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74-517: In Buddhist art the utpala flower is an attribute of the goddess Tara , who very often holds one in her hand, as other Buddhist and Hindu figures may also do. Later, the utpala becomes specific to the Green Tara form, while the White Tara holds a white lotus flower (probably Nymphaea lotus ). In Tibet, where none of the tender aquatic plants that may be known as lotus can grow, utpala became

148-569: A Nāga, (7) names of several persons, including an astronomer, (8) its feminine form utpalā meant a river (-Harivamśa), (9) its feminine form utpalā also meant a kind of cake made of unwinnowed corn (-lexicons); An unrelated homonym, compounded from ud "apart" + pala "flesh" means 'fleshless, emaciated' (-lexicons) and is the name of a particular hell (-lexicons). Buddhist art Art of Central Asia Art of East Asia Art of South Asia Art of Southeast Asia Art of Europe Art of Africa Art of

222-622: A flux of artistic influences, visible in the development of Serindian art from the 2nd through the 11th century in the Tarim Basin, modern Xinjiang . Serindian art often derives from the Greco-Buddhist art of the Gandhara district of what is now Pakistan , combining Indian, Greek and Roman influences. Silk Road Greco-Buddhist iconography may have influenced the Japanese god Fūjin . The art of

296-421: A general term for all of them. Monier-Williams gives the following meanings of utpala : (1) the blossom of the blue lotus Nymphaea nouchali (-Mahābhārata, Rāmāyana, Suśruta, Raghuvamsa, Meghdoota, etc.),(2) a seed of Nymphaea nouchali (-Suśruta), (3) the plant Costus speciosus (-Bhagavata Purāna), (4) any water-lily, any flower, (-lexicons) (5) a particular hell (-Buddhist literature), (6) name of

370-648: A great Han general in his campaigns against the nomads." Although there is no other mention of Han Wudi worshiping the Buddha in Chinese historical literature, the murals would suggest that statues of the Buddha were already in existence during the 2nd century BCE, connecting them directly to the time of the Indo-Greeks. Anthropomorphic representations of the Buddha started to emerge from the 1st century CE in Northern India , with

444-716: A highly developed Korean style which was transmitted to Japan as evidenced by the Koryu-ji Miroku Bosatsu and the Chugu-ji Siddhartha statues. Although many historians portray Korea as a mere transmitter of Buddhism, the Three Kingdoms, and particularly Baekje, were instrumental as active agents in the introduction and formation of a Buddhist tradition in Japan in 538 or 552. During the Unified Silla period, East Asia

518-462: A matter of debate whether the anthropomorphic representations of Buddha was essentially a result of a local evolution of Buddhist art at Mathura, or a consequence of Greek cultural influence in Gandhara through the Greco-Buddhist syncretism . This iconic art was characterized from the start by a realistic idealism, combining realistic human features, proportions, attitudes and attributes, together with

592-676: A means of forging ties between Manchu, Mongolian, and Tibetan communities, though this has been challenged by recent scholarship. The popularization of Buddhism in China has made the country home to the richest collections of Buddhist arts in the world. The Mogao Caves near Dunhuang and the Bingling Temple caves near Yongjing in Gansu province, the Longmen Grottoes near Luoyang in Henan province,

666-723: A model for similar structures in Burma and Indonesia. The frescoes at Sigiriya are said to be even older than the Ajanta Caves paintings. Chinese historical sources and mural paintings in the Tarim Basin city of Dunhuang accurately describe the travels of the explorer and ambassador Zhang Qian to Central Asia as far as Bactria around 130 BCE, and the same murals describe the Emperor Han Wudi (156–87 BCE) worshiping Buddhist statues, explaining them as "golden men brought in 120 BCE by

740-519: A progressive differentiation among the countries adopting the faith. The Silk Road transmission of Buddhism to Central Asia, China and ultimately Korea and Japan started in the 1st century CE with a semi-legendary account of an embassy sent to the West by the Chinese Emperor Ming (58–75 CE). However, extensive contacts started in the 2nd century CE, probably as a consequence of the expansion of

