Changing Forms and Cultural Identity:Religious and Secular Iconographies

VOL. 1

SOUTH ASIAN ARCHAEOLOGYAND ART

Papers from the 20th conference of the European Association

for South Asian Archaeology and Art held in Vienna

from 4th to 9th of July 2010

KLIMBURG-SALTER, DEBORAH & LINDA LOJDA (EDS).

!

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TABLE OF CONTENTS

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Deborah Klimburg-Salter

DB)<-.$%&E#.,6&.$,&F%-)"&?.";6&#$&!)8.B)&!:A=")6&:$&2-/"-=%& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Chandreyi Basu

+&G)"".'#%%.&>)B:)7&7"#8&+-:''-.%%"/&H&I=$&2."J=)5&I#B."&K-.":#%&#"&LLLM . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Marion Frenger

?.:%")N.&.$,&%-)&O.6%&2=,,-.6*&P$%)".'%:#$6&Q)%R))$&E.$,-/".&.$,&S#"%-)"$&P$,:. . . . . . . . . . . . . . . . . . . . 29 Kurt A. Behrendt

F$&%-)&S)')66:%N&#7&K#$%)T%=.B:6.%:#$*&.&S.A.".,)(.%/&.$,&#%-)"&I)8:3$=,)&U#8)$&:$&E.$,-/".$&Representations of the Buddha’s Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Katia Juhel

F$A#:$A&I%=,:)6&#7&2#,-:6.%%(.&P8.A)"N&7"#8&E").%)"&E.$,-/".*&G="Q.$&F"$.8)$%.%:#$&:$&%-)&!#"8&#7&U:$A),3V:#$&OB.J=)6& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Carolyn Woodford Schmidt

I;.$,.&:$&E.$,-/".*&+&W:$,=&E#,&:$&.&2=,,-:6%&D$(:"#$8)$%M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Kirsten Southworth

S#$32=,,-:6%&S."".%:()&I')$)6&.%&S.A."@=$.;#$,.& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Monika Zin

+XY.8.-/Q-.N.&+(.B#;:%)1(.".&:$&%-)&U)6%)"$&Z)''.$*&2=,,-:6%&O.%"#$.A)&.$,&G".,)&Q)%R))$&%-)[7%-&.$,&6:T%-&')$%="N&KD&& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Pia Brancaccio

Z)6:A$:$A&.&S)R&W#N6.\.&G)8<B)&:$&]."$.%.;.&&& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Adam Hardy

+&?.A$:[')$%&E=<%.&G)"".'#%%.&9/6=,)(.39:X^=&P8.A)&7"#8&%-)&Z.(:,&S.B:$&K#BB)'%:#$& . . . . . . . . . . . . . . 119 Gouriswar Bhattacharya

G-)&W:$,=&I'=B<%=")6&7"#8&O/-/"<="&>)'#$6:,)"),& . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Vincent Lefèvre

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TABLE OF CONTENTS

Ten Illustrated Leaves from a !"#$"%"&'()Manuscript in a Private European Collection . . . . . . . . . . . . . . . 143 Eva Allinger

Architecture as Identity: Architecture of the Bengal Sultanate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Perween Hasan

P8.A)6&#7&+",-.$/"01(.".&7"#8&2)$A.B&.$,&S)<.B&H&+&K-"#$#B#A:'.B&I="()N&& . . . . . . . . . . . . . . . . . . . . . . 167 Gerd J. R. Mevissen

G-:"%))$%-&.$,&!#="%))$%-&K)$%="N&U.BB&O.:$%:$A6&:$&U)6%&G:Q)%.$&K.()6*&I%NB)&.$,&P'#$#A".<-N&& . . . . . . . 183 Helmut F. Neumann and Heidi A. Neumann

G-)&?.A"=&?.-/,)(.&G)8<B)&.%&K--.%":&_,:6%"L&?.$,:5&W:8.'-.B&O".,)6-`*&+"'-:%)'%=".B&.$,&Iconographical Observations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Anne-Claire Juramie

F$&.&U.BB&O.:$%:$A&7"#8&G#<B=;,#$A&I:%)&$#L&4&:$&Z#8#;#*&S)R&D(:,)$')&#7&9.:1".(.^.&:$&]-#%.$M&& . . . . 215 Erika Forte

S)R&D(:,)$')&#$&I#A,:.$&O.:$%:$A&7"#8&a'-&]=B.;-&_2=;-.".&F.6:6&H&abQ);:6%.$`&&& . . . . . . . . . . . . . . . 225 Ciro Lo Muzio

Plates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

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The narrative representations on two pillars kept today :$& %-)& +"'-.)#B#A:'.B& ?=6)=8& .%& S.A."@=$.;#$,.&_[A6L& 4kf5& $#6L& md& .$,& nn`1& 6%:BB& ")J=:")& )T<B.$.%:#$L&Although some attempts have been made to identify separate registers as illustrations of the Buddhist 3(+"&"s, such explanations are not convincing. For :$6%.$')5&#$)&")A:6%)"&_[AL&f5&2&f`&6-#R:$A&.&B:#$&R.6&:,)$%:[),& QN&>.8.& .6& %-)&I1&"%"3(+"&"& _O.B:& h(+"&")$#L&4lm`5&:L)L&%-)&6%#"N&.Q#=%&.&B:#$&R-#&<")7)"6&%#&B)%&.&Q#."&A#&7"))&.$,&<")%)$,&%-.%&-)&-.6&R#$&%-)&[A-%5&".%-)"&%-.$&%#='-&:%6&[B%-N&.$,&6%:$;:$A&6;:$&_.''#",:$A&to the prose text of the 3(+"&"^ the boar besmeared itself with human excrement and Rama explains that a 6J=.%%:$A&<)"6#$&Q)B#R&:6&6-#R$&:$&%-)&.'%&#7&<"#,=':$A&%-:6`L2&G-)&R).;&<#:$%&#7&%-:6&:,)$%:['.%:#$&:6&%-.%&%-)&boar does not belong to the scene with the lion but is placed on the middle belt of the pillar, where different .$:8.B6&.")&")<")6)$%),&:$&")'%.$A=B."&<.$)B6&_:$&8#6%&'.6)65&%R#&.$:8.B6&.")&,)<:'%),&:$&).'-&[)B,`L&+$#%-)"&.BB)A),&,)<:'%:#$&#$&%-)&6.8)&<:BB."&_[AL&f5&Z&fkm`&R.6&interpreted as the U"A(A"`*"3(+"&") _$#L& lmn`53 i.e. the Buddhist story about a Great Goose who preaches a sermon to a human king. As opposed to the story mentioned above, this narrative has a known pictorial tradition,4&R-:'-&,)8#$6%".%)6& %-.%& %-)&A##6)&H& B:;)&all individuals shown teaching throughout the entire P$,:.$&%".,:%:#$&H&8=6%&Q)&,)<:'%),&.%&.&-:A-)"&B)()BL&G-)&6')$)&R:%-&%R#&A))6)&6%.$,:$A&#$&%-)&r##"5&).'-&

