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The reliefs on the lower register at the Buddhavanam Stūpa show the whole range of themes that we find in Amaravati relief sculpting: auspicious signs, narrative reliefs (both Life of the Buddha and Jātaka), kings and queens, stūpas of various kinds and guardian figures. All of the life of the Sāsana.
Work in Progress, Affixing the Slabs to the Lower Register" title=">Work in Progress, Affixing the Slabs to the Lower Register" />
Work in Progress, Affixing the Slabs to the Lower Register
Below I have added more explanation to the caption when it seemed needed, or there was something unusual to point out, but when description would be repetitious I omit it. The photographs start at the east side of the stūpa and work their way round keeping the stūpa on the right-hand side.
This gives an idea of the placement of the reliefs. They are below the raised stūpa pradakṣiṇa path, on the walls that follow the path. They are sometimes interrupted by the staircases leading to the upper section.
We should probably think of scenes like this as auspicious signs, as a king ruling righteously was a neccesary part of the world-order in early Buddhism. They would have provided protection and support for the Sāsana.
I am thinking that this is a guardian Deva, richly decorated with a halo behind his head, and elaborate jewellery and coiffure.
Female figures like this are usually fertility symbols especially when they hold flowers as here. The dwarf (gaṇa) who upholds a building is another auspicious sign.
These two, and the following two, are four out of the eight auspicious signs we see illustrated at the stūpa.
An elephant holding lotuses from its trunk. The elephant was a symbol of royalty, and generally was seen as a protector of the realm. The relief is five feet tall.
In this elaborate aniconic Birth scene we do not see the Bodhisattva, but we see the umbrella hovering in mid-air, and the Four Great Kings ready to receive him on the cloth they are holding. I have kept the surrounds in this photograph to give some idea of the contextual placement of the relief. The panel showing the narrative scene here, and elsewhere, is generally just over 4 feet tall.
This is the first of many stūpa scenes, which are very varied in their details. Here we see a standing Buddha with a Nāga worshipping at his feet, and above him the Āyaka pillars, and the guardian lions. Above the stūpa we see many Devas in the air, some with offerings, others are worshipping. The lower (and smaller) ones are gaṇas (dwarfs).
A pot of plenty with lotuses emerging from its spout, elaborately intertwined with guardian lion figures.
A stūpa with a Buddha sitting teaching Dharma at the front, and protected by lions are the basic features of this representation, but we can also see the reliefs which are engraved on the stūpa, and the amount of detail the sculptors have employed.
A lady carrying lotus flowers, an obvious fertility symbol, and a dwarf who carries more flowers for her, are recurrent pictures at the stūpa.
The relief shows the anguish felt by King Śuddhodana when he hears from Channa, who kneels before him, of his son’s renunciation. Behind Channa we see the Bodhisattva’s horse Kanthaka, though in some of the legends he is said to have died when he parted from his master.
On the left is another panel showing a Nāga and a Nāginī. The latter are usually shown with only one hood, while males have several.
In the centre panel we see the Bodhisattva preparing for his Great Renunciation, and his charioteer, Channa, preparing his horse, Kanthaka, for that memorable event.
An either side of the main relief we see so-called Mithuna, or loving couples, which perhaps seem to us as out of place next to a scene of renunciation, but evidently did not seem so to the ancients.
We now have 10 narrative reliefs, some of the following scenes are in reverse chronological order, but when walking with the stūpa on one’s right, this is the order they appear in.
Here we see a very fine representation of the Great Renunciation with the Bodhisattva, identified by the halo behind his head, on his horse Kanthaka, with Channa, his charioteer, behind him, holding the umbrella. Beneath the feet of Kanthaka are Devas who are cushioning the feet so they don’t wake people up and prevent the going forth.
In this scene the charioteer Channa is reporting back to King Śuddhodana on his son’s renunciation. We see the horse Kanthaka just behind the throne, and Channa on his knees.
On the left of the scene is a loving couple, often positioned like this between important scenes in the Life of the Buddha.
Two of the signs that the Bodhisattva saw while out in the city are shown in this relief. In front of his horse is a sick man; while top left a dead man is being carried on a bier.
