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Stupa at Vaisali with Asokan Pillar
Mauryan period,
Silver
Purchased in Rawalpindi
Diameter: 7.1 cm
Acquisition number: #OM 1937.3-19.5

Image copyright © 2002, Dahvi Fradkin Neelis

Vaisali 's past goes beyond recorded history, though it is said the region derives its name from King Vishal, a protagonist from the Hindu epic Ramayana. However, history tells us that even by the time of this leader, the region was already an important center of trade and industry and trade.

Vaisali is a significant location in the history of Buddhism as well, as tradition holds Vaisali as the place where Sakyamuni announced his approaching parinirvana to his followers. A century later, Vaisali became the site of the second Buddhist Council, where Buddhist authorities from all over North India assembled here to debate the ten points of vinaya (the rule of conduct). To honor the importance of this event, Asoka erected a tall pillar, originally 18.3 meters high (the pillar in this picture is a reconstruction). Also known as the Singh Stambh or "Lion Pillar," this column was made from a single highly polished piece of sandstone, surmounted by a bell-shaped capital, with life-size figure of a lion placed the top of the pillar.

The resemblance of the lions and bulls that frequently decorating Asokan pillars to precedents dating to the Achaemenid empire and excavated from Persepolis has been noted by art historians1, and there very well may be a stylistic connection. The symbolism, however, may be confidently regarded as locally derived. Lions were long associated with royalty in northern India, an association that was later passed on to Sakyamuni, the historical Buddha, who was of royal heritage.

Tradition has it that the brick stupa near this pillar was erected over relics containing a portion of the ashes of Ananda, an important disciple of Sakyamuni. The famous Chinese traveler and priest Xuan Zong visited Vaisali in the 7th centuries, and in his writings made mention of both this stupa and the lion pillar.

(1) Sherman E. Lee, A History of Far Eastern Art (New York: Harry N. Abrams, Inc., 1994), p. 83.