas of Kushinagar wanted to keep his ashes, but the other kingdoms also wanting their part went to war and besieged the city of Kushinagar. Finally, an agreement was reached, and the Buddha's cremation relics were divided among 8 royal families and his disciples. This famous view shows warfare techniques at the time of the Satavahanas, as well as a view of the city of Kushinagar of the Mallas, which has been relied on for the understanding of ancient Indian cities.

Other narrative panels related to the War over the Buddha's Relics at Sanchi are:
* "*The King of the Mallas bringing the relics of the Buddha to Kushinagara*", right after the death of the Buddha, before the War itself. In this relief, the king is seen seated on an elephant, holding the relics on his head.
* "*The siege of Kushinagara by the seven kings*", another relief on the same subject.

, South Gate, Stupa no.1, Sanchi.]]

#### Removal of the relics by Ashoka 
According to Buddhist legend, a few centuries later, the relics would be removed from the eight guardian kingdoms by King Ashoka, and enshrined into 84,000 stupas. Ashoka obtained the ashes from seven of the guardian kingdoms, but failed to take the ashes from the Nagas at Ramagrama who were too powerful, and were able to keep them. This scene is depicted in one of the transversal portions of the southern gateway of Stupa No1 at Sanchi. Ashoka is shown on the right in his charriot and his army, the stupa with the relics is in the center, and the Naga kings with their serpent hoods at the extreme left under the trees.
 visits Ramagrama, to take relics of the Buddha from the Nagas, but he failed, the Nagas being too powerful. Southern gateway, Stupa 1, Southern Gateway, Sanchi.]]

#### Building of the Bodh Gaya temple by Ashoka 
 inscribed "Raya Asoko".

As a consequence, Ashoka endeavoured to take care of the Bodhi Tree, and built a temple around it. This temple became the center of Bodh Gaya. A sculpture at Sanchi, southern gateway of Stupa No1, shows Ashoka in grief being supported by his two Queens. Then the relief above shows the Bodhi Tree prospering inside its new temple. Numerous other sculptures at Sanchi show scenes of devotion towards the Bodhi Tree, and the Bodhi Tree inside its temple at Bodh Gaya.]]
Some of the friezes of Sanchi also show devotees in Greek attire, wearing kilted tunics and some of them a Greek *piloi* hat. The men are depicted with short curly hair, often held together with a headband of the type commonly seen on Greek coins. The clothing too is Greek, complete with tunics, capes and sandals, typical of the Greek travelling costume. The musical instruments are also quite characteristic, such as the "thoroughly Greek" double flute called aulos.

The actual participation of Yavanas/Yonas (Greek donors) to the construction of Sanchi is known from three inscriptions made by self-declared Yavana donors:
* The clearest of these reads "*Setapathiyasa Yonasa danam*" ("Gift of the Yona of Setapatha"), Setapatha being an uncertain city, possibly a location near Nasik, a place where other dedications by Yavanas are known, in cave No.17 of the Nasik Caves complex, and on the pillars of the Karla Caves not far away.
* A second similar inscription on a pillar reads: *"[Sv]etapathasa (Yona?)sa danam"*, with probably the same meaning, ("Gift of the Yona of Setapatha").
* The third inscription, on two adjacent pavement slabs reads *"Cuda yo[vana]kasa bo silayo"* ("Two slabs of Cuda, the Yonaka"). Another one can be seen in the region of Odisha, in the Udayagiri and Khandagiri Caves.

#### Aniconism 
*: King Suddhodana praying as his son the Buddha rises in the air, praised by celestial beings (but only his path, the horizontal slab in the air, is visible).]]

In all these scenes, the Buddha is never represented, being absent altogether even from scenes of his life where he is playing a central role: in the *Miracle of the Buddha walking on the river Nairanjana* he is just represented by his path on the water; in the *Procession of king Suddhodana from Kapilavastu*, he walks in the air at the end of the procession, but his presence is only suggested by people turning their heads upward toward the symbol of his path. Similar scenes would later appear in the Greco-Buddhist art of Gandhara, but this time with representations of the Buddha. John Marshall detailed every panel in his seminal work "A Guide to Sanchi".

