Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楥onversion of Nanda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.
Go directly to: Footnotes.
The Conversion of Nanda
[Full title: Depiction of scenes from the life of Buddha: The Conversion of Nanda]
Story:-
Nanda was the half brother of Buddha. From tradition it is known that Buddha once met Nanda with a begging bowl. Having just married a beautiful woman of the 厂腻办测补 tribe Nanda was highly infatuated by her. He dutifully filled Buddha鈥檚 bowl with food. But Buddha, however, departs without taking the bowl leaving Nanda with no choice but to follow him with the bowl. This gesture is known as pascatsramana, that is, a junior who follows the senior monk with his order. Nanda could not forget his beautiful wife and made attempts to escape. But he was thwarted in his attempts. Seeking to teach him a lesson on the impermanence of physical beauty, Buddha took him to the heaven. He showed him extremely beautiful goddesses next to whom Nanda鈥檚 wife was pale in comparison. Buddha then promised Nanda that if he forgets his wife and practices very hard in the monastery he can have all the beautiful goddesses. Nanda redoubled his efforts at meditation and attained Enlightenment. From that moment he had no longer any interest for his wife or any celestial goddesses.[1]
Depiction:-
A small fragment from 础尘补谤腻惫补迟墨 preserved in the Madras Government Museum illustrates the conversion of Nanda. In this scene two monks are visible. Behind him is 痴补箩谤补辫腻峁噄 and to the right a woman is seated on a couch. The monks are Buddha and Nanda and the lady is 厂耻苍诲补谤墨[2].
The inner face of a railing pillar from 础尘补谤腻惫补迟墨 preserved in the British Museum illustrate the episode of Nanda and 厂耻苍诲补谤墨. The scene is depicted in the main register. At the top of the relief sits the royal pair. Behind the throne is a pair of female chowri bearers and to the left stands a female figure with raised hand. Below the throne sits ladies playing games. The lower foreground of this scene is devoted to dance and musical performance.[3] (Pl 24c)
Another relief on the railing coping from the British Museum depicts the conversion of Nanda. Here Nanda and his wife sit on the throne and Nanda is touching the chin of his beloved. Some attendants are carrying food and drink for the couple. Nanda and 厂耻苍诲补谤墨 are enjoying the performance of the musicians.[4]
The episode of conversion of Nanda is also found in reliefs from 狈腻驳腻谤箩耻苍补办辞峁囜笉补.
Footnotes and references:
[1]:
Strong John S, Op.cit, pp 95-96
[2]:
Sivaramamurti C, Op.cit, pl lvii, fig 4
[3]:
Knox Robert, Op.cit, pp 64-66, fig 14 (inner face)
[4]:
Ibid, pp 99-100, fig 40.