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DIGITAL DOCUMENTATION OF EXCAVATIONS:
BUDDHIST SITE AT KANGANHALLI
Dr. D. DAYALAN
ARCHAEOLOGICAL SURVEY OF INDIA
Kanaganhalli (Lat. 16 51’ 10” N and
Long. 76 56’ 20”E) is situated on the
left bank of river Bhima, a tributary of
river Krishna in Chitapur taluk of
Gulbarga district, Karnataka
Sannati an historical site nearby Kanaganhalli has a number of Prehistoric and early historic sites in and around it.
 Early historic brick fortification with watch towers known as Setu-rajanakatte encloses an area of 86 hectares
 The inner citadel of the city (Ranamandala) covering 26 hectares yielding
punch-marked coins, Satavahana coins and antiquities and structures of
early historic period
 Outer city covers an area of about 60 hectares between Ranamandala and
the fortification wall yielding pottery and antiquities of early historic
period
 Mound south of Chandralamba temple yielding early historic sculptures
 Chandralamba temple of medieval period with Asokan rock edict and few
Buddhist sculptures
 Stupa I close to the Bhima river bank in Kanaganhalli village and about 2
km south-east of Sannati village
 Stupa II lies about 2.5 km north-east of Sannati village. It was excavated
between 1986 and 1989
 Stupa mound III lies 3.5 km north-east of Sannati
 Monastic complex on a low mound known as Benagutti, literally means
“mound of stones” excavated by ASI in 1997-98
 Bathing ghats of early historic period
 The ancient remains at Sannati - Kanaganhalli were first
noted by Kapatral Krishna Rao in 1954
 In 1964-65 a survey of the area was undertaken by M.
Sheshadri, Dept. of Arch & Museums, Govt. of Karnataka
and was continued by various other scholars
 Archaeological Survey of India has taken up an intensive
explorations in this area to define the archaeological
potentiality and also to work out modalities to salvage
them, if found worthy as the whole region is going to be
submerged once the construction of the dam across the
Bhima river under an irrigation project by Govt. of
Karnataka is over.
 The dam spot is at a distance of 1.5 km north-east from
the famous Chandralamba temple and about 3 km from
the present village Sannati.
STUPA II
Face- B. Separate Asokan Edicts I & II
(similar to Edicts at Jaugada and Dhauli)
After through exploration in Sannati, Hasargundgi, Benagutti,
Kanaganhalli and nearby areas, a trial excavation was made in the
year 1993-94 & 1994-95 at the site located 2.5 km south-east of the
Chandralamba temple of Sannati and about half a km south-west of
the village Kanaganhalli.
The mound rises to a height of 2 to 3 metres from the ground level
The trial excavations in the southern portion of the mound in area of
130 sq.mts has yielded a part of a lime stone carved railing, paved
pradakshina-patha around the medhi portion of a large stupa.
The interesting result of the trial excavations prompted for major
excavations which uncovered an outstanding maha stupa, the unique
manifestations of Buddhist art and architecture hitherto unknown in
Karnataka and its neighbourhood.
The major excavations were carried out from 1996-97 and up to 200102
Earlier explorations in this site also yielded large number of
sculptured panels which are now housed in the State Govt. Museum,
Gulbarga and few other museums and also some bodies private
collection.
STUPA MOUND
Before excavation
The pradakshinapatha is
choked
with
disturbed
members of the ayaka
platforms, the collapsed
railing parts, heavily leaned
lower medhi slabs and
collapsed upper medhi and
anda units.
The stupa proper measures about 22 m
in dia.
The drum of the stupa is divided into two
tiers i.e., lower and upper medhi
encased with exquisitely carved panels
The foundation of the stupa is laid in
lime stone slabs of nearly 45 to 50 cm
thick, which is offset to a width of 90 cm
over which the actual medhi raises in
two tiers
Each panel position with edge to edge
locking system is of 1.20 x 1.10 x 0.15
mt. is bordered with slender pilasters
The lower medhi has huge sculptural
panels depicting the dharma charka,
monastic life, stupa models, simhasana,
bodhi vriksha and muchilinda naga, as
encasing member
Each panel is bordered with two slender
pilasters which have the sculptures of
stupa, tree in railing, elegant sculptures
of female chauri bearers, etc.
