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[Full title: Depiction of scenes from the life of Buddha: Muchalinda Episode]

Story:-

The episode of 狈腻驳补 Muchalinda occurred in the sixth week after Enlightenment when Buddha鈥檚 safety was threatened by the storm of hurricane proportions. Oblivious to everything around him Buddha sat cross-legged in deep contemplation. Buddha was, however, unmoved and rains continued to pelt him for seven days and cold wind continued. Then the 苍腻驳补 king Muchalinda emerged from his realm. The incident occurred on the bank of the Nairanjan膩 at Uruvilva.

From the biographical texts it is known that the serpent king Muchalinda enveloped the body of the Blessed one seven times with its coils and kept his long hood spread over the Master鈥檚 head protecting him for seven days. He thought that 鈥楳ay no coldness touch the Blessed One鈥�. The story of Muchalinda is given in 惭补丑腻惫补驳驳补^[1], 狈颈诲腻苍补办补迟丑腻^[2], Lalitavistara^[3] and 惭补丑腻惫补蝉迟耻^[4].

Depiction:-

The 狈腻驳补 Muchalinda episode found beautiful representations on different architectural components of the 础尘补谤腻惫补迟墨 蝉迟奴辫补蝉.

In this regard mention may be made of a composition on a drum slab from 础尘补谤腻惫补迟墨 preserved in the British Museum. Here we witness Buddha sitting in 辫补谤测补峁卥腻蝉补苍补 over the coils of 狈腻驳补 Muchalinda. The halo behind Buddha鈥檚 head is surrounded by semi-circle of seven hoods beyond which is another circle of thirteen additional hoods. The left hand rests on the lap and the right in the 惫测补办丑腻测补苍补 尘耻诲谤腻 or gesture of exposition. Two male 苍腻驳补 adorants with flywhisks flank Buddha^[5]. The exquisite ornamental details of the drum slab enhance the beauty of the relief.(Pl 23c)

Another variation of the theme is viewed on another drum slab preserved in the British Museum. Here Buddha is represented symbolically by foot prints. These appear to be enclosed in a cylinder formed by the coils of 苍腻驳补. It should be noted that while the coils may be of 苍腻驳补, no hoods are provided. Here the idea of protection is not emphasized. The anthropomorphic figure behind with hands in anjali 尘耻诲谤腻 and his head surrounded by a polycephalous hood may be identified as the serpent king. It may be noted that according to Lalitavistara in the fifth week after Enlightenment Buddha visited the palace of Muchalinda. Four males with 苍腻驳补 hoods and five kneeling women in front adore Buddha and the scene is clearly the royal mansion and not the storm tossed site^[6]. This is a unique visual version of the theme where the scene juxtaposes two different episodes associated with the event. The relief shows a great advance in respect of compositional coherence and evokes admiration for this art.

Another fragmentary drumslab from 础尘补谤腻惫补迟墨 housed in the archaeological Museum, 础尘补谤腻惫补迟墨 depicts a miniature 蝉迟奴辫补 where the worship of 狈腻驳补r膩ja Muchalinda is shown in the centre. Two worshippers below the 苍腻驳补 are visible with folded hands. A partially visible chhatra above the 苍腻驳补鈥檚 hood symbolizes the Master鈥檚 presence^[7]. In Buddhism 狈补驳腻蝉 were regarded as tutelary deity and considered to be subordinate and attend on Buddha. The above depiction of 狈腻驳补 Muchalinda may signify this aspect.

Beautiful representations of 狈腻驳补 Muchalinda is found in 狈腻驳腻谤箩耻苍补办辞峁囜笉补 and several art centres of the 础尘补谤腻惫补迟墨 repertoire.

Footnotes and references:

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[1]:

Davids R.W Rhys and Oldenberg Hermann, 1974, Op.cit, pp 80-81

[2]:

Davids T. W. Rhys, 1972, Op.cit, p 204.

[3]:

Goswami Bijoya, Op.cit, pp 345-346

[4]:

Law B.C, 1930, A study of the Mahavastu, Calcutta, p 153.

[5]:

Knox Robert, Op.cit, pp 132-136, fig 70.

[6]:

Ibid, pp 150-154, fig 78

[7]:

Acc 249, Limestone, Measurement, 110 X 100 X 18 cm, Archaeological Museum, Amaravati, Archaeological Survey of India.