Abstract

In the centuries immediately preceding and following the Christian era ancient Andhradeśa witnessed the emergence of a number of Buddhist art centres. Among them AmarāvatT, ancient Dhānyakataka became the most important centre. The art activity at Amarāvatī mainly centred around the Mahācaitya. In this regard it may be stated that the Buddhist monument of Amarāvatī embellished with rich plastic ornamentation became one of the finest masterpieces of the Buddhist world. The great monument retained its existence from 4th century B.C.E to 14th century C.E. The long survival of the Amarāvatī Mahācaitya is unique to ancient Andhradeśa as none of the adjacent monuments of Amarāvatī enjoyed such a longevity. Besides physical survival of the monument, the artistic survival of Amarāvatī is also visible in the form of its artistic impulsions seen in the art traditions of India, Sri Lanka and South East Asia. This long survival of Amarāvatī Art in the context of Andhra archaeology is an interesting facet which we attempted to investigate in our thesis.
In order to pursue our objective the research is divided into six chapters. Homogenous sampling method and culture historical approach has been undertaken in our methodology.

The long history of the Amarāvatī site (monument) vis-à-vis other contemporary adjacent site is an interesting and perplexing problem. Investigations unveiled the convergence of a number of factors in Amarāvatī creating congenial environment for its longevity. This strategic geographical setting of Dhānyakataka was lacking in other centres. In the process of growth of Dhānyakataka, the religious establishment at Amarāvatī played a significant role. It attracted pilgrims from different parts and different sections of the society who extended their patronage to the Mahā Stūpa. Thus the monument not only fulfilled the spiritual and aesthetic urge of the visitors but paved the way for socio-cultural interaction and economic prosperity.

The socio-cultural interaction helped in the diffusion of Amarāvatī art style to various art centres of India, Sri Lanka and South East Asia. These linkages signalled a greater role of Amarāvatī in the development of aesthetics in South Asia and South East Asia. This definitely suggests the stylistic survival and continuity of Amarāvatī art irrespective of passing ages and geographical scenary.

Sreyashi Ray chowdhuri