Nagarjunakonda – Andhra Pradesh
|
|
Nagarjunakonda, like Amaravati, is also situated on the bank of river Krishna in District Guntur of Andhra Prades.
The valley of Nagarjunakonda became a flourishing Buddhist centre in A.d. third century largely due to the Patronage of the Ikshvaku Kings and Queens. The Ikshvakus claimed their descent from the mythological Ikshvakus of Ayodhya. Chamtari, sister of the founder of this royal house, Vasishthiputra Siri Chamtamula, was an ardent devotee of the Buddha. This pious lady and other Ikshvaku princesses were, therefore, the main benefactories of the Buddhist shrines in and around vijayapuri, the Ikshvaku capital.
The second Ikshvaku king, Virapurushadatta, is said to have embraced Buddhism. His son and successor, Ehuvala or Chamtamula II, was also a Buddhist. Like his father, he ruled for 24 years. His reign marked the golden period of Nagarjunakonda as it was during this period that construction of Buddhist shrines reached its peack. The construction of Buddhist shrines at Nagarjunakonda came to an end in the eleventh regnal year of Rudrapursha-datta, the last known Ikshvaku King. More than thirty Buddhist shrines came up in the Nagarjunakonda valley during the Ikshvaku rule. It was the largest and the most important settlement in South India in A.D. third century.
The fame of Nagarjunakonda attracted Buddhist saints and scholars from all parts of India and even foreign lands, such as Sri Lanka, China etc. Both the Theravada and Mahayana traditions of Buddhism flourished side by side at Nagarjunakonda. Inscriptions have revealed names of at least four sects, namely: Aora-Mahavinaseliya.
Bahusrutiya,
Mahasasaka, and
Maha-Viharavasin.
The first two sects were off-shoots of the Mahasanghikas (Mahayana) while the other two sects represented the Theravada tradition.
Nagarjunakonda marks an important landmark in the history of Buddhist architecture in India. Several trends from different directions converged here to give rise to new architectural forms. "The most developed compled of Nagarjunakonda consisted of a Stupa built a square platform, flanked by tow apsidal shrines and a quadrangular monastery enclosing apillared hall. The wheel-shaped plan, which may be an outcome of a long series of experiment in dirrerent parts of India, including Andhra-desa, reached its perfection in the hands of the Nagarjunakonda architects. In such wheel-shaped plan, one may notice not only an improvement over an earlier building tradition but also a successful attempt at transforming an idea, a sacred Buddhist symbol into an architectural entity."
The glorious of Nagarjunakonda in A.D. third century looks like a golden page from history. With the downfall of the Ikshvakus in the early years pf A.D. fourth century, Nagarjunakonda relapsed into darkness, its shrines, its artistic tradition, and its contacts with the Buddhist world-all vanished.
The Nagarjunakonda monuments, the treasure trove of Buddhist art and culture, remained unknown for centuries and came to light onlu in March, 1926 when A.R. Saraswati, Telgu Assistant to the Archaeological Superintendent for Epigraphy, Archaelolgical Survey of India, discovered this site. A.H. Longhurst, Superintendent, Archaeological Survey of India, Southern Circle was the first to commence excavation here in 1927 which continued till February 1931. He discovered a number of Buddhist monasteries. In 1938 a limited operation was carried out by T.N. Ramachandran.
Nagarjunakonda assumed importance in the 1950’s when the construction of the Nandikonda project was conceived as a result of which the valley was to be transformed into a reservoir. In order to salvage, whatever possible, of the priceless art treasure, which the ikshvakus had created during more than 1600 years, a special project for extensive excavation was formed in Auguest 1954. Accordingly, R. Sybramanyam, a Superintendent of the Archaeological Survey of India, excavated the entire valley within a short span of six years exposing about 120 sites.
All the sites now stand submerged by the gigantic multipurpose Nagarjunasagar Dam, which at 124 metres (409 feet), is the highest masonry dam in the world, and a giant among engineering schemes. Yet the glory of Nagarjunakonda shines in the midst of the third largest man-made lake in the world.
