Amaravati Art in the Context of Andhra Archaeology

by Sreyashi Ray chowdhuri | 2018 | 90,477 words

This page relates ‘Resemblance to Deccan 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 Deccan art

The architectural and sculptural remains of western Deccan exhibit certain similitude with the art of Amarāvatī. They are more or less contemporary to the Amarāvatī repertoire. At Nāsik (North-West Deccan) on the end walls of the verandah of cave III, the famous Gautamiputra Cave have carved pilasters identical to the pillar types I and II of Amarāvatī. On the frieze above the verandah is a representation of a rail with pillars, three lotus cross bars[1] and a coping of looped garlands without supporters. This rail is quite similar to the Amarāvatī rail. It is possible to say that the Nāsik pilaster and types 1 and II of Amarāvatī pillars are roughly contemporary. In can be stated that since this period witnessed the Sātavāhana rule in Andhra these linkages are a quite possible.

The caitya hall at Kārle contains a fair amount of sculptures. It may be stated that Kārle is just preceding the beginning of the early phase at Amarāvatī. Though unequal in quality the sculptures show closeness to the early phase of the Amarāvatī art. The closeness is seen in the externals of styles noticeable in the headdress, ornaments and treatment of the drapery[2].

The sculpture on the caitya halls at Bedsa and Kondane again show certain similarity. But the Amarāvatī antiquities is less monumental but more assured. Yazdani remarked that the style of the sculptures evolved from the early phase of the Amarāvatī art[3].

Closeness in the carving of mithuna couple is noticed from an iconoplastic representation in Kuda and Amarāvatī. In this regard mention may be made of two mithunas at the corner of the cave at Kuda (Rajpur creek, Bombay Presidency)[4]. They are carved about the end of 2nd century CE. In an early example of mithuna from Amarāvatī, the female figure is placed on the right, reversing the order of the example of Kuda. The male figure with his face damaged is made to carry the lotus spray.

Comparing the sculptures from the western zone of Deccan and that of Amarāvatī certain technical advancement can be highlighted in case of Amarāvatī. The iconoplastic representation from Bedsa, Kondane and Kārle are less advanced than Amarāvatī sculptures. In fact Amarāvatī sculptures exhibit marked progress both in the intellectual and technical qualities of art. Though, the art of both the region concentrated on narrative form but the Amarāvatī sculptures are more eloquent in telling the story. Amarāvatī sculptures are more significant in expressing the feelings than its earlier prototype of the western zone. In Amarāvatī the movement of the sculpture exhibits softer grace and a more subtle rhythm. The human bodies in Amarāvatī art show a greater charm of suppleness in comparison to the sturdy figures visible in the western zone of Deccan.

Footnotes and references:

[1]:

Barrett Doughlas, 1954, Op.cit, p 44.

[2]:

Ibid, p 45.

[3]:

Ibid, p 45.

[4]:

Gangoly O.C, 1973, Op.cit, pp 56-57.

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