looking furthermore in two different directions, can on no account represent a sermon held by the Bodhisatva.

*

W)$')5&%-)&)T:6%:$A&:,)$%:['.%:#$6&'.$$#%&Q)&'#$6:,)"),&convincing, the more so as they concern only selected registers. As we shall see, there are good reasons to suppose that both pillars not only look similar and undoubtedly belong together, but that they also bear scenes illustrating one and the same story, or at least the 6.8)&6%#"N&6)J=)$')L&I="<":6:$ABN5&%-)")&.")&.B6#&J=:%)&convincing arguments to suggest that the narratives depicted do not show Buddhist stories at all.

That this should appear surprising is already 6:A$:['.$%L&G-)&7.'%&:6&%-.%&#=%&#7&4fj&6:%)6&)T'.(.%),&.%& S.A."@=$.;#$,.& #$BN& .Q#=%& mg& R)")& 2=,,-:6%5&R-)").6& .BB& %-)& -:%-)"%#& ")'#A$:b),& $."".%:()& ")B:)76&:BB=6%".%)& 2=,,-:6%& 6%#":)6L& G-)& P;X(/;=& R)")5& .6& :6&'#88#$BN& ;$#R$5& %-)& 7#BB#R)"6& #7& t:(.& _#$BN& %-):"&8#%-)"65& R:()6& .$,& ,.=A-%)"6& R)")& 2=,,-:6%`5 and their religious halls were marvelously decorated. The )T'.(.%:#$6&-.()&Q"#=A-%&%#&B:A-%&%-)&%)8<B)6&#7&t:(.&I."(.,)(.5& #7&]/"%%:;)N.5& #7&9:X^=&+XY.Q-=@.& .$,& #7&numerous other deities. The city had splendid 5A(bs, .$& :8<")66:()& 6%.,:=8& .$,& 6'#")6& #7& [$)& ")6:,)$%:.B&buildings. At these sites, several representations of gods have been unearthed, as well as many decorative #"& [A=".%:()& ")<")6)$%.%:#$6& #7& (.":#=6& ;:$,65& #$)&

NON-BUDDHIST NARRATIVE SCENES AT NAGARJUNAKONDA

MO N I K A ZI N

4L& +BB&<:'%=")6&QN&U#@%);&F'b;#R6;:&-.()&Q))$&%.;)$&R:%-&%-)&;:$,&<)"8:66:#$&#7&%-)&+"'-.)#B#A:'.B&I="()N&#7&P$,:.L&S#L&md&_!:AL&g4& :$& %-)&."%:'B)&.%&-.$,`& :6& :BB=6%".%),& :$*&V#$A-="6%& _4imh*&<BL&i.k,`e&>.#&_4ild*&<BL&ll`e&>.N&_4ihm*&[A6L&4dh5&4dh.5&f4n5&ffm`e&>.#&_4ihn*&<BL&mh4`e&>#6)$&I%#$)&_4iin*&[AL&fjg`e&>.8.&_4iil*&<BL&hg`e&I=A:8#%#&_fggm*&<BL&i.kQ`e&I#=$,.".".@.$&_fggd*&<BL&nd&2`L&S#L&nn&_-)")&!:AL&gf`&:6&:BB=6%".%),&:$*&V#$A-="6%&_4imh*&<BL&4g.k,`e&>.8.&_4iil*&<BL&lg`e&I=A:8#%#&_fggm*&<BL&h`L

fL& K7L&>.8.&_4iil*&4nmknn`L&G-)&)T<B.$.%:#$&#7&%-)&.=%-#"&_<L&4nn`&that the ‘... lion is plunging with its mouth open as though it is out to have its bath and is vomiting out of nausea brought on by

his contact with [the] boar’ has no counterpart in the 3(+"&" text at all.

mL& K7L&>.8.&_4iil*&4nikld`e&")<).%),&QN&I=A:8#%#&_fggm5&dhkdi`L

nL& K7L& I'-B:$AB#77& _fggg�fg4m*& $#6L& 4mk4n`e& %-)& $."".%:()& :6& $#%&represented in the Amaravati School, but it is known from the new excavation at Kanaganahalli.

lL& !#"&.$&#()"(:)R&'#$')"$:$A&%-)&"=B)"6&#7&S.A."@=$.;#$,.5&%-):"&,.%:$A& .$,& 6#':.B& 6%"='%=")65& .6& ")().B),& QN& :$6'":<%:#$6&H& '7L&>#6)$&I%#$)&_4iin*&'-L&4`L

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MONIKA ZIN

nobleman; from the depiction of Scythian soldiers, he argued that the owner might have been a foreigner.12 >.8.&_4iil`&'.BB6&%-)&Q=:B,:$A&%-)&pt.;.&KB=QcLU-)%-)"&%-:6&6:%)&R.6&%-)&':%N&")6:,)$')&#7&.&7#"):A$&

nobleman, the domicile of a well-heeled merchant or perhaps the assembly hall of a guild, is not to be ascertained. Of importance however, is the fact that the building was located in the housing area of the city, and that in its design or endowment there is nothing indicative of any ritual purpose.

