Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Demise or Mahaparinirvana� 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’s life drawn from the Avadanas and Jatakas which are illustrated in Amaravati art.
Go directly to: Footnotes.
The Demise or Ѳ貹Ծṇa
[Full title: Depiction of scenes from the life of Buddha: The Demise or Ѳ貹Ծṇa]
Story:-
After receiving his meal from Cunda Karmāraputra at Pava Buddha suffered from blood dysentery. He asked ĀԲԻ岹 to move westwards. Crossing the ᾱṇyī river they reached Kuśīinagara and rested in Upavattana called ŚԲ. ĀԲԻ岹 prepared a couch for him between two Ś trees and Buddha rested on it. On the request of his chief disciple he announced that ܳī, Bodhogayā, Sārnath and Kśīnagara should be treated as holy places after his Ծṇa. Simultaneously Buddha gave instructions for his funeral and related rituals. Learning of his impending death the people of Malla Janapada rushed to the Salavana and witnessed the last ordination given by Buddha to Subhadra. Finally Buddha had gone for four Բ and rising from them attained his Ѳ貹Ծṇa. His body was carried by devatas and Malla chiefs and the procession comprising dance, song and music was taken to ѳܰṭa Bandhana situated on the east of śīԲ and was cremated[1].
Depiction:-
The inner face of a railing pillar from 屹ī depicts the narrative scene of Ѳ貹Ծṇa divided into two registers. The scene on the left depicts the worship of a ū貹 by a group of monks and laity. ū貹 symbolically signifies Buddha’s Ѳ貹Ծṇa. To the left of the ū貹 is a female figure and another women standing behind her carry a pair of garlands from a tray held upon the head of a dwarf. The ū貹 has a garlanded dome with an umbrella and hanging garlands upon a lotus base. Below the ū貹 sits a female figure in the attitude of worship and another dwarf at the right. At the bottom of the register is a group of four seated cattle with two herdsmen. This specimen is preserved in the British Museum collection[2].
In another depiction from 屹ī sculpted on the drum pilaster, the topmost register shows the “Death of Buddha� (Ѳ貹Ծṇa) in the form of a ū貹. At the entrance to the ū貹 is a pillar-like object. The ū貹 is flanked by ٴǰṇa and a standing female figure. A single triratna adorns the upper crossbar of each ٴǰṇa and above these are flying human figure.[3]
The third register of a dome slab from 屹ī preserved in the British Museum depicts the Death of Buddha. A ū貹 rests on a double base with a high railing with fluted pillars adorned with three lotus roundels. The dome is decorated with garlands and out of the emerge eight umbrellas. On either side of the umbrella is a pair of flying worshippers with offering bowls on their hands. On either side of the ū貹 is a pair of male worshippers kneeling on one knee and with hands raised in anjali ܻ.[4]
Another illustration of the Ѳ貹Ծṇa scene is visible on a single register of a dome slab. The Death of Buddha is represented in the form of a ū貹 on a double lotus base. Out of the protrude a mass of umbrellas. To the left and right of the ū貹 sit two male worshippers crosslegged with hands raised in anjali ܻ. Above them is a pair of flying male worshippers carrying offering bowls on their raised left hands.[5]
A dome slab from 屹ī preserved in the Archaeological Museum, 屹ī contained the illustration of Ѳ貹Ծṇa in the top most register. The scene depicts the worship of the ū貹 by two devotees and two flying figures. (Pl 27a)
Similar depiction is also seen in several art centres of 屹ī School.
Footnotes and references:
[1]:
Strong John S, Op.cit, pp 134-144.
[2]:
Knox Robert, Op.cit, pp 99-100, fig 40.
[3]:
Ibid, pp 157-158, fig 83.
[4]:
Ibid, pp 163-164, fig 88.
[5]:
Ibid, p 164, fig 90.