This anoconism is relation to the image of the Buddha could be in conformity with an ancient Buddhist prohibition against showing the Buddha himself in human form, known from the *Sarvastivada vinaya* (rules of the early Buddhist school of the Sarvastivada): *""Since it is not permitted to make an image of the Buddha's body, I pray that the Buddha will grant that I can make an image of the attendant Bodhisattva. Is that acceptable?" The Buddha answered: "You may make an image of the Bodhisattava""*.

### The Gateways or Toranas 
The gateways depict various scenes of the life of the Buddha, as well as events after his death, in particular the War of the Relics and the efforts of emperor Ashoka to spread the Buddhist faith.

#### Stupa 1 Southern Gateway 
The Southern Gateway of Stupa No1 is thought to be oldest and main entrance to the stupa. The narrative friezes of this gateway put great emphasis on the relics of the Buddha, and on the role of Ashoka in spreading the Buddhist faith. This gateway is one of the two which were reconstructed by Major Cole in 1882–83. The whole of the right jamb and half of the left are new and blank, as well as the west end of the lowest architrave, the east end of the middle architrave, and the six vertical uprights between the architraves. ඉන් අනතුරුව නිසැකැවම එය පළමුවන රුද්‍රදාමන් (ක්‍රි.ව. 130-150) පාලනයට නතුවූ බව ඔහුගේ ජුනාගාධ් අභිලේඛන මඟින් පෙනී යයි. Therefore, it seems that the Kushan Empire did not extend to the Sanchi area, and the few Kushan works of art found in Sanchi appear to have come from Mathura.

### Guptas
The next rulers of the area were the Guptas. 

.]]
 tetrastyle prostyle temple of Classical appearance. 5th century CE]]

Temple 17 is an early stand-alone temple (following the great cave temples of Indian rock-cut architecture), as it dates to the early Gupta period (probably first quarter of 5th century CE). It may have been built for Buddhist use (which is not certain), but the type of which it represents a very early version was to become very significant in Hindu temple architecture.  It consists of a flat roofed square sanctum with a portico and four pillars. The interior and three sides of the exterior are plain and undecorated but the front and the pillars are elegantly carved, giving the temple an almost ‘classical’ appearance,

Next to Temple 17 stands Temple 18, the framework of a mostly 7th-century apsidal chaitya-hall temple, again perhaps Buddhist or Hindu, that was rebuilt over an earlier hall.  This was probably covered by a wood and thatch roof.

Near the Northwern Gateway also used to stand a Vajrapani pillar. Another pillar of Padmapani used to stand, and the statue is now in the Victoria and Albert Museum, London.

### Lion pillar No 26 
 capitals at Sanchi, with lions, central flame palmette and Wheel of Law (axis, stubs of the spokes and part of the circumference only), initially located at the Northern Gateway of the Great Stupa. Sanchi Archaeological Museum.]]
Pillar No26 stands a little to the north of the Sunga pillar No25. It belongs to the early Gupta age. Apart from its design, it is distinguished
from the other pillars on the site by the unusual quality and colour of its stone, which is harder than that ordinarily quarried in the Udayagiri hill, and of a pale
buff hue splashed and streaked with amethyst. At Sanchi this particular variety of stone was used only in monuments of the Gupta period. This pillar was approximately 22&nbsp;ft. 6 in. in height and was composed of two pieces only, one comprising the circular shaft and square base, the other the bell-capital, necking, lions and crowning chakra. On the northwest side of the lowest section, which is still in situ, is a short mutilated inscription in Gupta characters recording the gift of the pillar by a *viharasvamin'' (master of a monastery), the son of Gotaisimhabala.

There has been much confusion about the dating of this pillars, since it was often presented from the beginning as a pillar of Ashoka. Marshall himself describes the pillar as early Gupta Empire in convincing terms, either from the points of view of material, technique or artistry. The Sanchi Archaeological Museum gives it a date of 600 CE, which would even put it beyond the Gupta period proper, at the time of the Later Gupta dynasty.