*

2#%-& <:BB."6& _[A6L& 4kf`& ,)8#$6%".%)& .$& :,)$%:'.B&design. The ends at the bottom and on the top are cubic; the middle section is octagonal and is again ,:(:,),& -#":b#$%.BBN& :$%#& %-"))& Q.$,6L&F$& ).'-& <:BB."&%-)")& .<<)."& .6& 8.$N& .6& mf& [A=".%:()& <.$)B6& %-.%&are surrounded by beautiful and sometimes lavishly ornamented strips. +BB&%-)&=<<)"&<.$)B6&.")&[BB),&R:%-&")<")6)$%.%:#$6&

of fat-bellied dwarfs dancing or playing with a toy or a pet ram. The dwarf motif is repeated on the middle Q.$,& #7& %-)& #'%.A#$.B& 6)'%:#$& #7& %-)& <:BB."6&H& %-)N&appear here in medallions, which are shown alternately with rectangular panels bearing depictions of various animals.13 G-)& ")8.:$:$A& <.$)B65& :L)L& fg& 6'=B<%=".B& [)B,6&

on each pillar, show a variety of scenes. The larger panels at the bottom and all the main panels on the octagonal sections, which are placed on the principal side surfaces, show scenes of a clearly narrative '-.".'%)"L& P%& :6& ,:7['=B%& %#& ,)':,)& R-)%-)"& %-)& 6.8)&can be said about the panels between them, i.e. on the 6="7.')6& '").%),& .6& .& ")6=B%& #7& '=%%:$A& #77& %-)& 6J=.")&corners. These panels mainly depict courting couples. The scenes might not, however, be entirely devoid of 6:A$:['.$')5& 6:$')& %-)N& .")& B:;)BN& %#& 6=<<B)8)$%& %-)&8.%%)"& #"& %-)&8##,& ")<")6)$%),& :$& %-)& ')$%".B& [)B,6L&Even without these additional scenes, both pillars carry a total of 24 panels of narrative character, out of which

4fL&I#=$,.".".@.$& _fggd*&4n45& 4nm`*& �I:%=.%),&QN& %-)& 6:,)&#7& z%-){&"#.,&_$#L&f`&R.6&R-.%&.<<)."6&%#&Q)&.&=$:J=)&")6:,)$%:.B&Q=:B,:$A5&<"#Q.QBN& =%:B:b),& QN& .& $#QB)&8.$&#"& .$& :8<#"%.$%& 7#"):A$)"L& P%&was a 24-pillared hall with two entrances, to the east and west respectively, with one long room on either side. The entrances were provided with well decorated moon-stone slabs. There was a central platform inside the hall with beautifully carved pillars. _LLL`& W#R)()"5& '#$6:,)":$A& %-)& B:8:%),& 6:b)& #7& %-:6& 6%"='%=")5&:%& 8:A-%& -.()& Q))$& %-)& -#=6)& #7& z.{& ":'-& t.;.& $#QB)8.$&R-#&B:(),& :$& %-)& ':%NL& _LLL`&+6& %-)& ':%.,)B&R.6& $#%& )T'.(.%),& ,=":$A&

Longhurst’s time, the remains of the royal residence found inside would not have been known to him. Further, [a] royal palace was hardly likely to be outside the citadel, for purposes of security.”

4mL&Z)'#".%:()& Q.$,6& 6-#R:$A& 8),.BB:#$6& R:%-& ,R."76& .$,& [)B,6&R:%-&.$:8.B6&.")&;$#R$&7"#8&#%-)"&")8.:$6&.%&S.A."@=$.&;#$,.5&'7L& %-)& <:BB."6& 7"#8& 6:%)& 4l5& :BB=6%".%),& :$& >#6)$& I%#$)& _4iin*&[A6L&fmdkmh`L&G-)&8),.BB:#$6&.B6#&.<<)."&#$&%-)&<:BB."6&R:%-&%-)&Scythian soldier, cf. Fn. 11.

!:AL&m*&S.A."@=$.;#$,.5&6B.Q&7#=$,&:$&%-)&(:':$:%N&#7&6:%)&4fd5&S.A."@=$.;#$,.&?=6)=85&$#L&44hL

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NON-BUDDHIST NARRATIVE SCENES AT NAGARJUNAKONDA

eight are now damaged, three of them severely. Each <:BB."&-.6&.&Q)%%)"&#"&R#"6)&<")6)"(),&6:,)&H&.<<.")$%BN&as a result of how they were lying in or on the ground.

Even without knowing the topic of the narrative, it is obvious that the scenes are related on each side surface of the octagonal section, showing for instance: .&[A-%&Q)B#R&.$,&.&'.<%:()&8.$&.Q#()&_[AL&45 K`e&#"&repeating the image of a pair of geese in the upper and B#R)"&<.$)B6&_[AL&f5&Z`L&S)()"%-)B)665&%-)&6')$)6&.B6#&'#$%:$=)& -#":b#$%.BBNL& U-.%& 6))86& %#& Q)& #7& 6<)':.B&importance here is the repeated representation of a bow-shaped old Indian E/?(,14 which appears four

times in the uppermost panels on one of the pillars, in two main and two additional semi-narrative scenes _[AL&4`L&

One of the scenes, in a larger panel at the bottom _[AL& f5& 2& 4e& [AL& n`5& '.$& Q)& ).6:BN& :,)$%:[),5& B).(:$A&no doubts or reservations.15 It depicts an elephant with three riders, which is shown running to the left in a rocky landscape. The riders comprise: a turbaned man driving the mount with an "0&12", a woman, and a man without head gear who sits looking towards the back. He is holding a pot or a sack in both hands and is letting .&r#R&#7&'#:$6&7.BB&7"#8&:%5&Q)-:$,&%-)&)B)<-.$%L&G-:6&

14. For the development of the old Indian E/?()l)'7L&y:$&_fggn`5&R:%-&references to literary and pictorial sources, as well as to earlier research.