A few monuments have been faithfully reconstituted out of ancient materials on the Nagarjunakonda and on the east bank of the reservoir where the road from macherla ends. Important monuments which can be seen at Nagarjunakonda are: Maha-Stupa and apsidal shrine-Site 1; monastery-site 4: apsidal shrine-Site 43; and Stupa with Swastika insetSite 59. The Maha- Chaitya (Stupa) was the first and the most magnificent shrine to be constructed at Nagarjunakonda. The Maha-Chaitya (Site 1), and its allied units took about a decade to reach its final form, and all the time it received the munificence of the pious lady Chamtasri, the sister of Vasisthiputra Chamtamula, although the actual construction was done under the supervision of one, the Reverend Ananda. Built in the sixth regnal year of Virapurushadatta, the Stupa wheel-shaped on plan, had a diameter of about 27.5 m. with ayaka platforms surmounted by ayaka-pillars at the four cardinal directions.
Basically, it was a saririka (corporeal) Stupa, for it disclosed a reliquary including a tooth-relic, and the inscription alludes to it as the dhatu or bodily remains of Lord Buddha (samma-sambudhasa dhatuvra-parigahita). The Maha-Vihara and the apsidal Chaitya Griha (Stupa-shrine) meant for a much smaller Stupa were set-up respectively in the fifteenth and the eighteenth regnal years of the same king for the Apara-mahavinaseliya sect. Some establishments nearby were built between the sixth and the fifteenth regnal years, for one Bodhisri, a layworshipper from Govagama, donated an apsidal Stupa in the fourteenth regnal year of Virapurushadatta to the Ceyonese monastery (Site 43) on the Chula-Dhammagiri. Besides the apsidal shrine, the establish ment had a fourwinged monastery, with a Buddha-shrine and a Stupa.
Sasa-Jataka
Champeyya-Jataka
Sibi-Jataka
Mandhata-Jataka
Mahapadma-Jataka
Vessantara-Jataka
Dasaratha-Jataka, and
Mahahamsa-Jataka.
Siddhartha practices penances for six years, at the end of which, at Uruela (Bodh-Gaya), he accepts milk and rice from Sujata, and sits under the Bodhi-tree determined not to give up seat until he has gained full insight. Mara, the Evil one, attacks him but has to retreat. Eventuallty he attains enlightenment and becomes Buddha. Then the Buddha proceeds to Rishipatana Mrigadava (Sarnath) to preach to the five monks where he propounds his doctrine.
In course of time, Buddha visits Kapilavastu and approaches the apartments of Yasodhara who stands waiting at the door. Rahula enquires of him about inheritance and is ultimately converted. Buddha goes to the Trayastrimsa heaven to preach to his mother Maya. Also, he converts the robber Angulimala, the emperor Ajatasatru, the naga of Uruvela, and the Yaksha Alavaka.
Passing through these and similar other events Buddha attains Maha-parinirvana at Kushinagar.
A bust of Buddha notable for its sharp features, is the first exhibit to be seen on the other side of the gallery, which has a number of architectural pieces like the cornice-beam, coping stone and ayaka-pata. Thegods carrying away in procession the relinquished crown of Gautama Buddha at thetime of his great renunciation is the theme depicted within a medallion on an ayaka-pata. In the next exhibit are carved the scenes of conversion of Nanda, cousin of Buddha. It is one of the finest pieces of Nagarjunakonda showing from right to left the scenes of the meeting of Nanda and his wife Sundari with Buddha, to ensure ceremony for Nanda’s ordination, Buddha flying to heaven with Nanda, and the final conversion.
The next exhibit is a drum-slab from Site-3 carved with a developed form of a Stupa. It is followed by a cornice-beam depicting the five important life-events of Gautama Buddha, viz., Birth, Great Renuncation, Mara’s attack, First Sermon at Sarnath and Mahaparinirvana. On the next slab is to be seen the serpent king Muchalinda, a favourite motif of the Nagarjunakond aartists.
