Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates ‘offering of milk-rice’ 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.
The offering of milk-rice
[Full title: Depiction of scenes from the life of Buddha: The offering of milk-rice]
Story:-
Shortly after this he received milk rice by a local woman called Sujāta at Senānī village. This was the last meal before Enlightenment. Sujāta’s offering of milk-rice is important because it marks the beginning of the Enlightenment process. According to Avidurenidāna Sujāta was the daughter of a Senānī, a rich man of Uruvilva. She promised rich offerings to a Nigrodha tree if her wishes are realized. Things happened as she prayed for. She accordingly made preparation to fulfill her promise. When Bodhisattva went to the Uruvilva forest and sat under the tree, the surrounding place was illuminated[1]. Having heard of this Sujāta went to him and offered him milk rice. The story is given in Nidānakathā[2].
Depiction:-
A frieze in the British Museum consists of a panel and a medallion containing two similar scenes. The former scene shows the flowing of Nairanjanā river and the latter scene depicts Sujāta paying tribute to Buddha. Buddha’s presence is symbolically represented by a tree[3]. Another relief in the British Museum collection shows the illustration of this episode. Here Sujāta is carved standing in tribhanga posture carrying pāYaśam for Siddhārtha. She carries a pot on the right side of her waist. Sujāta is accompanied by many women. The scene is set in a rural environment depicting both rectangular and circular thatched huts[4]. Master is shown seated anthropomorphically on a throne in padmāsana. His one hand is in the abhaya and the other one in dhyāna mudrā. Sujāta is positioned trying to offer the pitcher to lord preparing himself for meditation.
A broken slab near the top and weathered at the right end shows Buddha seated on the throne and women attending on him with great devotion. Some are requesting him to take food brought by them. The scene has been identified by T.N Ramachandra as the story of Sujāta. This sculpture shows Sujāta offering food to seated Buddha. The vessel containing it is covered. The child of Sujāta is also shown adoring Buddha in the form of a little boy. Punna and other attendants of Sujāta are shown[5]. This relief his preserved in the Madras Government Museum. (Pl 22b)
An āyaka frieze panel on a drum slab preserved in the British Museum shows the gift of grain from Sujāta to Buddha at the time of Enlightenment[6].
Footnotes and references:
[1]:
Sivaramamurti C, Op.cit, pp 253-254.
[2]:
Davids T.W Rhys, 1972, Op.cit, pp 184-188.
[3]:
Knox Robert, Op.cit, pp 50-52, pl 6, (inner face)
[4]:
Parimoo Ratan, Op.cit, p 53, fig 36.
[5]:
Sivaramamurti C, Op.cit, pp 253-254, pl LX, fig 2.
[6]:
Knox Robert, Op.cit, pp 147-148, fig 76.