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The Buddhist monument of 础尘补谤腻惫补迟墨 is one of the finest masterpieces of the Buddhist world displaying great creativity and skills of the artists. Among several Buddhist art centres of Andhra archaeology, 础尘补谤腻惫补迟墨 became the most significant centre. The ornate 础尘补谤腻惫补迟墨 art though touched by the 艢unga art traditions of North India gradually evolved its own art style which it diffused to the adjacent sites. As a result the whole group of art centres of early 础苍诲丑谤补诲别艣补 was singularly designated by the term 鈥槾〕静拱�腻惫补迟�� School of Art鈥� Besides 础尘补谤腻惫补迟墨鈥檚 role in the evolution of early Andhra鈥檚 distinctive artistic identity, 础尘补谤腻惫补迟墨 惭补丑腻肠补颈迟测补 enjoyed the greatest longevity in comparison to other sites of early Andhra archaeology. In fact the 惭补丑腻肠补颈迟测补 at 础尘补谤腻惫补迟墨 retained its pre-eminent position from 4^th century B.C.E to 14^th century C.E. The art of 础尘补谤腻惫补迟墨 also made an enduring impression not only on art traditions of India, but also on the art of Sri Lanka and South East Asia. This persistent presence of artistic impulsions of 础尘补谤腻惫补迟墨 art irrespective of passing ages and shifting geographical scenery undoubtedly indicates the longevity and survival of 础尘补谤腻惫补迟墨 art and its contribution to the development of aesthetics in India, Sri Lanka and South East Asia. This is an interesting facet and the present thesis basically attempts to investigate the question of survival and longevity of 础尘补谤腻惫补迟墨 art. It may be mentioned that though the historiography devoted to 础尘补谤腻惫补迟墨 art is vast, no comprehensive study of 础尘补谤腻惫补迟墨鈥檚 longevity and survival of the art in the context of Andhra archaeology is attempted. The foregoing pages embody the results of our investigation on the above mentioned dimension.

In order to unravel the objective of our thesis the entire research is divided into six chapters including the epilogue. Our research commenced with the study of scope, sources and methodology. In this chapter we have largely dealt with the historiography devoted to the 础尘补谤腻惫补迟墨 art and the methodology we have followed to pursue our objective. Indeed the historiography associated with 础尘补谤腻惫补迟墨 art is vast and we have tried to study most of the previous works. In this regard both specialized and general works on 础尘补谤腻惫补迟墨 art have been taken into consideration. Besides monographs, journals, museum collections and archaeological reports have been exhaustively used for a better understanding of the subject matter. In fact the analysis of both literary and archaeological sources extensively to check the validity of corroboration between them is very important for enriching our database. However, it may be pointed out that despite the existence of a series of researches and reports on various aspects of 础尘补谤腻惫补迟墨 art at our disposal, the interesting facet of longevity and the survival strategy of 础尘补谤腻惫补迟墨 Art in the context of Andhra archaeology have not been comprehensively documented.

To investigate the above dimension a homogenous sampling method and culture historical approach have been undertaken in the methodology of our study. In this regard it is mention worthy that often in the methodology it becomes essential to undertake visual survey of art centres, museums and exhibitions for a better understanding of the stylistic uniqueness, correlation between the sites and the chronological attribution of the antiquities drawn from the 鈥槾〕静拱�腻惫补迟�� School鈥� and those of a wider geographical area. Such occasional visual exploration undertaken by us is imperative as they serve as the primary sources which along with secondary sources help us in enriching our database and developing an insight on the subject matter.

In chapter II we have dealt extensively with the various archaeological sites of Andhra Pradesh and tried to establish coastal Andhra to be the life centre of entire 础苍诲丑谤补诲别艣补 of which 础尘补谤腻惫补迟墨 became the site par excellence. In this attempt we have tried to trace the evolution of various sites from the Palaeolithic phase to the Early Historic period and bring out its features. It may be recollected that prior to the formation of the separate state of Telangana, Andhra Pradesh consisted of three topographical zones-coastal Andhra, Telangana and Rayalaseema region. While studying the archaeological sites, the dispersal pattern according to the topographical zones was taken into consideration. Thus the sites were classified and discussed broadly into two categories鈥斺�攕ites in coastal Andhra and sites beyond the coastal lines. The research on the various archaeological sites have revealed that nearly a quarter of the total sites of early 础苍诲丑谤补诲别艣补 were located in the coastal plain localities which gradually became the hub of Andhra culture. Among the archaeological sites of lower 碍峁涐梗峁嚹� valley (Coastal Andhra), 础尘补谤腻惫补迟墨 became the prime centre. This probably prompted political powers to incorporate 础尘补谤腻惫补迟墨 and coastal Andhra within their domain.

