Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c15.s1.t4: Contents

Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c15.s1.t4

Language: English

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The architectural grandeur of the Amaravati Mahāchetiya is equalled by the rich contents of its sculpture. These are shown by the varied forms of male and female headdresses, ornaments, necklaces, girdles, hair styles, and domestic objects. A noteworthy coiffure is the *Kokilakeśapāśa* showing the *veṇi* like the black cuckoo bird projecting on the top of a coiled mass of white silken cloth which is found (Śivaramamurti, pl. VII, fig. 11) also at Mathura (J55) and on an ivory plaque at Begram. [Fig. 216]. The rectangular projecting headdress of Indra is similar at Amaravati, Mathura and in Gandhara. These intimate resemblances furnish proof of vital interconnections of cultural life as expressed through fashions and fancies. In the bas-reliefs of the first period are found such scenes as the conversion of the Jaṭilas, distribution of the relics of the Buddha, the great renunciation, attack of Māra, adoration of the Enlightened Buddha, Chūḍāmaha, Worship of the Begging Bowl, elephants adoring the Stūpa, offering of the monkey to Buddha, worship of Buddhapada.

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Second Period : Departure of Siddhārtha, Adoration of the Enlightened Buddha, Opening of the Rāmagrāma Stūpa, Buddha's Preaching, Turning of the Wheel-of-Law, Buddha's Enlightenment symbolised by the Bodhi-tree, Worship of the Stūpa, Buddha preaching to the Nāga, Bath of Māyā.

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Third Period : Subjugation of Nalagiri and the confusion caused by him in the streets of Rājagṛiha (carved on a cross-bar medallion) ; the presents of Kind Bandhumān in which the king is presented with a golden wreath and precious sandal wood in a casket ; transporting the Bowl of the Buddha amidst three bands of figures ; Chhaddanta Jātaka ; Suddhodana and Māyā in an Aśoka Grove ; Somaṇassa Jātaka (No. 505), a prince detecting a sham ascetic; Sarvaṃdada Avadāna, a variant version of the Śivi Jātaka in which the king is depicted as giving protection to the dove, the hunter asking for the king's flesh and the cruel Kapilapingala cutting it from the king's thigh ; Scenes from Buddha's life as Departure from the palace ; adoration of the enlightened Buddha ; Chūḍāmaha or Festival of Buddha's Crest taken to heaven by Devas ; Vidurapaṇḍita Jātaka ; Stūpa-pūjā ; conversion of the Bhaddavaggiya youths ; Avakrānti or Descent of Buddha as White Elephant ; Peacock preaching the law ; Buddha's preaching in the trayastriṃśa heaven ; Māndhātāvadāna (with the following details : Chakravartī Māndhātā and his Seven Jevels, Māndhātā overcoming the Devas and the Nāgas, Māndhātā under the Pārijāta tree in heaven, in Sudharmā Sabhā, shares Indra's *ardhāsana*; Story of fierce Udayana ; Chakra-pūjā ; Ajātaśatru's visit to Buddha ; Snake-charmer and his monkey ; *Chulladhammapāla Jātaka* (No. 358) ; Conversion of Yaśa ; Buddha's Miracle of Fire ; Elephants adoring Bothi-tree ; Story of Aṅgulimāla ; scenes from Buddha's life (Birth of Rāhula, Departure, First Sermon, Yaśodharā, Śuddhodana despatching a messenger, Buddha visiting Kapilavastu) ; Temptation by Māra ; Distribution of Relics ; Losaka Jātaka (No. 41) describing story of Mittavindaka the unfortunate one ; story of the gardener Sumana ; Kavikumārāvadāna ; Mahilāmukha Jātaka (No. 26) ; Dūta Jātaka (No. 260) ; Mataṅga Jātaka (No. 497) ; Chullakala's wives regaining their husband ; Mahapanada Jātaka (No. 489) ; etc.

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Fourth Period : Vessantara Jātaka ; various scenes from Buddha's life ; assault of Māra ; Enligbtenment ; Rāmagrāma Stūpa guarded by serpent-kings ; Conversion of Nanda ; Rāhula-uttarādhikāra ; Dream of Māyā and its interpretation, etc.