Amaravati School of Arts | History Optional for UPSC (Notes) PDF Download

Overview: Amaravati School of Arts

The Amaravati School of Art flourished in the eastern Deccan, particularly in the lower valleys of the Krishna and Godavari rivers, for nearly six centuries, starting around 200-100 BC. This school was initially supported by the Satavahanas and later by the Ikshvakus, along with other political figures, families, officials, and merchants.

Inspired by Buddhist themes, the main centers of this art included Nagarjunakonda, Amaravati, Goli, Ghantasala, and Jaggayyapeta.

Historical Significance:

• The Amaravati school holds a distinguished place in the history of Indian art. Beginning in the 3rd century BC, it is renowned for its sculptural wealth, particularly in the design of Mahachaityas and other stupas.

Artistic Features

• Material and Technique: Figures are carved from white marble, well-modeled with long legs and slender frames.
• Physical Features: Emphasis on physical beauty and sensual expressions. The figures often depict kings, princes, and palaces.
• Motifs: The lotus and purnakumbha motifs are typical, symbolizing auspiciousness and abundance.
• Influence: The curly hair of the Buddha figures shows a Greek influence.

Thematic Representations

• His descent from heaven as a white elephant.
• Queen Maya’s conception.
• The casting of his horoscope after birth.
• The great renunciation.
• The transportation of Gautam’s head-dress to heaven.
• The scene of temptation.
• Naga-Muchalinda protecting the Buddha from rain.
• The first sermon.
• The Mahaparinirvana, often represented by a stupa.

Similarities with Mathura:
There are striking thematic similarities with the Mathura school in certain cases. For instance:

• A relief panel at Amaravati showing a group of six bathing women is very similar to depictions found in Mathura.
• While Mathura features individual statues of Kushana kings, Amaravati presents kings and princes in narrative forms, such as the story of King Udayana and his queen or scenes of kings receiving presents or leading processions with elephants, horse riders, and footmen.

Notable Reliefs

• Taming of the Elephant: A relief medallion at Amaravati depicts the story of the Buddha taming an elephant, showing the Buddha’s compassion and the fear of the people around him.
• Bathing Women: A relief panel showing a group of bathing women with water pots, reflecting daily life and, possibly, ritual practices.

In summary, the Amaravati School of Art is distinguished by its narrative reliefs, Buddhist themes, and the use of white marble, with significant influences from earlier traditions and local practices.

Four Different Periods of Amaravati Art

First Period (200-100 BC):

• Amaravati art exhibits a clear evolution towards stylistic maturity over a span of five hundred years. Throughout the successive stages, one can observe advancements in technique and refinement.
• The initial phase is evidenced at Jagayyapeta, where several slabs and decorative pieces at the base of the stupa have been discovered. These slabs depict pilasters interspersed with animals above bell-shaped capitals, alongside devotees paying homage to the Buddha, who is symbolically represented.
• The earliest examples from Jagayyapeta date back to 150 B.C. In these instances, the figures are isolated units and lack interrelation within a single composition. However,“one can see here the beginning of that tall and slender human frame which is so characteristic an ethnic form in the narrative reliefs of the Krishna valley, and later, of Pallava sculpture.”
• In subsequent narrative reliefs, the figures are well-shaped and interrelated.

Second Period (100 BC to AD 100):

The casing slabs above the platform are attributed to the second period. These slabs feature superimposed panels depicting the Buddha in a preaching posture. The figures in this period are more graceful and natural compared to those of the first period.

The scenes depicted include the principal events of the Buddha’s life, with the Buddha often represented by a symbol. However, in a few instances, he is personified, marking some of the earliest examples of his personification. The sculpture illustrating Siddhartha’s departure from his palace is a typical instance of symbolic representation.

Third Period (AD 150):

• During this period, the railing surrounding the stupa was intricately carved. An inscription indicates that under the reign of Vasisthiputra Sri Pulamavi (of the Satavahana dynasty), additions were made to the stupa. The Tibetan tradition associates the construction of the rail with the Buddhist Acharya Nagarjuna.
• The sculptures from this period represent the pinnacle of this artistic school and are considered among the most outstanding in all of India. A notable feature, absent in earlier Amaravati sculptures, is the delineation of different planes. Figures in the first plane are carved in deep relief, with the depth of cutting gradually diminishing in successive planes. Remarkably, the skill in depicting scenes of action is exceptional.
• The sculptures from Nagarjunikonda, crafted from light-green limestone, were a continuation of the Amaravati School and began around the same time as the third period of Amaravati art. The panels on carved vertical slabs depicted scenes illustrating the Jatakas.

Fourth Period (AD 200-):

• The casing slabs of the fourth period exhibit richer and more elaborate carvings compared to the rail. The figures in the sculptures of this period tend to be taller and slimmer.
• Additionally, this period showcases exquisite miniature sculptures on small circular bosses, friezes, and casing slabs. The statues of the Buddha dating from the third century AD are magnificent and powerful creations. The features are full, the body is far from slender, and the expression is both aristocratic and benign, with the head crowned by short, curly hair.