Anthropomorphic depiction of Buddha

With the rise of the Mahayanist phase the anthropomorphic depiction of the Master was seen in the art of Amarāvatī repertoire. Numerous Buddha images on stone, lime stone and bronze have been found in the various districts of Andhradeśa belonging to the Amarāvatī repertoire. (Pl 29c) Here the anatomical feature of Buddha seems to be of the Cakravartīn type^[1]. The early specimens from Amarāvatī are characterized by broad and almost flat rendering of the body along with erect frontal pose and straight hanging pleats of the garment. The face is usually square with full eyes and fleshy lips with eternal smile. The hair is in spiral locks or snail curls which later developed into usnisa. The hand postures usually seen in the Amarāvatī style are Bhūmisparśa and Abhaya mudrā. (Pl 29d)

Some scholars have suggested that Mathurā was the source of inspiration of Buddha images at Amarāvatī. Scholars also point to the Gāndharan influence in the Buddha images at Amarāvatī. It may be suggested that while the treatment of the drapery in similar to Mathura, the oval shaped face is close to Gāndhara. However, it is difficult to state whether the influence came to Gāndhara or directly from Rome. The Roman connection is more probable considering the trade and artistic linkages visible in the lower Kṛṣṇa valley.

Three types of Buddha is clearly discernable. In the first type seated Buddha in the Amarāvatī style is usually depicted in Sattvaparyaṅkāsana, that is, sitting on a seat with legs dangling from the seat. In South India this pose first appeared at Amarāvatī. His right shoulder and feet are uncovered. The second type is similar to the first one but the right hand is held at the centre of the chest in a standing posture. According to D. Barrett this was an original conception of the Amarāvatī artists. The third type is characterized by seated Buddha in the same posture as the first type but the right hand is held before the chest^[2].

In India the practice of art was mostly guided by religious inclinations. The archaeological site of Amarāvatī showed a definite evolution of various doctrinal changes mainly manifested in the iconoplastic antiquities. However, in Andhra the most powerful guiding religious force was Buddhism in the centuries preceding and following the Christian era. Buddhism played a significant role in the development of Buddhist art, architecture and ideology in the region. The myths and legends associated with Buddhism were immortalized in stones and other mediums of expression. An extensive literature commemorating thoughts of Lord Buddha expressed in the Jātaka stories, Avadānas and the stories of the life of Master became the most popular theme in the narrative art of the region.

Amarāvatī, the most flourishing centre of Buddhism of the early Andhradeśa experienced three phases of Buddhism clearly reflected in the art of the region. With the beginning of Theravāda it matured into the Mahāsaṅghikās and Caityaka phase and subsequently leading to the rich pantheon of the Mahayānist school. Thus the aniconic form led to the iconic representation of the Master. However, it may be said that though worship of Buddha came into practice but the ancient worship of symbols still continued there. Thus circumambulation remained as much a ritual practice as offering flowers, lights and incense. This practice was also followed at Nāgārjunakoṇḍa. Further the infiltration of Vajrayāna with emphasis on the female element and tendency of tantric Buddhism was seen in the icono-plastic antiquities of the region.

Regarding the depictions of the life stories of Buddha, Avadānas and Jātakas it may be pointed out that it was a part of the thoughtful programme of conveying some of the basic, meaningful and humanly practicable precepts. The teachings of the Jātakas with their moral aspect gave direct message to the ordinary masses. The Amarāvatī artists first followed the tradition of oral narration and then concentrated on visual representation whereby stories are transmitted to the onlookers in direct terms through plastic visualization. The patrons definitely played a significant role in choosing the Buddhist visual narratives. Since the monastic establishments largely depended on the gifts of the donors, hence individual requests for portrayal of specific stories received random placement on the monument.

Scholars are of the opinion that it was due to the efforts of King Aśoka that the Buddhists entered Andhra and enjoyed the status of a state religion. However, Buddhism was patronized by local kings and chieftains prior to Aśoka. After the Sātavāhanas, Buddhism continued to receive patronage by their successors, namely Ikṣvāku, Śālaṅkāyana, Viṣṇukuṇḍin and other minor dynasties. However, though the Ikṣavakus shifted the focus from Amarāvatī to Nāgārjunakoṇḍa, Dhānyakaṭaka retained its monastic significance. Even when Śaivism flourished in the region with the establishment of Amreswara temple, Amarāvatī (Ancient Dhānyakaṭaka) was mentioned in medieval inscription as a famous Buddhist centre. As late as 14^th century C.E. Amarāvatī retained its prime international pilgrimage position as attested by the Gaḍalādeniya inscription. This undoubtedly signifies the importance of Amarāvatī, ancient Dhānyakaṭaka as a important Buddhist religious and art centre in ancient India.

Footnotes and references:

[1]:

Ramachandran A, Op.cit, p 59.

[2]:

Ibid, pp 59-60