Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘Resemblance to Mathura art’ 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.
Resemblance to Mathurā art
The Buddha images from Amarāvatī showed features visible in Gandhāra and Mathurā art. Scholars have opined that Buddha image in Amarāvatī appear after its introduction in Gandhāra and Mathurā[1]. The sanghati of Buddha images from Amarāvatī is formed by the combination of incised lines and overlapping ridges indicating the course of folds. This feature is undoubtedly reminiscent of the Buddha images of the Kuṣān School. The Buddha image in Amarāvatī show curls of hair, conical uṣṇīṣa, small nimbus and generally arched eyebrows. The saṅghati is of two types. The earlier examples show saṅghati, which covers both the shoulders. This is also seen in Mathurā but the fabric is heavy and is with long folds[2]. The later Amarāvatī reliefs show saṅghati, which leaves the right shoulder bare.
Despite the closeness to the Mathurā type of Buddha, the rugged heaviness of the Mathurā idiom is softened and slimmed down in the South Indian type. Difference is also seen between Mathurā and Amarāvatī Buddha in the antaravāsaka. In case of Amarāvatī Buddha the antarvāsaka is not seen at the waist and the arrangement of the folds on the left arm is very different to the sanghati of Mathurā Buddhas. However, the curve of the lower hem can be compared to that of Mathurā.
Van Lahuizen was of the opinion that the snail shell curls and uncovered feet typical of Mathurā Buddha image were imitated in the sculptural art of Amarāvatī[3]. Moreover, the right hand is held away from the body and at shoulder level in the manner of abhaya mudra like the Mathurā type[4]. However, in case of seated Buddha image, Buddha never seems actually to grasp the robe as in the Mathurā figures[5].
The depiction of a yakṣī in the art of Amarāvatī preserved in the Archaeological Museum, Amarāvatī (Pl 43c) is closely allied to the yakṣī chiseled in the Mathurā school of art (Pl 43d). Here it should be emphasized that both the art idioms, that is, Amarāvatī and Mathurā are sensuous. But in comparison to the excessive sensuality at Mathurā, the sensuousness of Amarāvatī is more restrained. Moreover it may be suggested that in body physiognomy the Mathurā specimens exhibit heaviness whereas Amarāvatī feminine beauty shows suppleness. Likeness between Amarāvatī and Mathurā is also visible in the manner of dressing. The women dressed in easily perceivable double lines of cloth in Mathurā are also visible in some sculptural depictions from Amarāvatī[6].
Another similarity is visible in the portraiture of flying figures in both Amarāvatī and Mathurā. Kapila Vatsyayan feels that back leg extensions are seen in figures in both the idioms[7]. According to the architectural component chosen for carving the figure this anatomical characteristic is delineated in various ways. These figures are usually sculpted in toraṇas and arches of the slabs and pillars.
Resemblance is also seen in case of a depiction of nadī devīs. In this context, reference may be made of a badly broken relief on the outer face of a railing pillar. The upper area of fluting contains at the centre a five hooded nāga. In the side panels of the upper fluting are female figures carrying on their upturned hands bowls while the other hand carries small pots(Pl 44a). They stand upon the backs of scaly makaras with forked tails. The female figures represent river goddesses standing on makaras.[8] A comparison can be made with the female figure visible on a relief fragment of a railing pillar from Mathurā. The figure represents a yakṣī under a tree with vessels of food and drink (Pl 44b). The sculpture is preserved in the Mathurā Museum and is dated to 2nd century CE[9]. The similarity in posture and attire to the Amarāvatī nadī devīs and that of the yakṣī is noteworthy. The slight bend of the waist on the right in both specimens from Amarāvatī and Mathurā possibly indicates natural bend created by carrying weight on the right hand.
Footnotes and references:
[1]:
Vajracharya Gautama, 2007, ‘Pipal Tree, Tonsured Monks and Ushnisha’ in Pal Pratapaditya (ed) Buddhist Art Form and Meaning, Marg, vol 58, No. 3, Mumbai, p 25.
[2]:
Dupont Pierre, 2006, The Archaeology of the Mons of Dvaravatī, Sen Joyanta K (tr), Thailand, p 113.
[3]:
[4]:
Barrett Doughlas, 1954, Sculptures from Amarāvatī in the British Museum, London, p 57.
[5]:
Ibid, p 60.
[7]:
Vatsyayan Kapila, 1968, Classical Indian Dance in literature and Art, New Delhi, p 286.