4lL&P,)$%:[),& :$& >.8.& _4iil*& 4nn`& �2)B#R& %-#6)& %R#& <.$)B6& :$&

the cubical part of the pillar occurs the scene of Vasavadatta being borne by Udayana on the elephant, while his treasurer is scattering from a bag, coins”.

!:AL&n*&6)'%:#$&24&#7&[AL&fL

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MONIKA ZIN

is the famous scene from the story of the elopement of king Udayana.16 According to an old tradition going back to the ancient KTA"+&"+A(,17& a,.N.$.&H&;:$A& #7& ].=1/8Q0& H& R.6& '.=A-%& .$,& -)B,& '.<%:()&QN& O".,N#%.3?.-/6)$.& #7& a@@.N:$0L& G#A)%-)"& R:%-&O".,N#%.c6& ,.=A-%)"5& 9/6.(.,.%%/5& a,.N.$.& )6'.<),&7"#8&a@@.N:$0&#$&%-)&6-)3)B)<-.$%&#7& %-)&<":$')66L&G#&<")()$%& %-)8& 7"#8& Q):$A& 7#BB#R),5& 9.6.$%.;.& H& .&friend and minister of Udayana who had accompanied %-)& '#=<B)& _-)& :6&9:,�X.;.& :$& %-)& %-).%")& ()"6:#$6& #7&%-)&6%#"N`&H&,"#<<),&'#:$6&#$&%-)&6%"))%&Q)-:$,&%-)85&so that their pursuers would stop to collect them. G-)&6')$)& :6&'B)."BN&")'#A$:b.QB)&.$,& :6&;$#R$&7"#8&")<")6)$%.%:#$6&#$&%)"".'#%%.&<B.J=)6518 as well as from %-)&")B:)7&:$&%-)&6#3'.BB),&E.^)1.&E=8<-.&:$&a,.N.A:":&_F":66.`L19

G-)&$."".%:()&#7&;:$A&a,.N.$.5&$.8),&QN&]/B:,/6.&as the m:"."4"&"+A(& _U75A":,+"& mg`5& )$@#N),&enormous popularity and was a part of the KTA"+&"+A(, %-)&_$#R&B#6%`&Q)6%6)BB)"&$#()B&#7&#B,&P$,:.5& :$&R-:'-&a,.N.$.& .$,& 9/6.(.,.%%/& .")& %-)& <.")$%6& #7& %-)&-)"#& S.".(/-.$.,.%%.L& G-)& 6%#"N& #7& %-):"& B#()& .$,&elopement appears in later versions, including the popular >"+A(*"%C+*(5"%", known the best from Tawney’s translation, The Ocean of Story. The $."".%:()&'#$')"$:$A& %-)&)B#<)8)$%&R:%-&9/6.(.,.%%/&was incorporated into both Buddhist and Jaina scriptures. As a matter of fact, there are also scores of #%-)"&6%#":)6&.Q#=%&a,.N.$.&_:$'B=,:$A&$=8)"#=6&%.B)6&R-#6)& #B,)"& ()"6:#$6&R)")& =$'#$$)'%),&R:%-& -:8`L20 In this respect, a general impression is given that all $."".%:()6&'#$')"$:$A&.&R#8.$:b:$A&;:$A5&@).B#=6&'#3

!:AL&l*&6)'%:#$&+m&#7&[AL&4L

4dL&!#"& B:%)"."N& 6#="')6& ")7)"":$A& %#& %-)& a,.N.$.& $."".%:()&H& '7L&+,.(.B& _4ijg`e& %-)& Q##;& <"#(:,)6& ")7)")$')6& .$,& ()"N& =6)7=B&")$,)":$A6&#7&8.$N&6%#":)6&.Q#=%&a,.N.$.&:$&I.$6;":%5&O/B:&.$,&Prakrit; its aim, however, is not to analyse the development of the literary motif, but rather to discover the truth about Udayana as .$&-:6%#":'.B&<)"6#$e&'7L&.B6#&y:$&_4iihQ`L&

17. From the enormous literature on KTA"+&"+A( research, only three articles can be cited here that give an over view of the surviving ()"6:#$6&.$,&%-):"&")B.%:#$6-:<&%#&).'-&#%-)"5&S)B6#$&_4ijh&.$,&4ihg`5&9:@.N.B.;68N&_4ihf`L

4hL&>.:&]":6-$.,.6.& _4inl*& hfkig`e& 7#"& 7="%-)"& ,)<:'%:#$6& '7L& )LAL*&].B.&_4ilg*&<B6L&mg5&m45&lf5&lm`e&O#6%)"&_4ihd*&$#L&nl`e&.&Q).=%:7=B&sculptural piece is kept in the Heermaneck Collection, cf. The Arts of India and Nepal 1966: no. 9.

4iL&G-)&")B:)7&R.6&:,)$%:[),&:$&4ind&QN&9L&IL&+A".R.B.5&#$&%-)&Q.6:6&of the similarity of this scene with the depictions on the terracotta <B.J=)6e&%-)&7":)b)&R.6&:BB=6%".%),&:Q:,L&.$,&inter alia in: Agrawala _4idl*&[AL&id5&,".R:$A`e&?:%".&_4ijl*&<BL&44Q`e&?.-.<.%".&_4ih4*&<BL&ffLf`L&

fgL&K7L&y:$&_4iihQ*&!$L&md`L

[83]

