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1. “ SCULPTURAL ART OF AMARĀVATĪ ”
Supervisor: Submitted by:
Prof. (Dr.) Anupa Pande Jyoti Rohilla
Head of the Department Enrolment No. 02H (P) 36
National Museum Institute of History of Art, Conservation and Museology
National Museum,
Janpath
New Delhi
2007
2. INTRODUCTION
Stïpa of Amar@vatƒ once stood as the glory of south as well
as Indian Buddhism
3. INTRODUCTION
The Buddhist site of Amar@vatƒ (modern name of
ancient town of DhānayakaÝaka) was also known
by its
other various ancient names-
Dhammakada
Dhammakadaka
Dhannakadaka
4. METHODOLOGY
Literary Sources: Primary
Secondary
Epigraphical
Numismatic
Buddhist primary sources include canonical literature:
P@lÞ TripiÝaka in which most of the speeches and addresses are attributed to Buddha.
The TripiÝaka consists of two large parts:
VinayapiÝaka: is mostly concerned with the rules of the sangha, both monks and
nuns.
SuttapiÝaka (i.e. the collection of sutras): consists primarily of accounts of the
Buddha's teachings
Abhidhamma piÝaka: is a collection of texts which give a systematic philosophical
description of the nature of mind, matter and time.
Some important parts of TripiÝaka :
Theragath@, Therigath@ and Mahaparinibb@na Sutta
5. METHODOLOGY
Other Buddhist texts:
Nid@nkath@
J@takam@l@
Avad@nakalpalat@
Avadanaòataka
Divyavad@na
Buddhavamía
DÞpavamsa
Mah@vamsa
Buddhacarita etc.
The Sanskrit Buddhist texts:
Sadharmapunôarīka Sïtra
Mah@vastu
Lalitvistara etc.
6. METHODOLOGY
It also included several visits to the site of
Amar@vatƒ
Visits to various museums like
Amar@vatƒ Site Museum
N@g@rjunako&ôa Site Museum
Chennai Govt. Museum
National Museum
Musèe Guimet, Paris
7. CHAPTERS
VOLUME- I
Chapter 1: Introduction
Chapter 2: The Great Stūpa of Amarāvatī
Chapter 3:The Drum and Dome of Amarāvatī
Chapter 4:Narrative Art of Amarāvatī- I
J@taka Stories
Chapter 5: Narrative Art of Amarāvatī- II
Avad@nas and important scenes from the life of Buddha
Chapter 6: Inscriptions from Amarāvatī
Chapter 7: The Stūpa of Nāgārjunako&ôa- an extension of Amarāvatī
School
Chapter 8 : Influence of Amarāvatī School on the Art of Sri Lanka
Conclusion
8. CHAPTER 1
BRIEF HISTORY
The Sātavāhanas, also known as the åndhras, were a
dynasty which ruled in southern and central India starting
from around 230 B.C.
The first mention of the åndhras is in the Aitareya
Brahma&a, dating back to the 8th century B.C. In the
Pūrā&as and on their coins the dynasty is variously
referred to as the åndhras, åndhrabhrityas, Sātakar&īs and
Sātavāhanas.
12. THE DISCOVERY OF THE MAHå-CAITYA
AND
THE SITE AT PRESENT
The site of the mah@-caitya was locally known
as Dip@ldinne (hill of lamps) and was first
discovered by Colonel Mackenzie in the year
1797.
At present, the stïpa at Amar@vatƒ is a low,
artificial mound surrounded by a paved area and
the short stumps of a series of rail pillars.
15. CHAPTER 2
THE ARCHITECTURE OF THE
STîPA
The stïpa, literally a mound (Hindi: thïha,
Pali: thïpa), was a sepulchral or otherwise; a
monument generally made up on the site of
funeral pyre (cit@) by collecting (citi or cayam)
earth, owing to which it was also known as
caitya.
