DOCSLIB.ORG

Studies in Early Buddhist Monuments and Brahmi Inscriptions of Andhradesa

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Studies in Early Buddhist Monuments and Brahmi Inscriptions of Andhradesa STUDIES IN EARLY BUDDHIST MONUMENTS AND BRAHMI INSCRIPTIONS OF ANDHRADESA Studies in Early Buddhist Monuments and Brahmi Inscriptions of Andhradesa I.K. SARMA Foreword by Jagatpati Joshi Director Geoeral, Archaeological Survey of India, f New Delhi I MSU LIBRARY 13329 DATTSONS PUBLISHERS & PUBLISHER'S DISTRIBUTORS JAWAHARLAL NEHRU MARG, SADAR NAGPUR-440001 '© liK. Sarma, 1988 MB Printed in India ; Published by Vinod Nangia for Dattsons, J-Nehru Marg, Nagpur-440001 Printed at Print India, A-38/2 Mayapuri, Phase I, New Delhi-110064, DEDICATED TO &rlmati and Sri Potukuci Prabhakara ^d'stri Gdru, as a token of our esteem and affection on their SastyabdapUrtl day CONTENTS Preface :xi Acknowledgements xiii Foreword :xvii Bibliographical Abbreviations xix List o f Figures xxi List of Photos xxiii General Introduction: Buddhist Monuments in Andhra 1 Literary and Traditional Accounts. 1 Geographical and Historical Background. 5 Recent Archaeological Evidences from AmarSvati. 7 Va(^damanu and Other Sites. 11 Some Important Buddhist Sects found in Andhra: Their Spread. 13 Later Developments. 17 -1. Bhaftiprolu StQpa: Its Vdstu, Agamic Observances and Inscriptions : 30 Introduction. 30 Some Characteristics of the Stupa. 31 Vdstu and Agamic Observances. 32 Granite Stone Relic Containers, Their Placement, Characteristics and Inscriptions. 37 The Contents within GSRC I to III. 40 Some Unique finds within GSRC. 43 (a) Silver Punch Marked Coins in BS-5. 43 (b) Crystal Reliquary. 43 Palaeographical and Linguistic Features. 44 viii Studies in Early Buddhist Monuments andBrahmi Inscriptions of Andhradlso- Identification of the Toponym ‘Nandapura’. 46 Dating. 48 3. (i) Gufffupalle Rock-cut Caityas and Vihdras 57 Introduction 57 Rock-Cut Vestiges : 58 (1) Vrtta-Caitya. 58 (2) Vihdra Caves. 59 Cave at the South-East Tor. 61 A New Vihdra Cave. 61 (ii) Structural Stupas and Monastery at Guntupalle {Mahdndgaparvatd) 62 Circular Brick Caityagrha. 62 Stone Mandapa. 63 Limestone Mandapa and Structural Stupas in Stone (Middle Terrace) 63 Foundational Detail of a Bigger StUpa. 64 Four Limestone Pillars bearing identical Inscriptions. 65 A Bigger Mandapa of Limestone Pillars. 65 k^s,vdidX Buddha-Caitya. 66 (iii) Brdhml Inscriptions from Gurnupalle 67 (1) Location and Details of Discovery of the Inscriptions. 67 (A) Pillar Inscriptions assignable to 2nd-1st centuries B.C. 68 (B) Inscription on a Sopana stone leading to Circular Stupa-Caitya at the East. 71 (C) Inscriptions of lst-2nd centuries A.D. 72: (D) Inscriptions of Early 5th-6th centuries A.D. 78 (E) Inscribed Bronze Image of Bodbisattva- PadmapSpi. 82: (2) Geographical Identifications, Importance of the Epigraphs. 82' (3) Other Important References. 84 Contents i* 4.(A) Cavern with Inscription at Malekdnda, District Prakasam. 92 (B) Rock-cut Vestiges at Rampa Errampalem, District East Godavari. 