Nagarjunakonda is a valley situated in Guntur District of Andhra Pradesh. It lies at a distance of approximately 150 km from the capital city of Hyderabad. Nagarjuna Konda is named after Nagarjuna, a Buddhist monk, who lived here around the turn of the 2nd century AD. A magnificent example of ancient Buddhist architecture, it is remake of the original Buddhist site. The original valley was shifted, as it was at the danger of being submerged under the Nagarjuna Sagar Dam. The valley symbolizes a lost civilization, which flourished thousand years ago.
A number of excavations were carried out here, coming up with the Maha Chaitya, Viharas and Monasteries. Some of the most ancient items of Buddhism were also unearthed during the excavations, like Buddha statues, relics, stone images, Jataka tales encrypted panels and other items of Buddhist origin. It is believed that the antique sculptures belong to the Ikshvaku rule. The ruins of a university have also been found at Nagarjunakonda. There is also a museum, known as Nagarjunakonda Museum, housing all the important excavated items.
Another Prakrit inscription on a stone pillar records the erection of a fullty-equipped monastery for the Bahusrutiya sect by Mahadevi Bhattidevi, wife of the Maharaja Mathariputra Virapurushadatta in the second regnal year of Raja Vasishthiputra ehuvala Chamtamula.
The Prakrit inscription on a foot-print slab records the installation of the Buddha-pada in the monastery of the vibhajyavadin and Theravadin teachers who were experts in the nine-fold teaching of Buddha and who converted to Buddhism the peoples of Kasmirs, Gandhara, Yavana, Vanavasi and Tamraparni island.
History
Traditionally, Nagarjunakonda is associated with Acharya Nagarjuna, the renowned founder of the Madhyamika (Suntavada) School of Buddhist philosophy, According to an ancient Tibetan tradition, Nagarjuna, towards the evening of has life, lived at Nagarjunakonda and was interred there. Hiuen Tsang gives an interesting description of monastery said to have been built by the Satavahana King gautamiputra Yajna Satakarni (A.D. 166-A.D. 196) for Nagarjuna at Sriparavate, now known as Nagarjunakonda.The valley of Nagarjunakonda became a flourishing Buddhist centre in A.d. third century largely due to the Patronage of the Ikshvaku Kings and Queens. The Ikshvakus claimed their descent from the mythological Ikshvakus of Ayodhya. Chamtari, sister of the founder of this royal house, Vasishthiputra Siri Chamtamula, was an ardent devotee of the Buddha. This pious lady and other Ikshvaku princesses were, therefore, the main benefactories of the Buddhist shrines in and around vijayapuri, the Ikshvaku capital.
The second Ikshvaku king, Virapurushadatta, is said to have embraced Buddhism. His son and successor, Ehuvala or Chamtamula II, was also a Buddhist. Like his father, he ruled for 24 years. His reign marked the golden period of Nagarjunakonda as it was during this period that construction of Buddhist shrines reached its peack. The construction of Buddhist shrines at Nagarjunakonda came to an end in the eleventh regnal year of Rudrapursha-datta, the last known Ikshvaku King. More than thirty Buddhist shrines came up in the Nagarjunakonda valley during the Ikshvaku rule. It was the largest and the most important settlement in South India in A.D. third century.
The fame of Nagarjunakonda attracted Buddhist saints and scholars from all parts of India and even foreign lands, such as Sri Lanka, China etc. Both the Theravada and Mahayana traditions of Buddhism flourished side by side at Nagarjunakonda. Inscriptions have revealed names of at least four sects, namely: Aora-Mahavinaseliya.
Bahusrutiya,
Mahasasaka, and
Maha-Viharavasin.
The first two sects were off-shoots of the Mahasanghikas (Mahayana) while the other two sects represented the Theravada tradition.
