SRI MAHA BODYA
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Sri Maha Bodhiya |
The other fig trees that surround the sacred tree protect it from storms and animals such as monkeys, bats, etc.
RUWANWELISAYA
The Ruwanwelisaya is a
stupa in Sri Lanka, considered a marvel for its architectural qualities and sacred to many Buddhists all over the world. It was built by Gamini Abhaya c. 140 B.C., who became lord of all Sri Lanka after a war in which the Chola King Elara, was defeated. It is also known as Mahathupa, Swarnamali Chaitya, Suvarnamali Mahaceti (in Pali) and Rathnamali Dagaba.
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| Ruwanveliseya |
This is one of the Solosmasthana (the 16 places of veneration) and the Atamasthana (the 8 places of veneration in the ancient sacred city of Anuradhapura). The stupa is one of the world's tallest monuments, standing at 338 feet (103 m) and with a circumference of 950 ft (290 m).
The Kaunghmudaw Pagoda in Sagaing, Myanmar is modeled after this stupa.
After The Buddha's Parinibbāna, His relics were enshrined and worshipped in stupas by Princes of eight countries two quarts in each country. The two quarts of relics that were enshrined in the village Rāmagāma were, according to The Buddha's determination, destined to be enshrined in the Great Stūpa Ruvanveli.King Dutugemunu who, on the full-moon day of the month of Āsāëha (June–July), under the constellation of Uttarāsāëha, would officiate in the ceremony for the enshrining of the relics in the Great Stūpa, worshipped the Sangha (Order of monks) on the day before the full-moon day, reminded them that tomorrow is the appointed day for the enshrining of the relics and requested them to give him the relics. The Saïgha ordered then the novice Arahant Soõuttara, who was gifted with the six supernormal faculties, to bring the relics, which Arahant Soõuttara manages to bring and offer to the Sangha.
Then king Dutugemunu received from the Sangha the Buddha's relics upon his head in a casket and departed from the golden pavilion in the midst of manifold offerings and honours made by gods and Brahmas. He circumambulated the relic-chamber three times, entered to it from the east, and when laid the relic-casket on a silver couch one koñi worth, that was arranged in the north side. An image of the Buddha was then, according to the Buddha's determination, created in the lion's reclining posture (sīhaseyya), and all the relics were enshrined within that image. When the enshrining of the relics in the Great Stūpa Ruvanveli was completed, the two novices Uttara and Sumana closed the relic-chamber with the stone-blocks that were previously hidden to be used as a lid.
In the Thupavamsa numerous types of beings attended the enshrinement of the relics into the Mahathupa; including the Naga king Mahakala who until recently guarded them. The relics were to be placed atop a golden throne crafted by Visvakarman the divine artificer; the throne brought by Indra. Brahma offers his invisible umbrella of sovereignty, with the king Dutthagamani offering his own. The arhat Indagutta creates a metal canopy over the universe, so that Mara will not interfere, as monks chanted the sutra pitaka. Dutthagamani ceremoniously enters with the urn atop his head; but as he is about to place the urn on the golden throne, the relics rise into the air and form Buddha, with each of the 32 major signs and 8 lesser signs of a great man. In this form he performs the twin miracle of fire and water, fulfilling the fifth of his death bed resolutions. One hundred and twenty million gods and humans gain arhatship from this experience. The relics return to the urn and they are laid to rest and the chamber sealed with forty meter stone slabs.
When the unique Great Stūpa Ruvanveli was completed as far as the square turret 10, and while ninety-six koñis of Arahants were chanting protective suttas, the great king Dutugemunu who reigned in Srī Lanka for twenty-four years, had his record of meritorious deeds read and, while looking at the Great Stūpa, he died and was born as a divine king in the Tusita-heaven. His brother, the king Saddhatissa, completed the remaining work at the Great Stūpa and later was also born in the Tusita-heaven.
THUPARAMAYA
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Thuparama |
Thuparamaya is a dagoba in Anuradhapura, Sri Lanka. It is a Buddhist sacred place of veneration.