Excavations unveiled a number of urban centres in coastal Andhra. These centres were usually preceded by megalithic and early Iron Age culture. Many of these sites revealed monumental remains and religious settlements. Dominated by Buddhist philosophy, many of these urban centres bear proof of beautiful Buddhist art and architecture. Among them the Buddhist art of 础尘补谤腻惫补迟墨 visible in the 惭补丑腻肠补颈迟测补 of huge stature exhibited an unparalleled confidence in plastic ornamentation and maturity that surpassed other sites of 础苍诲丑谤补诲别艣补. The plastic pliability, matured linearism, ornamentation and love for details became more pronounced than its neighbouring sites. In fact the great 蝉迟奴辫补 of 础尘补谤腻惫补迟墨 became the glory of Indian Buddhism which attracted pilgrims from India and abroad.

It may be assumed that having the benefits of rich agrarian base, flourishing domestic and international trade network and religious supremacy it was chosen as a fitting capital and megacity of political authorities in early 础苍诲丑谤补诲别艣补. The plastic advancement of the 础尘补谤腻惫补迟墨 art may be attributed to this strategic significance of the region which possibly attracted the most efficient craftsmen to the area. Thus 础尘补谤腻惫补迟墨 attained a premiere position in coastal Andhra throbbing politically, economically and spiritually. In fact 础尘补谤腻惫补迟墨, ancient 顿丑腻苍测补办补峁璦办补 became such a significant centre in coastal Andhra that it paved the way for the cultural development of early 础苍诲丑谤补诲别艣补.

In chapter III we have made an attempt to show how Buddhism acted as a driving force behind the formation of 础尘补谤腻惫补迟墨鈥檚 art and exerted a profound influence on the socio-cultural life of 础苍诲丑谤补诲别艣补. In tracing the beginning of Buddhism in Andhra it came to light that prior to the advent of Buddhism there existed several religious practices like totemism, 测补办峁�a cult and Brahmanism. Brahmanism was overtaken by Buddhism in the pre-础艣辞办补n phase. However, the Buddhist base of 顿丑腻苍测补办补峁璦办补, that is ancient 础尘补谤腻惫补迟墨, played a significant role in attracting the attention of 础艣辞办补 who was primarily responsible for spreading the religion on a large scale as a part of his missionary activity (Dhamma Vijaya). Buddhism enjoyed the status of the state religion during the time of the later 厂腻迟补惫腻丑补苍补蝉.

Early Andhra become a stronghold of the 惭补丑腻蝉腻峁単丑颈办补蝉 during the early centuries of the Christian era. The Caityakas branched off from the 惭补丑腻蝉腻峁単丑颈办补蝉. The most important Buddhist sect at 础尘补谤腻惫补迟墨 is the Caityakas. They possibly renovated the 础尘补谤腻惫补迟墨 惭补丑腻肠补颈迟测补 is 2^nd century C.E and added an 腻测补办补 platform to it. The image of Buddha was introduced in this period. Several sub schools emanated from the Chaityakas of which 顿丑腻苍测补办补峁璦办补 became the seat of the 笔奴谤惫补艣补颈濒补蝉. In Hiuen Tsang鈥檚 account 础尘补谤腻惫补迟墨 was the 笔奴谤惫补艣补颈濒补 厂补苍驳丑腻谤腻尘补 to the Chinese pilgrim.

Several sites of 础尘补谤腻惫补迟墨 witnessed three phases of Buddhism- 贬墨苍补测腻苍补, 惭补丑腻测腻苍补 and 痴补箩谤补测腻苍补 phase. Antiquities from 顿丑腻苍测补办补峁璦办补 reveal the existence of all three phases. However, despite such idealogical changes the earlier practice of worship of symbols co-existed with the image worship. Similarly with the introduction of female element and 迟腻苍迟谤颈肠 icons in 痴补箩谤补测腻苍补 phase, the earlier practices of aniconic and iconic worship continued.

