Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楢bstract鈥� 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鈥檚 life drawn from the Avadanas and Jatakas which are illustrated in Amaravati art.
Abstract
In the centuries immediately preceding and following the Christian era ancient 础苍诲丑谤补诲别艣补 witnessed the emergence of a number of Buddhist art centres. Among them Amar膩vatT, ancient Dh膩nyakataka became the most important centre. The art activity at 础尘补谤腻惫补迟墨 mainly centred around the 惭补丑腻肠补颈迟测补. In this regard it may be stated that the Buddhist monument of 础尘补谤腻惫补迟墨 embellished with rich plastic ornamentation became one of the finest masterpieces of the Buddhist world. The great monument retained its existence from 4th century B.C.E to 14th century C.E. The long survival of the 础尘补谤腻惫补迟墨 惭补丑腻肠补颈迟测补 is unique to ancient 础苍诲丑谤补诲别艣补 as none of the adjacent monuments of 础尘补谤腻惫补迟墨 enjoyed such a longevity. Besides physical survival of the monument, the artistic survival of 础尘补谤腻惫补迟墨 is also visible in the form of its artistic impulsions seen in the art traditions of India, Sri Lanka and South East Asia. This long survival of 础尘补谤腻惫补迟墨 Art in the context of Andhra archaeology is an interesting facet which we attempted to investigate in our thesis.
In order to pursue our objective the research is divided into six chapters. Homogenous sampling method and culture historical approach has been undertaken in our methodology.
The long history of the 础尘补谤腻惫补迟墨 site (monument) vis-脿-vis other contemporary adjacent site is an interesting and perplexing problem. Investigations unveiled the convergence of a number of factors in 础尘补谤腻惫补迟墨 creating congenial environment for its longevity. This strategic geographical setting of Dh膩nyakataka was lacking in other centres. In the process of growth of Dh膩nyakataka, the religious establishment at 础尘补谤腻惫补迟墨 played a significant role. It attracted pilgrims from different parts and different sections of the society who extended their patronage to the 惭补丑腻 厂迟奴辫补. Thus the monument not only fulfilled the spiritual and aesthetic urge of the visitors but paved the way for socio-cultural interaction and economic prosperity.
The socio-cultural interaction helped in the diffusion of 础尘补谤腻惫补迟墨 art style to various art centres of India, Sri Lanka and South East Asia. These linkages signalled a greater role of 础尘补谤腻惫补迟墨 in the development of aesthetics in South Asia and South East Asia. This definitely suggests the stylistic survival and continuity of 础尘补谤腻惫补迟墨 art irrespective of passing ages and geographical scenary.
Sreyashi Ray chowdhuri