Mahinda Thera, an envoy sent by King Ashoka himself introduced Theravada Buddhism and also chetiya worship to Sri Lanka. At his request King Devanampiyatissa built Thuparamaya in which was enshrined the collarbone of the Buddha. It is considered to be the first dagaba built in Sri Lanka following the introduction of Buddhism. This is considered the earliest monument, the construction of which was chronicled Sri Lanka. The name Thuparamaya comes from "stupa" and "aramaya" which is a residential complex for monks.
Thuparamaya dagoba has been built in the shape of a bell. This dagoba was destroyed from time to time. During the reign of King Agbo II it was completely destroyed and the King restored it. What is seen presently is the construction of the dagoba, done in 1862 AD. As of today, after several renovations, in the course of the centuries, the monument has a diameter of 59 ft (18 m), at the base. The dome is 11 feet 4 inches (3.45 m) in height from the ground, 164½ ft (50.1 m) in diameter. The compound is paved with granite and there are 2 rows of stone pillars round the dagaba. During the early period vatadage was built round the dagoba.
ABAYAGIRIYA
Abhayagiri Vihāra was a major monastery site of Theravada and Mahayana Buddhism
that was situated in Anuradhapura, Sri Lanka. It is one of the most extensive ruins in the world and one of the most sacred Buddhist pilgrimage cities in the nation. Historically it was a great monastic centre as well as a royal capital, with magnificent monasteries rising to many stories, roofed with gilt bronze or tiles of burnt clay glazed in brilliant colors. To the north of the city, encircled by great walls and containing elaborate bathing ponds, carved balustrades and moonstones, stood "Abhayagiri", one of seventeen such religious units in Anuradhapura and the largest of its five major viharas. One of the focal points of the complex is an ancient stupa, the Abhayagiri Dagaba. Surrounding the humped dagaba, Abhayagiri Vihara was a seat of the Northern Monastery, or Uttara Vihara.
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| Abhayagiriya |
The term "Abhayagiri Vihara" means not only a complex of monastic buildings, but also a fraternity of Buddhist monks, or Sangha, which maintains its own historical records, traditions and way of life. Founded in the 2nd century BC, it had grown into an international institution by the 1st century AD, attracting scholars from all over the world and encompassing all shades of Buddhist philosophy. Its influence can be traced to other parts of the world, through branches established elsewhere. Thus, the Abhayagiri Vihara developed as a great institution vis-a-vis the Mahavihara and the Jetavana Buddhist monastic sects in the ancient Sri Lankan capital of Anuradhapura.
It is recorded in the chronicle that Abhayagiri Dagaba was established by King Valagamba during the period of his second reign, from 89-77 BC. A young Brahmin named Tiya (Tissa) declared war against him. Tiya was deluded by the prophecy of another Brahmin that was destined to be king. Before the arrival of Bhikku Mahinda, who brought buddhism to the island, Brahmins held the highest place in society. After the establishment of the Buddhist sangha on the island, however, they lost their supremacy, and were replaced by the sangha. Some Brahmins converted to Buddhism, while others revolted. Tiya, who enjoyed the support of his community, lived both in and outside of Sri Lanka, and was therefore very powerful.
At the same time, seven chiefs landed at Mahatittha with a mighty army. Valagamba, a good diplomat, realized that his forces were too weak to fight against both of these enemies and tried to rid himself of them by making them fight each other "like a palm leaf cutting itself". He sent a message to Tiya that if he could have the kingdom, provided he managed to defeat the foreign invaders. Tiya agreed, advanced with his forces to meet the Tamils, and was vanquished by them. The Tamils, elated by their success, advanced towards Anuradhapura and defeated the King, who was forced to abandon the throne and go into hiding in the mountains. As the King, defeated in battle, was fleeing Anuradhapura, a Jain priest of Giri Monastery, which had been built by King pandukhabaya near the northern gate of the city, cried out: "The great black Sinhala is fleeing." The king thereupon resolved, "if my wish (of regaining the kingdom) is fulfilled, I will build a Temple here."