The later 厂腻迟补惫腻丑补苍补蝉 gave patronage to Buddhism and naturally the 惭补丑腻蝉迟奴辫补 of 础尘补谤腻惫补迟墨 reached its pinnacle of glory during this period. The 蝉迟奴辫补 rose to huge size and was elaborately decorated. While decorating the 惭补丑腻蝉迟奴辫补 and votive 蝉迟奴辫补 the artists of 础尘补谤腻惫补迟墨 sourced their work from the stupendous storehouse of Buddhist literature. Thus the 闯腻迟补办补 stories, 础惫补诲腻苍补蝉 and the life stories of Buddha found representations in the narrative art of 础尘补谤腻惫补迟墨. These narratives undoubtedly indicate a conscious effort to convey some basic moral and humanly practicable precepts of Buddhism. However, it may be pointed out that though outwardly the themes of 础尘补谤腻惫补迟墨 art is strictly religious, but in spirit the art is earthly and sensuous, portraying a society rich in life and vitality. This feature is also evident in the neighbouring Buddhist sites of the 础尘补谤腻惫补迟墨 repertoire.

The 惭补丑腻蝉迟奴辫补 of 础尘补谤腻惫补迟墨 became the centre of attraction of the religious complex. In fact the Great St奴pa was the focus of the religious movement in Andhra. It contained the corporeal relics of the master and was considered as one of the five Buddhist 办峁�e迟谤补蝉. 础尘补谤腻惫补迟墨鈥檚 religious complex attained such supremacy in the Buddhist world that it attracted pilgrims from India, Sri Lanka and parts of South East Asia. The donative inscription and sculptural representations bear testimony to this. This huge popularity of the monastic establishment prompted various social groups of Andhra to take part in the religious practice and refurbishment of the monument, which in turn led to the cultural efflorescence of the entire 础苍诲丑谤补诲别艣补. In fact the prestigious 惭补丑腻肠补颈迟测补 of 础尘补谤腻惫补迟墨 survived almost intact till about the 14^th century C.E when all the Buddhist centres of Andhra lost its significance.

In chapter IV we have made an attempt to show the existence of the 惭补丑腻蝉迟奴辫补 of 础尘补谤腻惫补迟墨 from 4^th century B.C.E to 14^th century C.E and also investigated the survival strategy of the monument. In this regard it is noteworthy to mention that none of the Buddhist archeological sites displayed such a long survival like the Buddhist establishment at 础尘补谤腻惫补迟墨. This is very interesting and can be linked with the rise of 顿丑腻苍测补办补峁璦办补 as a megacity and its persistent significance in the Andhra history over a long stretch of time. In fact the issue of survival of 础尘补谤腻惫补迟墨 惭补丑腻蝉迟奴辫补 should be studied in the backdrop of growth and predominance of the urban centre of 顿丑腻苍测补办补峁璦办补 in Andhra where the 惭补丑腻肠补颈迟测补 became the focal point of attraction. The importance of the region is evident from the continued mention of 顿丑腻苍测补办补峁璦办补 and its various transcriptions in literary and archaeological records.

Definite proof of recorded history of the 蝉迟奴辫补 site of 础尘补谤腻惫补迟墨, ancient 顿丑腻苍测补办补峁璦办补 is found from the time of Asoka. A fragment of an 础艣辞办补n pillar near the 惭补丑腻蝉迟奴辫补 bear testimony to this However, the stratigraphical evidence from the 惭补丑腻蝉迟奴辫补 yielded pre-础艣辞办补n phase. The earliest phase of the 蝉迟奴辫补 site is datable to 4^th-3^rd century B.C.E and this phase is further subdivided into IA and IB. IA phase is pre-础艣辞办补n. It is interesting to note that sherds of Red Slipped Ware and Black and Red Wares discovered in the pre-础艣辞办补n phase contain the names of some Buddhist monks near the 蝉迟奴辫补 site. This points to the existence of religious community prior to the 础艣辞办补n phase. However, the 蝉迟奴辫补 grew in wider dimension in the 础艣辞办补n phase and became an important Buddhist site. After 础艣辞办补n period some local rulers controlled the region and fostered Buddhism. Then the 厂腻诲补蝉 made 顿丑腻苍测补办补峁璦办补 their seat of power and made donations to the 蝉迟奴辫补.