814-576: A range of political and personal reasons. The Shunzhi Emperor was a devotee of Chan Buddhism, while his successor, the Kangxi Emperor promoted Tibetan Buddhism , claiming to be the human embodiment of the bodhisattva Manjusri . However, it was under the rule of the third Qing ruler, the Qianlong Emperor , that imperial patronage of the Buddhist arts reached its height in this period. He commissioned

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888-551: A rather classical form, inspired by the Indian art of the Gupta period. During that time, the Tang capital of Chang'an (today's Xi'an ) became an important center for Buddhism. From there Buddhism spread to Korea , and Japanese missions to Tang China helped it gain a foothold in Japan. Foreign influences came to be negatively perceived in China towards the end of the Tang dynasty. In the year 845,

962-508: A religion depending on " idolatry ". Human figurative art forms also being prohibited under Islam, Buddhist art suffered numerous attacks, which culminated with the systematic destructions by the Taliban regime. The Buddhas of Bamyan, the sculptures of Hadda , and many of the remaining artifacts at the Afghanistan museum have been destroyed. The multiple conflicts since the 1980s also have led to

1036-487: A sense of perfection and serenity reaching to the divine. This expression of the Buddha as both man and God became the iconographic canon for subsequent Buddhist art. Remains of early Buddhist painting in India are vanishingly rare, with the later phases of the Ajanta Caves giving the great majority of surviving work, created over a relatively short up to about 480 CE. These are highly sophisticated works, evidently produced in

1110-519: A sobriety, taste for the right tone, a sense of abstraction but also of colours that curiously enough are in line with contemporary taste" (Pierre Cambon, Arts asiatiques – Guimet' ). The first of the Three Kingdoms of Korea to officially receive Buddhism was Goguryeo in 372. However, Chinese records and the use of Buddhist motifs in Goguryeo murals indicate the introduction of Buddhism earlier than

1184-496: A strongly original Korean culture. Additionally, the art of the steppes, particularly Siberian and Scythian influences, are evident in early Korean Buddhist art based on the excavation of artifacts and burial goods such as Silla royal crowns , belt buckles, daggers, and comma-shaped gogok . The style of this indigenous art was geometric, abstract and richly adorned with a characteristic "barbarian" luxury . Although many other influences were strong, Korean Buddhist art, "bespeaks

1258-448: A style rather archaic compared to the later representations of the Buddha. The Mathuran school contributed clothes covering the left shoulder of thin muslin , the wheel on the palm, the lotus seat. Mathura and Gandhara also influenced each other. During their artistic florescence, the two regions were even united politically under the Kushans , both being capitals of the empire. It is still

1332-599: A systematic pillage of archaeological sites apparently in the hope of reselling in the international market what artifacts could be found. Central Asia long played the role of a meeting place between China, India and Persia . During the 2nd century BCE, the expansion of the Former Han to the West led to increased contact with the Hellenistic civilizations of Asia, especially the Greco-Bactrian Kingdom . Thereafter,

1406-556: A vast number of religious works in the Tibetan style, many of which depicted him in various sacred guises. Works of art produced during this period are characterized by a unique fusion of Tibetan and Chinese artistic approaches. They combine a characteristically Tibetan attention to iconographic detail with Chinese-inspired decorative elements. Inscriptions are often written in Chinese, Manchu, Tibetan, Mongolian and Sanskrit, while paintings are frequently rendered in vibrant colors. Additionally,

1480-467: A well-developed tradition, probably painting secular work in palaces as much as religious subjects. Buddhist art continued to develop in India for a few more centuries. The pink sandstone sculptures of Mathura evolved during the Gupta period (4th to 6th century CE) to reach a very high fineness of execution and delicacy in the modeling. The art of the Gupta school was extremely influential almost everywhere in

