POKHARA UNIVERSITY

MADAN BHANDARI MEMORIAL ACADEMY NEPAL

DEPARTRMENT OF ARCHITECTURE

REPORT ON: CHAITYAS OF LICHHAVI TIME PERIOD

DATE:

SUBMITTED BY: SUBMITTED TO:

ASMIR GAJMER (6) ASST. PROF BHUMIKA SHRESTHA
MANEETA RAI (18) AR. PRASHANT KARKI
OJJESWI GAUTAM (24)
ROHINI DAHAL (34)

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Contents

1. INTRODUCTION ................................................................................................................... 4
2. GENERAL BACKGROUND .................................................................................................. 4
2.1 HISTORY......................................................................................................................... 4
2.2 CHRONOLOGICAL DEVELOPMENT ........................................................................ 5
3. ARCHITECTURAL FEATURES......................................................................................... 10
3.1 FINIAL ........................................................................................................................... 10
3.2 DOME ............................................................................................................................ 11
3.2.1 THE DRUM .................................................................................................................. 11
3.3 SUB-STRUCTURE ....................................................................................................... 12
4. CHAITYA NO. 7 (OF THE DHARMADEVA STUPA) ....................................................... 14
4.1 INTRODUCTION ............................................................................................................... 14
4.2 ARCHITECTURAL FEATURES: ..................................................................................... 14
5. CONCLUSION ...................................................................................................................... 16
6. REFERENCE ........................................................................................................................ 16

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 ACKNOWLEDGEMENT
First and foremost, we offer my most sincere and gratitude to my respected teachers Asst. Prof. Bhumika
Shrestha mam and AR. Prashant Karki sir for their kindly guidance and helpful suggestion to prepare this
study report properly. We would like to submit this dissertation to department of architecture for genuine
evaluation. We would like to thank the different respondents inside the field area, intellectuals and
interviewers and our group members, classmates for their help and support.

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 1. INTRODUCTION

The word chaitya comes from the Sanskrit word Chita, which means a pyre
or pile of ashes. In Buddhist philosophy, chaitya represent the universe.
Each spire surrounding a chaitya symbolizes paradise. The chaitya style of
architecture in Nepal is characterized by a broad base that tapers upwards.
It's believed to have been introduced to Nepal by Emperor Asoka. They are
also an ode to the dead, made in remembrance of someone endeared. And
in Buddhism, chaitya are also regarded as a three-dimensional
representation of the mandal that embodies the principle of life. They are
also one of the distinctive highlights of baha and bahi monasteries.

2. GENERAL BACKGROUND
2.1 HISTORY

Chaitya existed even before Buddha’s time and the term initially was referred to as a place of resting or
meditation, later it was referred to the idea of using, ‘chiti’ (ash) of the deceased to make a stupa in their
memory. The concept of chaitya has evolved with Buddhism. At first it was just made with earth, without
the Pancha Buddha’s or the gajur (pinnacle), but today we see all kinds of them, and in many ways their
existence attributes to the uniqueness of our culture. And even today, the culture of building chivas has
continued in the Newa Buddhist community. (Bajracharya)
Although the stupa, also called chaitya, is named after Asoka, there is no evidence that proves its relation
with Emperor Asoka. People also say that the Ashok Chaitya is more than 2000 years old during the golden
period for Buddhism in Kathmandu Valley. The origin of the chaitya is unclear and the source is hearsay.
(Shrestha, Sarang).
1) In Pali texts, Shakyamuni Buddha has described about chaitya. Early Buddhist stutras, mentioned
stupas (chaitya), which symbolize the presence of the Buddha and the truth of the dharma. This
represents that during the time of Buddha, there was the culture of chaitya. Before the nirvana of
Buddha, Bhikku Ananda asked the Buddha what to do with the relic. According to the different
sutras in Buddhist canonical texts such as such as Mahaparinirvana sutra of Digha nikaya (the
collection of long discources), the Buddha told him to make chaitya that contains the relics of
samyaksambuddha, pratyek Buddha, arahat tathagath and great emperor. Even after the
mahanirvana of the gautam Buddha, the relics were divided into eight parts. These relics were taken
to different places and Chaitya/Stupa were constructed.