NON-BUDDHIST NARRATIVE SCENES AT NAGARJUNAKONDA

!:AL&d*&6)'%:#$&Kf3m&#7&[AL&4L

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MONIKA ZIN

!:AL&j*&6)'%:#$&2m&#7&[AL&4L

!:AL&h*&6)'%:#$&K4&#7&[AL&4L

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NON-BUDDHIST NARRATIVE SCENES AT NAGARJUNAKONDA

wives, and court intrigues leading to outbursts of fury from a violent husband were attributed to Udayana. Udayana was also considered to be a virtuoso E/?( player and a passionate hunter.U:%-&%-)&m:"."4"&"+A( in mind, let us take a closer

look at the scenes with the E/?(, which are placed on the second pillar, i.e. not on the one featuring the elopement on the elephant. Although two additional panels on the octagonal section simply show couples playing music, the scenes on the main surfaces unmistakably depict episodes from the Udayana $."".%:()& _[AL& 45&+& me& [AL& l`L& P$& %-)& ["6%5& %-)")& :6& .&person playing the E/?( in front of an elephant. The story tells us that Udayana’s music was so beautiful that even animals were fascinated by it; hence the king used to catch elephants by playing his E/?(. During one of these hunts, Udayana was kidnapped and brought to a@@.N:$0L&G-)& 6)()".B& ()"6:#$6& #7& %-)& $."".%:()& ,:77)"&at this point: many of them say that Pradyota ordered .$&."%:[':.B&)B)<-.$%&%#&Q)&Q=:B%&.$,&%-.%&6#B,:)"6&R)")&hidden inside it. In all versions, however, Udayana is Q"#=A-%&%#&O".,N#%.&:$&a@@.N:$0L&G-)&)<:6#,)&7#BB#R:$A&the kidnapping might be depicted in two panels on the <:BB."6&_[AL&45&K&fkme&[AL&d`L&G-)&B#R)"&<.$)B&6-#R6&.&man bridling against several men, while being observed QN&.&<)"6#$&#$&.&6).%&_<)"-.<6&O".N,#%.c6&8:$:6%)"5&R-#&:6&$.8),&:$&%-)&$."".%:()M`L&G-)&=<<)"&<.$)B&6-#R6&.&prisoner with his arms bent behind his back, standing :$&7"#$%&#7&.&<)"6#$&#$&.&%-"#$)L&P%&:6&)T%")8)BN&,:7['=B%&to identify with certainty what the additional reliefs on the sides might illustrate. The left side shows a man '.""N:$A&A.8)&H&<)"-.<6&)T%)$,:$A&%-)&")<")6)$%.%:#$&#7&.$&.66#':.%:#$&R:%-&%-)&-=$%M&G-)&<.$)B&#$&%-)&":A-%&side shows something exceptional: two elderly men are depicted, one of whom stands inside an angular %=Q)5&R-:B)&%-)&#%-)"&<#="6&6#8)&7#"8&#7&B:J=:,&#=%&#7&.&@."&#$%#&-:6&B)AL&G-)&6')$)&-.6&Q))$&:$%)"<")%),&.6&%-)&depiction of a bath,21 but there is a detail in the carving that contradicts this description: the man in the tube is holding himself up on two handles, which are led underneath his armpits. The handles would certainly be extremely impractical for a person taking a bath, as

they would not allow the person to bend forward, and would by no means constitute a reasonable or practical facility for bathing. Are we then observing here a medical treatment22&H&<)"-.<6&:$&'#$$)'%:#$&R:%-&%-)&'.<%="),&#"&R#=$,),&8.$&:$&%-)&8.:$&6')$)M&

Udayana was thus kidnapped during a chase, Q"#=A-%& %#& a@@.N:$0& .$,& 7#"'),& %#& %).'-& %-)& E/?( to 9/6.(.,.%%/L&G-:6&<."%&#7&%-)&6%#"N&:6&.<<.")$%BN&6-#R$&#$&#$)&#7&%-)&<:BB."6&_[AL&45&2me&[AL&j`5&R-)")&.&8.$&can be seen playing the E/?()R-:B)&6).%),&#$&%-)&r##"5&in the presence of a king on his throne and a woman. He is clearly not an ordinary musician playing for amusement, since somebody is aiming a bow at him, but this is a very appropriate representation for a captive person being forced to play. In this episode too, %-)&()"6:#$6&,:77)"&7"#8&).'-&#%-)"L&U-:B)&%-)&2=,,-:6%&.$,&w.:$.&6#="')6&%)BB&=6&%-.%&a,.N.$.&.$,&9/6.(.,.%%/&were separated from each other by a curtain, intended to prevent them from falling in love, the surviving versions of the old KTA"+&"+A( do not include this motif. Not only The Ocean of Story, in which the omission might have resulted from other reasons,23 but also the southern versions of the KTA"+&"+A(, the Tamil !7%10&"+"C, do not mention the curtain at all.

In the !7%10&"+"C^&a,.N.$.&.$,&9/6.(.,.%%/&8))%&.$,& 7.BB& :$& B#()& #$& %-)& 6%"))%6& #7& a@@.N:$05& R-)")&Udayana tames a rutting elephant by playing his E/?(. U-:B)& 7="%-)"& <.$)B6& .")& ,:7['=B%& %#& )T<B.:$& :$&

detail, their character nevertheless suits the Udayana narrative: At least two of them show the courtly life #7&.&<-:B.$,)")"L&F$)&#7&%-)8&_[AL&45&2&4`&")<")6)$%6&a man sitting on a bed without a turban and a woman sliding away from him in view of an advancing lady. +$#%-)"&6')$)&_[AL&45&Z&4`&6-#R6&.&'#=<B)&#$&.&6#7.5&but not sitting close together, as in most depictions. On the contrary, the lady is turning away, while the man is moving in the opposite direction. G-)& <.$)B& Q)%R))$& %-)6)& %R#& 6')$)6& _[AL& 45& K& 4e&

[AL& h`& ")<")6)$%6& %-)& ;:$A& .''#8<.$:),& QN& .& 68.BB&B.=A-:$A& 2".-8:$5& '-.".'%)":b),& .6& 6='-& QN& .& Q)$%&6%:';& _&1bC@"`L&G-)&8.$& :6& 6-#R$&R:%-& %=7%6& #"&R:6<6&of hair on his head. Thus, his appearance corresponds

f4L&I#=$,.".".@.$& _fggd*& 4nm`5& R:%-& ")7)")$')& %#& .& p<=QB:'& Q.%-c&)T'.(.%),& :$& S.A."@=$.;#$,.5& )LAL& 6:%)& 4i& _[AL& ml5& <BL& m4`& #"&6:%)& 4gf& _[AL& fi`L& G-)& )T'.(.%),& <##B65& R-:'-& I#=$,.".".@.$&:,)$%:[)6& .6& <=QB:'& Q.%-65& .")& #7& ")'%.$A=B."& 6-.<)5& #7& .<<"#TL&3–4 m and 6–7 m in length respectively.