1554-651: Is a village located on the banks of the Krishna River in the Palnadu district of Andhra Pradesh , India . It serves as the administrative centre of Amaravathi mandal and lies within the Andhra Pradesh Capital Region . Known for its cultural heritage, Amaravathi lends its name to the state's newly planned capital, Amaravati , located 35 kilometers to the east. Amaravathi is notable for its prominent place in both Hindu and Buddhist traditions. The place

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1628-788: Is named after the Amareswara Temple , one of the Pancharama Kshetras , significant Hindu temples dedicated to Lord Siva . It is also home to the ancient Amaravati Stupa , a Buddhist monument from the 2nd century BCE to the 3rd century CE. This stupa, now under the protection of the Archaeological Survey of India , exemplifies the Amaravati School of Art , a style that had a lasting influence on Buddhist art throughout South and Southeast Asia . Designated as one of India’s centrally protected Monuments of National Importance ,

1702-507: Is one of the most prominent sites in South India. Discovered by a local zamindar in the late 18th century, it has undergone multiple excavations over the centuries. The stupa's origins likely date to the post-Mauryan period ( c.  200–100 BCE ), with evidence of later renovations. Early sculptures from the site exhibit signs of repurposing, indicating that the stupa’s architectural components were significantly modified over time. During

1776-780: Is said to have a continuous history spanning at least 2,300 years. According to the tradition of the Kalachakra Tantra , Gautama Buddha is believed to have visited the Andhaka region (modern-day Dhanyakataka) to deliver sermons. During the rule of Emperor Ashoka , the region remained on the periphery of the Maurya Empire , but with the emergence of the Satavahana dynasty around 225 BCE, Amaravathi became their eastern capital, with Pratisthana (modern Paithan ) serving as their western capital. The Amaravati Stupa , an ancient Buddhist monument,

1850-450: Is spread over an area of 1,524 ha (3,770 acres). As of 2011 Census of India , the town had a population of 13,400 with 3,316 households. The total population constitute, 6,432 males and 6,958 females—a sex ratio of 1,082 females per 1,000 males. 1,321 children are in the age group of 0–6 years, of which 647 are boys and 674 are girls—a ratio of 1,042 per 1,000. The average literacy rate stands at 71.3% with 8,617 literates, higher than

1924-468: Is the carving of approximately 80,000 woodblocks of the Tripitaka Koreana which was done twice. The Joseon dynasty actively suppressed Buddhism beginning in 1406 and Buddhist temples and art production subsequently decline in quality in quantity although beginning in 1549, Buddhist art does continue to be produced. [2] . Amaravathi village, Guntur district#Amaravati School Amaravathi

1998-615: The Bimaran casket . The three main centers of creation have been identified as Gandhara in today's North West Frontier Province , in Pakistan , Amaravati and the region of Mathura , in central northern India. Hellenistic culture was introduced in Gandhara during the conquests of Alexander the Great in 332 BCE. Chandragupta Maurya (r. 321–298 BCE), founder of the Mauryan Empire , conquered

2072-874: The Five Dynasties and Ten Kingdoms period , which continued under the successive Liao , Jin , Song , Yuan and Ming dynasties. This was marked by construction of new monumental Buddhist artwork at grottoes, such as the massive Buddha sculptures at the Dazu Rock Carvings in Sichuan province, as well as at temples, such as the giant esoteric statues of the Bodhisattva Guanyin in Longxing Temple and Dule Temple . The various Chinese Buddhist traditions, such as Tiantai and Huayan , experienced revivals. Chan Buddhism , in particular, rose to great prominence under

2146-505: The Kushan Empire into the Chinese territory of the Tarim Basin , with the missionary efforts of a great number of Central Asian Buddhist monks to Chinese lands. The first missionaries and translators of Buddhists scriptures into Chinese , such as Lokaksema , were either Parthian , Kushan , Sogdian or Kuchean . Central Asian missionary efforts along the Silk Road were accompanied by

