Campeyya Jātaka

[Full title: Jātakas and Avadānas in the Amarāvatī Art: Campeyya Jātaka]

Story:-

Once upon a time there was a serpent king named Campeyya who built a pavilion on the banks of river Campā situated between the kingdom of Aṅga and Magadha. One day the king of Magadha suffered defeat at the hands of the king Anga and decided to jump into the river of Campā. At that moment when the king plunged in the river the serpent king Campeyya beholded the king and honoured him. Campeyya assured him that he will make him the master of both the kingdoms. On the seventh day he along with the king of Magadha left the serpent palace. By serpent’s power king Magadha got possession of Anga and ruled over two realms together. From that time there was a firm friendship between the serpent king and the king. At that time Bodhisattva was born in a poor family. He used to go to the river. There he saw Campeyya’s glory and became envious. He then died. Seven days after the death of Campeyya, Bodhisattva was born. He lived a virtuous life. Bodhisattva came into being in his palace on his royal couch. His body was like a great festoon of jasmine. When he saw it he was filled with remorse thinking that even after performing good deeds he was born in reptile shape. He wanted to end his life. But a young female serpent named Sumanā said that he must be Śakra born in the nāga world. They welcomed him with musical instruments and made offerings to him. While the thought of death left him, he put off his serpent shape and then sat on the couch in the magnificence of dress and adornment. But after sometime he again repented and thought about the futility of his reptile body. So he decided that he will live under the fasting vows, learn the truths and put an end to pain. Wherever he went the female serpents followed him. On fasting days he went to the world of men and lay on the top of the ant hill not far from the frontier village. He thought that who so ever desires his skin or any part of him or anyone who intends to make the snake dance will take it. The village dwellers took him as a serpent king of great power and worshipped him. The Great Being kept a fast on the fourteenth and fifteenth day of the half moon lying on the ant heap. He said that on the first day of the lunar half he would return to the palace. As he was fulfilling his vow time went by. His consort Sumanā warned him that the world of men are dangerous. Then the Great Being told her about the various signs of danger and went forth to keep the fast of the fourteenth day.

A young Brāhmaṇ from Banaras saw the Great Being and decided to catch him. The man seized him and broke his teeth. But the Great Being did not harm him. The snake charmer took him to the village. He made great profits by making the snake dance.

Sumanā got worried of her husband’s absence. She went to Banaras. She stood in the air lamenting. When the Great Being was dancing he saw her in the air. He crept into the basket. The king asked the reason for the snake’s act. Sumanā revealed her identity and said that she came to Banaras to take her husband back from entrapment. The king asked the snake charmer to set him free.

The Great Being was set free and he reappeared in the form of a young man in his glorious form. Sumanā stood beside him. The king entered the palace. He asked the Great Being the reason for leaving the palace. The Great Being replied that when one stays in the company of men one learns the value of self control. The Great Being offered treasure to the king. After this the king and his attendant left the nāga world^[1].

Depiction:-

This jātaka is visible on a broken upright limestone panel at Amarāvatī. It is depicted in between the semi circular medallions in three registers. The extreme right portion, though broken shows a standing lady Sumanā returning to her home after advising Campeyya about the wicked person in the world. The central panel shows the snake emerging out of the ant heap to enter into the basket. The kneeled down snake charmer holds the lower part of the basket with his left hand, while his raised right hand threatens to capture the snake. The standing persons behind the civilians are witnessing the scene. The extreme left broken portion of the panel shows king Ugrasena sitting in ardhaparyaṅkāsana on the throne enjoying the performance of the dance. Below the throne the snake charmer holds the snake in a basket as an act of play^[2]. This representation is preserved in the Archaeological Museum, Amarāvatī. (Pl 18b).

Several Campeyya narratives is also visible on a limestone panel from Nāgārjunakoṇḍa, preserved in the Archaeological Museum Nagarjundakonda.

Footnotes and references:

[1]:

Cowell E.B, Op.cit, Vol V-VII, No 506, pp 281-293

[2]:

Acc No. 23, Limestone, Measurement 70 x 80 x 22 cm, Archaeological Museum, Amaravati, Archaeological Survey of India.