Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Parasol or Chatra’ 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.
Parasol or Chatra
[Full title: Different symbols visible in the Amarāvatī Art: Parasol or Chatra]
Significance:-
It was the desire for ambitious monarchs to acquire dominance of the umbrella over the universe. Thus the umbrella was the symbol of sovereignty. Such an umbrella was held as prince Siddhārtha departed from Kapilāvastu on his horse Kaṇṭhaka[1]. In Buddhism the parasol (chatra) stood for spiritual sovereignty of the Master.
Depiction:-
In a Mahābhiniṣkramaṇa scene in the Madras Government Museum one can see an attendant holding the parasol behind the horse. In front of him is Candaka in soldier’s dress and a pair of joyous men. The focus of the scene is the riderless horse. However, the parasol signifies the Master’s presence[2].
In another relief of Mahābhiniṣkramaṇa the rider less horse is depicted with a parasol (chatra). The man possibly Candaka is sculpted in front. This relief is preserved in the British Museum,[3] (Pl 28c)
Another fragmentary drum slab from Archaeological Museum, Amarāvatī, depicts a miniature stūpa where the worship of Nāga Muchalinda is carved. A partially visible parasol symbolizes Master’s presence. Nāgas were tutelary deity and subordinate to Buddha. This relief may signify this aspect[4].
Footnotes and references:
[1]:
Sivaramamurti C, Op.cit, p 58.
[2]:
Dr. Kannan R, Op.cit, p 192, fig 192.
[3]:
Knox Robert, Op.cit, p 185, pl 103