93 5. Correlations 97 6. Appendix 102 A. Punch Marked Coins from Stupas of Andhra, 102 B, Buddhist Sites of Andhra Pradesh. Ill Select Bibliography 123 Index 127 PREFACE This work, “Studies in Early Buddhist Monuments and Brahml Inscriptions o f AndhradeSa, embodies an exhaustive account on certain important discoveries made by me at BhattiprOlu and Guptupalle. These sites exemplify two distinct trends in the Development of Early Buddhist Art and Architecture in South-East India. Apropos, an up- todate review of the Field work undertaken is provided in the first chapter. This simple but very comprehensive survey brings a unique picture of a vast creative and religious activity of the Buddhist in Ancient Andhra. Bhattiprolu Stupa (Dist. Guntur, Andhra Pradesh) and inscrip­ tions on the granite Relic containers therefrom, occupy an important place in the Indian Epigraphical Studies, thanks primarily to Alexan­ der Rea (1892) and George BUhler (1894). It was Alexander Rea who carefully retrieved them from the despoiled Stupa. Specially the ins­ criptions are among the most ancient, oft quoted and valuable to the students of Ancient Indian History. I have earlier noticed certain new features among the inscribed members of this place and placed them before the scholars, in a brief paper presented at the 8th Session of the Epigraphical Society o f India hosted by PrSchya Nikfitana, Bhopal in the year 1982. (Journal of Epigraphical Society of India, IX, Dharwar, 1983, pp. 23-25). Little attention was paid to collate the enormous field data recorded meticulously by certain distinguished British Scholars in the Archaeological Reports of the last hundred years on the Buddhist remains in Andhradesa. The central aim of the present endeavour is therefore briefly to examine this treasure metho­ dically in the light of the experience and knowledge gained in the Buddhist sites from the scientific field-archaeology of post 1950’s and later. In this attempt I thought of dealing with Bhattiprolu StUpa at first on account of its highly important material. In the subsequent *ii Studies in Early Buddhist Monuments and Brdhmt Inscriptions of Andhradlsa chapters I have taken up Malekd^da caverns and Inscription (Dist. Prakasam), Gun^upalle (Dist. West Godavari), and Rama-Errampalem (District East Godavari), in order to discuss in detail certain important discoveries I made during the years 1974-76, Keeping in view valuable field notes left with an insight by the erst while pioneers like Robert Sewell, AleJtander Rea and A.H. Longhurst, one can see from this study how by a multi-disciplinary approach the architectural wealth of a site can be correlated with fresh epigraphical finds and art depictions. Lastly an uptodate review of the discoveries made in Andhra Pradesh in respect of Buddhist sites is also appended to facilitate future studies. I.K. Sarma ACKNOWLEDGEMENTS As in all other works of mine foremost help was received from the Archaeological Survey of India, my alma mater. The copyright of all the illustrations therefore rests with the Archaeological Survey of India. I am grateful to the former Directors General, Sarvalrl M .N . Deshpande, B.K, Thapar and Dr. (Mrs.) D. Mitra, for all the encouragement and sanctions to undertake works at Guntupalle and other sites mentioned in the text. Though the probes were smaller in scope, the results were rich and yielded a good crop of epigraphs and other antiquities. At Guntupalle Excavation-cum-Conservation pro­ gramme (1974-76), I was ably assisted by my former colleagues of the Hyderabad Gircle-Sarva^ri B. RaJa Rao and D. Hanumantha Rao <now Dy. Superintending Archaeologist’s respectively at Goa and Hyderabad Circle), Shri M.N. Prasada Rao (Dy. Superintending Archaeological Engineer, Bhuvaneswar Circle), A.V. Vasantha Rao (Conservation Assistant, Cuddapah) and R. Y. Krishna Rao, the young and dynamic Stenographer. All the fresh illustrations of Bhattiprolu appearing here were obtained through the kind courtesy of !