The history of the region and the 惭补丑腻蝉迟奴辫补 reached its glorious epoch in the reign of the later 厂腻迟补惫腻丑补苍补蝉. The Satavahana king 痴腻艣颈艣迟丑墨辫耻迟谤补 笔耻濒耻尘腻惫颈 consolidated the empire to the eastern coast and made 顿丑腻苍测补办补峁璦办补 their capital. This was the period of great artistic efflorescence that gave the 惭补丑腻蝉迟奴辫补 its most impressive form unsurpassed in the history of 蝉迟奴辫补 architecture in South India. By the second half of 3^rd century C.E the Ikshv膩kus came to power and shifted their capital to N膩g膩rjunako峁囜笉a. But 顿丑腻苍测补办补峁璦办补, ancient 础尘补谤腻惫补迟墨 was included in their domain and some additions to the 惭补丑腻肠补颈迟测补 were made. Inscriptions and art reproductions reveal these additions. After the Ikshvakus there was decline of Buddhism. Following the Iksv膩kus were the early Pallavas who favoured Brahmanism. But still a Pallava king 惭补丑腻r膩jadhir膩ja 艢颈惫补ska峁囜笉avarman had its headquarter at 顿丑腻苍测补办补峁璦办补. The Pallavas were supplanted by the S膩lank膩yanas who subsequently yielded place to the Vi峁ａ箛uku峁囜笉ins. The Vi峁ａ箛uku峁囜笉ins claim 础尘补谤腻惫补迟墨 (Indrap膩la nagara) as their capital.

Hiuen Tsang鈥檚 reference to 顿丑腻苍测补办补峁璦办补 as 鈥�惭补丑腻 Andhra鈥� definitely suggests a greater role of 顿丑腻苍测补办补峁璦办补 in Andhra. From his accounts it can be understood that though the religious complex of 础尘补谤腻惫补迟墨 was falling in ruins but it provided residence to thousands of monks attached to the 惭补丑腻蝉迟奴辫补.

A much later Pallava record of 1100 C.E mentions 顿丑腻苍测补办补峁璦办补 as an important Buddhist centre. During 12^th -13^th centuries the 碍辞峁璦 chiefs ruled Dh膩ranikota/顿丑腻苍测补办补峁璦办补. They were followed by Reddis of Ko峁囜笉avidu. An epigraph of 碍辞峁璦 chief Ke峁璦 II dated to 1182 C.E on the pillar of 础尘补谤腻惫补迟墨 temple mentions worship of Buddha along with lord 艢颈惫补. It also mentions about a massive chaitya decorated with sculptures. This definitely is the 惭补丑腻肠补颈迟测补 of 础尘补谤腻惫补迟墨. The last mention of the 惭补丑腻蝉迟奴辫补 is found in the Gadaladeniya rock inscription (1344 C.E) of Dhammakirtti (Sri Lanka) where the restoration of two storeyed image house at 顿丑腻苍测补办补峁璦办补 is recorded. This definitely indicates the survival of 础尘补谤腻惫补迟墨 惭补丑腻蝉迟奴辫补 till 14^th century C.E.

This long history of the 础尘补谤腻惫补迟墨 蝉迟奴辫补 site vis-a vis other adjacent site can be considered as an interesting and perplexing problem. In order to find out the reason for longevity of the 础尘补谤腻惫补迟墨 蝉迟奴辫补 site several factors can be taken into consideration which created a congenial environment for the longevity of the Great 蝉迟奴辫补.