Nagarjunakonda marks an important landmark in the history of Buddhist architecture in India. Several trends from different directions converged here to give rise to new architectural forms. "The most developed compled of Nagarjunakonda consisted of a Stupa built a square platform, flanked by tow apsidal shrines and a quadrangular monastery enclosing apillared hall. The wheel-shaped plan, which may be an outcome of a long series of experiment in dirrerent parts of India, including Andhra-desa, reached its perfection in the hands of the Nagarjunakonda architects. In such wheel-shaped plan, one may notice not only an improvement over an earlier building tradition but also a successful attempt at transforming an idea, a sacred Buddhist symbol into an architectural entity."
The glorious of Nagarjunakonda in A.D. third century looks like a golden page from history. With the downfall of the Ikshvakus in the early years pf A.D. fourth century, Nagarjunakonda relapsed into darkness, its shrines, its artistic tradition, and its contacts with the Buddhist world-all vanished.
The Nagarjunakonda monuments, the treasure trove of Buddhist art and culture, remained unknown for centuries and came to light onlu in March, 1926 when A.R. Saraswati, Telgu Assistant to the Archaeological Superintendent for Epigraphy, Archaelolgical Survey of India, discovered this site. A.H. Longhurst, Superintendent, Archaeological Survey of India, Southern Circle was the first to commence excavation here in 1927 which continued till February 1931. He discovered a number of Buddhist monasteries. In 1938 a limited operation was carried out by T.N. Ramachandran.
Nagarjunakonda assumed importance in the 1950’s when the construction of the Nandikonda project was conceived as a result of which the valley was to be transformed into a reservoir. In order to salvage, whatever possible, of the priceless art treasure, which the ikshvakus had created during more than 1600 years, a special project for extensive excavation was formed in Auguest 1954. Accordingly, R. Sybramanyam, a Superintendent of the Archaeological Survey of India, excavated the entire valley within a short span of six years exposing about 120 sites.
All the sites now stand submerged by the gigantic multipurpose Nagarjunasagar Dam, which at 124 metres (409 feet), is the highest masonry dam in the world, and a giant among engineering schemes. Yet the glory of Nagarjunakonda shines in the midst of the third largest man-made lake in the world.
Tourist Attraction in Nagarjunakonda
The Maha-Stupa
The Nagarjunakonda monuments equidistante from Hyderabad and Macherla is about 22 kilometres from the Nagarjunasagar dam and 150 kilometresby road
from Hyderabad, the capital of Andhra Pradesh. Hundreds of beautiful sculptures and some of the monuments which would have been submerged by the construction of the dam have been lifted to the top of ahill, which stands right in the midst of the reservoir. The island museum, which is unique and first of its Kind in the world, can be reached by a launch from Anuppu, the jetty point, about 8 kms from Vijayapuri, a little town which has sprug up around the dam. From Anuppu, Nagarjunakonda is about 14 kms apart.A few monuments have been faithfully reconstituted out of ancient materials on the Nagarjunakonda and on the east bank of the reservoir where the road from macherla ends. Important monuments which can be seen at Nagarjunakonda are: Maha-Stupa and apsidal shrine-Site 1; monastery-site 4: apsidal shrine-Site 43; and Stupa with Swastika insetSite 59. The Maha- Chaitya (Stupa) was the first and the most magnificent shrine to be constructed at Nagarjunakonda. The Maha-Chaitya (Site 1), and its allied units took about a decade to reach its final form, and all the time it received the munificence of the pious lady Chamtasri, the sister of Vasisthiputra Chamtamula, although the actual construction was done under the supervision of one, the Reverend Ananda. Built in the sixth regnal year of Virapurushadatta, the Stupa wheel-shaped on plan, had a diameter of about 27.5 m. with ayaka platforms surmounted by ayaka-pillars at the four cardinal directions.
