Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Contribution of Amaravati Art (Introduction)’ 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.
Contribution of Amarāvatī Art (Introduction)
Amarāvatī Art has a distinct place in the history of artistic activities in India. Amarāvatī contributed greatly to the evolution of aesthetics in India and made its impact felt on various art centres of India, Sri Lanka and South East Asia. However, one needs to critically analyse whether the impact was generated by Amarāvatī repertoire or Amarāvatī Art was touched by features already seen in early art traditions of India, Sri Lanka and South East Asia. This is an interesting facet which we intend to explore while investigating the artistic linkages between early art tradition of India and South and South East Asia. Studies of form, content and the manner of depiction has been taken into account while locating the interrelations and impact of Amarāvatī repertoire on art representations in India and abroad.
In order to study the above dimension it becomes imperative to look into the various art traditions of India vis-a-vis Amarāvatī art and identify the connectivity between them. The study of early limestone fragments from Amarāvatī indicates its closeness to some art objects of Mauryan and post–Mauryan epoch. In this regard, mention may be made of a limestone upright from Amarāvatī depicting an elephant under a palm tree[1]. It belongs to c. 2nd century BCE. The figure of the elephant is closely allied to the gajatamaḥ of the Kālśī rock. The elephant from Amarāvatī also resembles the fascade of the Lomāśa Ṛṣī cave[2]. However, though the specimen from Amarāvatī is obtained from post–Mauryan level but the depiction bears the stamp of Mauryan Art. It may be recalled that Dhānyakaṭaka attracted the attention of the Mauryas, especially Aśoka. Thus, it can be postulated that the stylistic traits of the Mauryas exerted its influence on some artefacts of the early phase of Amarāvatī. The elephant under the palm tree is an unique example of this tendency.
Several early iconoplastic antiquities bear features reminiscent of the Sunga sculptures. Similitude is visible in the attire, heavy jewellery, turban (Pl 34a, Pl 34b) and some gestures and postures. (Pl 34c, Pl 34d) In C. Sivaramamurti’s magnum opus, ‘Amarāvatī sculptures preserved in the Madras Government Museum’ a detailed comparative study has been made[3]. The Sunga practice of inscribing label on sculptures is also found on some early sculptures from Amarāvatī.[4]
Footnotes and references:
[1]:
Sarma I.K, 1985, ‘Early Sculptures and Epigraphs from South East India New Evidence from Amarāvatī’ in Asher Frederich and Gai G.S (ed) Indian Epigraphy and its bearings on the history Art, New Delhi, p 18.
[2]:
Ibid, p 19.