In this regard it may be suggested that the strategic geographical setting of 顿丑腻苍测补办补峁璦办补, ancient 础尘补谤腻惫补迟墨 was highly favourable for the longevity of the 蝉迟奴辫补 site of 础尘补谤腻惫补迟墨. Situated in the fertile delta of 碍峁涐梗峁嚹� it became a rich agricultural base. The name 顿丑腻苍测补办补峁璦办补, that is, 鈥榯own of paddy鈥� is possibly derived from the huge agricultural produce of the region. It helped 顿丑腻苍测补办补峁璦办补 to become a rich market town. It was also in an advantageous location as regards its connectivity to the trade routes is concerned. The region was linked to the routes to 碍补濒颈峁単补, 碍辞艣补濒补, Maharastra, Karnataka and 碍腻帽肠丑墨. Several Buddhist sites were located along these routes. 础尘补谤腻惫补迟墨 became well connected to these sites through the routes which in turned helped in the diffusion of the art style.

顿丑腻苍测补办补峁璦办补 also served as a river port because wharfs and navigational channels are discovered in the region. The sea-ports of Andhra played a significant role in indigenous and foreign traffic during 2^nd-3^rd century C.E. The Roman ships anchored to the ports of Sopara and Bhrigukachha (Barygaza of Romans) on the western side and coastal emporiums of 础苍诲丑谤补诲别艣补 on the eastern side. Roman coin hoards, Roman Arretine and Amphorae and Roman features in 础尘补谤腻惫补迟墨 art point to the existence of Roman trading network in this region.

In the records of Periplus and Ptolemy Machilipatnam served as an important area for coastal trading network. Ptolemy mentioned Kontakossyla (Gha峁囜弓a艣膩l膩) as an apheterion or the point of departure for ships to Chrysechora and Chryse chersonesis, that is, regions to South and South East Asia. Such evidences suggest Gha峁囜弓a艣膩l膩 as an international mart. The inland port of 顿丑腻苍测补办补峁璦办补 was connected to Gha峁囜弓a艣膩l膩.

The rich agricultural production and the flourishing condition of trade increased the prosperity of the masses in general and the commercial classes in particular. The prosperity of the nigamas (trading corporation), Gahapatis, 厂别峁�峁�颈蝉, 厂腻谤迟丑补惫腻丑补蝉, Vaniyas and other social groups associated with trade and industry played a significant role in the development of 顿丑腻苍测补办补峁璦办补. It became an important urban centre and rich mega city. Such benefits attracted the political authorities of Andhra who selected the region as their capital or mega city

In the entire process of growth and development of 顿丑腻苍测补办补峁璦办补 the religious establishment at 础尘补谤腻惫补迟墨 played a crucial part. It became the pivot of attraction which in turn increased the popularity of the region. Not only the local population but the pilgrims and visitors from various parts of India and abroad came, interacted and made donations independently and collectively. In this chapter we have thoroughly surveyed the epigraphical records to justify the nature of patronage to the 蝉迟奴辫补 complex. Located in the strategic geographical setting it helped the people from different walks of life to come and settle in the region. The region with all the civic amenities became a land of opportunity to the traders, artisans, craftsmen, monks and nuns who flocked around the place and actively participated in the construction, upkeep and maintenance of the monument. Thus the 蝉迟奴辫补 not only fulfilled the spiritual and aesthetic urge of the onlookers but also paved the way for socio cultural interaction and economic prosperity. This possibly gave impetus to the emergence of a nexus between the political authority, commercial group and the Buddhist order centering round the 惭补丑腻蝉迟奴辫补. From the above analysis it can be postulated that continuous flow of funds and active patronage from the entire society helped in the construction, maintenance and thereby survival of the monument. The convergence of so many factors in a single archaeological site of 础尘补谤腻惫补迟墨 was unfortunately missing in other adjacent sites of early Andhra. Hence 础尘补谤腻惫补迟墨 蝉迟奴辫补 site enjoyed a long survival in comparison to other neighbouring sites of early 础苍诲丑谤补诲别艣补.

In the fifth chapter we have made an attempt to critically analyse the stylistic parallels that existed between 础尘补谤腻惫补迟墨 repertoire and the art traditions of India, Sri Lanka and South East Asia and ascertain 础尘补谤腻惫补迟墨鈥檚 aesthetic impact on South Asia and South East Asia. In this effort we have also intended to show that the influence of 础尘补谤腻惫补迟墨 art is extensive in time and space and thereby indicate artistic survival of 础尘补谤腻惫补迟墨 beyond its time and geographical terrain.

