Part 4 - Sequential Narrative mode

Sequential narrative is also called linear narrative. This narrative contains the repeated appearance of character at different places and times. ‘The distinction between these modes is compositional in nature, and revolves around enfacement. In linear narrative, on the other hand, extrinsic criteria are used to demarcate temporal divisions. Scenes are separated from one another by a variety of compositional means, and generally each episode is contained within a separate frame. The viewer does not find the reappearance of the protagonist in each unified setting illogical or inconsistent, as he may do in continuous narrative. In linear narrative, each scene is a unit in itself; each event occurs at one particular moment, in one particular space’^[1]. These are clearly demarcated from each other.

12) Sequential or linear Narrative, Nanda Jātaka (No.39), Nāgārjunikoṇḍā, 3^rd century C.E.

It depicts a set of four episodes of the prince Nanda. Nanda was the half brother of Goutama Buddha. The long frieze to be read from right to left. This narrative is totally unconnected, but each one containing a loving couple flanked by pilasters. The Nature of the motif used to demarcate temporal divisions is unusual, and certainly caused the viewer to stop and consider the sensually poised couples rather than move on rapidly to the next episode of the narrative.

1^st scene: which damaged, portrays the Buddha carrying an alms-bowl, with Nanda beside him;
2^nd scene: Nanda’s induction into the Buddhist Order depicts his being shaven in the presence of the Buddha;
3^rd scene: the flight of the Buddha and Nanda to Indra’s heaven (forget his beautiful wife and wished to leave the order);
4^th scene: a cured Nanda being welcome by the residents of his town.

Picture of Sequential Narrative mode^[2]

13) Sequential or linear Narrative, Vessantara Jātaka. Goli, 3^rd century C.E.

Footnotes and references:

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[1]:

Ibid., p.387f.;

[2]:

Ibid., p.389.