Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Rohini Khattiyakanna’ 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’s life drawn from the Avadanas and Jatakas which are illustrated in Amaravati art.
Rohiṇī Khattiyakannā
[Full title: Jātakas and Avadānas in the Amarāvatī Art: Rohiṇī Khattiyakannā]
The Buddhists believe that about two hundred and ninety stories in Dhammapad-Attakatha were told by Buddha himself. Among these the story of Śakra and the celestial nymphs familiarly known as Rohiṇī Khattiyakannā is a favourite theme selected by sculptors of Amarāvatī.
Story:-
According to the story once a beautiful nymph was born in the abode of thirty three which was at the meeting point of the boundaries of the four deities. The nymph was so beautiful that the moment they saw her they fell madly in love with her and each desired to posses her. They began to quarrel amongst themselves. Finally they went to Śakra and requested him to settle the dispute.
But when Śakra saw the beautiful nymph desire arose in his heart. He now asked the deities what they felt when they saw her. One of them confessed that his desire was so strong that it would no more subside than a battle drum. The second one said that his thought ran like a wild torrent. The third one said that his eyes bulged and poped out like a crab when he saw her. The fourth one said that his thoughts for her fluttered like a banner in a shrine. After hearing their comments Śakra also expressed his desire that he would die without her. Finally the deities decided that Śakra needed her the most and departed from there after presenting her to him[1].
Depiction:-
The synoptic narrative is depicted on a coping fragment at Amarāvatī preserved in the Madras Government Museum. It shows Śakra seated on a royal throne wearing a jewelled turban. The four quarreling men without turban beneath the balcony appear to be the deities. Again the same men are shown separately with a woman. The first one is standing beside her while the other is falling at her. The third person is shown carrying her away. The fourth one stands in anjali mudrā requesting them to stop fighting and seek justice from Śakra. Beside Śakra is a nymph in a anjali mudrā adoring Śakra[2]. Another depiction is found on the drum frieze panel of Amarāvatī preserved in the British Museum[3].(Pl 14b)
Footnotes and references:
[1]:
Sivaramamurti. C, Op.cit, pp 227-78.
[2]:
Ibid, pl XLVI, fig 1.
[3]:
Knox Robert, Op.Cit, p 118, pl 59.