During the Beminithiya seya or period of famine and foreign rule which followed, Vattagamani Abhaya took refuge in the mountain region amassing troops until, after more than fourteen years of exile, he marched on Anuradhapura in 89 BC and defeated the last Tamil king, Bhatiya. In fulfillment of the vow made on the day of his defeat, one of his first acts was to build the Abhayagiri Vihara on the site of the Giri monastery. Mahatissa Thera of Kupikkala was appointed its Chief Incumbent as a mark of gratitude for his support in the fight against the invaders. Abhayagiri thereafter became a symbol not only of religious, but also of national, resurgence, as it signaled the end of Brahmin and Jain influence in the country.
According to the chronicles, the name Abhayagiri Vihara originated from the names of King Vattagamani Abhaya and of the Giri priests who lived in the Jain monastery. However, since most ancient monasteries were built around a hillock, or giri in Sinhala, (for example the Vessagiri, Meghagiri or Chetiyagiri monasteries) it is possible that the name Abhayagiri symbolizes the monastery created by Vattagamani Abhaya after his recapture of the kingdom surrounding the hillock known as Digapasana, now inside the Abhayagiri complex.
Royal patronage
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The head dress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The head dress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
Mahāyāna and Vajrayāna
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The headdress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The headdress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The head dress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
The architectural elements of the buildings excavated at Abhayagiri Vihara clearly reflect the social beliefs and religious practices prevalent at the time. Although Buddhism was the state religion and the principal doctrine followed by the majority of the population, the influence of other local beliefs, particularly Hinduism, were considerable, and are expressed in the architecture of the period. The design of entrances, for example, illustrates the practice of placing buildings under the protection of a guardian deity.
The two slabs erected on either side of the foot of the flight of steps leading to a building are known as guard stones (Muragal). They are usually carved, although plain guard stones have also been found. Among the Hindu symbols represented on these stones, the most common, apart from the Pot of Abundance and Kalpavrksa, is the figure of the Nagaraja, or anthropomorphic King Cobra. The best example of these, and one of the finest guardstones yet discovered, was found at the Ratnaprasada in Abhayagiriya, and illustrates the degree of perfection reached by the sculptors of Abhayagiri. Lotuses and punkalas are indicative of plenty. Representations of the lotus are of particular significance in agricultural societies where they symbolize the daughters of the guardian deity of rain. The elephant figure at the Eth Pokuna is also a symbol of water.
The principal Buddhist guardian deities are frequently indicated by the animal vehicles of the particular gods, particularity on the guard stones. A good example is furnished by the exquisite statues on either side of the entrance to Abhayagiri Stupa. The headdress of one of the statues is a conch while that of the other is a lotus. Representing Sanka and Padma, the two principal treasure houses of Kuvera, they are believed to have been erected to ward off any evil or danger that might threaten the stupa or its precinct. Even at present they are commonly believed to be endowed with mystic powers, and courts of law in Anuradhapura accept swearing before the statues as evidence in settlement of minor disputes between litigants.
The best example of a moonstone, a unique creation of Sri Lanka sculptors, can be seen at the foot of the steps leading to the Pancavasa commonly known as Mahasena’s palace. A smaller example, just as exquisitely carved, was found nearby at the Queen's Pavilion. Varying in shape and size and made of different kinds of stones, all are exquisite artistic creations. According to Paranavitana, the moonstone symbolizes samsara, the endless cycle of rebirth, and the path to freedom from the samsaric process leading to nirvana. He interprets the pattern of the outermost ring as flames, and the various animals shown in the other concentric circles as successive phases of man's passage through samsara.
LANKARAMAYA
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Lankaramaya |
Lankarama is a stupa built by King Valagamba, in an ancient place at Galhebakada in the ancient kingdom of Anuradhapura, Sri Lanka. Nothing is known about the ancient form of the stupa, and later this was renovated. The ruins show that there are rows of stone pillars and it is no doubt that there has been a house built encircling the stupa (vatadage) to cover it. The round courtyard of the stupa seems to be 10 feet (3 m) above the ground. The diameter of the stupa is 45 feet (14 m). The courtyard is circular in shape and the diameter is 1332 feet (406 m).