2) According to swayambhu puran that during the pre- historic age kirati ruler king shree stungko, the
Shakyamuni Buddha came to the Nepal mandala together with 500 Bhikku to enlightenment,
Buddhahood, and liberation. Chaitya represents the vajrayana Buddhism, as it is the symbol of
Buddha’s teaching from birth to death function.

3) Navagrantha includes pragya paramita, sadhamapundarika sutra, dasabhumi sutra, etc. these are on
of the triple gems of taking refuge as a dharma gem. Among all Navagrantha, in sadhamapundarika
sutra mentioned that during the construction of chaitya, the relics of previous Buddha boddhisatvas
was kept. According to upaya kauslaya chapter of sadharmapundarika, it has been mentioned that
people who worship, chant in the chaitya, get bodhijyana (knowledge of Bodhi) and attain
Buddhahood.

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 2.2 CHRONOLOGICAL DEVELOPMENT

Nepal has developed many size, shape and adornment of stupa/chaitya. There are different styles of chaitya
developed from Licchavi to modern times. The Licchavi chaitya are constructed between 6 th to 9th centuries.

Nepal has also developed many size, shape and adornment of Stupa. There are different styles of Stupas
are developed in Nepal from Licchavi to Modern times. Each of style has own name. There are more than
twentieth style of Stupas are available here. The Licchavi chaitya are constructed between 6 to 9 centuries.
The dome and drum are monolithic and the double plinths are round, octagonal or vimsatikona, the
twentieth angled in form. Different structures of Licchavi chaitya are placed in various places.

First type of Licchavi Chaitya:

The earliest votive stone chaitya are bulgy dome attached to a drum. Monolithic dome, drum, upper and
lower storeys of a chaitya. The upper and lower storeys are rounded and octagonal shapes. The topmost
part of crown or thirteen bhuvans seems to attach the later period. The earliest votive chaitya are plain and
without any niches.

i. The base block of A I is cubic. An accentuated horizontal molding divides up the elevations.
ii. Typical for type A II is the split drum with its upper half being round and the lower half being
octagonal. Its plinth shows the vimsatikona-ground plan.
iii. Type A III is typified by an octagonal plinth.
iv. Multi-layered horizontal steps define the plinths of type A IV

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Second type of Licchavi Chaitya:

Most of the earlier about 200 Licchavi chaitya contain at least four niches. Niches are placed out of the
drum or vedikas (plinths). In the case of multistoried structures have eight or even sixteen niches, which
are a first and second levels or plinths. Round niches occur on the circular storeys of the chaitya. These are
the empty niches and stone polished. There are no topmost part. In such cases, a finial crowns every chaitya
seems to add later.

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 i. (B I to B II-2) are accentuated by the niches found in the projecting middle segment of the
vimśatikona-ground plan.
ii. By adding more niches (B III-B IV-2) the plinths are modelled as storeys of buildings topped by a
dome and finial.
iii. Most of the niches are empty, but a few display a miniature chaitya (Bungamati Chaitya) or a
sculpture of the Buddha in deep relief (Bhaktapur Chaitya).

Third type of Licchavi chaitya:

The empty niches chaitya are fully decorated, which are carved motifs on top and a leafed frieze below. In
such cases the niche crown consists in the form of a kirtimukha face or a lotus blossom. The upper niches
are generally slight narrower than the lower niches. All the crown of the frame, the upper of the lintel arch.
These chaitya are changed 7-8 * century A.D. With the design of type C we attempt to create 'chaitya
towers. This is done by adding a further storey to the sub- structures of type B chaitya. The basic, hitherto
existing concept and the artistic figuration have been preserved.

i. The dominant ground floor plan for the two storeys of the sub-structure is the vimsatikona-
square. Both storeys of the type C I and C II are differentiated by the number and sizes of
niches. The author knows of only two chaitya having round upper floors with 4 niches each and
square (i.e. vimśatikona) lower floors.
ii. These chaitya of type C III rest on square plinths.
iii. Type C IV is based on an octagonal plan.