§riyuts Harinarayana and Srinivasa Desikan, Director and Curator respectively, of the Govt. Museum, Madras. But for their special interest and generosity, it is impossible to prepare the accompanying illustrations of the priceless reliquaries of Bhattiprolu now in the Reserve Galleries of the Museum. The author is equally grateful to the technical experts like Sarvasri M.U. Qureshi and TTieagaraJan both accomplished Photographers of the Excavations Branch, Nagpur, and temple Survey (South), Madras. Similary I acknowledge the excellent work done by my colleagues Sarvasri J.N. Gandhi, Mohinder Singh, S.V. Sutaone, P.M. Bhope, Barapatre and Miss. Indira S. Pande of the Drawing section of the Excavations Branch(I) in preparing the text figures. My special thanks xiv Studies^ Early Buddhist Monuments and Brahmi Incriptions of Andhradis'a are due to Shri M.U. Qureshi and P.M. Bhope for the cover design and Layout of plates in a befitting manner. Shri N.K.S. Sharma, Stenographer has done the entire typing work very deligently. Shri J.N. David, Librarian Gr. I of the Branch has procured all references. All the above technical personnel of the Branch and Hyderabad Circle helped me spontaneously, as a matter of love for the subJect, during their spare time. Similarly I am beholden to Shri G.V. Srinivasa Rao, Dy. Superintending Archaeologist and: Shri S.K. Lekhwani for all the assistance while checking up the mss. and preparation of the Appendix, etc. I pay my respectful regards to Dr. K.M. Varma, Professor (Retd.), ^flntiniketan and Shri N.S. Krsna Marti a senior Advocate, Nellore, both reputed scholars, who inspite of their engagements, spared their valuable time, read the manuscript meticulously, corrected it and recorded their comments. The academic value of the work is substantially enhanced by their valuable criticism and suggestions. Sri ^ivalenka Radhakrishna, the Chief Editor of Bhdrati (a Telugu literary monthly) has been my patron for the past two decades. All my epigraphical researches and fresh discoveries were promptly published in the issues of Bhdrati from time to time. My debt to Bhdrati is immense and cannot be repaid. Similarly the Epigraphical Society of India, specially its learned Executive Editors (Past and pre­ sent), Drs. A.M. Shastry, K.V. Kamesh and S.H. Ritti have shown keen interest and extremely considerate to me in accepting for publi­ cation papers on epigraphs from Amaravati, Guntupalle, Bhattiprolu and others in the pages of their Annual Journal of the Society. To my teacher Prof. AJayamitra Shastry of Nagpur University, I have no words to express fully my grateful thanks. Sri M.C. JoshiJi, Joint Director General, Archaeological Survey of India, New Delhi has been a source of strength to me in all my academic pursuits. Sri Jagatpati Joshi, Addl. Director General, Archaeological Survey of India, inspite of his official engagements spared his valuable time and beJewelled my work with a scholarly Foreword. My associa­ tion with Sri Joshi goes back to the time of our excavations at the famous Buddhist sites of NagarJunakonda (1957-59) and Pauni (1968- 69). lam deeply beholden to him as well as to M.C. JoshiJi. Acknowledgements xv At home Shri I.V.
