Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楽ubduing of Nalagiri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.
Subduing of 狈腻濒腻驳颈谤颈
[Full title: Depiction of scenes from the life of Buddha: Subduing of 狈腻濒腻驳颈谤颈]
Story:-
Devadatta was the son of Buddha鈥檚 uncle 础尘峁泃辞诲补苍补. In Buddhist legend he is portrayed as a childhood rival of young Gautama. Some eight years before the death of Buddha, Devadatta being eager for gain and honour thought of winning over prince Aj膩tsatru. Devadatta with the support of Aj膩tsatru took different measures to kill Buddha. In one such attempt Devadatta caused the elephant keepers to let loose a fierce elephant 狈腻濒腻驳颈谤颈 on the road by which Buddha was to come. The monks warned Buddha three times but he refused to turn back and pointed out that it was impossible for him to be killed. As the elephant came near him, he pervaded it with love and 狈腻濒腻驳颈谤颈 became subdued[1]. Cullavagga mentions this episode.
Depiction:-
The depiction of the 狈腻濒腻驳颈谤颈 episode is sculpted on a cross bar preserved in the Madras Government Museum. Here the artist chiseled a massive elephant leaving the town gate with fury. It throws a man upside down with its trunk. Next to it is the same elephant kneeling before the Master. Here Buddha is represented in anthropomorphic form accompanied by two monks with folded hands. The entire scene is observed by on lookers from the balconies of the houses. The entire composition is very life-like and the dynamic narrative is composed within the circular format.[2] (Pl 26a)
Another illustration of the 狈腻濒腻驳颈谤颈 subduing incident is visible on a drum frieze preserved in the British Museum collection. Two moments associated with the episode is portrayed. It shows the angry elephant emerging from the town gate and the second elephant kneels down before Buddha. In this relief panel one can see a number of figures, some being trampled by the elephant, some lifting stones to hit the elephant and some taking refuge in Buddha[3].
In another relief from 础尘补谤腻惫补迟墨 preserved in the Bharat Kala Bhavan, Banaras, the episode is visible. In this partly broken and badly rubbed narrative, the massive elephant is posed in such a manner that it appears that he is making a wild leap as well as assuming the kneeling position simultaneously. Buddha is sculpted in the 蝉迟丑腻苍补办补 attitude.[4]
In 狈腻驳腻谤箩耻苍补办辞峁囜笉补 and Goli the 狈腻濒腻驳颈谤颈 episode is chiseled. (Pl 26b)
Footnotes and references:
[1]:
Brewster E.H, Op.cit, pp 153-155.
[2]:
Sivaramamurti C, Op.cit, pp 188-189, pl XXV, fig 1.
[3]:
Knox Robert, Op.cit, pp 115-116, fig 56.
[4]:
Parimoo Ratan, Op.cit, p 141, fig 132.