Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Flaming Pillar (Agniskanda)’ 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.
The Flaming Pillar (Agniskanda)
[Full title: Different symbols visible in the Amarāvatī Art: The Flaming Pillar (Agniskanda)]
Significance:-
In Andhra reliefs there are numerous representations of Buddha as a fiery pillar. It is believed that the flaming pillar is the counterpart of the agniliṇga of Śiva. This symbol was inherited from vedic fire worshippers. The flaming pillar in Buddhism carries the Rudra Agni concept. The Buddhist fiery pillars represent the survival of the vedic concept in which Agni is represented as the axis of the universe, extending as a pillar between Earth and Heaven.
The Fiery-Energy (Tejas) present in fire as the unseen energy in all existences is manifested by Buddha in case of the “Double Miracle”, “Conversion of Kassapa” or when Buddha takes his seat in the firmament. In Theragāthā where arahatta is synonymous with Buddhahood, the uggeteja “sharp fiery energy”, is the flaming sword of understanding (Pannā-Prajnā) whereby Mara is defeated. Flaming pillar symbolizes the spiritual energy of Buddha, later symbolized by flames arising from the crown of the head of the Buddha images. In Dhammapada the Buddha “glows with fiery energy,” (Tapati Tejasā).[1]
Depiction:-
A relief on the railing crossbar now in the British Museum Collection shows the fiery pillar. The inner face of the crossbar shows Buddha represented in the form of a flaming pillar surmounted by a triratna above an empty throne with cushions. Seated and standing around the pillar are a number of male figures mostly with hands raised in anjali mudrā. Two attendants stand on either side of the throne at the back and hold chowries. A figure standing to the left of the throne plays a lyre-like harp[2].
A drum slab from the votive stūpa at Amarāvatī preserved in the Archaeological Museum, Amarāvatī shows Buddha as a pillar of fire. Buddha is shown in flaming glory surrounded by worshippers. Buddhapāda with a parasol is also visible.[3] (Pl 27c)
Agniskanda is visible in the scene illustrating the presentation of Rāhula to his father on an ornate crossbar preserved in the Archaeological Museum, Amarāvatī. The front face shows presentations of Rāhula to his father who is symbolically represented by a cushioned throne, Agniskanda above and pādukās below. Among women is illustrated Rāhula’s mother who is pointing to her son.[4]
Footnotes and references:
[2]:
Knox Robert, Op.cit, pp 84-88, fig 28.