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iv. The finial of the Pyukha Bahal Chaitya, (type C V) Kathmandu, is a recent miniature of the finial of
the Swayambhu Stupa and is not shown. The upper, round storey of the sub- structure is monolithic
with the drum and the dome. The four niches are framed by foliated scrollwork. The spaces between
the niches are filled with representations of chaitya. These chaitya are resting on open lotus
blossoms. The round, lower storey displays eight round niches framed by heavy scrollwork. The
function of a plinth is torn over by an unusual high cube carrying the chaitya. The base of this block
is horizontally profiled. No other decor is found

Fourth type of Licchavi chaitya:

The niches are filled with small figures of the four Buddha’s: Akshobhya is in the cast, his right hand shows
earth touching, Ratnasambhava is in the south, his right hand displays boon-giving gesture, Amitabh is in
the west, his both hands are meditation gesture and Amoghsiddhi is in the north, his right hand exhibits
fearlessness gesture.

i. According to their architectural design, two basic types can be identified: Type F I (chaturmukha
chaitya): Four standing or sitting, almost three. Dimensional, Buddha’s and Bodhisattvas lean
against a square pillar. The dome has lost its importance and its conceptual value as it is a mere
cover of the stele.
ii. Type F II-1 (sarvatobhadra chaitya): Buddha’s and Bodhisattvas are standing in high, vertical
niches of a pavilion-like designed structure which supports typical chaitya of type B I, each
displaying a finial, dome, drum and square storey with four niches.

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 iii. Type F II-2 is a sub-type of type F II-1 as all niches of these steles are empty.
iv. F1-1 the finial of Chaitya-stele No. 5, Swayambhu Stupa-complex, is a recent miniature replica of
the finial of the Swayambhu Stupa. There is no drum. The dome is quite squat, as its silhouette is
not nearing the hemisphere and is reduced to a vestigial element of the stele. The dome's base is
extremely simply executed, being a half round torus only.

Fifth type of Chaitya:

The caturvyuhacaitya consists the complete primary trio of finial, dome, and molded drum rests at the top
of the shaft. The four Buddha’s are placed the four directions. The four Buddha’s heads are surrounded
from a halo.

The Licchavi chaitya are located in Kathmandu, Patan, Bhaktapur, and Chabahil. Sankhu, Boudha,
Swayambhu, Thimi, Baregaon, Bungamati, Hadigaon, Banepa, Namobuddha, Markhu (near to Kulekhani
damp). Niel Gutsow have surveyed from 1986- 1994, among of all Licchavi chaitya, a large majority of
chaitya are located in Patan 104, Kathmandu 73, Chabahil 24, Swayambhu 10, Deopatan 10, Bhaktapur 6
and 9 other localities. Some chaitya are located in the courtyard of monasteries.

The main elements are common in every Stupa although various styles of Stupa. There are common
elements in a Stupa, namely, ground plan, plinth, dome, cubic form, roof, and shield, tiers, and pillar and
usnisha etc. The ground plan should be mandala shape. The 'mandala' word is not indicate in a circle, it
might be round, square, rectangular, pentagon, octagon, twentieth angle and any shape. The mandala shape
of Stupa seems in the round, square, octagon and twentieth angled. The plinth is known as 'Vedikas' in
Sanskrit word and 'phah' in Newari word. It is raised above the ground plan, which is shaped in a round,
square, octagon and twentieth angled. The round Vedikas is found in Swayambhu, Carumati and others
Stupa: the square Vedikas is found in small stone Stupa, the octagon Vedikas is found in padmavali chaitya
and the twentieth angled Vedikas is found in Boudha Stupa and small stone Stupas. The Vedikas may be
one to three levels. The Swayambhu and Carumati Stupa have one Vedikas and the Boudha Stupa has three
levels Vedikas and the small stone Stupas have also found in three levels.

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 3. ARCHITECTURAL FEATURES

Chaitya represents the Vajrayana Buddhism, as the symbol of

Buddha’s teaching and is divided into three layers:
The dome at the base represents the entire world.
The awakened eyes represent wisdom and compassion and
aware on the bond of world and reach to the state of
enlightenment.
On the top layers, there are 13 pinnacles that represents the
sentient beings have to go the thirteen stages of spiritual
realizations to reach the Buddhahood.

