Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楻upananda learns of the impermanence of beauty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.
R奴p膩nanda learns of the impermanence of beauty
[Full title: Depiction of scenes from the life of Buddha: R奴p膩nanda learns of the impermanence of beauty]
Story:-
The story is given in the Dhammapada-atthakatha.
Janapadakalyani, also known as R奴p膩nanda was the wife of Nanda. She saw her nearest kinsmen had become monks. She joined the community of nuns because of her love for her kinsfolk and not because of her faith.
One day she heard that the Master had preached of the impermanence of beauty and fearing that he would find fault with her own form avoided facing him. Once the residents of 艢谤腻惫补蝉迟墨 dressing themselves in spotless garments went to Jetavana to listen to the Masters preaching. R奴p膩nanda decided to listen to the Master.
Buddha knew that she was only thinking of her beauty all the time. So by his supernatural power he created a young woman of surpassing beauty who stood beside him. When R奴p膧nanda beheld the beauty of this women she realized that she looked like a crow before a royal goose. But when she watched her while listening to the Master鈥檚 discourse she saw the young woman of sixteen turn into the woman of twenty, them into a middle aged woman and finally an old woman full of diseases. Soon she became dead and the corpse was torn up. This sight made R奴p膩nanda realize the ephemeral nature of beauty. She heard the discourse of the Master and attained the fruit of conversion and arhatship[1].
Depiction:-
A relief on the lower part of a broken rail pillar illustrate the scene. Above the half lotus is a scene representing a number of monks and turbaned noble looking laymen seated and standing all with joined hands in adoration around an empty throne with double cushion signifying the presence of Master. Many nuns are seated to the left[2]. The lady beside Buddha is R奴p膧nanda.
Footnotes and references:
[1]:
Sivaramamurti C, Op.cit, pp 200-201.
[2]:
Ibid, pp 200-201, pl XXXI, fig 1.