On the right we see another loving couple, note the mirror which the lady holds in her left hand.
We now have one of the birth stories. Queen Mahā Māyā is being taken back to her home town Devadaha to give birth to her child, the Bodhisattva. She will not quite make it, of course, as she will deliver along the way.
On the left of this scene are the loving couple seen in the previous photograph; and on the right a Nāga and Nāginī are shown, also as a loving couple.
The middle panel shows the Bodhisattva in his palace, surrounded by women, many of whom have fallen asleep and are in disarray. This was the final scene which prompted the Bodhisattva to renounce.
The figure of King Śuddhodana on the left is very poorly executed and badly worn, but this is the presentation of the newly-born Bodhisattva to the king by Queen Mahā Māyā. Around the throne people play musical instruments and rejoice.
This is a birth scene with the queen holding onto a branch of the Śāla tree while giving birth from her right side while standing up. The Bodhisattva is not shown, but is indicated by the umbrella, and the Four Great Kings ready to receive him on the cloth they are holding.
This appears to be the washing of the queen after the birth. Traditionally both the queen and the Bodhisattva were washed by hot and cool water poured by the Devas after the birth. This seems to be a pouring of water over the queen carried out by her attendants.
I am not sure about this scene, but given the positioning it is probably a scene of King Śuddhodana and Queen Mahā Māyā in court. The bottom left of this relief is very badly damaged and crumbling away.
This is the night of the Āṣāḍha Full Moon (shown here as a disk in the sky) in July when the conception took place. Two of the Great Kings stand behind the bed.
The main scene shows an elephant being carried by gaṇas and woshipped by Devas. This is the scene where the Bodhisattva descends from heaven before entering the Queen’s womb.
On the right we have an unusual loving couple scene, the man appears to be dressed as a hunter. Both appear to look away from the scene they are next to.
The Bodhisattva, known as Santuṣita in heaven, is being requested to take his final birth for the welfare of Devas and humans.
A stūpa with the Āyaka pillars, and many roundels showing scenes from the Life of the Buddha, as well as teaching scenes. Above the stūpa Devas are seen in the sky.
Above the main scene we can also see miniature versions of the scenes shown previously: the washing and King Śuddhodana in court.
The pot of plenty is seen with lotuses emerging from the spout and lions intertwined with the flowers.
Another stūpa scene, this one shows, just below the Āyaka platform, the Buddha teaching. Again it is fully marked up with reliefs showing the main events in the Buddha’s life. Lions guard the stūpa and Devas fly above it.
One of many similar reliefs showing a lady carrying lotuses and a dwarf (gaṇa) holding a tray with more flowers for offering.
A stūpa scene with a Nāga protecting it. Besides their protective powers Nāgas were seen as fertility signs as they were thought to conmtrol the flow of water and rain, so important to an agricultural society.
A Buddhapāda (Buddha’s Footprint) with the sign of the Dharmacakra on it, and other auspoicious signs like the swastika, rosette and fly whisk. Note the heavy vegetation around the footprints.
When the Bodhisattva renounced his princely position he also discarded all signs of royalty, including his turban. This was taken by the gods to be enshrined in heaven.
Above the Buddhapāda we see the gargoyle-type opening which drains the water from the upper platform.
This is a simpler representation of a stūpa with a rosette across its dome, and nine umbrellas above the harmika. Below humans worship, and above, Devas have offerings.
Again we see the Nāga protecting the stūpa. Stūpas were often positioned in high places, and would have been visible for miles around.
This is probably a picture of the Bodhisattva, although kings and especially universal monarchs, also have umbrellas above them in the traditional iconography.
A Nāga below the Āyaka platform, with lions and many rosettes decorating the stūpa. The harmika with its more normal-sized umbrellas is also noteworthy.
The signs are the Bodhi Tree, the Vajrāsana and the Buddhapāda, we could also add the umbrellas here. All of these indicate the continuing presence of the Buddha. The Devas above the tree in this case are Kinnaras, half-bird, half-human.