Basically, it was a saririka (corporeal) Stupa, for it disclosed a reliquary including a tooth-relic, and the inscription alludes to it as the dhatu or bodily remains of Lord Buddha (samma-sambudhasa dhatuvra-parigahita). The Maha-Vihara and the apsidal Chaitya Griha (Stupa-shrine) meant for a much smaller Stupa were set-up respectively in the fifteenth and the eighteenth regnal years of the same king for the Apara-mahavinaseliya sect. Some establishments nearby were built between the sixth and the fifteenth regnal years, for one Bodhisri, a layworshipper from Govagama, donated an apsidal Stupa in the fourteenth regnal year of Virapurushadatta to the Ceyonese monastery (Site 43) on the Chula-Dhammagiri. Besides the apsidal shrine, the establish ment had a fourwinged monastery, with a Buddha-shrine and a Stupa.
The Museum
The Island Museum preserves and displays relics from all the identified historical epochs of Nagarjunakonda. Some of the exhibits in the museum as described by H.Sarkar and B.N. Misra in the gudie on Nagarjunakonda are as follows:Kek-Gallery
Key-Gallery offers the choicest specimens in the collection such as jewellery, beads, coins, relic-caskets and lime-stone sculptures including a colossal Buddha.Relic-Caskets
All the important Stupas of Nagarjunakonda yielded various reliquarires of gold, silver, copper and glazed pottery. The one exhibited in show-case-3 along with a sketch came from Stupa-8 belonging to the Mahisasaka sect. The gold reliquary containing relics in the form of bones, gold and silver flowers was kept inside a silver casket, which in turn, wasplaced inside a copper one, the group to be lodged ultimately inside a glazed earthenware receptacle simulating a miniature Stupa.Main Gallery
Jataka Stories The sculptures in the northern wing of the gallery depict the Jataka tales carved variously on drum-slabs, dome-slabs and cornice beams. The sculptures preserved in this Museum relate to eight Jatakas, namely:Life scenes of the Buddha
On the southern and western wings are arranged several dome-slabs depicting the important life scenes of the Buddha. In the upper compartment of a dome-slab is shown the scene in which Sumedha, who resides in the Tushita heaven as Boddhisattva, resolving to take his final birth on earth as Gautama. The lower compartment depicts his descent in a heavenly chariot as a white elephant accompanied by celestial musicians, to enter the body of Maya. There are seven scenes, carved on a cornice-beam, which present vividly the subsequent events. When Mayadevi delivers the child in the Lumbini garden, four Gods receive the child on a golden net. Maya stands holding the Sal tree, and a lady bears the staff of royalty. Next Asita examines the mark of the child, which is represented by a pait of feet on the cloth, and predicts that he would be a Chakravartin amongst the kings or the sages. The child is then taken through the streets of Kapilavastu and the Yaksha pays homage to him. When grown up Siddhartha witness four visions that led to his renunciation: sees a corpse, and old man, diseased man and an ascetic. All these make him contemplate on the woes of life, and he decides to renunciate. Kanthaka, the horse and Chhandaka, its groom, carry him away from Kapilavastu. Even the Gods are ready for the auspicious moment: Indra spreads parasol on him: four Dik-palas or guardians of the directions hold hoofs of the horse on palms so that there is no noise; musicians and bearers carrying flag-staff, sword and flywhisk accompany him. Then on the banks of the river Anoma, he changes his garments for a monk’s dress. In the middle compartment of the same steld, it is seen the Gods varying the relinquished crown of Buddha. Chhandaka returns to Kapilavastu with Kanyhaka, and narrates the event to King Suddhodana who is shocked to hear the new.Siddhartha practices penances for six years, at the end of which, at Uruela (Bodh-Gaya), he accepts milk and rice from Sujata, and sits under the Bodhi-tree determined not to give up seat until he has gained full insight. Mara, the Evil one, attacks him but has to retreat. Eventuallty he attains enlightenment and becomes Buddha. Then the Buddha proceeds to Rishipatana Mrigadava (Sarnath) to preach to the five monks where he propounds his doctrine.
In course of time, Buddha visits Kapilavastu and approaches the apartments of Yasodhara who stands waiting at the door. Rahula enquires of him about inheritance and is ultimately converted. Buddha goes to the Trayastrimsa heaven to preach to his mother Maya. Also, he converts the robber Angulimala, the emperor Ajatasatru, the naga of Uruvela, and the Yaksha Alavaka.