22. Troughts for medicinal treatments were discovered in several -#6<:%.B6& #$& I":& V.$;.& _'7L&?=)BB)"3Z:)%b& 4iid`5& #$)& #7& %-)85&

7"#8&+$=".%-.<=".&_ibidL5&[AL&f`&B##;6&()"N&6:8:B."&%#&%-)&#$)&:$&#="&")B:)7&H&P&R#=B,&B:;)&%#&%-.$;&Z"L&Z#8:$:;&U=@.6%:;&_9:)$$.`&for sending me this valuable article.

23. In the later versions, the story is sweetened into an ideal romance, :$&R-:'-&9/6.(.,.%%/c6&7.%-)"&R.$%6&a,.N.$.&7#"&-:6&6#$3:$3B.R&7"#8&%-)&()"N&Q)A:$$:$A&H&-)$')&%-)&8#%:7&#7&%-)&'="%.:$&'#=B,&be removed as illogical.

[86]

MONIKA ZIN

!:AL&i*&6)'%:#$&Zf&#7&[AL&4L

!:AL&4g*&6)'%:#$&Kf&#7&[AL&fL

[87]

NON-BUDDHIST NARRATIVE SCENES AT NAGARJUNAKONDA

precisely with descriptions of the theatrical fool, 9:,�X.;.5& <#"%".N),& :$& %-)& %").%:6)& #$& %-).%")5& %-) 6(b.")2(*+%"& _�PPP5& 4mjk4nl`5& .6& '.""N:$A& .& &1bC@" and having the &(&"-":"2/%2"&_%-)&'"#Rc6&7##%&#$&-:6&-).,`L24 This laughing character might therefore be %-)&;:$Ac6&@)6%)"5&#"&<)"-.<6&%-)&%-).%":'.B&9:,�X.;.&:$&<)"6#$&H&-:6&$.8)&:$&%-)&a,.N.$.&<B.N6&:6&9.6.$%.;.L&U)&6-#=B,&Q)."&:$&8:$,&%-.%&#$)&#7&%-)&6:%)6&)T'.(.%),&.%&S.A."@=$.;#$,.& _6:%)& $#L& hg`&R.6& :$%)"<")%),& .6& .&theatre.25 Although we cannot be sure whether such .$& :$%)"<")%.%:#$& :6& )$%:")BN& ()":[.QB)526 it seems at B).6%& J=:%)& <B.=6:QB)L& D()$& %-#=A-& %-)& ,.%:$A& #7& %-)&6(b."2(*+%", describing inter alia the construction of a theater, is uncertain, theatrical literature was =$J=)6%:#$.QBN&R:,)6<").,&.%&%-)&%:8)&#7&%-)&P;X(/;=L&U-N&%-)$&6-#=B,&%-)N&$#%&-.()&-.,&.&%-).%)"&Q=:B,:$A&.6&R)BBM&G-)&%R#&<B.N6&#$&a,.N.$.&=$,&9/6.(.,.%%/5&the !%"+C#3"."15"4:A"%(."?" and the most famous of the series of Sanskrit dramas found in Trivandrum, the IE"-4"E(*"E":"++", may not be dated much later %-.$& %-)&S.A."@=$.;#$,.& #7& %-)& P;X(/;=6L&G-)& <B.N6&.")& .%%":Q=%),& %#&2-/6.5&R-#&8:A-%& -.()& Q))$& B:(:$A&in the fourth century, and was in any case earlier than ]/B:,/6.L27

The same &1bC@" bearer, with something that might be the crow’s foot on his head, is to be found again in %-)&6')$)&_[AL&45&Z&fe&[AL&i`5&:$&R-:'-&.&-#"6)&:6&6-#R$&lying on the ground.

As a whole, there are certainly good reasons to connect the depictions on both pillars with the narrative of Udayana and it also seems that this narrative fails to conform to the Buddhist version. Not only are the details depicted different from those :$& %-)& 2=,,-:6%& 6#="')6& ;$#R$& %#& =6& %#,.N& _R-:'-5&incidentally, would not be a strong argument, as there

are numerous Buddhist representations from lost B:%)"."N&%".,:%:#$6&.%&+8.".(.%:&.$,&S.A."@=$.;#$,.`5&Q=%&8#")&6:A$:['.$%BN5&%-)&")B:)76&$)()"&6-#R&.$N&<."%&#7&%-)&6%#"N&)8<-.6:b),&QN&%-)&2=,,-:6%&6#="')6L&!#"&)T.8<B)5& %-)")&:6&.&7.8#=6&)<:6#,)&.Q#=%&tN/8/(.%05&a pious wife of Udayana, at whom he shot arrows, but %-)& .""#R6& 7)BB& ,#R$& -."8B)66BN& ,=)& %#& tN/8/(.%0c6&;"C+%/. This was one Buddhist narrative about Udayana that was commonly known and depicted in the region.28 This particular Buddhist episode, however, is not illustrated on the pillars discussed here.G-)&$."".%:()&6')$)6&#$&%-)6)&<:BB."6&.")&#7&.&J=:%)&

different character in comparison to those shown on 2=,,-:6%& ")B:)76& 7"#8& S.A."@=$.;#$,.& #"& .%& #%-)"&sites of the Amaravati School, where invariably the same pictorial representations tend to be repeated. If the pillars were indeed Buddhist, it would then be exceedingly intriguing to know why, among so many <.$)B65& $#%& )()$& .& 6:$AB)& 6')$)& #7& %-)& ?/$,-/%."5&I."(.�,.,.&#"&9:1(.$%.".& $."".%:()6& :6& ,)<:'%),5& $#%&to mention even a single episode from the life of the 2=,,-.L&P$6%).,5&R)&-.()&#$)&6')$)&_[AL&f5&K&fe&[AL&i`&%-.%&6-#R6&.$&.6')%:'5&.<<.")$%BN&.&t.:(.L&