GENESIS OF STUPA
16. IDEAAND DEVELOPMENT
This term was used not only for denoting the
architecture but also sacred trees, memorial
stones, images etc. It was a popular term even
during the time of Buddha, the reference of which
we get in Dƒgha Nik@ya, in which he went to
Ch@p@la caitya and mentions about Udayana,
Gotamaka, Sattamba, Bahuputra and ånanda
caitya.[1]
[1] Rhys Davids, T.W. & C.A.F. (ed.) 1910. (Translated by Various Oriental Scholars). Sacred Books of the
Buddhists. Vol. III. Oxford University Press, London., p. 110; Pandey, B. SuttasaŠgho. Motilal Banarasidas.
Varanasi. p. 142
17. IDEAAND DEVELOPMENT
We get the reference of stïpa in-
ýgveda
Atharvaveda
Taittraiya SaŠhit@
Vajasaneya SaŠhit@
ðatapatha Br@hma&a
18. IDEAAND DEVELOPMENT
The origin of stïpa goes back to the ýgveda where
the flaming pile of Agni’s light is spoken to as stïpa [1];
the stïpa is compared to the outspreading form of a tree standing
erect.[2]
We also find the idea of descendant of the A$giras (a name of Agni )
named Hira&ya stïpa, who had invoked god Savit@ as the supreme
pile of splendour implying that both Agni on earth and Savit@ in the
heaven are like the two golden stïpa from which cosmic light
emanates.[3]
[1] ýgveda, 7.2.1
[2] ýgveda, 7.24.7
[3] Agrawala, V.S. 1965. Indian Art, Prithvi Prakashan, Varanasi. p. 120
19. IDEAAND DEVELOPMENT
The making of the stïpa was a practice prevalent before the time of
Buddha which is known from the conversation of ånanda and
Buddha in Mah@parinibb@&a Sutta.
The Buddha further added that four kinds of men were worthy of a
stïpa - a Tath@gata, a Pratyeka (Pali- Pacekka) Buddha, a disciple of
the Tath@gata, and a Cakravartin. [1]
[1] Rhys Davids, T.W. & C.A.F. (ed.) 1910. Op-cit. pp.154-58; Pandey, B. SuttasaŠgho. Op-cit. p. 195.
20. IDEAAND DEVELOPMENT
The Buddhist tradition recognizes three kinds of stïpas worthy of
veneration[1]:
ð@rƒrika: stïpas erected over physical remains of Buddha
P@ribhogika: stïpas erected over objects of personal use of
Buddha
Uddeòika: stïpas erected for the sake of the Buddha e.g. the
votive stïpas.
[1] Zimmer, H. 1960. The Art of Indian Asia - its Mythology and Transformations, Vol. I, McClelland & Stewart Ltd., London. p.
233
21. IDEAAND DEVELOPMENT
The earliest corporeal relics to be honoured:
Buddha’s hair which two merchants, Tapusa and
Bhallika, deposited in the shrine in Orissa, and is an
example of ð@rƒrika stïpa.
the stïpa, erected over the begging bowl of the Buddha
by the emperor Kaniíka is an example of P@ribhogika
the Uddeòika stïpas became quite popular as an object of
dedication or votive offering.
22. THE ARCHITECTURE OF THE
STîPA
the addition of the @yaka platform (mañca) and @yaka pillar (khamba).
the dome of the stïpa was highly decorated with the dome slabs (stïpa paÝÝas)
and other ornamental features
25. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
26. The Development of Sculptural Art in Railing
Inner face
THE GREAT RAILING AT AMARĀVATĪ
27. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
28. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
29. The Development of Sculptural Art in Railing
Inner face
THE GREAT RAILING AT AMARĀVATĪ
30. THE GREAT RAILING AT AMARĀVATĪ
The Development of Sculptural Art in Railing
Inner face
31. SCULPTURALART AT AMARĀVATĪ
the depiction of a
female figure holding
a basket in one hand
and a pot in the other,
standing on the
makaras having forked
tails.