One of the most frequent scenes we see illustrated in these reliefs is the taming of the maddened elephant Nāḷāgiri. There are two scenes: on the left, the elephant is running wild, frightening everyone, and holding one person upside-down with his trunk around his leg; and on the right, we see the elephant yielding to the loving-kindness of the Buddha.
I am unsure what specific scene this may refer to, but on the left we see the Buddha teaching and a king listening. Presumably he is teaching about the virtue of giving, because on the right we see the same king offering dāna to a monk on his rounds.
Again I am unable to place the specific scene here, but we see the Buddha floating above the ground, and people in front of him are worshipping this miraculous feat. The horse in the background is particularly well-drawn.
It looks like a jungle scene with lions and elephants, except for the hunter with tusks at the top. An unsual representation of the Chaddanta story as we do not see the hunter sawing the tusks off.
Three signs of the Buddha’s continuing presence in the world: his teaching, his Awakening and the footprints he left behind.
Besides the Nāgas on the stūpa we also see Nāgas worshipping the stūpa; below are humans, and above are Devas.
The exact scene is not clear to me, but what we can see is a king pouring the waters of donation over a monk’s hand. Presumably this is for offering something more than the small basket of food carried by the woman below.
A very interesting relief, even if the action seems limited. We see farmers bringing in their produce to a mansion. The ground floor is reserved for animals and their needs. The inhabited floors above are richly embellished. We also see a couple worshipping in a room on one side of the mansion.
It looks like a king, who has a heavy necklace and earrings, together with two princes. Attendants are also pictured.
On the right we see a man holding a lotus flower, and standing on top of a leonine creature with a fish tail, which he is subduing.
Nāgas are normally portrayed with 3, 5, 7 or 9 hoods if they are male, with one hood if they female. Notice the intertwined body, and jewel around its neck.
A king, together with his queens, is evidently making offerings to the monks. The odd thing is the floating jug used to pour the waters of donation.
A four-storied mansion, with room for animals downstairs, and a staircase leading to the upper rooms where the family will live.
On the right we again see a man holding a lotus flower, and standing on top of a leonine creature with a fish tail, which he is subduing.
Notice the elaborate hairstyles and heavy jewellery on the main characters, also the lack of clothing above the waist and heavy bangles round the ankles of the women.
The Dharmacakra is often decorated with elephants and lions, but here we also see human heads, which is uncommon.
A heavily decorated stūpa with a seven-headed Nāga, two females, and very rich floral design on the dome.
There is a very elaborate lotus design on this roundel, and a princely figure is pictured at the centre. Lions are interweaved together with flowers at the edge of the design.
Another relief showing the ever-popular taming of the mad elephant Nāḷāgiri, who is subdued by the Buddha radiating loving-kindness.
Another roundel, similar to the previous one, but with the face of a young man in the middle. Two musicians are outside the roundel at the bottom, and two Devas fly above.
Two figures stand on either side of the stūpa worshipping. The umbrellas over the stūpa are very elaborate. Around the stūpa two Nāgas intertwine, both have three hoods.
A rather unusual Dharmacakra. The Buddha and two ladies ride on elephants, the ladies have their swords drawn! Below we see three lions and then on the ground two deer.
A lady, this time with a well-drawn see-through cloth over her breasts, holding lotuses. The dwarf below her sits on the floor with his further offerings.
This is a stūpa with three Āyaka platforms visible, Nāga and Buddhapāda, and a very finely drawn railing around it, and lions guarding the stūpa at various points.
The stūpa here features the Nāga Mucilinda protecting the Buddha in the fifth week after his Awakening. We can see the coils that the Buddha sits on, and the five hoods providing protection from the weather. Below that, we see some everyday scenes.
We also see a pot of plenty and lions on the right; and various scenes, including Chaddanta Jātaka above the stūpa.
This is another relief showing the ever-popular Great Renunciation. Devas hold up the hooves of Kanthaka so as not to disturb the sleeping populace, and other Devas are seen rejoicing at his going-forth. Channa, who follows behind the horse, holds the umbrella over the Bodhisattva.
Two very elaborately worked stūpas, one showing the Dharmacakra, Vajrāsana and Buddhapāda; the other shows the Great Renunciation and the Buddha teaching as their main themes.