.
• There is an offset of 75 cm above
the lower medhi over which the
upper medhi raises.
• The upper medhi extends only on
a few places.
• The upper medhi slabs interlocked similar to lower medhi
measures 2.80 m height and 2.20
m. width are carved with Jataka
stories in three panels.
The core filling of the stupa is of river
pebble, gravel and boulders.
The portion of the anda jutted out from the
upper drum was inclined to form a
hemispherical dome.
Excavation on the east, west and south at
cardinal directions has brought to light
offset
entrances
provided
with
chandrasila.
The evidence found at northern ayakaplatform in 2000-01 suggest that the
extension of the medhi, ayaka-platform
and veneering them with carved slabs are
attempted probably in the second phase of
construction/ embellishment of the stupa.
The railing, typical to the stupa
architecture is composed of a series
of tabhas or stambhas (upright pillars)
and suchis (cross-bars).
The railing of the stupa is placed
3.6m away from the medhi and as
equidistantly placed uprights 45 cm
away from one another.
The interspace between the drum and
the railing was paved with dressed
lime stone slabs which acted as the
floor of the pradakshinapata
The uprights are treated with lotus
medallions in the exterior, whereas,
the interior of these are plain
The space in between the medallions
of the tabha is fluted.
•
The uprights have lenticular sockets
to accommodate suchi of cross
sections.
•
Four suchis are provided in between
the tabhas with interspaces of 8 cm.
•
The suchis of 45 cm length are shown
with fully blossomed medallion at the
exterior projected slightly away from
the lenticular body.
•
The uprights are held in position by
usnisa or coping stone which is also
decorated with animal and floral
motifs.
The ayaka platform measuring 3.20 x 2.60 x
1.50 m at the cardinal directions of the lower
medhi, projecting outward corresponding to the
entrance are veneered with carved slabs.
The ayaka platform, a feature quite common in
the stupa-architecture of the Andhra Pradesh,
carried
originally
five
ayaka-pillars,
representing symbolically the five important
episodes of Buddha’s life, viz., Birth, Great
Renunciation, Enlightenment, First Sermon and
Parinirvana
The bricks used for construction of the ayaka
platform are 7 x 20 x 41 cm roughly
corresponding to the standard Satavahana
bricks of 1: 3: 6 proportions
The ayaka platform on the south and west
have accommodated a colossal standing
Buddha over pedestal. The ayaka platform on
the east had accommodated a sculpture of
seated Buddha and fluted ayaka pillars.
The ayaka platforms were veneered with
sculptural friezes narrating the events
pertaining to the life of Buddha, the birth, the
great renunciation, the enlightenment, first
sermon and the parinirvana.
Notwithstanding the Amaravati
Stupa is famous worldwide, its
extent remains just consists of the
drum, pradakshina-patha and the
circular alignment of the railing.
The full form of the stupa at
Amaravati is visualized only on
seeing the depiction of stupa
representation on the drum slabs.
At Kanganhalli up to the anda
portion of the stupa is available,
although
majority
of
the
architectural members and the
sculptural panels are dislodged
from the original position.
There are many other associated structural
units nearby the mahastupa
•
A brick-built apsidal structure on the
south-eastern side
•
Two squarish brick structures measuring
about 6 m square on the eastern side.
•
Rectangular brick structures on the
north and north-western side of stupa
•
On south of the western entrance of the
stupa has another circular brick
structure with a diameter of 8 m and
extend up to the height of 38 cm in four
courses.