Load more

Recommended publications
  • Predictive Modelling for Archaeological Sites: Ashokan Edicts from the Indian Subcontinent
    GENERAL ARTICLES Predictive modelling for archaeological sites: Ashokan edicts from the Indian subcontinent Thomas W. Gillespie*, Monica L. Smith, Scott Barron, Kanika Kalra and Corey Rovzar This article focuses on the stone inscriptions ascribed to Ashoka, the 3rd century BC ruler of the Mauryan dynasty in ancient India. The locations of 29 known inscriptions and 8 environmental predictors at 1 km pixel resolution were entered into a species distribution model, that reliably pre- dicted the distribution of known Ashokan edicts (AUC score 0.934). Geologic substrate (33%), population density in AD 200 (21%), and slope (13%) explained majority of the variance in the Ashokan edict locations. We have identified 121 possible locations in the Indian subcontinent that conform to the same criteria where yet undiscovered inscriptions may be found. Keywords: Archaeology, edict locations, environmental metrics, species distribution models, stone inscriptions. TWO factors have combined that could increase the use of provide confirmation that people found the locations suit- modelling in archaeology: the availability of global land- able and worthy of investment. scape geographic information system (GIS) datasets, and The predictability of archaeological site location is the need to identify and protect sites in areas jeopardized by based on a variety of criteria, not all of which are imme- development and other human impacts. An important po- diately apparent. For example, our earliest ancestors hun- tential contributor to this process is species distribution dreds of thousands of years ago utilized caves as shelters modelling, which has been increasingly used across a va- prior to the development of built architecture, but not all riety of fields, including biogeography, ecology, conserva- known caves were occupied within a given region due to tion biology, and climate change science to identify metrics additional factors of selection, such as the preference for that define and predict species and ecosystems ranges1–4.
    [Show full text]
  • ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore
    GOVERNMENT OF INDIA TOURISM LOK SABHA UNSTARRED QUESTION NO:403 ANSWERED ON:25.11.2014 TOURIST SITES Singh Shri Rama Kishore Will the Minister of TOURISM be pleased to state: (a) whether tourist sites have been categorised grade-wise in the country and if so, the details thereof; (b) the details of tourist sites covered under Buddhist circuit and developed as world heritage tourist sites during the last three years and the current year; (c) whether the Government has any tourism related proposals for Vaishali in Bihar including financial assistance; and (d) if so, the details thereof? Answer MINISTER OF STATE FOR TOURISM (INDEPENDENT CHARGE) (DR. MAHESH SHARMA) (a): Madam. At present there is no grade wise categorization of tourist sites. (b): The Ministry of Tourism has identified following three circuits to be developed as Buddhist Circuits in the country with the help of Central Government/State Government/Private stake holders: Circuit 1: The Dharmayatra or the Sacred Circuit - This will be a 5 to 7 days circuit and will include visits to Gaya (Bodhgaya), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu) with a day trip to Lumbini in Nepal. Circuit 2: Extended Dharmayatra or Extended Sacred Circuit or Retracing Buddha's Footsteps - This will be a 10 to 15 day circuit and will include visits to Bodhgaya (Nalanda, Rajgir, Barabar caves, Pragbodhi Hill, Gaya), Patna (Vaishali, Lauriya Nandangarh, Lauriya Areraj, Kesariya, Patna Museum), Varanasi (Sarnath), Kushinagar, Piparva (Kapilvastu, Shravasti, Sankisa) with a day trip to Lumbini in Nepal. Circuit 3: Buddhist Heritage Trails (State Circuits). i. Jammu and Kashmir - Ladakh, Srinagar (Harwan, Parihaspora) and Jammu (Ambaran).
    [Show full text]
  • International Conference on Asian Art, Culture and Heritage
    Abstract Volume: International Conference on Asian Art, Culture and Heritage International Conference of the International Association for Asian Heritage 2011 Abstract Volume: Intenational Conference on Asian Art, Culture and Heritage 21th - 23rd August 2013 Sri Lanka Foundation, Colombo, Sri Lanka Editor Anura Manatunga Editorial Board Nilanthi Bandara Melathi Saldin Kaushalya Gunasena Mahishi Ranaweera Nadeeka Rathnabahu iii International Conference of the International Association for Asian Heritage 2011 Copyright © 2013 by Centre for Asian Studies, University of Kelaniya, Sri Lanka. First Print 2013 Abstract voiume: International Conference on Asian Art, Culture and Heritage Publisher International Association for Asian Heritage Centre for Asian Studies University of Kelaniya, Sri Lanka. ISBN 978-955-4563-10-0 Cover Designing Sahan Hewa Gamage Cover Image Dwarf figure on a step of a ruined building in the jungle near PabaluVehera at Polonnaruva Printer Kelani Printers The views expressed in the abstracts are exclusively those of the respective authors. iv International Conference of the International Association for Asian Heritage 2011 In Collaboration with The Ministry of National Heritage Central Cultural Fund Postgraduate Institute of Archaeology Bio-diversity Secratariat, Ministry of Environment and Renewable Energy v International Conference of the International Association for Asian Heritage 2011 Message from the Minister of Cultural and Arts It is with great pleasure that I write this congratulatory message to the Abstract Volume of the International Conference on Asian Art, Culture and Heritage, collaboratively organized by the Centre for Asian Studies, University of Kelaniya, Ministry of Culture and the Arts and the International Association for Asian Heritage (IAAH). It is also with great pride that I join this occasion as I am associated with two of the collaborative bodies; as the founder president of the IAAH, and the Minister of Culture and the Arts.
