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[Full title: Depiction of scenes from the life of Buddha: Upbringing in the Palace]

Story:-

From his childhood, 厂颈诲诲丑腻谤迟丑补 was provided with luxury and pleasure so that he never experienced misery or distress. He was provided with all sorts of comfort in the palace. His father made efforts to attach him to the mundane life and abide him with sexual pleasure^[1].

Four rear depictions of the antahpura scenes at 础尘补谤腻惫补迟墨 show the luxury and pleasures which 厂颈诲诲丑腻谤迟丑补 experienced in the palace life.

Depiction:-

In one depiction preserved in the Madras Government Museum, 厂颈诲诲丑腻谤迟丑补 is represented aniconically as a throne seat on which two cushions are placed. Women lie on the floor in different postures^[2]. The description of female dancers and musicians attending the prince is contained in the 惭补丑补惫腻蝉迟耻, 狈颈诲腻苍补办补迟丑腻 and Buddhacarita of 础艣惫补驳丑辞峁�a. Each of them mentions the disgust that 厂颈诲诲丑腻谤迟丑补 felt on seeing the slumbering women. The sculptor had chiseled the gestures and postures of women in such a way that they evoke ugliness rather than grace. Presence of 尘峁沝补苍驳补 or a stringed instrument also shows artists knowledge of the literary description.

Another depiction of a sleeping woman in 厂颈诲诲丑腻谤迟丑补鈥檚 palace is quite interesting. 厂颈诲诲丑腻谤迟丑补 is represented on a seat as a young prince calmly watching the disgusting sight. In this relief the composition is arranged in two tiers, the upper tier consisting of seats on which some women and 厂颈诲诲丑腻谤迟丑补 are seated and the lower tier indicating the sleeping women on the floor. In this sculpture one can see the mastery of the artists in the delineation of the female form. Two reclining women engaged in an awkward embrace is a notable feature of this relief. This portion of the relief is a part of the four sections present in the British Museum collection^[3] (Pl 20c).

Two palace scenes from 础尘补谤腻惫补迟墨 now preserved in the Madras Government Museum are carved together in one long slab. Both these sections are identical. These two reliefs depict the palace life of 厂颈诲诲丑腻谤迟丑补 being entertained by female attendants and the moment before the woman fell asleep. 厂颈诲诲丑腻谤迟丑补 remained unresponsive to the seduction of women. 厂颈诲诲丑腻谤迟丑补 is held by ropes tied around his chest which are allegorical suggestions of fetters of craving (迟峁涐梗峁嚹�)^[4].

In the second relief it is important to see that the narrative runs from the middle scene towards the left. In the middle scene the three ropes are -the lust of flesh, lust of life and love of the present world held by a man. The man is probably Udayin triumphantly raising his right hand. All the female and male attendants observe the incident. The female musicians, the male guards etc make a circular movement. In this relief 厂颈诲诲丑腻谤迟丑补 tries to break loose from the three fetters. The women seated on stools look vacantly. The male figure in the last section looks like 厂颈诲诲丑腻谤迟丑补 himself as if ready to step out of the palace.

The 狈腻驳腻谤箩耻苍补办辞峁囜笉补 sculptors also chiseled Antahpur scene again showing disgust like the 础尘补谤腻惫补迟墨 reliefs^[5].

Footnotes and references:

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[1]:

Brewster E.H, Reprinted 1956, The Life of Gotama, The Buddha, London, p 18

[2]:

Parimoo Ratan, Op.cit, fig 175.

[3]:

Knox Robert, 1992, Op.cit, fig 57

[4]:

Sivaramamurti C, Op.cit, pl LIX C

[5]:

Stone Elizabeth Rosen, 1994, Buddhist Art of 狈腻驳腻谤箩耻苍补办辞峁囜笉补, Delhi, fig 227.