2220-514: The Qianlong Emperor initiated a number of large-scale construction projects; in 1744 he rededicated the Yonghe Temple as Beijing's main Tibetan Buddhist monastery, donating a number of valuable religious paintings, sculptures, textiles and inscriptions to the temple. The Xumi Fushou Temple , and the works housed within, is another project commissioned by the Qianlong Emperor that embodies

2294-640: The Yuan (1271–1368) and Ming (1368–1644) dynasties well into the Qing (1644–1912) dynasty. Aside from Chan ink paintings, other forms of painting also proliferated, especially during the Ming dynasty, such as the Water and Land Ritual paintings and mural art which depict various Buddhist divinities and other figures. During the Qing dynasty, Manchu emperors supported Buddhist practices for

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2368-882: The Yungang Grottoes near Datong in Shanxi province, and the Dazu Rock Carvings near Chongqing municipality are among the most important and renowned Buddhist sculptural sites. The Leshan Giant Buddha , carved out of a hillside in the 8th century during the Tang dynasty and looking down on the confluence of three rivers, is still the largest stone Buddha statue in the world. Numerous temples throughout China still preserve various Buddhist statues and paintings from previous dynasties. In addition, Buddhist sculptures are still produced in contemporary times mainly for enshrinement in Buddhist temples and shrines. Korean Buddhist art generally reflects an interaction between other Buddhist influences and

2442-448: The 2nd century CE in the southern parts of India, in the art of the Amaravati School (see: Mara's assault on the Buddha ). It has been argued that earlier anthropomorphic representations of the Buddha may have been made of wood and may have perished since then. However, no related archaeological evidence has been found. The earliest works of Buddhist art in India date back to the 1st century BCE. The Mahabodhi Temple at Bodh Gaya became

2516-702: The 3rd century BCE and around 250 CE, it was later expanded with new sculptures by the Satavahanas around 50 CE. Protected by the Archaeological Survey of India , the site includes the stupa ruins and an adjacent museum housing artifacts from the site. In 2006, the Dalai Lama visited Amaravati, performing Kalachakra Mahasamalanam during the Kalachakra festival. The Amaravati Stupa is celebrated for its influence on ancient Indian art, forming one of three major schools along with Mathura and Gandhara . Its art style, known as

2590-493: The 5th to 6th centuries, the Northern dynasties developed rather symbolic and abstract modes of representation, with schematic lines. Their style is also said to be solemn and majestic. The lack of corporeality of this art, and its distance from the original Buddhist objective of expressing the pure ideal of enlightenment in an accessible and realistic manner, progressively led to a change towards more naturalism and realism, leading to

2664-800: The Amaravati or Andhra style, significantly influenced art in South India, Sri Lanka, and Southeast Asia. Today, notable sculptures from the stupa are held in museums, including the British Museum in London and the Government Museum in Chennai, reflecting the stupa’s historic prominence as a major monument in Buddhist Asia. Amaravathi is situated at 16°34′46″N 80°18′40″E  /  16.579444°N 80.311111°E  / 16.579444; 80.311111 . It

2738-499: The Americas Art of Oceania Buddhist art is visual art produced in the context of Buddhism . It includes depictions of Gautama Buddha and other Buddhas and bodhisattvas , notable Buddhist figures both historical and mythical, narrative scenes from their lives, mandalas , and physical objects associated with Buddhist practice, such as vajras , bells, stupas and Buddhist temple architecture . Buddhist art originated in

2812-615: The Baekje, epitomized by Baekje sculpture exhibiting the fathomless smile known to art historians as the Baekje smile . The Silla Kingdom also developed a distinctive Buddhist art tradition epitomized by the Bangasayusang , a half-seated contemplative statue of Maitreya whose Korean-made twin was sent to Japan as a proselytizing gift and now resides in the Koryu-ji Temple in Japan. Buddhism in