In this study we have made an extensive survey of sculptural and architectural specimens from various art centres of India, Sri Lanka and South East Asia. However, in this context we have based our research work to those objects which revealed stylistic similarities and closeness in terms of form, composition, manner of depiction, use of similar technical device and decorative elements. While judging the linkages several interesting issues have come up in our discussion. These issues centred round the questions like whether 础尘补谤腻惫补迟墨 was the source of such akinness or 础尘补谤腻惫补迟墨 art received artistic impulsions from other art centre? The justifications behind such commonness are also important to our analysis. These issues have been dealt with in this chapter.

From the wide survey of artifacts it is undeniable that the 础尘补谤腻惫补迟墨 art demonstrated creativity and originality which influenced the art traditions of India, Sri Lanka and South East Asia. While attempting to draw parallels between 础尘补谤腻惫补迟墨 art and art traditions of India it can be suggested that in the initial stages of 础尘补谤腻惫补迟墨 art few specimens reveal closeness to the Mauryan idiom and greater number of artifacts exhibit similarities to the contemporary early narrative art traditions of Northern India. Commonness in attire, jewellery, thematic compositions, symbolic depictions of the Master etc with early reliefs of S膩帽ch墨, Bh膩rhut, Ajanta (IX and X caves) and other centres of early narrative art suggests that 础尘补谤腻惫补迟墨 art was not disassociated with the contemporary art movement of India. In fact no art can grow in isolation and 础尘补谤腻惫补迟墨 art displayed the same pattern. However, 础尘补谤腻惫补迟墨 art showed advancement in the technical qualities of art. Moreover they were the political successors of the Mauryas. However, what 础尘补谤腻惫补迟墨 acquired from early schools were amalgamated and reinterpreted in its own distinctive way. Gradually 础尘补谤腻惫补迟墨 art developed its own unique style. In this process the local aesthetic taste always played a significant role.

The art reached its highest maturity during the reign of the later 厂腻迟补惫腻丑补苍补蝉. (first half of 2^nd century C.E-first quarter of 3^rd century C.E). The maturity was visible in its form, content and technique. After achieving the high point of artistic development, it transmitted its creative impulses to other art centres of peninsular India. In the process of its growth and development 础尘补谤腻惫补迟墨 art carried its iconographic and decorative influences to G膩ndhara and Mathura and in turn was touched by the Ku艣ana School. These linkages are well documented in this chapter.

础尘补谤腻惫补迟墨 art along with the Mathura art contributed greatly to the foundation of the Gupta art. It can be said that while Mathura contributed volume, 础尘补谤腻惫补迟墨 contributed pliability to the Gupta idiom. Besides technical features several iconographic elements in Gupta art was shaped by the 础尘补谤腻惫补迟墨 art. In this respect mention may be made of the 骋补苍别艣补, 狈补诲墨 devis like Gang膩 and 驰补尘耻苍腻, pearl yajnopavita, full face makara as architectural embellishment popularly seen in the Gupta and post Gupta Hindu iconography. These iconographical elements were borrowed from the 础尘补谤腻惫补迟墨 art. A collateral branch of the Guptas, the V膩ka峁璦kas continued the 础尘补谤腻惫补迟墨 tradition in the paintings of Ajanta. Besides thematic parallelism, the attenuation of female forms, pliability, use of architectural elements to provide sequence to the Buddhist story is imitations from 础尘补谤腻惫补迟墨. 础尘补谤腻惫补迟墨 art also enriched the bold and imposing compositions of the Pallavas, 颁丑腻濒耻办测补蝉 and the Cholas.

The impact of the 础尘补谤腻惫补迟墨 School is also seen on Sri Lankan and South East Asian art traditions. From the study of art objects it is clearly evident that the artistic interaction between 础尘补谤腻惫补迟墨, Sri Lanka and South East Asian countries have been active. Stylistic similitude is visible in many artifacts. Some of them may be cited in this context. The decoration of guardstone with 狈腻驳补 kings holding vases, 惫谤办峁�a 诲别惫补迟腻, makara motif, 驰补办峁�a carrying 辫耻谤峁嘺办补濒补艣补, elephant headed 驳补峁嘺, 狈腻驳补 Muchalinda depictions are imitations from the Andhra School. In case of moonstone representation seen in 础尘补谤腻惫补迟墨, Sri Lanka and South East Asia it may be pointed out that this motif was originally conceived in Sri Lanka and then transported to Andhra and South East Asian countries. However, in spite of these artistic repercussions from 础尘补谤腻惫补迟墨 and then from Gupta and post Gupta idioms, the art of Sri Lanka and South East Asia absorbed such trends and reinterpreted them in its own distinctive way.