In between is a pot of plenty, with the usual lion and lotus design. On the top row we see (r-l): the striving, the meeting with King Bimbisāra, the attack of Māra, and Māra’s daughters.
Above the main relief we see the Awakening, and loving couples on either side.
The queen here has a unusual headdress. Her status is indicated by the size at which she is portrayed. Her attendants hold offerings.
This is a very nicely designed lotus vase with floral-type designs around it. We will see a number of similar designs later in this collection.
Here we see four scenes around the passing of the Buddha, which is shown top right. Left of that are the eight relic caskets that the Brahmin Doṇa (second from left, above row) has divided up. Below that we see the relics being taken to the various kingdoms; and on the bottom right we have two people worshipping a stūpa that has been built to house them.
A scene showing the worship of the Vajrāsana, but without the Bodhi Tree, Dharmacakra or Buddhapāda which normally accompanies it. The women below the seat are worshipping in a rather convulated way.
The Buddha stands in the middle of a large ensemble of ten lay people on the left, and nine monastics on the right. Behind the Buddha’s halo flames are seen. Both monastics and lay are worshipping.
There is a very simple Dharmacakra on top of a pillar, below which is the vajrāsana and below that are the Buddhapāda. Either side of the Buddhapāda are deer, possibly indicating this is meant to be the teaching of the Dharmacakra sūtra in the Deer Park.
On the top right we see the conception of the Bodhisattva; top left, Queen Mahā Māyā explains her dream to the Brahmins, who interpret it; below right is the birth at Lumbini; bottom left, taking Siddhārtha to worship the Yakṣa Śākyavardhana.
It appears to be a king on the right, as there is an umbrella being held over him. He is receiving something from another man who is pouring the waters of donation. But what he is giving is not clear.
This is a very nice representation of a large mansion, with a tree growing on its top floor! Branches also emerge from its windows. The bottom floor is kept for animals.
A Nāga, top left, and three others worship the three signs of Lord Buddha’s presence.
This is a representation of a seven-headed Nāga, but the heads look like lion heads. Even so fangs emerge from each of their mouths. Around the neck is a necklace, with a stūpa drawn on it.
People, great and small, bring offerings to the Buddhapāda which are placed on what is probably the vajrāsana. Others worship as the offerings are prepared.
A large mansion with many floors, and before it farmers are bringing in produce. Notice the Bodhi Tree to the right of the mansion, and the Buddhapāda placed top left.
A nobleman, or perhaps a king, is seen with four consorts. Probably their status is indicated by size, with the main consorts being of similar size either side of him, and the junior one being below him.
This is an interesting relief in that it shows some women playing instruments, and others dancing before the Bodhi Tree. Festivals like this were probably quite common.
The Buddha stands on a lotus with his right hand raised in the fearless posture, while a large ensemble of people and Devas worship him.
We see fourteen Buddhas, eight of which are sitting on lotus flowers, and six are standing on lotuses. Either side of the Buddha are two people with chowris, though they too have the typical Buddha hairstyle, but not robes. They are all linked together by the lotus stalks.
The Buddha is seen in teaching posture, sitting on a throne, and underneath a flowering tree. Around him are many people and Devas who are listening to his teaching. Sakka is seen at the Buddha’s feet on the left.
We can see at the front in the middle a Nāga with multiple hoods, and either side of him are two Nāginīs with a single hood. Behind them four women have come with pots to collected water from the river where the Nāgas live.
Another interesting relief because this shows what is certainly a female Nāginī, but with eleven hoods. Multiple hoods are usually reserved for males in the iconography. Two gaṇas (dwarfs) accompany her.
The Buddha is holding the Dharmacakra mudrā here, and the deer are at the base on the seat, so we can be certain this is the scene Setting the Dharma Wheel Rolling; on his right are the group-of-five monks. Around him gather both humans and Devas.
A stūpa with both lions and a Nāga is seen. Both are protective symbols. The Āyaka platforms can be seen on three sides. Near the harmika fly two Devas blowing conch shells. The railing is heavily decorated with flower designs.