LICCHAVI CHAITYA
Votive chaitya of Licchavi origin are still found and range
from 2-4 ft. high. These are of monolithic stone and
composed of 3 principal sections: the drum, dome and
finial. The chaitya, except for a few are all raised on
plinths. Sometimes the plinth is elaborate and appears to
be a virtual square temple with exterior niches facing the
cardinal points. In some rare cases the plinth makes the
dome almost non-existent, and it becomes difficult to
even refer to it as a chaitya (Slusser, 1982).
The original configuration of Licchavi chaitya consists
of three primary elements:
- Finial
- Dome
- Substructure

3.1 FINIAL
The finials are made of stone and are monolithic. They are set into a
square indentation deeply chiseled out of the apex of the semi-
circular dome.
The cube form is above the dome, which is called 'Harmikā in
Sanskrit word and 'Gala' in Newari word. A pair of eyes is called the
"Vajradristi' or the adamantine view. Between the two eyes, the curly
hair is known as 'urnā. The Harmikā is covered from a roof mould,
which is called 'bhagi. The shield is placed above the 'bhagi', which
is known as 'halipati' or 'halapau' or 'torana'. It is not found in
Licchavi Stupas. There are carved on Buddha and Bodhisattva or
their symbol. Behind and above the halipati, there are thirteen tiers

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 or raised above the 'bhagi, which are diminishing bottom to top small size. The thirteen tiers are
round except Boudha and Carumati. Therefore, the thirteen tiers may be round and square. The
round tiers are called 'Cakrävali' in Sanskrit. In the centre of 'Vedīkā or Dome, there should be a
Yasti in vertical way, which is long up to the topmost tiers. It also cannot see from the outside. It is
a wooden pillar, which should be single tree. The
pinnacle is above the thirteen tiers. An umbrella is
covered on the pinnacle.
Only four finials can safely be dated to the Licchavi
era, but all are only fragments of higher spires.
By attempts of reconstruction, it can be assumed that
the typical finial of the Licchavi era had a cubic block
covered by a profiled cornice mouldings and topped by
a spire of up to seven steps. An important step away
from the simple stepped spires to spires with distinct
discs separated by horizontal grooves is the finials of
two chaitya.
The 13 layers of the finial of the Bungamati Chaitya
are square, whereas the finial of the Dipanani Chaitya
of Kathmandu shows a square cube and cornice and
five round discs, separated by square, squat blocks.
A pulvinated element rests on top of the last step or disc. In striking contrast to the above-mentioned
spires are those found topping miniature chaitya placed in niches of some Licchavi chaitya. They
are worked in high relief and are monolithic with the chaitya. Other representations of chaitya in
low relief are parts of the decoration of the surface of chaitya. The most typical features of these
finials are the large umbrellas and fragments of higher spires the umbrellas are of different design.

3.2 DOME
The dome is the most important part of a
chaitya. The surfaces of the domes are
unadorned, except for a few that display
at the base of the hemisphere a frieze of
stylized leaves in low relief. The domes
are solid and monolithic with drums, and
sometimes also with plinths or the upper
levels of sub- structures. In rare cases a
dome is kept in position by a bead found
on top of a plinth. The dome is raised
above the Vedīkā, which is semicircular. It is known as 'Anda' or 'Garbha-griha' in Sanskrit word.
The relics or holy texts are covered from hemispheric dome. So, we can't see the elements.

3.2.1 THE DRUM

The drum is found below the dome and serves as a plinth of ancient stupas and chaitya. Its diameter
is generally larger than the one of the domes, thus providing at large stupas a walkway around the
dome (circumambulatory) or in Sanskrit: pradaksinapatha, and at for medium- sized and small
stupas space for laying down offerings. But fully formed, protruding drums are not found at the
miniature edifices, the chaitya. Here, a characteristic addition to the plain hemisphere is a profile
surrounding the dome's base. It is designed as a water groove mould along with some horizontal
bands of quarter rounds and stepped profiles.

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 3.3 SUB-STRUCTURE
A wide spectrum of architectural forms and archetypes of sub-structures have been developed in
India, later copied by Newar craftsmen, further embellished, and finally formed into self-contained
Newar types. Most of the Licchavi chaitya feature one to four levels that rest on top of each other
with upwardly decreasing dimensions. The ground plan can be round, square, octagonal or feature
12 or 20 corners. Horizontal cornices, roof-like
mouldings, niches, pilasters and other
Architectural elements provide in many levels
the character of building storeys. Octagonal
blocks are the transitional elements between the
round domes and the square blocks in the shape
of the most popular ground plan, the 'plan with
20 corners' (Skt. vimśatikona). Due to the
addition of secondary niches next to the central
primary niches and of roof-like mouldings, the
platforms were transformed into building
'storeys'. This development was supported by
the number of decor elements. The stacking of
several storeys with different ground plans such
as the vimśatikona with four or 12 niches, the
octagon with eight and the circle with eight or 16 niches can be found.