### ස්තම්භය 35 
 සහිත සීනු හැඩැති ස්තම්භ ශීර්ෂය අනෙක් අතට පෙරැළී ඇත.]]
 ප්‍රතිමාව, ක්‍රි.ව. 5වන සියවස පමණ. සාංචි පුරාවිද්‍යා කෞතුකාගාරය.]]
The massive pillar near the North Gateway, numbered 35 in the plan, was erected during the Gupta period. Every feature, whether structural, stylistic or technical, is typical of
Gupta workmanship. Most of the shaft has been destroyed, but the stump still remains in situ, and the foundations are intact. The form, too, of the platform around its base is sufficiently clear, and the capital and statue which it is said to have supported, are both relatively well-preserved. What remains of the shaft is 9&nbsp;ft. in length, 3&nbsp;ft. 10 in. of which, measured from the top, are circular and smooth, and the remainder, constituting the base, square and rough-dressed. In the Gupta age, it was the common practice to keep the
bases of such monolithic columns square, whereas those of the Maurya age were invariably circular. The columns of the Maurya period are distinguished by its exquisite dressing and highly polished surface; but in this case the dressing of the stone is characterized by no such lustrous finish.

The Persepolitan capital and square abacus ornamented with a balustrade in relief are cut entire from a single block of stone. So, too, is the statue
which was found lying alongside the capital and which is believed to have belonged to the same pillar. This statue represents a man clad in a dhoti and adorned with bracelets, earrings, bejewelled necklace and headdress. The hair falls in curls over the shoulders and back, and beneath it at the back fall the ends of two ribbons. The dedication of the Vajrapani pillar is also mentioned in a 5th-century inscription.

An interesting feature of the image is the halo which is pierced with twelve small holes evenly disposed around its edge. Manifestly the halo, is too small in proportion to the size of the statue, and these holes were no doubt intended for the attachment of the outer rays, which were probably fashioned out of copper gilt, the rest of the statue itself being possibly painted or gilded. This statue stood on the summit of the pillar, and is a work of the Gupta period.

Following the destruction of the Guptas by the Alchon Huns, and with the decline of Buddhism in India, Buddhist artistic creation at Sanchi slowed down.

 hall with Maurya foundations, rebuilt at the time of Harsha (7th century CE).]]
Temple 45 was the last Buddhist temple built during the mid to late 9th century. Another point to be noted is that at that time the monuments were enclosed within a wall.

With the decline of Buddhism in India, the monuments of Sanchi went out of use and fell into a state of disrepair. In 1818, General Taylor of the Bengal Cavalry recorded a visit to Sanchi. At that time the monuments were left in a relatively good condition. Although the jungle had overgrown the complex, several of the Gateways were still standing, and Sanchi, being situated on a hill, had escaped the onslaught of the Muslim conquerors who had destroyed the nearby city of Vidisha (Bhilsa) only 5 miles away.

## සාංචි සහ ගන්ධාරයේ ග්‍රීක-බෞද්ධ කලාව 
Although the initial craftsmen for stone reliefs in Sanchi seem to have come from Gandhara, with the first reliefs being carved at Sanchi Stupa No.2 circa 115 BCE, It is also, with Bharhut, the oldest.

As didactic Buddhist reliefs were adopted by Gandhara, the content evolved somewhat together with the emergence of Mahayana Buddhism, a more theistic understanding of Buddhism. First, although many of the artistic themes remained the same (such as Maya's dream, The Great Departure, Mara's attacks...), many of the stories of the previous lives of the Buddha were replaced by the even more numerous stories about the Bodhisattvas of the Mahayana pantheon. the art of Gandhara added illustrations of the Buddha as a man wearing Greek-style clothing to play a central role in its didactic reliefs.

The presence of Greeks at or near Sanchi at the time is known (Indo-Greek ambassador Heliodorus at Vidisha circa 100 BCE, the Greek-like foreigners illustrated at Sanchi worshiping the Great Stupa, or the Greek "Yavana" devotees who had dedicatory inscriptions made at Sanchi Amateur archaeologists and treasure hunters ravaged the site until 1881, when proper restoration work was initiated. Between 1912 and 1919 the structures were restored to their present condition under the supervision of Sir John Marshall.

19th Century Europeans were very much interested in the Stupa which was originally built by Ashoka. French sought the permission of Shahjehan Begum to take away the eastern gateway which was quite well preserved, to a museum in France. English, who had established themselves in India, majorly as a political force, were interested too in carrying it to England for a museum. They were satisfied with plaster-cast copies which were carefully prepared and the original remained at the site, part of Bhopal state. The rule of Bhopal, Shahjehan Begum and her successor Sultan Jehan Begum, provided money for the preservation of the ancient site. John Marshall, Director-General of the Archaeological Survey of India from 1902 to 1928, acknowledged her contribution by dedicating his important volumes on Sanchi to Sultan Jehan. She had funded the museum that was built there. As one of the earliest and most important Buddhist architectural and cultural pieces, it has drastically transformed the understanding of early India with respect to Buddhism. It is now a marvellous example of the carefully preserved archaeological site by the Archeological Survey of India. The place of Sanchi Stupa in Indian history and culture can be gauged from the fact that Reserve Bank of India introduced new 200 Indian Rupees notes with Sanchi Stupa in 2017. 

