The Nāga motif

Certain similitude can be detected in the use of the nāga motif in Amarāvatī art and the alto relievo depictions in Bhārhut, Sāñchī and Pauni. A fragmentary drumslab from Amarāvatī housed in the Archaeological Museum, Amarāvatī, depicts a miniature stūpa where the worship of Nāgarāja Muchalinda is shown in the centre^[1].(Pl 37d) Striking resemblance is visible on the Bhārhut medallion preserved in the Allahabad Museum^[2]. Portrayed in a purely reptile form like the Amarāvatī specimen, the Bhārhut Nāga Muchalinda shelters Buddha whose presence is delineated by footprints. In comparison to the low and flat depiction of the Bhārhut relief, the Amarāvatī nāga figure is much deeper cut with an attempt to depth extension.

In addition to this mention may be made of a relief from Pauni which illustrates the Nāga Muchalinda episode^[3]. In this specimen five hooded serpent envelops Buddha whose presence is indicated by a seat. Stylistically it comes close to the Bhārhut type with flat and low cutting of the surface, rather than the pronounced hoods seen in the Andhra art. Nāgarāja Muchalinda is also depicted in the anthropomorphic form in a relief from Amarāvatī preserved in the British Museum. Buddha’s presence is indicated by footprints enclosed in a cylinder formed by the coils of nāga. The anthropomorphic figure behind with hands in adoration and his head surrounded by polycephalous hood may be identified as the nāga king(Pl 38a). Though two narratives in Sāñchī are completely different but here too Muchalinda king is represented in anthropomorphic form^[4]. In both the examples from Sāñchī Nāgarāja Muchalinda is sculpted in human form with hoods along with naginis and adorents.