    [Show full text]
  • The Edicts of King Ashoka
    THE EDICTS OF KING ASHOKA An English rendering by Ven. S. Dhammika THE EDICTS OF KING ASHOKA Table of Contents THE EDICTS OF KING ASHOKA........................................................................................................................1 An English rendering by Ven. S. Dhammika.................................................................................................1 PREFACE......................................................................................................................................................1 INTRODUCTION.........................................................................................................................................2 THE FOURTEEN ROCK EDICTS...............................................................................................................4 KALINGA ROCK EDICTS..........................................................................................................................8 MINOR ROCK EDICTS...............................................................................................................................9 THE SEVEN PILLAR EDICTS..................................................................................................................10 THE MINOR PILLAR EDICTS..................................................................................................................13 NOTES.........................................................................................................................................................13
    [Show full text]
  • Om Gam Ganapataye Namah! Jai Karunamayi
    OM GAM GANAPATAYE NAMAH! JAI KARUNAMAYI MOTHER EARTH temple and warangal ruins Situated in the city of Warangal, we will visit one of the most breathtaking and historical landmarks of India, the Warangal Fort Ruins and Temples. The ruins consist of three concentric layers, whose towering 50-ft granite gateways hint at the glory of the original edifice. Here we will also find the shrine known as Syambhuva, a temple dedicated to Mother Earth displaying beautiful craftsmanship and ornate carvings reminiscent of those found in Belur & Halibedu. Amma will also take us for the Darshan (sight) of a Shiva Temple located at the center of the ancient city. RAMAPPA TEMPLE The Ramappa Temple is located outside of Hyderabad, near the legendary city of Warangal. This powerful and unique shrine is dedicated to Ramalingeshwara, a form of Lord Shiva, and it sits on a very auspicious, star-shaped foundation (in fact, the ancient sanctuary has earned the description of being the “Brightest Star in the Galaxy of medieval temples…”). The sculptor’s devotion to the Lord can seen in the intricately carved pillars, walls and ceilings of the temple. And Lord Shiva’s blessings for this holy place have been reciprocated in temple’s ability to withstand wars, invasions and natural disasters, despite being constructed of bricks so light that they float on water. Ramappa is the only temple in India known by the name of the sculptor (Ramappa) rather than the Deity or Location. Thousand pillars temple This hill-top temple was constructed in the 1100’s by the Kakatiya dynasty and is nearly completely intact.
