Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楻ohini Khattiyakanna鈥� of the study on Amaravati Art in the Context of Andhra Archaeology, including museum exhibitions of the major archeological antiquities. These pages show how the Buddhist establishment of Amaravati (Andhra Pradesh) survived from 4th century BCE to 14th century CE. It includes references and translations of episodes of Buddha鈥檚 life drawn from the Avadanas and Jatakas which are illustrated in Amaravati art.
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搁辞丑颈峁嚹� Khattiyakann膩
[Full title: 闯腻迟补办补蝉 and 础惫补诲腻苍补蝉 in the 础尘补谤腻惫补迟墨 Art: 搁辞丑颈峁嚹� 碍丑补迟迟颈测补办补苍苍腻闭
The Buddhists believe that about two hundred and ninety stories in Dhammapad-Attakatha were told by Buddha himself. Among these the story of 艢补办谤补 and the celestial nymphs familiarly known as 搁辞丑颈峁嚹� Khattiyakann膩 is a favourite theme selected by sculptors of 础尘补谤腻惫补迟墨.
Story:-
According to the story once a beautiful nymph was born in the abode of thirty three which was at the meeting point of the boundaries of the four deities. The nymph was so beautiful that the moment they saw her they fell madly in love with her and each desired to posses her. They began to quarrel amongst themselves. Finally they went to 艢补办谤补 and requested him to settle the dispute.
But when 艢补办谤补 saw the beautiful nymph desire arose in his heart. He now asked the deities what they felt when they saw her. One of them confessed that his desire was so strong that it would no more subside than a battle drum. The second one said that his thought ran like a wild torrent. The third one said that his eyes bulged and poped out like a crab when he saw her. The fourth one said that his thoughts for her fluttered like a banner in a shrine. After hearing their comments 艢补办谤补 also expressed his desire that he would die without her. Finally the deities decided that 艢补办谤补 needed her the most and departed from there after presenting her to him[1].
Depiction:-
The synoptic narrative is depicted on a coping fragment at 础尘补谤腻惫补迟墨 preserved in the Madras Government Museum. It shows 艢补办谤补 seated on a royal throne wearing a jewelled turban. The four quarreling men without turban beneath the balcony appear to be the deities. Again the same men are shown separately with a woman. The first one is standing beside her while the other is falling at her. The third person is shown carrying her away. The fourth one stands in anjali 尘耻诲谤腻 requesting them to stop fighting and seek justice from 艢补办谤补. Beside 艢补办谤补 is a nymph in a anjali 尘耻诲谤腻 adoring 艢补办谤补[2]. Another depiction is found on the drum frieze panel of 础尘补谤腻惫补迟墨 preserved in the British Museum[3].(Pl 14b)
Footnotes and references:
[1]:
Sivaramamurti. C, Op.cit, pp 227-78.
[2]:
Ibid, pl XLVI, fig 1.
[3]:
Knox Robert, Op.Cit, p 118, pl 59.