Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楽annati And Kanaganahalli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.
Sannati And Kanaganahalli
The Sannati sculptures at Gulbarga district (碍补谤苍腻峁璦办补) have close resemblance to the highly ornate 础尘补谤腻惫补迟墨 School. In this fortified city a 蝉迟奴辫补 site of pre-Christian era has been excavated at Kanganhalli/Kanganahalli/Kanaganahalli[1]. The similarity is explicit in several reliefs. In this regard mention may be made of a relief on cornice of west 腻测补办补 concerning the birth of Buddha. The episode is grouped in three sequential narratives beginning from the right. The first frame illustrates dream of 惭腻测腻 where the horizontal cot is placed. The second frame depicts the court scene where 惭腻测腻 reports her dream. The third frame suggests admiration of 惭腻测腻[2]. 惭腻测腻 诲别惫墨鈥檚 posture in the first frame and in the second is possibly derived from 础尘补谤腻惫补迟墨鈥檚 composition.
Another panel from Kanaganahalli deserves special mention. The relief begins with the birth and nativity where a cloth is held horizontally by the devas to receive Buddha (Pl 40c). This is followed by the presentation of baby Buddha to 惫峁沰峁 测补办峁 and finally 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 where Kanthaka occupies the full space[3]. Depiction of Buddha鈥檚 nativity in the first section and illustration of rider less horse in the departure scene shows familiarity with the 础尘补谤腻惫补迟墨 workshop (Pl 40d).
In case of winged and horned lions seen in 础尘补谤腻惫补迟墨 and Kanaganahalli we recognize striking resemblance[4]. Similarity is also seen in the theriomorphic depiction of 苍腻驳补蝉[5] in Kanaganahalli (Pl 41a) and 础尘补谤腻惫补迟墨 (Pl 41b) repertoire. Similarity in the architectural components like 蝉奴肠墨蝉, chhatra, chandra艣il膩, and sculptural cornice is note worthy.
Another frieze which depicts an aniconic representation of the Dharmacakrapravartana episode one notices similarity with that of 础尘补谤腻惫补迟墨. Again the relief illustrating vrksa caitya[6] (Pl 41c) shows vihara or monastery like the 惫峁沰峁 caitya relief of 础尘补谤腻惫补迟墨 repertoire preserved in the Madras Government Museum. (Pl 41d)
In case of flying figures certain closeness can be viewed. In Kanaganahalli the flying figures in the scene narrating transportation of crest relics (Pl 42a) comes close to the flying figures seen in the 础尘补谤腻惫补迟墨 repertoire.(Pl 42b)
Striking similarity is also seen in the garment, jewellery, turban, hairstyle, and physiognomy of the figures from Kanaganahalli and 础尘补谤腻惫补迟墨. In addition to it Sannati sculpture shows familiarity with the 础尘补谤腻惫补迟墨 workshop in the manner of medallion designs.
The fact that Sannati was under the 厂腻迟补惫腻丑补苍补蝉 presupposes the link. However, the Sannati sculpture lacks the sophistication and linearity of 础尘补谤腻惫补迟墨 and N膩g膩rjun膩ko峁囜笉a slabs. Moreover, Kanaganhalli is situated on the right bank of the Bhima river. The river flows southwestward towards Andhra Pradesh where it joins 碍峁涐梗峁嚹�, thereby creating link with the sites of the 础尘补谤腻惫补迟墨 School[7].
Footnotes and references:
[1]:
[2]:
[3]:
Parimoo Ratan, p 117.
[4]:
Poonacha K.P, 2011 Op.cit, pl XXXVIII
[5]:
Ibid, pl LVII, LVI
[6]:
Ibid, pl LIV