The primary objective of this study are to investigate the feature of symbolic reliefs of early Buddhism of India, and it should attempt to illustrate with the monuments of Sāñchī, trying to appreciate the Indian culture as well as religious significance and context behind the symbolic reliefs. What is worthy notice is that the theme of symbolic reliefs are, for most of them, very closely related to the life events of Buddha, especially linked to the symbolic reliefs of life of Buddha (birth—lotus, enlightenment—bodhi-druma, teaching—dharmacakra, death—stūpa). And this study would mainly investigate the two major symbolic reliefs as stūpa and bodhi-druma. In view of the sculptured imaged found at gateways (toraṇa) and railings (vedikā) of great stupa, stupa 2, and stupa 3 at Sāñchī, the study would primarily be conducted with literature and arts history of India, supplemented with research methodology of iconography and typology so as to appreciate the status and importance of iconography features of stūpa and bodhi-druma in the common traditional culture of India as well as its historical significance and development in early Buddhism. At the end, the author would try to correlate the features of symbolic relief of ancionsim from early Buddhism with that of idol-worship of contemporary Buddhism so as compare the meaning and significance of anti-religious symbolic relief.
From the above-mentioned research processes, relevant results of research can be thus obtained as followed: 1. Religious concept of arts in early Buddhism is of “aniconsim,” and the while the concept of Buddha remains real and authentic as found saints of history. When one gives up flesh and enters parinirvāṇa, it indicates such irreplaceability of Buddha image, and the existence of Buddha can only be suggested with symbolic relief. 2. What symbolic relief can demonstrate is but of simple image, and they are mostly found in “worshipping” manner of composition, acting as the worshipping center of providers. Furthermore, majestic umbrella (chattra), garland, and streamer are used for decoration to display its sacredness. 3. “Stūpa’ can be found its origin from funeral service. And it was after parinirvāṇa of Buddha it is turned into the hemispherical dome, and each portion of relic is given to the eight kings and each built their own stūpa. Later on, King Aśoka had built up with extensive stūpa to proclaim the meaning of Lord of Dharma for education and teaching, given with the symbol of chakravartin. Therefore, the symbolic relief of stūpa is founded on the architecture of early Buddhism as its prototype, with relic or sacred object in it. As such, it symbolizes Buddha, or parinirvāṇa of Buddha, such being the ultimate symbol of realization of attained Samma Sambodhi of Buddha. 4. “Bodhi-druma” can be traced to the worshipping of sacred tree, and there has been such tradition in ancient India of meditation under tree. Since Buddha has conquered devil and enlightenment under bodhi-druma by River Nairañjanā, it is then given with the significance of tree of wisdom or tree of enlightenment. Hence, the symbol of bodh
