Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Worship of the Bodhi-tree’ 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.
Worship of the Bodhi-tree
[Full title: Different symbols visible in the Amarāvatī Art: Worship of the Bodhi-tree]
Significance:-
Originally the Bodhi tree, the Tree of Enlightenment was considered as a venerated object of Buddhism. Later it came to be regarded as a symbol of Buddha and became a sacred object of worship. H.R Perera opined that since Buddha allowed the laity to practice some outward form of worship he should be held responsible for the inception of veneration and worship of the Bodhi-tree[1]. The Kalinga Bodhi Jātaka supports this assumption. According to it when Ānanda requested Buddha to suggest something which could represent him and be venerated whenever he was absent, the latter replied that the Bodhi tree was fit for veneration whether he was alive or dead. Thus Ānanda obtained a seed of Bodhi tree from Bodhgayā and planted it in the court of the Jetavana Monastery. At that moment it exhibited a miracle as the Bodhi tree rose to 500 cubits high. Buddha sat under it after which the first Bodhi-festival was organized. The Paduma Jātaka also records the veneration of the Bodhi tree by monks with blue lotuses.
Various Buddhist works like Mahā Bodhivaṃsa, Mahāvaṃsa, Siṃhala Bodhivaṃsa, Sihaḷavatthu, Petavatthu and Rasavāhini deal with Bodhi-puja and veneration of the Bodhi-tree by Buddhist monks. The Aśokan edicts mention that Aśoka and Devanāmpiyatissa of Sri Lanka held grand festivals in honour of the Bodhi tree[2].
Depiction:-
Among several representations mention may be made of a drum slab containing the Enlightenment frieze. It should be stated that the presence of Buddha is indicated symbolically by the throne below the tree of knowledge (Bodhi tree). On either side of the tree are devotees with Pūrṇaghaṭas. A pair of kinnaras is visible hovering above the tree[3]. This specimen is preserved in the Archaeological Museum, Amarāvatī.
A fragment of a square rail post from Amarāvatī in the Indian Museum bears the relief of a Bodhi tree and an empty seat with padded cushions at the centre. On either side of the tree are two devotees in anjali mudrā. The remaining two devotees hold a huge shaft of an umbrella with three discs (Chattrāvalli) and a huge flag (Dhvajā) on both sides of the tree. On the top are seen two flying Vidyādharas scattering flowers.[4] (Pl 28d)
Footnotes and references:
[1]:
Saibaba V.V.S, Op.cit, p 29.
[2]:
Ibid, p 30.
[3]:
[4]:
Acc No. NS 370/ A25080, Indian Museum, Kolkata.