2886-625: The Buddha to a transcendent and infinite being, and feature a pantheon of bodhisattvas devoting themselves to the Six Perfections , ultimate knowledge ( Prajñāpāramitā ), enlightenment, and the liberation of all sentient beings. Northern Buddhist art thus tends to be characterized by a very rich and syncretic Buddhist pantheon, with a multitude of images of the various buddhas , bodhisattvas, and heavenly beings ( devas ). Buddhist art in Afghanistan (old Bactria ) persisted for several centuries until

2960-508: The Buddhist pantheon developed devotional images of bodhisattvas and other figures became common subjects in themselves in Northern Buddhist art, rather than just attendants of the Buddha, and by the late first millennium came to predominate. During the 2nd to 1st century BCE, sculptures became more explicit, representing episodes of the Buddha's life and teachings. These took the form of votive tablets or friezes , usually in relation to

3034-625: The Gandharan style, as well as scriptures in the Gandhari script Kharoshti have been found. These influences were rapidly absorbed however by the vigorous Chinese culture, and a strongly Chinese particularism develops from that point. Buddhism arrived in China around the 1st century CE, and introduced new types of art into China, particularly in the area of statuary . Receiving this distant religion, strong Chinese traits were incorporated into Buddhist art. In

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3108-1189: The Greek populations within his realm to Buddhism: Here in the king's domain among the Greeks, the Kambojas , the Nabhakas, the Nabhapamkits, the Bhojas, the Pitinikas, the Andhras and the Palidas, everywhere people are following Beloved-of-the-Gods' instructions in Dharma . After the overthrow of the Mauryan Empire by the Shunga Empire , the Greco-Bactrian and subsequently the Indo-Greek Kingdoms invaded north-western India. They facilitated

3182-415: The Macedonian satraps during the Seleucid-Mauryan War of 305–303 BCE. Chandragupta's grandson Ashoka (r. 268–232 BCE), who formed the largest Empire in the Indian subcontinent, converted to Buddhism following the Kalinga War . Abandoning an expansionist ideology, Ashoka worked to spread the religion and philosophy throughout his empire as described in the edicts of Ashoka . Ashoka claims to have converted

3256-437: The Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist art flourished and co-developed with Hindu and Jain art, with cave temple complexes built together, each likely influencing the other. Initially the emphasis was on devotional statues of the historical Buddha, as well as detailed scenes in relief of his life , and former lives, but as

3330-550: The Satavahana period, Amaravathi and Sannati (in Gulbarga District , Karnataka ) developed a distinct artistic style known as the Amaravati School of Art , comparable to the Mathura and Gandhara schools in Central and Northwestern India. Buddhist sculptures, including images of Vajrasana, Muchulinda Naga, and key episodes from Buddha's life, as well as memorial stones, were crafted in this style, characterized by intricate detailing and unique thematic elements. These sculptures were exported to Sri Lanka , where they contributed to

3404-424: The Shiva temple. The Mahachaitya at Amaravati, locally known as Dipaladinne ("Hill of Lamps"), was first recognized for its historical significance by Colonel Colin Mackenzie in 1797. The mound, located on the southern bank of the Krishna River, was being excavated on the orders of zamindar Vasireddy Venkatadri Nayudu , who had recently moved his seat of power from Chintapalli to Amaravati. As part of establishing

3478-451: The Song dynasty. Early paintings by Chan monks tended to eschew the meticulous realism of Gongbi painting in favour of vigorous, monochrome paintings, attempting to express the impact of enlightenment through their brushwork. The rise of Neo-Confucianism under Zhu Xi in the twelfth century resulted in considerable criticism of the monk-painters by the literati. Despite this, Chan ink paintings continued to be practiced by monastics through

3552-435: The Tang emperor Wuzong outlawed all "foreign" religions (including Christian Nestorianism , Zoroastrianism and Buddhism ) in order to support the indigenous religion, Taoism . He confiscated Buddhist possessions, and forced the faith to go underground, therefore affecting the development of the religion and its arts in China. After the Tang dynasty, Buddhism continued to receive official patronage in several states during

