Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楥ontribution of Amaravati Art (Introduction)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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Contribution of 础尘补谤腻惫补迟墨 Art (Introduction)
础尘补谤腻惫补迟墨 Art has a distinct place in the history of artistic activities in India. 础尘补谤腻惫补迟墨 contributed greatly to the evolution of aesthetics in India and made its impact felt on various art centres of India, Sri Lanka and South East Asia. However, one needs to critically analyse whether the impact was generated by 础尘补谤腻惫补迟墨 repertoire or 础尘补谤腻惫补迟墨 Art was touched by features already seen in early art traditions of India, Sri Lanka and South East Asia. This is an interesting facet which we intend to explore while investigating the artistic linkages between early art tradition of India and South and South East Asia. Studies of form, content and the manner of depiction has been taken into account while locating the interrelations and impact of 础尘补谤腻惫补迟墨 repertoire on art representations in India and abroad.
In order to study the above dimension it becomes imperative to look into the various art traditions of India vis-a-vis 础尘补谤腻惫补迟墨 art and identify the connectivity between them. The study of early limestone fragments from 础尘补谤腻惫补迟墨 indicates its closeness to some art objects of Mauryan and post鈥揗auryan epoch. In this regard, mention may be made of a limestone upright from 础尘补谤腻惫补迟墨 depicting an elephant under a palm tree[1]. It belongs to c. 2nd century BCE. The figure of the elephant is closely allied to the 驳补箩补迟补尘补岣� of the K膩l艣墨 rock. The elephant from 础尘补谤腻惫补迟墨 also resembles the fascade of the 尝辞尘腻艣补 峁氠梗墨 cave[2]. However, though the specimen from 础尘补谤腻惫补迟墨 is obtained from post鈥揗auryan level but the depiction bears the stamp of Mauryan Art. It may be recalled that 顿丑腻苍测补办补峁璦办补 attracted the attention of the Mauryas, especially 础艣辞办补. Thus, it can be postulated that the stylistic traits of the Mauryas exerted its influence on some artefacts of the early phase of 础尘补谤腻惫补迟墨. The elephant under the palm tree is an unique example of this tendency.
Several early iconoplastic antiquities bear features reminiscent of the Sunga sculptures. Similitude is visible in the attire, heavy jewellery, turban (Pl 34a, Pl 34b) and some gestures and postures. (Pl 34c, Pl 34d) In C. Sivaramamurti鈥檚 magnum opus, 鈥�础尘补谤腻惫补迟墨 sculptures preserved in the Madras Government Museum鈥� a detailed comparative study has been made[3]. The Sunga practice of inscribing label on sculptures is also found on some early sculptures from 础尘补谤腻惫补迟墨.[4]
Footnotes and references:
[1]:
Sarma I.K, 1985, 鈥楨arly Sculptures and Epigraphs from South East India New Evidence from 础尘补谤腻惫补迟墨鈥� in Asher Frederich and Gai G.S (ed) Indian Epigraphy and its bearings on the history Art, New Delhi, p 18.
[2]:
Ibid, p 19.