Amaravati Art in the Context of Andhra Archaeology
by Sreyashi Ray chowdhuri | 2018 | 90,477 words
This page relates 鈥楾ree nymphs in Amaravati art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.
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Tree nymphs in 础尘补谤腻惫补迟墨 art
The tree nymphs are amply found in the 础尘补谤腻惫补迟墨 art. The tree nymphs are feminine beauties associated with trees. Iconographically they are voluptuous beauties almost nude. They are only decked with a broad jewelled belt, which already made its appearance in the pre-Mauryan terracotta 测补办峁Ｄ玸.[1] However, in 础尘补谤腻惫补迟墨 there is a tendency to deviate from this archaic form and move towards a freer, lively and pliable human form. The figure of 厂腻濒补产丑补苍箩颈办腻 in the art of 础尘补谤腻惫补迟墨 repertoire is an exquisite representation of the tree nymph exhibiting graceful elegance of the feminine form.
Tree nymphs in the 础尘补谤腻惫补迟墨 repertoire is sometimes placed within the architectural frame unlike the bracket 厂腻濒补产丑补苍箩颈办腻s at S膩帽ch墨 torana. In this regard, mention may be made of a 测补办峁Ｄ� inside a gable window niche preserved in the Madras Government Museum (Pl 39a). She is adorning herself under the celestial tree. The 测补办峁Ｄ� displays attenuated form in comparison to the rigid frontal form of the Bh膩rhut 测补办峁Ｄ玸 (Pl 39b). Another fragment from 础尘补谤腻惫补迟墨 shows a part of a 测补办峁Ｄ� dryad head, hand and breast against a tree (Pl 39c). Her left hand rests on the hip like the dryads on the S膩帽ch墨 gateway. However, this fragment belongs to the early phase of the 础尘补谤腻惫补迟墨 art and suffers from rigidity unlike the flexible depiction in S膩帽ch墨.(Pl 39d)