34. “J@taka” is a story in which the
Bodhisattva in one of his earlier
existences lays a role, whether as the hero
of the story or as a subordinate figure or
even as a spectator.[1]
[1] Winternitz, Maurice. 1977. A History of Indian Literature, Vol.II, Motilal Banarasidas,
Reprinted Delhi. p. 109
CHAPTER- 4
JåTAKAS
35. JåTAKAS
Sutta PiÝaka which consists of five Nik@yas: -
Dƒghnik@ya
Majjhimanik@ya
Sa~yuttanik@ya
A$guttaranik@ya
Khuddakanik@ya
j@takas occurs in the tenth (j@taka) and the fifteenth
(Cariy@piÝaka) section
36. M@nuíƒ Buddhas in J@takas
M@nuíƒ Buddhas Tree or flora
Vipassin P@Ýali
ðikhƒ Pundarƒka or Lotus
Viòvabhï ð@la
Krakuchanda ðirƒía
Kanakmuni Udumbara
Kaòyapa Nyagrodha or Banyan
ð@kya Munƒ Aòvattha or Pƒpala
42. “atha bodhisatto setavarav@ra&o hutv@, tato
avidïre eko suva&&apabbato, tattha caritv@; tato
orïyuha rajatapabbata~ abhirïhitv@ uttaradisato
@gamma………Evam uttar@s@lhanakkhattena
paÝisandhi~ ga&ihi.
SCENES FROM THE LIFE OF
BUDDHA
43. SCENES FROM THE LIFE OF BUDDHA
Mah@bhiniíkrama&a – Symbolic representation
“Eva~ bodhisatto p@s@datal@
otaritv@ assasamipa~ gantv@
evam@ha- ‘t@ta kanthaka,
tva~…………..tasm@ devat@
attano @nubh@vena tassa
‘yath@ na koci su&@ti, ‘eva~
hasitasadda~ sannirumbhitv@
akkamana- akkamanapadav@re
hatthatal@ni upan@mesu~.”
Nid@nkath@. 1970. Ibid. p. 157
44. SCENES FROM THE LIFE OF BUDDHA
Mah@bhiniíkrama&a – Iconic representation
46. CHAPTER 6
INSCRIPTIONS
The variety of donors include:
householders (gahapati),
lay worshippers- including both male and
female (up@saka and up@sik@),
merchants (v@&ƒyas),
carvan traders (s@rtha),
jewellers or bankers (hera&ika),
royal officers (as p@&iya-gharika),
r@ja lekhaka,
members of royal families.
women (atev@sini, bhikhunƒ, gahapatikini etc.)
48. INSCRIPTIONS
…Kasa N@gabodhikasa bhariy@ya Budha-
Rakhit@ya m@tuy@- Budhaya cha d@sasa
M@yaca d@na Bhagavato- vedi
Translation: (obeisance to) Lord, gift of a rail jointly by Buddharakíita, wife of
N@gabodhi his mother Buddha and her servant M@y@.
Different parts of stïpa (railing or vedik@)
Inscriptions mentioning renovation work
(sa) Cadasa Matuya
nam navakammika padhandpari-
….no dhama khadhiko aya-Parapocha
Translation: Of Candra and his mother - the Chief supervisor of the renovation
work - and the Dhammakadhika, the worthy Parapota.
49. INSCRIPTIONS
Different country
tasa Likhitasa thambho bhi(khu) da n@ paÝalitate
Translation: Pillar of Likhita a monk from PaÝalƒputra (Plate 6.8)
Different Profession
adh(a) b (a) bh (a)
tukasa dana ma –
pasanikamatula Nadak
Translation: - gift of – Nanda the uncle of the stone-cutter.
58. INFLUENCE OF AMARĀVATĪ SCHOOL
ON
THE ART OF SRI- LANKA
Seated Images from Amar@vatƒ and Sri Lanka
59. CONCLUSION
SCULPTURAL ART AT AMARĀVATĪ
Early or Archaic Period: (c. 200 B.C.) Contemporaneous
with the foundation of the stïpa (of which period several
inscriptions in Maurya-ðu$ga script have been found).
Intermediate Phase: (c. 100 A.D.) Contemporaneous to
the period of the S@tav@hana Emperor V@siíÝhƒputra
Puúam@vi (116-19 A.D.); whose inscription is found at
Amar@vatƒ.
Mature Phase: (c.150-200 A.D.) Contemporaneous to the
period of ðrƒ Yajña ð@tkar&i (160-189A.D.); whose
inscription was found at Amar@vatƒ.
Last Phase: (3rd century A.D.) Contemporaneous to the
period of the Ikív@ku kings.