Passing through these and similar other events Buddha attains Maha-parinirvana at Kushinagar.
Sculptures
The most attractive piece of the gallery is the colossal statue of Lord Buddha standing to a height of about 3 m. Originally found in several fragments at site 4, the image, like any other sculpture from Nagarjunakonda, stands in frontal pose holding the hem of his garment in the left hand, while the right hand (broken) is granting protection. On the eastern wing of the Key-Gallery is the panel depicting the main episodes of Buddha’s life. It is dated in the twenty-fourth regnal year of Ehuvala Chamtamula when a member of a merchant community, Kumaranandi, donated the frieze to the monastery at Site-106. In its elegant style of execution as well as in the portrayal of human moods the relief ranks as one of the best specimens of Nagarjunakonda art.A bust of Buddha notable for its sharp features, is the first exhibit to be seen on the other side of the gallery, which has a number of architectural pieces like the cornice-beam, coping stone and ayaka-pata. Thegods carrying away in procession the relinquished crown of Gautama Buddha at thetime of his great renunciation is the theme depicted within a medallion on an ayaka-pata. In the next exhibit are carved the scenes of conversion of Nanda, cousin of Buddha. It is one of the finest pieces of Nagarjunakonda showing from right to left the scenes of the meeting of Nanda and his wife Sundari with Buddha, to ensure ceremony for Nanda’s ordination, Buddha flying to heaven with Nanda, and the final conversion.
The next exhibit is a drum-slab from Site-3 carved with a developed form of a Stupa. It is followed by a cornice-beam depicting the five important life-events of Gautama Buddha, viz., Birth, Great Renuncation, Mara’s attack, First Sermon at Sarnath and Mahaparinirvana. On the next slab is to be seen the serpent king Muchalinda, a favourite motif of the Nagarjunakond aartists.
Nagarjunakonda is a valley situated in Guntur District of Andhra Pradesh. It lies at a distance of approximately 150 km from the capital city of Hyderabad. Nagarjuna Konda is named after Nagarjuna, a Buddhist monk, who lived here around the turn of the 2nd century AD. A magnificent example of ancient Buddhist architecture, it is remake of the original Buddhist site. The original valley was shifted, as it was at the danger of being submerged under the Nagarjuna Sagar Dam. The valley symbolizes a lost civilization, which flourished thousand years ago.
A number of excavations were carried out here, coming up with the Maha Chaitya, Viharas and Monasteries. Some of the most ancient items of Buddhism were also unearthed during the excavations, like Buddha statues, relics, stone images, Jataka tales encrypted panels and other items of Buddhist origin. It is believed that the antique sculptures belong to the Ikshvaku rule. The ruins of a university have also been found at Nagarjunakonda. There is also a museum, known as Nagarjunakonda Museum, housing all the important excavated items.
Inscriptions
The earliest epigraphic record is the four-line Prakrit inscription on a pillar of the sixth regnal year of Vijaya Satakarni, one of the last Satavahana kings, in Brahmi script of A.D. third century. A Prakrit inscription in eight lines on an ayaka-pillar records adoration to Buddha and informs that Chamtasri, the aunt of the ruling king and sister of Chamtamula, erected the pillar for the sake of attainment by herself of the bliss of nirvana in the sixth regnal year of king Virapurushadatta.Another Prakrit inscription on a stone pillar records the erection of a fullty-equipped monastery for the Bahusrutiya sect by Mahadevi Bhattidevi, wife of the Maharaja Mathariputra Virapurushadatta in the second regnal year of Raja Vasishthiputra ehuvala Chamtamula.
The Prakrit inscription on a foot-print slab records the installation of the Buddha-pada in the monastery of the vibhajyavadin and Theravadin teachers who were experts in the nine-fold teaching of Buddha and who converted to Buddhism the peoples of Kasmirs, Gandhara, Yavana, Vanavasi and Tamraparni island.