From the extensive survey of art objects from India, Sri Lanka and South East Asia it is apparent that 础尘补谤腻惫补迟墨 repertoire exerted a profound influence on the art of India, Sri Lanka and South East Asia. In this process of transmitting its creative impulses it enriched the aesthetic traditions of India, Sri Lanka and South East Asia. These linkages and connectivity surely suggested a greater role of 础尘补谤腻惫补迟墨 in the history of art movement in South Asia and South East Asia. In this fascinating study it again comes to light that there was artistic continuity and therefore survival of the art of 础尘补谤腻惫补迟墨 beyond its time and geography.

Thus from the entire study it may be stated without hesitation that the glory of 蝉迟奴辫补 art and architecture is greatly reflected in the massive 惭补丑腻肠补颈迟测补 of 础尘补谤腻惫补迟墨. Profusely dressed with sculptures of high workmanship it can be compared with gold smith or ivory carver鈥檚 craft. Such a magnificent monument naturally encouraged scholars and researchers to carry imposing studies on the subject. We have attempted to focus on a very special aspect of 础尘补谤腻惫补迟墨 art, that is, the problem longevity and survival of 础尘补谤腻惫补迟墨 in the context of Andhra archaeology. As far as my knowledge goes this problem is not comprehensively addressed in earlier works. Our investigation revealed not only the physical presence of 础尘补谤腻惫补迟墨 惭补丑腻肠补颈迟测补 from 4^th century B.C.E -14^th century C.E but also stylistic survival of 础尘补谤腻惫补迟墨 art by way of disseminating its influences to other art centres. In fact the impact of 础尘补谤腻惫补迟墨 on the art traditions of India, Sri Lanka and South East Asia is unanimously accepted by scholars. In the process of transmitting its aesthetic influences 础尘补谤腻惫补迟墨 art contributed greatly to the development and enrichment of art traditions in South Asia and South East Asia. In fact 础尘补谤腻惫补迟墨 art saw the introduction of some iconographic and decorative features which became an integral part of art reproductions in later art traditions. However, sometimes these motifs were reinterpreted with some modifications.

In this regard mention may be made of the introduction of 艢腻濒补产丑补苍箩颈办补 motif in the birth scene of Buddha in the 础尘补谤腻惫补迟墨 repertoire. Here 艢腻濒补产丑补苍箩颈办补 was equated with M膩y膩dev墨 for the first time. Thereafter the representation became a norm in the depiction of the birth scene of the Master. Similarly deities standing on makara visible in a 础尘补谤腻惫补迟墨 relief can be considered as the earliest prototypes and models for the Brahmanical images of Gang膩 and 驰补尘耻苍腻 figures in the Gupta period. Again the 骋补苍别艣补 image which became so familiar in Hindu iconography is derived from elephant eared long nosed 驳补峁嘺 figure first seen at 础尘补谤腻惫补迟墨. The 肠耻岣峚尘补苍颈尘补办补谤颈办腻 ornament on the crown, the stele with a high makara tora峁嘺 back and full face makara seen in 础尘补谤腻惫补迟墨 reliefs became a part of Gupta art and later art traditions of India and abroad. Therefore it can be suggested that 础尘补谤腻惫补迟墨 art added new stylistic and iconographic vocabulary to the art traditions of South and South East Asia and thus earned a special place in the history of art.

In our study on a specialized dimension of 础尘补谤腻惫补迟墨 art, that is, the survival and continuity of art irrespective of passing ages and changing geographical scenary, the significance and contribution of the art on the art traditions of South and South East Asia is established. It is expected that such an interesting study will lead to a better understanding of the culture of 础尘补谤腻惫补迟墨 and add a new dimension to the study of 础尘补谤腻惫补迟墨 art.