The Enlightenment Scene is a frieze from the 2nd century BC located at the Bharhut Stupa in India. It depicts the enlightenment of the Buddha in two registers. The top register shows the Bodhi tree and celebrations of enlightenment. The bottom register portrays devotees worshipping an aniconic shrine representing Buddha. The relief uses symmetry, scale, framing devices and a convex motif to guide the viewer's eye and emphasize unity, conveying Buddhist messages to travelers at the stupa.

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Joana Llamosas
Art of India
October 8, 2019
The Enlightenment Scene
The Enlightenment Scene​ is a frieze attached to a pillar located on the railings of the
Bharhut Stupa. This scene dates to the Shunga period in the second century B.C. ​The
Enlightenment Scene​ is split into two registers. The top register represents Bodh Gaya by having
a fig tree, the Bodhi tree, at the center and winged figures rejoicing. Bodh Gaya is the sacred
place in which the Buddha became enlightened, and the Bodhi tree is the fig tree under which
this act occurred. The bottom register portrays devotees worshipping a shrine of the Buddha,
which represents his aniconic form. The portrayal of four characters facing inward on each
register unifies the composition and focuses attention on the Buddha Shrine at the center.
There are three moments within ​The Enlightenment Scene​. The top register displays a
moment of celebration regarding the enlightenment of the Buddha, the Bodhi Tree is being
garnished by winged demigods symmetrically located on either side at the top of the relief. The
Bodhi tree is the focal point of the top register. Directly underneath the demigods are two figures
who are whistling, this is a form of calling more figures to celebrate the enlightenment. The
bottom register is also symmetrical, for example, there is one devotee and one yakshi on either
side of the register with their bodies in a three bend pose. The two figures to the right are known
to be in a devotion position due to the mudra, on hand positions, they are using. The focal point
of this register is the shrine adorned with lotus flowers. This is an aniconic form of the Buddha.
The symbolic representations of the Buddha are an example of a Buddhist ideal within the Four

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Noble Truths, magga, freedom from suffering. The Buddha’s aniconic form is able to
communicate a larger narrative of his escape from being human and living a life of suffering, this
would not have been as effective if he was depicted as an icon. The elephant, located to the right,
is a symbol of peace and a reminder of Maya’s dream. The top register is separated from the
bottom by a convex motif used to adorn the frieze with outlines of horseshoe windows located at
the entrance of the Bharhut stupa. Also, there are eight figures in total, representing the eight fold
path in Buddhism. The two registers each have four figures, perhaps representing the four noble
truths.
This narrative scene is portrayed on a vertical rectangular slab of sandstone. The left and
right sides of the top register are framed by trees. However, the bottom register’s horizontal sides
are framed by pillars while the vertical sides are framed by railings. This relief is designed to
direct the viewer's eye in a counterclockwise motion beginning with the top right winged
demigod. The line of sight continues to the left of the top register moving on to the yakshi at the
bottom register. The motif and the bottom register are in a convex format used as a narrative
device to guide the viewer's eye. The figures on either register are directing their attention
inwards to create a central focal point and to frame the relief. The focal point on the top register
is the Bodhi tree; on the bottom register it is the shrine of the Buddha. There is a hierarchy of
scale, the top register contains the holiest figures, this is why they are larger in scale compared to
the figures in the bottom register. The yakshis located on the bottom register are considered more
important than the devotees, this is why they are standing rather than kneeling.
Considering that ​The Enlightenment Scene​ was located on a rail outside of the Bharhut
Stupa, it most likely would have served as propaganda for Buddhism. Travellers were probably

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aware of the Buddha’s enlightenment however, while passing by the Stupa, narratives on
Buddhism and its origins would have been reinforced. Relief sculptures were created for this
purpose as a form to reach the illiterate.
This relief possesses similarities to the relief depicting​ The Enlightenment​ from the West
Torana Great Stupa located at Sanchi from the Andhra Period. Both serve a similar purpose, the
promotion of Buddhism to travellers. This is accomplished by having the frieze wrap around a
railing outside of each Stupa. The use of motifs as a framing device is present in both reliefs,
also, the focal point of each scene is the aniconic representation of the Buddha as a shrine located
directly underneath the Bodhi tree. ​The Enlightenment​, located at Sanchi, uses a simpler
narrative device while simultaneously having a more chaotic setting than its predecessor. ​The
Enlightenment​ is meant to be viewed from its right to left, this would make the narrative have
demons diagonally fleeing from the enlightenment.
Therefore, ​The Enlightenment Scene ​located at the Bharhut Stupa, uses various narrative
methods to convey the importance of unity to travellers being exposed to Buddhism for the first
time. The symmetry on both registers of the relief emphasise the balance sought after by
Buddhists. The convex motif also effectively guides the viewer's eye. This relief is successful in
creating unity and an accurate representation of the Buddha by portraying him as an aniconic
figure.