    [Show full text]
  • 6. Art of Mauryan Period
    ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE 1 ARTS OF THE MAURYAN PERIOD 3 Royal Palace 4 Pillars, Sculptures and Rock-cut Architecture 5 Pillars 5 LION CAPITAL, SARNATH 6 Bull Capital , Rampurva 8 Sculptures 9 DIDARGUNJ YAKSHINI 9 Yaksha, Parkham, Mathura 11 Rock Cut Cave- Lomus Rishi 12 Chaitya, karle 14 Stupas 15 Pottery 19 Coins 20 Donors and Patronage 21 ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE Ashoka occupies a unique place in the history of India. His policies of universal peace, non-violence and religious harmony find no parallel in the monarchs of the world. Ashoka stands out as a monarch who combined successful kingship with idealism and philosophy. Like other rulers, Ashoka too began his reign with war - the conquest of Kalinga. However, the mindless destruction of life and property in this war shattered him so greatly that he vowed never to wage any war again. Instead he adopted the policy of Dhamma Vijaya that is conquest through dhamma. Page !1 of !22 In his thirteenth major Rock Edict, Asoka states that true conquest is by piety (the quality of being religious or reverent) and virtue. Such a decision taken by a king, who lived in an era where military might was the measure of power, earned him a unique place in history. Ashoka was a true humanist. His policies were oriented towards the welfare of his people. His dhamma was based on social responsibility. Besides giving importance to respecting brahmins, and servants, obedience to elders, abstention from killing living beings, dhamma also asked people to live in religious harmony.
    [Show full text]
  • TCPL Packaging IEPF
    Note: This sheet is applicable for uploading the particulars related to the unclaimed and unpaid amount pending with company. Make sure that the details are in accordance with the information already provided in e-form IEPF-2 Date Of AGM(DD-MON-YYYY) CIN/BCIN L22210MH1987PLC044505 Prefill Company/Bank Name TCPL PACKAGING LIMITED 09-AUG-2017 Sum of unpaid and unclaimed dividend 1963025.00 Sum of interest on matured debentures 0.00 Sum of matured deposit 0.00 Sum of interest on matured deposit 0.00 Sum of matured debentures 0.00 Sum of interest on application money due for refund 0.00 Sum of application money due for refund 0.00 Redemption amount of preference shares 0.00 Sales proceed for fractional shares 0.00 Validate Clear Proposed Date of Investor First Investor Middle Investor Last Father/Husband Father/Husband Father/Husband Last DP Id-Client Id- Amount Address Country State District Pin Code Folio Number Investment Type transfer to IEPF Name Name Name First Name Middle Name Name Account Number transferred (DD-MON-YYYY) ASARIPARAMBIL HOUSE XX/128 TCPL0000000000043 Amount for unclaimed and A C SURESHKUMAR KCHANDRAN INDIA Kerala 683101 18.75 13-Sep-2024 PARAT LANE ALUVA KERALA 277 unpaid dividend 101-A RAMA MOORTHY NAGAR TCPL0000000000032 Amount for unclaimed and A GNANA PAL AANTHONYDASS KRISHNAM PALAYAM ROAD ERODE INDIA Tamil Nadu 638003 625.00 13-Sep-2024 819 unpaid dividend PERIYAR DIST NO 9 MANGA STREET TCPL0000000000015 Amount for unclaimed and A JAYAKUMAR ARUMUGAM ATTAYAMPATTY P O SALEM DT INDIA Tamil Nadu 637501 625.00 13-Sep-2024
    [Show full text]
  • Kurukshetra Magazine Summary for April 2021 Issue
    NURTURING INDIA’S RICH CULTURAL HERITAGE • India with its glorious past has bequeathed a remarkable variety of monuments and sites spread all across the length and breadth of the country. There are 38 UNESCO World Heritage Sites in India (as of 2021), of which 30 are cultural sites, 7 are natural sites and one mixed site. • Along with these are rich and varied intangible cultural heritage of the country like oral traditions and expressions, craftsmanship etc. Heritage are not just reflectors of the past, but opportunities to generate employment and income in the present and future through heritage tourism. Heritage can Change the Rural Economy • There are various heritage structures with cultural and historical significance in the rural hinterlands lying untapped and unattended. Due to the pandemic, people are now more interested in visiting less- crowded rural India. This creates opportunity for rural areas. • There are traditional step wells which have heritage significance and also can be explored if the water sources can be revived. While attracting tourists, it will also solve the water issue faced by the people in the area. Steps Taken by the Govt. • In budget 2020-21, govt. has proposed five archaeological sites, namely, Rakhigarhi (Haryana), Hastinapur (Uttar Pradesh), Shivsagar (Assam), Dholavira (Gujarat) and Adichanallur (Tamil Nadu) to be developed as iconic sites with on-site Museums. • Rakhigarhi, the site of a pre-Indus Valley Civilisation settlement, dating back to about 6500 BCE village is located in Hisar District in Haryana. • Dholavira, a site of ruins of ancient Harappan city, is located near the Dholavira village in Gujarat.
