The
select sculptures and other antiquities are displayed in three different
galleries of the Museum while a model of the re-constructed Maha chaitya, in
its evolved state, and partly reconstructed railing to its original size by
which one can imagine the imposing dimensions of the Maha chaitya, are situated
in the open courtyard. Besides, the cement replicas of a few original
sculptures in the Madras Museum are also exhibited here.
Frieze depicts Kappina's conversion from the stupa of Gummadiddurru, Krishna District.
Fragment of a frieze depicting King Kappina's, King Kukkutavati meeting with Buddha to become a monk and follow the path of dharma in the in the left panel and the royal retinue in the right panel. In between, amorous couples are shown. The defaced donative inscription belongs to Ikshvahu's period and defaced.
Key
Gallery
In
the key gallery, select examples of the art traditions of Amaravati are
seen. The lotus and the Puranakumbha motifs are typical of Amaravati art
expressing auspiciousness and abundance. The two drum slabs depicting the
stupas, in bas relief give a fair idea of the structure. Buddha in these panels
during the early period is represented symbolically in the form of a
"Svastika" mark on a cushioned seat over a throne (Vajrasana) under
the Bodhi tree in one case and a Flaming Pillar (Agniskanda) in another case.
Over the dome are depicted the Jatakas in low relief. The standing Buddha
secured from Gummadidurru is datable to the eighth Century CE.
Fragment of decorative drum slab used originally to cover the drum of the stupa. It depicts the model of the developed stupa with four barred railings, ayaka platforms, and an entrance. Devotees worship at the dharma chakra on the throne at the center. Sibi, Mahadhata, and Vessantara Jataka stories are carved in miniature panels on the dome of the stupa model.
This slab was used to cover the dome of the stupa. It depicts a Purnakumbha, (ambrosial vase), an auspicious symbol indicating fullness and abundance. Overflowing foliage and flowers and vessels decorated with garlands with intervening medallions indicate prosperity.
The railing around a stupa consisted of vertical pillars (sthamba) and free cross bars in the early phase. The cross bare circular in shape and inserted in a similar groove of the verticals. At the center medallion, jataka stories or an intricately designed lotus were carved on the outer side.
Dome slab with purnakumbha
This slab was used to cover the dome of the stupa.
The crossbar of the railing (suchi) - from Maha Chaitya Amaravati.
Gallery
II
In
this, the standing life-size Buddha image is the typical representation in the early
period in superhuman form with marks of a great man (Mahapasha Lakshanas). The
couple in the round in the Central showcase is a masterpiece of Amaravati art, full of vigor and vitality, of the Satavahana period.
The
round panel over a crossbar depicting the episode of Rahula's presentation to
the Buddha by his father, King Suddhodana, is another unique piece in narration, composition, and carving. Besides, a few drum slabs and dome slabs depicting the worship of stupa, Triratna, animal rows, and minor antiquities like coins and
beads are interesting.
Drum slab
Gallery
III
In
this, the exhibits comprise a few sculptures of 2nd Cent B.C.E. including a Yakshi
of Bharhut tradition, a stele with labeled panels, and a fragmentary pillar
edit of Asoka. image of Buddha from Allur, Dharma-chakra from Lingarajapalli,
Bodhisathvas, a dome slab depicting the Three Jewels of the Buddhist order
viz., the Buddha, Dharma, and Sangha in a panel represented by a Bodhi tree,
Dharmachakra and the stupa worshipped by the devotees are noteworthy
The
full-size standing ornate bull (Nandisvara) of the Satavahana period round
is an attractive piece of art picked up from the local Amareswara temple. The
garland of the bearers on a coping stone, the images of the Vajrayana period, and Jaina
Thirthankara of the medieval period are quite interesting in this gallery
Frieze depicts Kappina's conversion from the stupa of Gummadiddurru, Krishna District.
A fragment of a frieze depicts King Kappina and King Kukkutavati meeting with Buddha to become a monk and follow the path of dharma in the left panel and the royal retinue in the right panel. In between, amorous couples are shown. The defaced donative inscription belongs to Ikshvahu's period and is defaced.
Mithuna Couples are loving couples, a collaborated theme in Indian art from the beginning, They are shown as a pair in an imaginative but sensuous posture exhibiting the love, they have for each other. The meaning and reason for their depiction on religious monuments range from an obvious calibration of life's pleasures to the more metaphorical symbolism of a human soul's longing for union with the divine. Recovered from Amarswara Temple.
Court
Yard
In
the Courtyard, a part of the model of stupa and a part of reconstructed
railing, Gautama Siddhartha's departure from his place, return of the horse
Kanthaka, episode of Nalagiri the royal elephant of Ajata Satru, worship of
Buddha (feet) by the lady devotees, Jataka panels of Mandhata Chaddanta,
Vessantara and Losaka are a few attractive panels here.
Earlier
forms of Ganesa and Ganesani among the Yakshaganas carrying the garland in
earlier periods and the panel showing the Division of the relics of Lord Buddha by
the disputing princes on the coping of the railing are a few notable pieces of
art.
Ref.
1. The
display board at the site, by the Archaeological Survey of India (ASI).
2. A
Book on Amaravati, Published by ASI.
LOCATION
OF THE MUSEUM: CLICK HERE
Tirthankara from Maha Chaitya Amaravati
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OM SHIVAYA NAMA---
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