*

As far as the scenes interpreted before as Buddhist 3(+"&"6& _[AL& f5& Z& fkm`& .")& '#$')"$),5& :%& 6-#=B,& Q)&<#:$%),&#=%& -)")& %-.%& %-)N& %##& '#=B,&R)BB& [%& :$%#& %-)&KTA"+&"+A( narrative context. In fact, there are several stories in which two geese play an important role. In The Ocean of Story, such narratives are recounted between the adventures of Udayana or his son. Likewise, there is a story about the king Brahmadatta, his wife and his minister, who are told by two geese %-.%&.BB&[()&#7&%-)8&R)")&#$')&.%%)$,.$%6&#7&O/"(.%0e29

fnL&!#"&B:%)"."N&")7)")$')6&.$,&%-)&,)<:'%:#$&#7&.&@)6%)"&:$&."%&H&'7L&y:$&_4iih.`&.$,&y:$&_:$&<":$%`L

flL&I#=$,.".".@.$&_fggd*&44d5&<BL&4f`L

fdL&I#=$,.".".@.$&_fggd*&44h`*&�G-)&6%"='%=")&R:%-&:%6&')$%".B&.,@=$'%&on the west and pillared hall in the centre, [and an] arrangement 7#"&'#$%"#BB:$A&)$%"N&QN&8).$6&#7&z%-){&8.:$&A.%)&R.6&:,)$%:[),&by T. N. Ramachandran as a !%7&*A(5TCA" or a"05"*+A"@", a place of public resort for recreation purposes, like dance, music, )%'L& W)& :,)$%:[),& 6%"='%=")6& #7& %-:6& '#8<B)T& .6& 7#BB#R6*& G-)&central brick room which must have served as a vedika& _6%.A)`&.$,&%-)&.,@=$'%&:$&".$,#8&"=QQB)&.6&nepathya or a green room, the central pillared hall as a place for prekshakas or spectators. The inscribed clay sealing found here bearing the name *"%"*C&( has been taken by him as a token which had to be presented for .,8:66:#$&:$%#&%-)&-.BBL�&I#=$,.".".@.$&-:86)B7&=$,)"6%.$,6&%-)&building ‘either as a private residence or as a dance hall.’

27. For the most recent overview of the dating of the plays attributed %#& 2-/6.& H& '7L& D6<#6:%#& _fg4g`5& R:%-& ")7)")$')6& %#& )."B:)"&research.

fhL&!#"& %-)& )."B:)6%& ")<")6)$%.%:#$& :$& +@.$%.& K.()& �& H& '7L& y:$&_4iihQ`e&%-)&6%#"N&:6&")<")6)$%),&.%&].$.A.$.-.BB:&.$,&:$6'":Q),&%(.(:".74<)and :7EC)*(;CE"+/&H&'7L&y:$&_fg44`5&!:A6L&jkhe&%-)&two best-known representations of the Amaravati School come from the railing of the Amaravati *+,-", one in a medallion on .& '"#663Q."& :6& ;)<%& :$& %-)& 2":%:6-&?=6)=8& _$#L& 4l5& :BB=6%".%),&)LAL& :$&]$#T&4iif*&hg5& $#L& fn`5& .$#%-)"& :6& #$& %-)& ".:B:$A&<:BB."&:$& %-)& K-)$$.:& E#()"$8)$%&?=6)=8& _$#L& 4fl5& :BB=6%".%),& )LAL&:$*&I:(.&".8.&8="%:&4inf*&<BL&mnL4`L&G-)&")B:)76&R)")&:,)$%:[),&QN&>.N8#$,)&V:$#66:)"&_4ifikmg`L

29. Tawney’s The Ocean of Story5&(#BL&h5&4mmknm&_>"+A(*"%C+*(5"%" K�P95&4jknn`e&'7L&9#A)B&_4idf*&lmkln`L

[88]

MONIKA ZIN

%-)")&:6&.B6#&.&6%#"N&.Q#=%&%R#&."%:[':.B&A))6)&rN:$A&%#&the royal palace to steal treasure,30 or about a couple R-#&H&6)):$A&%R#&A))6)&rN:$A&H&R:6-&%#&Q)&")Q#"$&.6&such.31&U:%-#=%&:$6:6%:$A&#$&%-)&'B.:8&%-.%&#$)&#"&#%-)"&of these narratives might be represented here, I would only like to draw your attention to the fact that there are enough non-Buddhist narratives that could have provided a literary source for the depiction. +6&.&8.%%)"&#7&7.'%5&P&[$,&:%&()"N&,:7['=B%&%#&)T<B.:$&

%-)&6')$)6*&R:%-&%-)&-#"6)&BN:$A&#$&%-)&A"#=$,&_[AL&i`e&R:%-&.&()"N&<)'=B:."&:%)8&#$&%-)&r##"&_[AL&45&2&f`e&R:%-&.&B.,N&,".R:$A&#"&R":%:$A&#$&.&Q#.",&_[AL&f5&K&m`e&R:%-&%-)&V.;=B:1.&_M`&.6')%:'&_[AL&4g`e&R:%-&%-)&R#"6-:<&#7&.$&.6')%:'&:$&%-)&R##,6&_[AL&f5&2&m`e&#"&[$.BBN5&%-)&6')$)&R:%-&%-)&B:#$&_[AL&f5&2&f`L&G-)&B.%%)"&,)<:'%:#$&6-#R6&.&lion in the act of devouring an animal, while a couple #7&<)#<B)&#$& %-)&":A-%&.<<.")$%BN&[$,&#=%&.Q#=%& %-):"&

B#66&QN&R.%'-:$A&%-)&QB##,&r#R:$A&,#R$&%-)&6%").8L&+B%-#=A-&P&.8&$#%&.QB)&%#&<"#(:,)&.$&=$J=)6%:#$.QB)&or reliable explanation for these scenes, I can $)()"%-)B)66&)8<-.6:b)&R:%-&.BB&')"%.:$%N&%-.%&none of them, including the scenes connected earlier with the narrative of Udayana, are depicted elsewhere in other ")B:)76& ;$#R$& %#,.N& 7"#8&S.A."@=$.&;#$,.& #"& .%& .$N&other sites of the Amaravati School. In the Buddhist reliefs, the representations are generally familiar .$,& 8.$N& .")& ")'#A$:b.QB)& .%& ["6%& AB.$')5& R-)").6&here they are new and different; again providing an argument that they are not Buddhist.