    [Show full text]
  • Texts. Rock Inscriptions of Asoka
    TEXTS. ROCK INSCRIPTIONS OF ASOKA SHAHBAZGARHI, KHlLSI, GIRNAR, DHAULI, AND JAUGADA. EDICT I. s Ayam dharmalipi [ omitted ] Devanampriyasa * # # K Iyam dhammalipi f do. ] Devanampiyena Piyadasina G lyara dhammalipi [ do. ] Devanampiyena Piyadasina, D * # dha * * # # # * si pavatasi Devanampiye * # # * J Iyam dhammalipi Khepingalasi pavatasi Devanampiyena Piyadasina S Ranyo likhapi . Hidam lo ke * jiva. * * * * * * K # * lekhapi. Hida no kichhi jive. alabhitu paja G Eanya lekhapita .. Idha na kinchi jivam arabhida paju D Lajo # # # * * * * * . * vam alabhitu pajapa J Lajina likhapita . Hida no kichhi jivam. alabhiti paja S # * # cha pi * sama* * * * * * * * # K hitaviye 2 no pi ch;i samaje. kataviye bahukam hi G hitavyam 4 na cha samaje. katavyo bahukam hi D * # * # # # # * * * 2# * # bahukam * * J hitaviye 2 no pi cha samaje. kataviye babukain hi S # # # * * # * # # *4# ### •## # # * K dosa samejasa. Devanampiye Piyadasi Laja dakhati 5 G dosam samajamhi. pasati Devanampiyo Piyadasi Raja D * * # * # * * # # # nam # * # # # * # # # * J dosam samejasa. dakhati Devanampiye Piyadasi . Laja S 2 ati pi* * * katiya samayasa samato Devanampriyasa K athi picha. ekatiya samaj& sadhumata Devanampiyasa 7 G 6 asti pitu ekacha samaja sadhumata Devanampiyasa D * * # ekacha samajasa sadhumata Devanampiyasa J athi pichu ekatiya samaja sadhumata Devanampiyasa S Priyadasisa Ranyo para mahanasasa Devanampriyasa Priyadasisa 3 K Piyadasisa Lajine pale mahanasansi Devanampiyasa Piyadasisji 8 G Piyadasino Ranyo pura mahanasaphi Devanampiyasa Piyadasino 3 D Piyadasine
    [Show full text]
  • Depiction of Elephants in Indian Art
    Journal of History, Art and Archaeology Vol. 1, No. 1, 2021, pp. 75-82 © ARF India. All Right Reserved URL: www.arfjournals.com DEPICTION OF ELEPHANTS IN INDIAN ART Niharika Chief Editor, ‘Arnava’ Research Journal, Arnava Research Institute, Sarnath, Varanasi-221007, E-mail: [email protected] ABSTRACT Received : 26 March 2021 Art in India is a way of thinking and a way of expressing emotions, thoughts Revised : 05 April 2021 and beliefs. It is a great medium of spreading messages to the contemporary Accepted : 12 April 2021 people as well as to the people of coming generations. In Indian art the motifs Published : 3 May 2021 are chosen and used very wisely and it gives a deep meaning to the whole scene. Elephants are very popular motif in Indian art. This huge animal with its majestic trunk and tiny tail gives a vast sky to the imagination of the artist TO CITE THIS ARTICLE: to fly and create many beautiful art piece. This depiction of elephant can be Niharika. 2021. Depiction of seen from the pre-historic period till date in various mediums like stone, mud, Elephants in Indian Art. Journal of metal, conch, ivory, wood, jute, glass, plastic and what not? The present History, Art and Archaeology, 1: 1, pp. paper deals with such depictions of elephants from the remote past to modern 75-82 times. The examples taken here show some unusual types of depiction that catches the eyes. Their religious and social values in India are also discussed. Keywords: Elephant, Bhimbetka, Ashoka, Bharhut, Deogarh, Mamallapuram Introduction betterment of his subject.
