Resemblance to Gandhāra art

In some sculptures of Amarāvatī art one notices some commonness to the Gandhāra idiom. In this regard, it may be stated that like Amarāvatī, Gandhāra art mainly focuses on Buddhist themes.

In case of narratives related to Buddha’s birth, the Sālabhanjikā motif appears at Gandhāra like Amarāvatī. But the Amarāvatī Sālabhanjikā is more graceful and natural. She stands in tribhaṅga posture, almost like a dance stance where the hip is thrust towards the right^[1]. The Gandhāra Māyādevī in the form of Sālabhanjikā is crude, clad in heavy garment and graceless. The presence of the actual infant towards the right hip is a Gandhāran invention^[2].

The Amarāvatī artists elaborated the iconography of the rider less horse with parasol in case of depiction of Mahābhiniṣkramaṇa in later period of Amarāvatī art. A pair of men instead of regular groom was also added. The gestures of the two men indicate jubilation as well as effortless movement in the air like gandharvas. In Gandhāra the presence of man with the parasol at the rear of prince Siddhartha is similar to a Amarāvatī relief. However, the two yaksa like atlantis exerting themselves to hold the hoofs of the horse seen in Gandhāra^[3] is absent at Amarāvatī.

The rare depiction of the antaḥpur scene is depicted both in Amarāvatī and Gandhāra. The Gandhāran relief preserved in the British Museum shows a cot at the centre with Siddhartha and a sleeping woman, possibly Yośodhara beside him^[4] (Pl 42c). Below them are placed women hugging a drum and pairs of females interlocked in an embrace. Women locked in awkward embrace and hugging musical instruments is also found in antaḥpur reliefs from Amarāvatī. It can be presumed that these figural depictions were transported from Amarāvatī. Considering the mode of narration it can be stated that the Gandhāran version of antaḥpur scene is poor in comparison to the antaḥpur narratives from Amarāvatī.(Pl 42d)

The figure of Sumedha in the Dipankara Jātaka exhibits striking semblance to the pliable female figures demonstrated in the Amarāvatī reliefs. This relief dated to 2^nd-3^rd century CE shows the figure of Sumedha with spread out hair^[5]. This figure shows extreme pliability almost circular (Pl 43a) as seen frequently in Amarāvatī art. Further, the scene illustrating gang of assasins in front of Buddha depicts a male crouching figure forming a parabolic curve. It may be recollected that the narratives of worshipping devotees in Amarāvatī art (Pl 43b) bend forming parabolic curve like Gandhāran specimens.

The nimbus as a symbol of God is very popular in Gandhāran reproductions. This feature is also found in some reliefs at Amarāvatī.

The triratna became a sacred symbol for the Buddhists and naturally found its depictions in the Buddhists art centres. It should be mentioned that triratna stands for three jewels of Buddha^[6], that is, Buddha, Dhamma and Saṅgha. Similarity in the triratna symbol is visible in Amarāvatī and some Gandhāran specimens. In a frieze from Gandhāra devotees worship triratna. Though it rests on the lotus and is supported by pillars like Amarāvatī, it is not stepped like Amarāvatī. Moreover, triratna is surmounted by three lotus patterns. In Amarāvatī the triratnas rests on lotus and wide leaves and curling vines descends to the border. They are supported by short pillars with stepped bases and capitals.

Footnotes and references:

[1]:

Parimoo Ratan, Op.cit, p 46.

[2]:

Ibid, p 46.

[3]:

Ibid, Fig 173.

[4]:

Ibid, Fig 177, p 183.

[5]:

Dehejia Vidya, Op.cit, Fig 19.

[6]:

Ibid, p 52, Fig 43.