- Eth pokuna
Eth pokuna (Elephant pond) is an ancient man made pond situated close to Lankaramaya. It is 159 meters in length 52.7 meters across and 9.5 meters in depth with the holding capacity of 75,000 cubic meters of water.
The water to this pond has been supplied from the Periyamkulama Tank through a network of underground canals. These underground canals still work after so many hundreds years. This tank probably has been used by the monks in the Abhayagiri Buddhist Monastery who amounted over five thousand priests.
MIRISAWETYA
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Mirisavetiya |
The Mirisaveti Stupa is situated in the ancient city of Anuradhapura, Sri Lanka. King Dutugamunu built the Mirisaveti Stupa after defeating King Elara. After placing the Buddha relics in the sceptre, he had gone to Tisawewa for a bath leaving the sceptre. After the bath he returned to the place where the sceptre was placed, and it is said that it could not be moved. The stupa was built in the place where the sceptre stood. It is also said that he remembered that he partook a chilly curry without offering it to the sangha. In order to punish himself he built the Mirisavetiya Dagaba. The extent of this land is about 50 acres (20 ha). Although the king Kasyapa I and Kasyapa V renovated this, from time to time it was dilapidated. What stands today is the renovation done by the cultural Triangle Fund.
LOVAMAHAPAYA
Lovamahapaya is a building situated between Ruvanveliseya and Sri Mahabodiya in the ancient city of Anuradhapura, Sri Lanka. It is also known as the Brazen Palace or Lohaprasadaya because the roof was covered with bronze tiles.
In ancient times, the building included the refectory and the uposathagara (Uposatha house). There was also a simamalake where the Sangha assembled on Poya days to recite the sutra of the confessional. The famous Lohaprasada built by King Dutugemunu, described as an edifice of nine stories, was a building of this class. One side of the building was 400 ft (120 m) in length. There are 40 rows, each row consisting of 40 stone pillars, for a total of 1600 pillars. It is believed that it took six years for the construction of the building and the plan was brought from the heavens. The building was completely destroyed during the reign of King Saddhatissa. The small building in the center is late construction and is the Venue of Uposatha (chapter house) of the Maha Vihara even now.
JETHAWANARAMAYA
The Jetavanaramaya (Sinhala:ජේතවනාරාමය) is a stupa, located in the ruins of Jetavana Monastery in the sacred world
heritage city of Anuradhapura, Sri Lanka. King Mahasena (273–301 AD) initiated the construction of the stupa following the destruction of Mahavihara. His son Maghavanna I completed the construction of the stupa.[1] A part of a sash or belt tied by the Buddha is believed to be the relic that is enshrined here.
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Jetavanaramaya |
The structure is significant in the island's history for it represents the tensions within the Theravada and Mahayana sects of Buddhist monks; it is also significant in recorded history as one of the tallest structures in the ancient world;the height of the stupa is 400 feet (122 m), making it the tallest stupa in the ancient world. The structure is no longer the tallest, but it is still the largest, with a base-area of 233,000 m2 (2,508,000 sq ft). Approximately 93.3 million baked bricks were used in its construction; the engineering ingenuity behind the construction of the structure is a significant development in the history of the island. The sectarian differences between the Buddhist monks also are represented by the stupa as it was built on the premises of the destroyed Mahavihara, which led to a rebellion by a minister of king Mahasena.
This stupa belongs to the Sagalika sect. The compound covers approximately 5.6 hectares and is estimated to have housed 10,000 Buddhist monks. One side of the stupa is 576 ft (176 m) long, and the flights of stairs at each of the four sides of it are 28 ft (9 m) wide. The doorpost to the shrine, which is situated in the courtyard, is 27 ft (8 m) high. The stupa has a 8.5 m (28 ft) deep foundation, and sits on bedrock. Stone inscriptions in the courtyard give the names of people who donated to the building effort.
- CONCEPTION
Following king Jettha Tissa's death his brother Mahasena was consecrated as king by monk Sanghamitta, under the monk's influence king Mahasena brought about a campaign against orthodox Theravadins dwelling in Mahavihara. The differences between the orthodox Theravadins and heterodox Mahayanists escalated to an extent to which a penalty was established to any person providing alms (food) to monks dwelling in Mahavihara. The Mahavamsa quotes Sanghamitta: `The dwellers in the Mahavihara do not teach the (true) vinaya, we are those who teach the (true) vinaya, O king',.
