Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楪reat Departure or Mahabhinishkramana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.
Go directly to: Footnotes.
The Great Departure or 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺
[Full title: Depiction of scenes from the life of Buddha: The Great Departure or 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺]
Story:-
惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 or the Great Departure is a significant event in the life of Lord Buddha. The discontent or disgust of worldly life provoked his thought of departure from worldly pleasure in search for truth. On the night of his son鈥檚 birth 厂颈诲诲丑腻谤迟丑补 decided to leave the palace. To avoid the noise created by his horse鈥檚 hoofs four 诲别惫补迟腻蝉 put their palms beneath each of 碍补峁囜弓丑补办补鈥檚 feet. The scene of 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 is frequently represented in the 础尘补谤腻惫补迟墨 Art[1]. The account of 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 is found in the 狈颈诲腻苍补办补迟丑补.[2]
Depiction:-
In an early relief fragment from 础尘补谤腻惫补迟墨 the scene is visible. In this relief a rider less horse is seen which looks like a beast of burden. In the groom鈥檚 left hand is a circular object which may represent a rein held to lead the horse[3]. The relief lacks the advanced finish witnessed in later specimens.
Again in another relief a rider less horse is depicted and a pair of dancing men is leading the horse. The gestures of the two men in front of the horse indicate effortless gliding in the air like the gandharvas. A man with the parasol is possibly Candaka pulling the horse鈥檚 tail. This matches the literary description of the 狈颈诲腻苍补办补迟丑腻 where 厂颈诲诲丑腻谤迟丑补 instructed Candaka to lead the horse by holding his tail. This relief is preserved in the Madras Government Museum.[4]
In another sculpture of the 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 episode the focus is on the centrally placed horse and grouping of figures on either side. One attendant is holding the parasol in a standing position behind the horse. In front of him are Candaka in soldier鈥檚 dress and a pair of joyous men. Candaka is shown with his left arm bent at the elbow, carrying a circular object in his fist[5]. However, like the previous example here also we find a rider less horse.
In a medallion of the rail pillar preserved in the British Museum the Departure scene is visible. Here the horse with the rider are marching towards the right. Below this composition are three events of the life of the Master[6]. (Pl 21c)
A panel from 础尘补谤腻惫补迟墨 preserved in the British Museum consists of four sections. The second section contains the 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 scene. In this relief for the first time nimbate 厂颈诲诲丑腻谤迟丑补 is seen as the rider of the horse. The staff of the parasol has been made longer in order to make a diagonal on the right side. The joyous figures provide the element of dynamism to the relief[7].
In another representation of 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 scene the prince鈥檚 horse 碍补峁囜弓丑补办补 is shown rider less. It wears a simple saddle and its mane is neatly trimmed. Behind the horse is a turbaned male figure holding an umbrella over the horse鈥檚 head. The horse is trotting out of an arched gateway[8].
In a frieze in the Archaeological Museum, 础尘补谤腻惫补迟墨 one can see the return of 碍补峁囜弓丑补办补 after 厂颈诲诲丑腻谤迟丑补鈥檚 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺. The dismissal of 碍补峁囜弓丑补办补 represents end of Bodhisattva鈥檚 last tie binding him to his home[9]. (Pl 21d)
The scene of 惭补丑腻产丑颈苍颈峁谤补尘补峁嘺 is found in 狈腻驳腻谤箩耻苍补办辞峁囜笉补 (Pl 22a) and Gummadidurru.
Footnotes and references:
[1]:
Strong John S, Op.cit, pp 54
[2]:
[3]:
Parimoo Ratan, Op.cit, p 177, fig 164
[4]:
[5]:
Parimoo Ratan, Op.cit, p 178, fig 166
[6]:
Knox Robert, Op.cit, p 58, fig 11 (Innerface)
[7]:
Ibid, fig 57
[8]:
Ibid, p 185, fig 103.