Sanchi in the context of "Vidisha"

Nirvana or nibbana (Sanskrit: निर्वाण; IAST: nirvāṇa; Pali: nibbāna) is the extinguishing of the passions, the "blowing out" or "quenching" of the activity of the grasping mind and its related suffering, stresses, and unease. Nirvana is the goal of many Buddhist paths, and leads to the soteriological release from dukkha ('suffering') and rebirths in saṃsāra. Nirvana is part of the Third Truth on "cessation of dukkha" in the Four Noble Truths, and the "summum bonum of Buddhism and goal of the Eightfold Path."

In all forms of Buddhism, Nirvana is regarded as the highest or supreme religious goal. It is often described as the unconditioned or uncompounded (Skt.: asaṃskṛta, Pali: asankhata), meaning it is beyond all forms of conditionality — not subject to change, decay, or the limitations of time and space. Nirvana is typically seen as being outside the realm of dependent arising (pratītyasamutpāda), representing a truth that transcends cause and effect, as well as all conventional dualities such as existence and non-existence, or life and death. Nirvana is also said to transcend all conceptual frameworks, being beyond the grasp of ordinary human perception.

The Jātaka (Sanskrit for "Birth-Related" or "Birth Stories") are a voluminous body of literature native to the Indian subcontinent which mainly concern the previous births of Gautama Buddha in both human and animal form. Jataka stories were depicted on the railings and torans of the stupas. According to Peter Skilling, this genre is "one of the oldest classes of Buddhist literature." Some of these texts are also considered great works of literature in their own right. The various Indian Buddhist schools had different collections of jātakas. The largest known collection is the Jātakatthavaṇṇanā of the Theravada school, as a textual division of the Pāli Canon, included in the Khuddaka Nikaya of the Sutta Pitaka.

In these stories, the future Buddha may appear as a king, an outcaste, a deva, an animal—but, in whatever form, he exhibits some virtue that the tale thereby inculcates. Often, Jātaka tales include an extensive cast of characters who interact and get into various kinds of trouble – whereupon the Buddha character intervenes to resolve all the problems and bring about a happy ending. The Jātaka genre is based on the idea that the Buddha was able to recollect all his past lives and thus could use these memories to tell a story and illustrate his teachings.

In Buddhism, a stupa (Sanskrit: स्तूप, lit. 'heap', IAST: stūpa) is a domed hemispherical structure containing several types of sacred relics, including images, statues, metals, and śarīra—the remains of Buddhist monks or nuns. It is used as a place of pilgrimage and meditation.

Walking around a stupa in a clockwise direction, known as pradakhshina, has been an important ritual and devotional practice in Buddhism since the earliest times, and stupas always have a pradakhshina path around them. The original South Asian form is a large solid dome above a tholobate, or drum, with vertical sides, which usually sits on a square base. There is no access to the inside of the structure. In large stupas, there may be walkways for circumambulation on top of the base as well as on the ground below it. Large stupas have, or had, vedikā railings outside the path around the base, often highly decorated with sculpture, especially at the torana gateways, of which there are usually four. At the top of the dome is a thin, vertical element, with one or more horizontal discs spreading from it. These were chatras, symbolic umbrellas, and have not survived, if not restored. The Great Stupa at Sanchi in Madhya Pradesh, is the most famous and best-preserved early stupa in India.

Since the beginning of the serious study of the history of Buddhist art in the 1890s, the earliest phase, lasting until the 1st century CE, has been described as aniconic; the Buddha was only represented through symbols such as an empty throne, Bodhi tree, a riderless horse with a parasol floating above an empty space (at Sanchi), Buddha's footprints, and the dharma wheel.

This aniconism in 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):

Buddhist music is music (Sanskrit: vàdita, saṅgīta) created for or inspired by Buddhism and includes numerous ritual and non-ritual musical forms. As a Buddhist art form, music has been used by Buddhists since the time of early Buddhism, as attested by artistic depictions in Indian sites like Sanchi. While certain early Buddhist sources contain negative attitudes to music, Mahayana sources tend to be much more positive to music, seeing it as a suitable offering to the Buddhas and as a skillful means to bring sentient beings to Buddhism.

Buddhist music retains a prominent place in many Buddhist traditions, and is usually used for ceremonial and devotional purposes. Buddhist music and chanting is often part of Buddhist rituals and festivals in which they may be seen as offerings to the Buddha.

Rudrasimha III (IAST: Rudrasiṃha) was the last ruler of the Western Satraps in India, in the 4th century AD. Rudrasimha III succeeded Rudrasena IV as the leader of the Indo-Scythians in India. Both were the sons of the Saka ruler Satyasimha, making them at least half-brothers, if not first-degree relatives.

The Western Satraps were ultimately conquered by the Gupta Emperor Chandragupta II. This event completely ended the rule of the Sakas on the Indian subcontinent. An inscriptions of the victorious Gupta king Chandragupta II in 412-413 AD, the Sanchi inscription of Chandragupta II, can be found on the railing near the Eastern Gateway of the Great Stupa in Sanchi.

The position and treatment of animals in Buddhism is important for the light it sheds on Buddhists' perception of their own relation to the natural world, on Buddhist humanitarian concerns in general, and on the relationship between Buddhist theory and Buddhist practice.

Raisen is a town and a municipality in Raisen district in the Indian state of Madhya Pradesh. It is the administrative headquarters of Raisen District.

Raisen takes its name from the massive fort at the top of a hill. The town is located at the foot. The name is probably a corruption of Rajavasini or Rajasayan—the royal residence. The famous places to visit in Raisen district are Raisen Fort, Dargah, and Sanchi Stupa. Raisen is 45.5 km (28.3 mi) from the state capital Bhopal.

Bharhut is a village in the Satna district of Madhya Pradesh, central India. It is known for a Buddhist stupa, unique in that each panel is explicitly labelled in Brahmi characters saying what the panel depicts. The major donor for the Bharhut stupa was King Dhanabhuti.

The Bharhut sculptures are some of the earliest examples of Indian and Buddhist art, later than the monumental art of Ashoka (c. 260 BCE), and slightly later than the early Shunga-period reliefs on railings at Sanchi Stupa No.2 (starting circa 115 BCE). It is more provincial in quality than the sculpture at Sanchi, Amaravati Stupa and some other sites, a large amount of sculpture has survived, generally in good condition. Recent authors date the reliefs of the railings of Bharhut circa 125–100 BCE, and clearly after Sanchi Stupa No.2, compared to which Bharhut has a much more developed iconography. The torana gateway was made slightly later than the railings, and is dated to 100–75 BCE. Historian Ajit Kumar gives a later date to Bharhut, the 1st century CE, based on stylistic comparisons with datable works of art from the Art of Mathura, particularly sculptures inscribed in the name of ruler Sodasa. Many of the Bharhut remains are now located in the Indian Museum in Kolkata, with others in museums in India and abroad. Little remains at the site today.