Since Sanchi remained mostly intact however, only few artefacts of Sanchi can be found in Western Museum: for example, the Gupta statue of Padmapani is at the Victoria and Albert Museum in London, and one of the Yashinis can be seen at the British Museum.

Today, around fifty monuments remain on the hill of Sanchi, including three main stupas and several temples. The monuments have been listed among other famous monuments in the UNESCO World Heritage Sites since 1989.

The reliefs of Sanchi, especially those depicting Indian cities, have been important in trying to imagine what ancient Indian cities look like. Many modern simulations are based on the urban illustrations of Sanchi.

File:Great Stupa Sanchi 1875.jpg|Great Stupa, Eastern Gateway, in 1875.
File:West Gate Sanchi 1882.jpg|West Gateway in 1882.
File:South Gateway Sanchi 1882.jpg|South Gateway in 1882.
File:Northern Gateway Sanchi 1861.jpg|Great Stupa, Northern Gateway in 1861.
File:Temple 18 at Sanchi in 1861.jpg|Temple 18 in 1861.
File:A vision of ancient Indian court life, using motifs from Sanchi (wood engraving, 1878).jpg|A vision of ancient Indian court life, using motifs from Sanchi (wood engraving, 1878).

## චේතියගිරි විහාරය සහ ධාතූන් වහන්සේලා 
මේසී සහ කනිංහැම් විසින් සොයාගත් බෞද්ධ භික්ෂූන් වහන්සේලාගේ අස්ථි අවශේෂ සහ ධාතු කරඬු බෙදා සිහිවටන ලෙස එංගලන්තය වෙත රැගෙන යන ලදී. මේසීගේ පවුල විසින් මෙම වස්තූන් වික්ටෝරියා සහ ඇල්බට් කෞතුකාගාරය වෙත අලෙවි කළ අතර, ඒවා එහි දිගු කාලයක් පැවතිණි. මහාබෝධි සංගමයේ මූලිකත්වයෙන් එංගලන්තය, ශ්‍රී ලංකාව සහ ඉන්දියාවේ විසූ බෞද්ධයෝ ඒවා නැවත භාරදෙන මෙන් ඉල්ලා සිටියහ. ඒ අනුව සාරිපුත්ත සග මොග්ගල්ලාන රහතුන් වහන්සේලාගේ ධාතූන් කිහිපයක් 1947දී ශ්‍රී ලංකාව වෙත ලබාදෙන ලද අතර, ඒවා මහජන ප්‍රදර්ශනයට විවෘත විය. ශ්‍රී ලංකාව තුළ අති විශාල ජනකායකගේ වන්දනාවට එම ධාතූන් පාත්‍ර විය. කෙසේනමුත් පසුව ඒවා ඉන්දියාව වෙත රැගෙන ගිය අතර, 1952දී මෙම ධාතූන් තැන්පත් කිරීමට "චේතියගිරි විහාරය" නමින් නව විහාරයක් තනවන ලදී. ජාතිකවාදී දෘෂ්ටිකෝණයෙන් බැලීමේ දී, මෙමඟින් ඉන්දියාව තුළ බෞද්ධ සම්ප්‍රදාය නිල වශයෙන් නැවත ස්ථාපිත කිරීම සනිටුහන් කරයි. ඇතැම් ධාතූන් බුරුමය විසින් ලබාගන්නා ලදී.