Should my assumptions prove correct, we can see here one of the earliest relief carvings connected with #"%-#,#T&_:L)L&S#$32=,,-:6%&.$,&S#$3w.:$.`&$."".%:()6L&But only connected, since they are seemingly of a secular character and illustrate a popular novel.

BIBLIOGRAPHY

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Agrawala, Vasudeva Saran.& 4indL& p9/6.(.,.%%/& .$,& t/;=$%.B/&I')$)6&:$&%-)&>/^0A=8<-.&K.()c5&Journal of the Indian Society of Oriental Art, 14: 102–09

____ 1965. Indian Art. Varanasi

Esposito, Anna Aurelia A. 2010. n,+"E(&."^):C7)o<%+7):7*)K<+74N)ein Einakter aus den „Trivandrum-Dramen“. Kritische Edition mit Anmerkungen und kommentierter ÜbersetzungL&U:)6Q.,)$

Kala, Satish Chandra. 1950. H7%%"$<++")RC51%C47*) J%<;)>"12(;9/. Allahabad

Knox, Robert. 1992. Amaravati, Buddhist Sculpture from the Great I+,-"G)London

V:$#66:)"5&>.N8#$,)L&4ifikmgL&pa$)&B�A)$,)&,ca,)$.&�&+8."/(.%0c5&Revue des Arts Asiatiques, 6.2: 101–02

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Mahapatra, Ramesh Prasad. 1981. Udayagiri and Khandagiri Caves. Delhi

Mitra, Debala. 1975. Udayagiri and Khandagiri. New Delhi

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Nelson, Donald.&4ijhL&p2�-.%;.%-/3I%=,:)6*&G-)&O"#QB)8&#7&.$&a"3text’, Journal of Asian Studies, 37.4: 663–76

____ 4ihgL& p2�-.%;.%-/3I%=,:)6*& G-)& G.8:B& 9)"6:#$& #7& %-)&2�-.%;.%-/c5&Indo-Iranian Journal, 22: 221–35

>.:5& ]":6-$.,.6.L& 4inlL& p9/6.(.,.%%/3a,.N.$.& G)"".'#%%.& OB.J=)&7"#8&].=1/8Q0c5&Journal of the United Provinces Historical Society, Pannalal Special Number: 82–90

Rama, K. 1995. K1::AC*+)B%+)<J)6(5(%314"&<?F". Delhi

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____ 1984. Andhra Sculpture. Hyderabad

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Schlingloff, Dieter. 2000. B3"4+") l) Q"4:91$A) :7%) U"@7%7C74) q)Handbook of the Paintings 1. X%rsA@74:7)o"4:);"@7%7C74)q)6"%%"+CE7)Wall-paintings. U:)6Q.,)$

____ 2013. B3"4+")l)Q"4:9<<&)<J)+A7)!"C4+C45*^)iG)6"%%"+CE7)_"@@8paintings. Delhi

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____ 1979. X"%@.) B4:A%") B%+) "4:) W$<4<5%"-A.) p) U"@@";-"@@C)Somasekhera Sarma Memorial Lectures. Hyderabad

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Sugimoto, Takushu.& fggmL& pS/A/"@=$.;#$,.& $#& w/%.;.3b=& _f`c5&

30. Tawney’s The Ocean of Story5&(#BL&m5&flikil&_>"+A(*"%C+*(5"%" �VPP5&4k�VPPP5&f4h`e&'7L&9#A)B&_4idf*&nhkni`L

31. Tawney’s The Ocean of Story5&(#BL&d5&4jkfg&_>"+A(*"%C+*(5"%" V�P�5&44gkli`e&'7L&9#A)B&_4idf*&l4klm`L

[89]

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zw/%.;.36')$)6& 7"#8& S/A/"@=$.;#$,.& _f`{& Journal of the Kinjo University5&m*&nmjkdm&_:$&w.<.$)6)`

The Arts of India and Nepal, Catalogue of the Heermaneck Collection, 1966. Boston

Tawney, Charles Henry. 1924. The Ocean of Story, 1–10. London

Vogel, Jean Philippe. 1962. The Goose in Indian Literature and Art. Leiden

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____ 1998b. ‘The Oldest Painting of the Udayana Legend’, Berliner Indologische Studien, 11–12: 435–48

____ 2004. ‘Die altindischen E/?(s’, in Hickmann, E., and R. D:'-8.$$& _),6`5 Musikarchäologie IV. Orient-Archäologie. Bonn, pp. 321–62

&&����&fg44L&pS."".%:()&>)B:)76&:$&].$A.$-.BB:&H&+&I-#"%&F=%B:$)&#7&Their Importance for Buddhist Studies’, Marg, 63.1 Bombay, pp. 12–21

&&����& :$& <":$%L& pG-)& @)6%)"& .$,& %-)& EC:,'"&"’, Festschrift Heidrun 2"o';$)"

LIST OF FIGURES

!:AL&4*&S.A."@=$.;#$,.5&<:BB."&7"#8&6:%)&mj5&S.A."@=$.;#$,.&?=6)=85&no. 36.

!:AL&f*&S.A."@=$.;#$,.5&<:BB."&7"#8&6:%)&mj5&S.A."@=$.;#$,.&?=6)=85&no. 44.

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