Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楻esemblance to Deccan art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.
Resemblance to Deccan art
The architectural and sculptural remains of western Deccan exhibit certain similitude with the art of 础尘补谤腻惫补迟墨. They are more or less contemporary to the 础尘补谤腻惫补迟墨 repertoire. At 狈腻蝉颈办 (North-West Deccan) on the end walls of the verandah of cave III, the famous Gautamiputra Cave have carved pilasters identical to the pillar types I and II of 础尘补谤腻惫补迟墨. On the frieze above the verandah is a representation of a rail with pillars, three lotus cross bars[1] and a coping of looped garlands without supporters. This rail is quite similar to the 础尘补谤腻惫补迟墨 rail. It is possible to say that the 狈腻蝉颈办 pilaster and types 1 and II of 础尘补谤腻惫补迟墨 pillars are roughly contemporary. In can be stated that since this period witnessed the 厂腻迟补惫腻丑补苍补 rule in Andhra these linkages are a quite possible.
The caitya hall at 碍腻谤濒别 contains a fair amount of sculptures. It may be stated that 碍腻谤濒别 is just preceding the beginning of the early phase at 础尘补谤腻惫补迟墨. Though unequal in quality the sculptures show closeness to the early phase of the 础尘补谤腻惫补迟墨 art. The closeness is seen in the externals of styles noticeable in the headdress, ornaments and treatment of the drapery[2].
The sculpture on the caitya halls at Bedsa and Kondane again show certain similarity. But the 础尘补谤腻惫补迟墨 antiquities is less monumental but more assured. Yazdani remarked that the style of the sculptures evolved from the early phase of the 础尘补谤腻惫补迟墨 art[3].
Closeness in the carving of mithuna couple is noticed from an iconoplastic representation in Kuda and 础尘补谤腻惫补迟墨. In this regard mention may be made of two mithunas at the corner of the cave at Kuda (Rajpur creek, Bombay Presidency)[4]. They are carved about the end of 2nd century CE. In an early example of mithuna from 础尘补谤腻惫补迟墨, the female figure is placed on the right, reversing the order of the example of Kuda. The male figure with his face damaged is made to carry the lotus spray.
Comparing the sculptures from the western zone of Deccan and that of 础尘补谤腻惫补迟墨 certain technical advancement can be highlighted in case of 础尘补谤腻惫补迟墨. The iconoplastic representation from Bedsa, Kondane and 碍腻谤濒别 are less advanced than 础尘补谤腻惫补迟墨 sculptures. In fact 础尘补谤腻惫补迟墨 sculptures exhibit marked progress both in the intellectual and technical qualities of art. Though, the art of both the region concentrated on narrative form but the 础尘补谤腻惫补迟墨 sculptures are more eloquent in telling the story. 础尘补谤腻惫补迟墨 sculptures are more significant in expressing the feelings than its earlier prototype of the western zone. In 础尘补谤腻惫补迟墨 the movement of the sculpture exhibits softer grace and a more subtle rhythm. The human bodies in 础尘补谤腻惫补迟墨 art show a greater charm of suppleness in comparison to the sturdy figures visible in the western zone of Deccan.
Footnotes and references:
[1]:
Barrett Doughlas, 1954, Op.cit, p 44.
[2]:
Ibid, p 45.
[3]:
Ibid, p 45.
[4]:
Gangoly O.C, 1973, Op.cit, pp 56-57.