New Interpretations Of Buddhist Art: Special Reference To Amaravati And Nagarjunakonda

Abstract

The art of Amaravati and Nagarjunakonda had its beginnings during the Mauryan period. In due course of time, the art flourished under the different patronage of art lovers, besides the contributions made by the various sections of the society. The carvings at Amaravati reached a climax and excelled the art of Barhut, Sanchi and western Indian Rock-cut caves etc. The style of Buddhist art reached its climax in the various carvings at Amaravati and thereby justified in being called the Amaravati school of art. During the period under consideration, it became a normal trend to adorn the stupas with beautifully carved panels on pale green or white limestone. Only a few stupas have retained a few panels while at Amaravati, the panels are not only large in number, but also varied in nature. The school of Amaravati art later on spread across Nagarjunakonda, Kesanapalli, Chandavaram, Jaggayyapeta etc. The present study is look into new interpretations of Buddhist art in Amaravati and Nagarjunakonda. Many scholars attempted to reveal the rich art and architecture of Amaravati and Nagarjunakonda but it still incomplete. The idea of art and motives which exists in pre and protohistoric sites like cave temples, open temples are unreadable and incomplete why because we can read the physical form of art and architecture but not sentiment of our ancestors. Here, we attempt to evaluate and codified the Buddhist art with two references, with the help of new techniques and interpretation in metropolitan cultural dimensions.