Buddha's life scenes

Keywords: Limestone Sculpture,
Buddhism,
Ishkvaku dynasty,
Buddha's Life

Publisher: National Museum, New Delhi

Description: This is a limestone slab showing the scenes from Buddha's life. It was originally placed at Nagarjunakonda District in Guntur, Andhra Pradesh. It belongs to the Ishkvaku dynasty which dates back to 2nd century CE. It is a large artefact, measuring H 179 cm W 87 cm and is currently placed in the Kushana gallery in the National Museum, New Delhi.

Historical Significance :- The successors of the Mauryan polity in the Deccan region were the Satavahanas. Historians associate the Andhras mentioned in the Puranas with the Satavahana dynasty. However, it is important to note that the term 'Satavahana' was never mentioned in the Puranas nor did the Satavahanas ever call themselves 'Andhras'.The dynasty defeated the Kanvas to first establish themselves in central India and over time spread their presence to peninsular India. Traditionally, the Satavahanas were Brahmans. They performed Vedic sacrifices, worshipped Vaishnava gods and extended large grants to priests but they also extended similar patronage to Buddhism. Records of land grants being bestowed upon monks have been found in large numbers. Within the empire, Mahayana Buddhism took root among the artisan classes and established its base in Nagarjunakonda and Amravati. The successors of the Satavahanas, the Ikshvaku would patronize Buddhism on a much larger scale at Nagarjunakonda. Nagarjunakonda (Nagarjuna: a famous Buddhist Monk; Konda: Hills in Kannada) is presently known as one of the richest Buddhist learning centres and has many caves that exhibit Buddhist carvings. It was the capital of Ikshvaku Kingdom and was then called Vijayapuri (which loosely translates to the place of residence of the victorious). A major excavation which lasted for 6 years was undertaken at the site before the construction of the man-made lake Nagarjuna Sagar. The excavation resulted in the finding of many Buddhist ruins, stupas, temples, pillared pavilions, white marble statues of Buddha, coins and jewellery as well. A.R. Saraswati was the first Archaeologist to have discovered the ruins of Nagarjunakonda in the year 1926.

Artistic Significance :- "The stone slab in consideration is divided into three panels showing scenes from Buddha's life. It can be likened to the modern-day comic strip as it needs to be read from one end to the other in sequence to be understood. The lowest panel depicts the King Suddhodana, father of the baby seated on a throne with three chauri (fly whisk)- bearers behind him and two ladies sitting in front of him. To the left three soothsayers sit on a bench, below them sits a scribe, busy recording the occasion with the utmost attention. The second or the middle panel exhibits the birth of Buddha. Maya, the mother of Buddha conceived him when she dreamt that a white elephant entered her womb from the right side. On both sides of the sleeping Maya stand two attendants. On their left can be seen the Purna-ghata, a full vessel, this is a symbol of fertility even in our times. She gave birth to him in a standing tribhanga position while holding a shaal tree in a garden. Buddha was born from the right side of Maya and is believed to have begun walking immediately. A lady carries the newborn baby under an umbrella (Chatri) with a fly whisk (chauri) on either side. Both of these indicate the royal status of the figure in focus. On the left side of the panel stand the God Indra and the guardians of the directions (Dikapalas) with a garment in their hands to receive the child, seven footprints marked on the garment indicate the seven foot-steps taken by the child as soon as it was born. In the top panel, the right side shows a child being carried by the mother and being presented to the family priest, who is seen to be in awe of the child. The left half of the panel depicts the king seated on a throne, to his left sits sage Asita who is shown receiving the child while Maya stands beside him with folded hands. The panels are divided by floral designs of lotuses and roses designs. In the top panel, the right side shows a child being carried by the mother and being presented to the family priest, who is seen to be in awe of the child. The left half of the panel depicts the king seated on a throne, to his left sits sage Asita who is shown receiving the child while Maya stands beside him with folded hands. The panels are divided by floral designs of lotuses and roses designs."

Spiritual Significance :- Buddhism as a philosophy is understood to be a path, a way of life that is believed to transform a person since it is linked to salvation (to break away from the cycle of birth, death, and rebirth). The core of Buddha's teachings lies in Four Noble Truths according to which all life is suffering, the cause of suffering is desire, this desire can be destroyed, and this end can be achieved through the Eightfold Path as taught by the Buddha.

Style :- Satavahana

Source: National Museum, New Delhi

Type: Sculpture

Received From: National Museum, New Delhi