Amaravati Art in the Context of Andhra Archaeology

by Sreyashi Ray chowdhuri | 2018 | 90,477 words

This page relates ‘Somanassa Jataka’ 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.

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

Stroy:-

According to the Jātaka in the kingdom of Kuru reigned King Renu. At that time an ascetic named Mahārakkhita came to the city with his retinue to get salt and seasoning. He dwelt in the royal park. The king invited them to have food, asked them to remain in his park for the rainy season and provided all the necessary things required by them.

When the rainy season was over Mahārakkhita took leave of the king and left for the Himalayas. While on the return journey the ascetics began to talk about the generosity of king Renu and his unhappy childless state. This was overheard by Mahārakkhita. Mahārakkhita perceived that the king would have a son which was declared to other ascetics. This was heard by a fraud ascetic. He thought that he could become closely associated to the royal house. Thus instead of going to the Himalayas, he went to the palace. He delivered the prediction of future descendent of the family in a way that seemed that a mighty son of the Gods will descend and queen Sudhamma will conceive. Overwhelmed by the fraud, the king assigned him a place to live in the royal park and named him Dibbacakkhuka. He started planting vegetables, pot-herbs and runners. By selling these to the market gardeners he collected much wealth.

After some time Bodhisattva came down from the heaven and was born to the queen as a son. He was named Somanassa Kumāra. When the Bodhisattva was seven years old the king had to go to the frontier to quell rebellion. During that time the king nominated his son to look after the needs of the ascetic. One day when the prince went out to meet the ascetic, he found him doing gardening instead of performing ascetic’s duty. The fraud ascetic thought that since the prince came to know his truth he evolved ways to conceal the truth. After the king’s return the fraud pretended to be ill and blamed the prince. The king told his men to put his son to death. The son begged the executioner to take him to the king so that he could reveal the reality. The prince thus told the truth about the fraud ascetic. The king investigated the matter. The king realized his mistake and repented for his act. The prince left the palace and went to the Himālayas where Viśvakarmā made arrangements for him to lead an ascetic life[1].

Depiction:-

The synoptic narrative of the Jātaka is carved on a limestone cross bar roundel at Amarāvatī. To the lower right side of the panel is King Renu with his queen Sudhamma seated in the royal garden. Below them are king’s retinue who brought food stuffs to the ascetic. The seated ascetic before the king is Mahārakkhita. The person sitting by the side of the ascetic is the fraud ascetic. Above it on the right side is Dibbacakkhuka holding a plant about to plant it in the garden. The standing person is Somanassa Kumāra.

On the top of the medallion there is the sleeping person on the couch who is Somanassa Kumara. There are two persons approaching the couch. The one who holds the sword is the executioner. The standing person in ascetic dress is Dibbacakkhuka. This sculptural piece is preserved in the Madras Government Museum[2] (Pl 16d).

Footnotes and references:

[1]:

Cowell E.B, Op.cit, vol III-IV, No 505, pp 275-280

[2]:

Sivaramamurti C, Op.cit, pp 230-231, pl XXVII, fig 2

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