•
On the north-west of the western
entrance
has
another
brick-built
rectangular structure of 5.15 x 4.75 m
More than one hundred and seventy inscriptions engraved on different
architectural units of the Stupa right from the railing members to the medhi,
chhatra, pedestals, buddha padas, pillars, floor slabs, sculptured friezes and
cornices are found in the excavations.
All these inscriptions are in Brahmi script and paleographically assignable
from 1st century BC. to 3rd -4th century AD
They vary from short label inscription to five line inscription. They are of
various types viz.
(a) donatory
(b) labels referring to the contributions to the stupa in the form of a part or
sculpture
(c) referring to the Jatakas and
(d) names of some of the kings and royal portraits.
The short inscription mentions only the name of the donor, the object of
donation and other such details. Some elaborate ones mention the place of
his origin and the object donated.
Some of the lengthy inscriptions record the name of the ruling king in relation
to the official status of the donor
• The epigraphical study reveals
that
the
mahastupa
was
patronised by the Satavahana
kings, traders, Buddhist monks of
various sanghas and common
devotees.
• The fragmentary record engraved
on the octagonal part of the
chhatri
shaft
refers
the
mahastupa
as
adhalika
mahachaitya.
Network of
patrons/pilgrims
of the Site
Apart from the Jatakas stories, there are also panels contain the
portrait sculptures of important kings of the Satavahana dynasty like
Sri Satakarni, Pulumave, Simuka and most interestingly the portrait
of Raya Ashoka of Maurya dynasty with a label inscription below it.
Names of the kings Inscribed are:
Raya Asoko,
Raya Govida,
Raya tayan,
Raya Pudumavisa,
Raya Chagravarti,
Raya ..ri Satakarni,
Raya siri Cimukha,
Siri pulumavi,
Gotamaputasa,
Siri Yajna Satakarni,
…canaya raya,
Raya cakavati satara dano
Perhaps this is the first time in
peninsular India that a good
number of portrait sculptures of
Satavahana ruler are found.
Interesting of them are discourse
of Simuka with religious people
and the victorious march of
Pulamavi in the street of Ujjain,
perhaps recording the victory of
Satavahanas over Ujjain.
raya pulumavi ajayatasa
ujen . ti
Birth of Buddha
Departure
Departure from Kapilavastu on his horse
Kanthaka accompanied by Chhandaka
Enlightenment
First sermon
Worship of hair
Parinirvana
The upper medhi slabs are carved with key events of a popular
jataka stories. Some of the Jatakas are also labelled with
inscriptions of 1st-2nd century AD in Brahmi character.
They are:
Mahakapi Jataka
Chhaddanta Jataka
Jatakam Vessanta raya
Jatakam Vithurapunankiyam
Jatakam Sajiniyam
(.)tusa Jatakam rahari
Jatakam ajasomiyam
Supatta jataka
Jatakam jagara…sa
Jatakam Champeya
 The stories of Jatakas centre around the previous births of Gautam
Buddha, who is believed to have passed, as Bodhisattava through
innumerable existence as bird, beast and man, persistently qualifying
himself for the attainment of Buddhahood by the greatest acquisition
(paramitas) of virtues like dana, sila, kshanti, virya, jnana, prajna, bala,
etc.
 It is quite uncertain when these Jataka stories were existed and took a
systematic form as such we find in our Jataka collections.
 The Jataka legends occur even in the canonical Pitakas, mainly in
Sutta and Vinaya Pitakas. It is generally accepted that these Pitakas
are at least older than the council of Vaishali in 380 B C and thus the
Jataka legends must have already been recognised in Buddhist
literature.
 The Pali work entitled “the Jatakas” the first volume of which, contain
550 Jatakas or birth stories.
 The Jataka stories are found in the sculptural representation at
Bharhut, Sanchi, Kanaganhalli, Amaravati, Nagarjunakonda, Goli,
Ajanta, Kanheri, Mathura,etc.
Mahakapi Jataka
Bodhisattva gave an instructive discourse to the king
Brahmadatta of Varanasi .