    [Show full text]
  • Government of India Ministry of Culture Lok Sabha Unstarred Question No
    1 GOVERNMENT OF INDIA MINISTRY OF CULTURE LOK SABHA UNSTARRED QUESTION NO. 97 TO BE ANSWERED ON 25.4.2016 VAISAKHA 5, 1938 (SAKA) NATIONAL HERITAGE STATUS 97. SHRI B.V.NAIK; SHRI ARJUN LAL MEENA; SHRI P. KUMAR: Will the Minister of CULTURE be pleased to state: (a) whether the Government has finalized its proposal for sending its entry for world heritage status long with the criteria to select entry for world heritage site status; (b) if so, the details thereof along with the names of temples, churches, mosques and monuments 2Iected and declared as national heritage in various States of the country, State-wise; (c) whether the Government has ignored Delhi as its official entry to UNESCO and if so, the details thereof and the reasons therefor; (d) whether, some sites selected for UNESCO entry are under repair and renovation; (e) if so, the details thereof and the funds sanctioned by the Government in this regard so far, ate-wise; and (f) the action plan of the Government to attract more tourists to these sites. ANSWER MINISTER OF STATE, CULTURE AND TOURISM (INDEPENDENT CHARGE) AND MINISTER OF STATE, CIVIL AVIATION (DR. MAHESH SHARMA) (a) Yes madam. Government has finalized and submitted the proposal for “Historic City of Ahmedabad” as the entry in the cultural category of the World Heritage List for calendar year 2016-17. The proposal was submitted under cultural category under criteria II, V and VI (list of criteria in Annexure I) (b) For the proposal submitted related to Historic City of Ahmedabad submitted this year, list of nationally important monuments and those listed by Ahmedabad Municipal Corporation are given in Annexure II.
    [Show full text]
  • V Comparative Study of Buddhist Art and Iconography of Western India
    CHAPTER: V COMPARATIVE STUDY OF BUDDHIST ART AND ICONOGRAPHY OF WESTERN INDIA “The Sanskrit word ‘Kala,’ for the term ‘Art’, served a specific function, covering the many varieties of creative expressions, such as painting, sculpture, poetry, music, dance and architecture.”1. The relation between art and religion has been emerging hand in hand from the dim recesses of pre-history. There can be no great art, or great periods of art, without an intimate link between art and religion. Even in antiquity, man noticed that art “educates while entertaining”. They also render art its power of suggestion. The set of these issues inevitably leads the researcher up to the question of human nature, which is what determines the qualities of art. The simple word ‘art’2 is most usually associated with those arts which is distinguished as ‘plastic’ or ‘visual’, but properly speaking it should include the arts of literature and music. Indian art is an expression of Indian life and thought attuned to its vast natural background and its socio-religious traditions. It is not exclusive or sectarian in the narrow sense of the term. Its style, technique or general tenor has nothing to do with any particular religious outlook. It is fed and fostered upon a vast storehouse of Indian traditions, symbols and designs. The term Hindu, Jaina or Buddhist art is but a popular nomenclature to distinguish one group of monuments, including Sculpture, painting, cave-temples and architecture, etc., from another standpoint of the predominance of one or the other religious theme. Hence, by Buddhist art is meant popularly those monuments and paintings which have for the main purpose the edification or popularization of Buddhism.
    [Show full text]