A fairly typical stūpa with Nāga design, but in this case we see birds decorating the dome of the stūpa. Columns support the Āyaka platform.
This looks similar to some other reliefs, but here we have a man, not a woman, offering flowers from a basket held by a dwarf.
A woman stands with a lotus flower, while on the left a man (or dwarf) holds a goose. On the other side another man holds a harp. On the upper railing we see an unsual scene: a bird has captured a Nāga, and is holding its neck in its beak.
In the roundel in the centre we see King Śuddhodana visiting Queen Mahā Māyā in the Aśoka Park shortly after conception; on the right is the scene of Prince Siddhārtha stretching the ancestral bow, which no one else in his generation could do; on the right top we see the Parinirvāṇa of the Buddha, and below it looks like the five dhyāna Buddhas sitting on lotuses.
There are six scenes: top left, the Buddha is sat with his bowl in his hands; top middle is the Taming of Nāḷāgiri; top right is Setting the Dharma Wheel Rolling; bottom left is the birth scene; bottom middle looks like a general scene of teaching Devas and Humans; bottom right is not so clear, but the umbrella indicates that it is probably the Bodhisattva.
I am not sure of this but it looks like it could be Siddhārtha being entertained in one of his palaces. Whoever it is, we see female musicians and consorts surrounding the main character.
The great Chinese pilgrim Xuanzang came to seek out Buddhist texts in India in 629 CE, and after spending sixteen years collecting them he returned to China with 657 manuscripts in 645. He then spent the rest of his life translating them into Chinese.
Unusually, we do not see the Brahmin Doṇa in this relief, but only the eight recipients of the relics which he divided. The relic chambers are seen on the table.
This shows the descent from Trāyatriṁśa Heaven at the end of the Rains Retreat during which he taught Abhidharma to his reborn mother. It is shown in three time frames, and each has Śakra on the right and Brahma on the left. To the left of the staircase we see King Udayana in his chariot, who was also present to witness the event.
The Parinirvāṇa of the Buddha, with flowers falling all over him. Behind and to the left many people are lamenting. I think the character sitting down at the front is probably meant to be Ānanda. Devas fly in the sky with offerings. Subhadra sits cross-legged under the Buddha, having become the last of the monastics to be ordained during his lifetime. I am unsure who is the figure on the left of him.
The Buddha had his half-brother Nanda ordained, even though he was still pining for his wife-to-be. Later, the Buddha took Nanda to heaven and showed him the Apsaras, and promised them to him if he strove with all his might. Nanda eventually Awakened, and the Buddha was released from his promise.
A king, riding an elephant, has come to the Buddha. His attendant is carrying a gift. What particular scene it represents I am unsure.
Three elephants, with three riders, are seen on the far left. They are probably kings come to listen to the teaching of the Buddha; others sit and stand around paying their respects.
Part of this relief is unfinished but we can see fruits have been offered to the Buddha. It may be that someone who is kneeling in front of him is offering more fruits.
The passing away of Lord Buddha, with Subhadra sitting below and facing the Buddha. The character holding the pot I am unsure about. We do not see the usual scenes of distress at the Buddha’s passing.
There are nine figures around the relic caskets, it is not entirely clear, but it looks like Doṇa is the one on the bottom right. Lions support the table. On the left we see the kings taking the relics back to their lands where they will build stūpas for them.
The Nāgas took possession of the relic chamber deposited at Rāmagrāma, and removed it to their underwater world where they worshipped it.
This is unusual in that we see even monkeys are portrayed as worshipping the Buddhapāda.
The Bodhisattva in his incarnation as the peacock Suvarṇaprabhāsa sits atop a throne and teaches Dharma to King Brahmadatta and his court.
The Indrakīla is seen in the centre of the palace gate portrayed on the stūpa, these were erected to protect the palace, and also at the gate to the harem for similar purposes, and at the gate of the city.
An interesting and unusual relief showing soldiers manning the battlements. Behind and inside the city we see stūpas, a Bodhi Tree and a raised platform.
Note that one of the worshippers is a three-hooded Nāga. The others appear to be nobles.
Two of the eight auspicious signs.
Two more of the eight auspicious signs.