PLINTH
The plinth is the lowest element of a chaitya and is known as 'Vedikas in Sanskrit word and 'phah'
in Newari word. It is raised above the ground plan, which is shaped in a round, square, octagon and
twentieth angled, which functions firstly is to mediate between the sub-structure and the (invisible)
foundation, and secondly to separate the divine chaitya away from the unclean ground.
The round Vedikas is found in Swayambhu, Carumati, and others Stupa: the square Vedikas is
found in small stone Stupa, the octagon Vedikas is found in padmavali chaitya and the twentieth
angled Vedikas is found in Boudha Stupa and small stone Stupas. The Vedikas may be one to three
levels. The Swayambhu and Carumati Stupa have one Vedikas and the Boudha Stupa has three
levels Vedikas and the small stone Stupas have also found in three levels.
Most of the chaitya found nowadays have been relocated in the course of time and do not rest
anymore on their original plinth. One of the most decorated plinths deploying a special character is
the Chaitya No. 7, Dharmadev Stupa-compound of Chabahil. The 20 upturned corners of the

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vimśatikona-block displaying rockery design support a large downwardly unfolded lotus blossom
transforming this chaitya to a 'lotus-born' one.

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 4. CHAITYA NO. 7 (OF THE DHARMADEVA STUPA)

4.1 INTRODUCTION
The most popular type of the Licchavi era is type C I, best represented by Chaitya No. 7 of the Dharma deva
Stupa-compound of Chabahil. The inscriptions around it prove its antiquity peculiar. It was built during the
regime of Dharmadev, the father of Manadev, Pair of eyes and a nose below them on all the four side of the
Stupa are similar to that of Swoyambhunath. In its south there is an ancient image of Padmamani
Bodhisattwo, which is believed to be of around 6th century.

4.2 ARCHITECTURAL FEATURES:

The broken finial is a recent miniature of the finial of the Swayambhu Stupa and is not shown. The silhouette
of the dome does not show a clean hemispherical outline as it is slightly bulgy and flattened. The water
groove profile at the drum's base leads to the typical moulded drum.
The two 'storeys' of the sub-structure are based on the vimśatikona-plan. The high niches of the upper storey
are partially engaged to the drum. Whereas the upper half of this storey displays horizontal mouldings, the
lower half is designed as a square, ornately decorated plinth. In its centre we find a squatting gnome holding
scrolling plants in his fists. To the left and the right, geese with scrollwork tails seem to guard this chaitya
element.

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The niches are framed by mythical, bird-like creatures (gandharvas). The scrolled tails reach up to the arch
of the niches decorated by an amalaka-motif.
The lower storey of the vimśatikona- plan is also horizontally divided into two halves, like the upper storey.
Its outstanding feature is the central niche of unusual design. Its outline is defined by the framing elements.
Each of two low pilasters support a mythical makara with a wide opened mouth and a thick tongue supporting
the kirtimukha-mask in the apex of the niche. The tails of the makaras are profusely foliated. Lions at the
corners guard the whole chaitya, which rests on a square plinth. This most profusely decorated chaitya
displays a collection of very different (but for the Licchavi era typical) decor elements which are not found
at the later chaitya of the Malla and Shah eras.

Gandharvas

Geese
Mythical makara

Lions at the corner

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 5. CONCLUSION

Chaitya derived from the word Cita, "Funeral pile". In Buddhist tradition, following the Chaitya
culture is important from the ancient time to till date. Even though they are constructed in memory of
a dead person in prehistoric age, Chaitya is constructed and worship in later age to reach the
Buddhahood. It is believed that the culture of worshiping the Chitya from the body, the speech and the
mind is to get wisdom so that one can attain Buddhahood. This Chaitya culture is mostly followed in
Nepal Mandala (the Kathmandu Valley). Historically, people of the Kathmandu valley believe the
valley is the sacred ground of Buddha. In Buddhist canonical literature, worshiping Chaitya or stupas
is emphasized in many texts.

6. REFERENCE

 Wolfgang, the stupas and the chaitya, 2015

 Scribd document, 2017

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7. ANNEX
Example of chaitya.

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