Sanchi, West gateway
Chhaddanta Jataka
Chhaddanta Jataka
Sanchi, west gate, architrave
Vidura-Punakiya
Jataka
Vidurapunakiya Jataka,
Ajanta
Jatakam
Vesanta raya
Sadhina jataka
The virtues of Sadhina, king of Mithila spread abroad
and the angels of the Tavitimsa heaven are anxious to
see him.
Sakka sent for Matali in a celestial chariot to bring him.
When commanded by the Sakka, Matali went to the
kingdom of Mithila to bring the noble king.
Matali drove his chariot to the kingdom of Sadhina and
drive it twice around the city and then halted the chariot
to the king’s door and sought for the audience with the
king. He ultimately invited the king and returned to the
heaven.
The Sakka, king of the gods gave to Sadhina half of the
city of gods and other valuables but the great king
refused to accept these riches. After which he was
transported back to his kingdom.
Jatakam sajiniyam
Champeyya jataka
The Bodhisatva was born as a naga king and named as
Champeyya. He was dissatisfied with his serpent birth and in order
to obtain a better state of existence he used to visit the world of
humans
He was captured by a brahmana by the power of charm and made
him dance before multitudes of men yearning much wealth thereby.
Though the naga could if he wished emit poison and destroy the
brahmana, he did not do so and act according to his command as
an ordinary snake.
In course of time, the brahmana arrived in Varanasi and made
snake performance on one day in the royal presence.
In the meantime, Sumana the wife of the naga king came to the
world in search of her husband and went to the palace of the king of
Varanasi, where the naga was performing in the presence of the
assembled court.
On seeing his wife, the naga felt ashamed and could not continue
its dancing as usual.
The king enquired in to the matter and after having come to know
from Sumana the true identity of the performing serpent asked the
brahmana to set him free.
Chempeya jataka
Tusa Jatakam rahari
Tusa jataka
Bodhisatva was born as a far famed teacher at Takshasila. The son of
the king of Varanasi has completed his studies under him and is about
to take leave.
The Bodhisatva then foresees the prince’s son will later on try to seize
the throne from his father four times attempting his life.
He, therefore, composed four stanzas to be recited each on the
occasion on which an attempt is made on his life which will defeat the
plotter’s scheme. The plot accordingly failed.
Supatta Jataka ?
Jatakam ajasomiyam
Muchlinda naga
Worship of hair lock
Presenting of bowl to Buddha by the Lokapalas
Distribution of relics to eight claimants i.e. Mallas of Kusinagara,
Ajatasatru of Rajagriha, the Sakyas of Kapilavastu, the Bulis of
Allakappa, the Koliyas of Ramagrama, the Mallas of Pava, the
Lichchhavis of Vaisali and a Brahmana of Vethadvipa,
Architectural
models
Architectural models
Kosimbha kuti
Unyoked bullock cart
Apart from the architectural members and
inscriptions, the most important findings in
the excavations are large number of
Satavahana coins.
It is very important to note that all the coins
belong to the three arched hill type with the
name of the king who issued them.
The obverse of the coins contains the
Ujjain symbol, whereas on the reverse it has
the depiction of three arched hill with a
crescent above.
Majority of the coins found at Kanganhalli
Stupa site belong to Sri Satakarni. Five
coins belong to Pulumave, Four coins
belong to Siva Sri Pulumavi and five coins
belong to King Yajnasri Satakarni.
The excavations in the mounds SAN-1,
SAN-2, SAN-3 and SAN-8 all in Sannatl
also yielded large coins made of copper
alloy, silver and lead.
The Archaeological Survey of
India is tried its best to identify
the original position of the
architectural members and the
sculptural panels and to fix them
properly.
Each and every excavated
material has been digitally
recorded and extensive drawing
and photographs are prepared
The
department
has
also
identified and fixed together the
several fragments of the same
panel scattered about 300 sq. m.
Since the limestone which was
used for the construction and for
making the sculptural panels is a
weak sedimentary rock, it is
difficult to handle them.
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