## අභිලේඛන 
 අක්ෂර සහිත අභිලේඛන පනේලයක්; බ්‍රිතාන්‍ය කෞතුකාගාරය]]
 සෙල්ලිපියේ දකුණෙහි වූ අවසන් අක්ෂර ද්විත්වය මඟින් "දානං" (දානය) යන වචනය හැඟවේ. මෙම උපකල්පනය භාවිත කරමින් 1837දී ජේම්ස් ප්‍රින්සෙප් විසින් බ්‍රාහ්මී අක්ෂර කියැවීමේ ක්‍රමය අනාවරණය කරගන්නා ලදී.]]
සාංචියේ, විශේෂයෙන්ම ස්තූප අංක 1, හි බ්‍රාහ්මී අභිලේඛන විශාල සංඛ්‍යාවක් හමුවේ. ඉන් බොහෝමයක් ප්‍රදානයන් පිළිබඳ සඳහන් කුඩා සෙල්ලිපි වුවද, එහි විශාල ඓතිහාසික වැදගත්කමක් පවතියි. 1837දී ජේම්ස් ප්‍රින්සෙප් විසින් එහි බොහෝ අභිලේඛන බ්‍රාහ්මී අක්ෂර ද්විත්වයකින් අවසන් වන බව හඳුනා ගත්තේ ය. එම අක්ෂර ද්විත්වය "දානං" (දානය) යැයි ප්‍රින්සෙප් සලකා ඇත. මෙය බ්‍රාහ්මී අක්ෂර කියවා තේරුම් ගැනීමට මඟපෑදී ය.

දානයන් පිළිබඳ වාර්තා විශ්ලේෂණය කිරීමේ දී ඉන් බොහෝ දායකයන් ප්‍රදේශයේම වැසියන් (නගර පිළිබඳ සඳහන් නොමැති) බැව් පෙනේ. ඉන් සමහරෙක් උජ්ජයින්, වීදිශා, කුරාර, නදීනගර්, මහිසති, කුර්ඝාර, භෝගවදන් සහ කංදගීගාම් වැනි ප්‍රදේශවලින් වෙති. සාංචියෙන් යවන (ඉන්දු-ග්‍රීක) දායකයන් පිළිබඳ අභිලේඛන තුනක් හමුවී ඇති අතර, ඉන් වඩාත්ම පැහැදිළි අභිලේඛනයෙහි "*සෙටපථියස යෝනස දානං*" ("සෙටපථ හි යෝනයන්ගේ දානය") ලෙස සඳහන් වේ. සෙටපථ නගරය මෙතෙක් හඳුනාගෙන නැත.

## මේවාත් බලන්න 
* භාරුත්
* සාරිපුත්‍ර සහ මහාමොග්ගල්ලාන රහතුන්ගේ ධාතූන්
* බෙග්‍රාම් ඇත්දළ කැටයම්
* දීක්ෂභූමි

## ආශ්‍රේයයන් 
## ග්‍රන්ථාවලිය 
* Dehejia, Vidya. (1992). Collective and Popular Bases of Early Buddhist Patronage: Sacred Monuments, 100 BC-AD 250. In B. Stoler Miller (ed.) *The Powers of Art*. Oxford University Press: Oxford. .
* Dehejia, Vidya. (1997). *Indian Art*. Phaidon: London. 
*Harle, J.C., *The Art and Architecture of the Indian Subcontinent*, 2nd edn. 1994, Yale University Press Pelican History of Art,  
*Marshall, Sir John, *A Guide to Sanchi*, 1918, Indian Government, Calcutta 
*Michell, George (1988), *The Hindu Temple: An Introduction to its Meaning and Forms*, 1977, University of Chicago Press, 
*Michell, George (1990), *The Penguin Guide to the Monuments of India, Volume 1: Buddhist, Jain, Hindu*, 1990, Penguin Books, 
* Mitra, Debala. (1971). *Buddhist Monuments*. Sahitya Samsad: Calcutta. 
*Rowland, Benjamin, *The Art and Architecture of India: Buddhist, Hindu, Jain*, 1967 (3rd edn.), Pelican History of Art, Penguin,   
*Life in Sanchi sculpture by A. L Srivastava( Book )

## බාහිර සබැඳි 
* 
* Source Documents and Texts in South Asian Studies 
* Sanchi.org
* Sanchi Stupa — The World Heritage Site
* (Madhya Pradesh)", Jacques-Edouard Berger Foundation, World Art Treasures 
* Google Street View tour of Sanchi

ප්‍රවර්ගය:ඉන්දියානු ගෘහ නිර්මාණාත්මක ඉතිහාසය

ප්‍රවර්ගය:ඉන්දියාවේ බෞද්ධ වන්දනා ස්ථාන

ප්‍රවර්ගය:ඉන්දියාවේ බුද්ධාගම
ප්‍රවර්ගය:දාගැබ්