The Mahavihara was eventually abandoned. The monks dwelling at the premises moved to Malaya and Ruhuna, this followed by the pillaging of Mahavihara by Snaghamitta and minister Sona, all valuable were transferred to Abhayagiri vihara. The pillaging prompted a rebellion by minister Meghavannabhaya, the minister raised an army from Malaya and set camp by the Duratissaka tank. King Mahasena marches an army to meet minister Meghavannabhaya, where negotiations ensue the night before the battle and the king apologizes for the pillaging and agrees to build a vihara at the grounds of Mahavihara, the Mahavamsa quotes the king: I will make the vihara to be dwelt in yet again; forgive me my fault,'. Sanghamitta was assassinated by a labourer on the instructions of a wife of the king, following his demise and the construction of parivena by Meghavannabhaya marked the return of monks to the site of Mahavihara.
Thus the construction of Jetavanaramaya began and offered to the monk Tissa, but the monk was accused of a grave offence upon investigation and proof by a minister, monk Tissa was disrobed and expelled from the order. The dakkinagiri monks were then entrusted with the premises of Jetavana Vihara.
- DESIGN & CONSTRUCTION
As the largest ancient stupa constructed and one of the tallest ancient structures in the world, the structural ingenuity and engineering skills employed for the construction are significant. The foundations of the structure were 8.5m deep and the size of the structure required bricks which could withstand loads of up to 166 kg. The solid foundation lay on bed-rock and the dome was constructed of full and half bricks and earth fill, the unique shape of a perfect ellipsoid allowed for stress and thus allowed the construction of the large structure. The Mahavamsa describes the foundation laying, where fissures were filled with stones and stamped down by elephants whose feet were protected with leather bindings. The bricks used for the construction were a significant development of ancient Sri Lankan engineering, the bricks used for Jetavanaramaya had a composition of 60 percent fine sand and 35 percent clay, the bricks could withstand 281 kg/in2.[6] Linear elastic finite element analysis under self weight produced a maximum compressive stress of 839 kPa at the bottom centre, thus the maximum stress in the dome is ten times less than what the bricks could withstand.
Finely crushed dolomite lime stone, sieved sand and clay provided the bonding material for the bricks. The clay employed was pliable and thus accommodates movement within the structure. One of the sides of the brick was roughened to trap the bonding slurry thus limiting lateral movement. The stupa was then covered with lime plaster; the plaster used contained seashells, sugar syrup, egg whites, coconut water, glues, oils, plant resin, sand, clay and pebbles. The plaster also provided waterproofing for the structure. The Mahavamsa also mentions the use of copper sheets over the foundation and arsenic dissolved in sesame oil to prevent insect and plant intrusions inside the stupa. It is estimated that Jetavanaramaya took 15 years to complete and would have required a skillful workforce of hundreds, including brickyard workers and bricklayers, and stonemasons.
The Jetavanaramaya was under the monks of the Sagalika sect. The Sagalica sect was closely linked with the Abhyagiri viharaya. Towards the end of the Anuradhapura period, Jetavana had developed into one of the three fraternities of the island along with Mahavihara and Abhyagiriya. The fraternities were united during the reign of King Parakramabahu I. A pasada constructed by King Sena I was destroyed by fire. King Agghabodhi VI constructed and added a new pasada. Chola invaders during the reign of king Udaya IV destroyed the gold images of Buddha by King Sena. Repairs were completed by King Mahendra IV. Juma, a Sri Lankan merchant, presented King Silakala with a Mahayana book Dhammadatu brought from Benares. King Silakala held a festival annually in celebration of Dhammadatu. Monks of Mahavihara have boycotted the festivals, citing the Mahayana origins of the book, but were later persuaded by Abhayagiri monks to participate in the festivities. The leadership of the Mahavihara was later accepted during the reign of King Aggabodhi I, following the defeat of a public debate between the monks.
