Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥榁ajrasana and Simhasana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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痴补箩谤腻蝉补苍补 and 厂颈峁僪腻蝉补苍补
[Full title: Different symbols visible in the 础尘补谤腻惫补迟墨 Art: 痴补箩谤腻蝉补苍补 and 厂颈峁僪腻蝉补苍补]
Significance:-
痴补箩谤腻蝉补峁嘺 or 厂颈峁僪腻蝉补苍补 is the vacant seat which symbolizes the physical presence of Buddha. According to A.M Hocart the throne shows the king鈥檚 moral superiority and symbolizes sovereignty. In the sculptures it look like the P膩da p墨峁環a, that is, footstool usually seen in the royal court as the object to be touched by the forehead of any vassal.[1] In Buddhism the Master is a spiritual sovereign and hence the 惫补箩谤腻蝉补峁嘺 is a fitting representation of Buddha
Depiction:-
In a casing slab from 础尘补谤腻惫补迟墨 preserved in the Madras Government Museum a Vajrasana can be seen. The frieze actually shows Enlightenment symbolized by the Bodhi tree where beneath the tree rests the 痴补箩谤腻蝉补峁嘺.[2] (Pl 29a). Such depictions are frequently seen in the 础尘补谤腻惫补迟墨 ateliar.
Footnotes and references:
[1]:
Sivaramamurti C, Op.cit, p 58 pl XXI, fig1
[2]:
Ibid, pl XXI, fig1.