3626-420: The Three Kingdoms period stimulated massive temple-building projects, such as the Mireuksa Temple in the Baekje Kingdom and the Hwangnyongsa Temple in Silla. Baekje architects were famed for their skill and were instrumental in building the massive nine-story pagoda at Hwangnyongsa and early Buddhist temples in Yamato Japan such as Hōkō-ji (Asuka-dera) and Hōryū-ji . 6th century Korean Buddhist art exhibited

3700-403: The cultural influences of China and India but began to show distinctive indigenous characteristics. These indigenous characteristics can be seen in early Buddhist art in Japan and some early Japanese Buddhist sculpture is now believed to have originated in Korea, particularly from Baekje, or Korean artisans who immigrated to Yamato Japan. Particularly, the semi-seated Maitreya form was adapted into

3774-463: The decoration of stupas. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through Buddhist symbolism . This period may have been aniconic . Artists were reluctant to depict the Buddha anthropomorphically, and developed sophisticated aniconic symbols to avoid doing so (even in narrative scenes where other human figures would appear). This tendency remained as late as

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3848-684: The expansion of Buddhism to the North led to the formation of Buddhist communities and even Buddhist kingdoms in the oasis of Central Asia. Some Silk Road cities consisted almost entirely of Buddhist stupas and monasteries, and it seems that one of their main objectives was to welcome and service travelers between East and West. The eastern part of Central Asia ( Chinese Turkestan ( Tarim Basin , Xinjiang ) in particular has revealed an extremely rich Serindian art ( wall paintings and reliefs in numerous caves, portable paintings on canvas, sculpture, ritual objects), displaying multiple influences from Indian and Hellenistic cultures. Works of art reminiscent of

3922-430: The expression of Tang Buddhist art. Sites preserving Northern Wei dynasty Buddhist sculpture: Following a transition under the Sui dynasty , Buddhist sculpture of the Tang evolved towards a markedly lifelike expression. Because of the dynasty's openness to foreign influences, and renewed exchanges with Indian culture due to the numerous travels of Chinese Buddhist monks to India, Tang dynasty Buddhist sculpture assumed

3996-411: The forms of human figures and ornament. Figures were much larger than any known from India previously, and also more naturalistic, and new details included wavy hair, drapery covering both shoulders, shoes and sandals, and acanthus leaf ornament. The art of Mathura tends to be based on an Indian tradition, exemplified by the anthropomorphic representation of divinities such as the Yaksas , although in

4070-559: The literate for the Buddhist sutras and transformed Korean civilization. Particularly important in the transmission of sophisticated art styles to the Korean kingdoms was the art of the "barbarian" Tuoba, a clan of non-Han Chinese Xianbei people who established the Northern Wei dynasty in China in 386. The Northern Wei style was particularly influential in the art of the Goguryeo and Baekje. Baekje artisans later transmitted this style along with Southern dynasty elements and distinct Korean elements to Japan. Korean artisans were highly selective of

4144-557: The new township, Venkatadri Nayudu invited settlers from surrounding areas and provided support for building activities. Materials from Dipaladinne, including large bricks and sculptured marble slabs, were repurposed for construction, such as for the Sivaganga tank. Despite initial hopes of uncovering treasures, the zamindar's excavation yielded no valuables, and some sculpted slabs were defaced before being used in local mosques to prevent their association with idolatry. News of these findings reached Mackenzie, who briefly visited and assessed

4218-401: The north of the Indian subcontinent , in modern India, Pakistan and Afghanistan, with the earliest survivals dating from a few centuries after the historical life of Siddhartha Gautama from the 6th to 5th century BCE. As Buddhism spread and evolved in each new host country, Buddhist art followed in its footsteps. It developed to the north through Central Asia and into Eastern Asia to form

4292-432: The northern route was also highly influenced by the development of Mahāyāna Buddhism, an inclusive branch of Buddhism characterized by the adoption of new texts, in addition to the traditional āgamas , and a shift in the understanding of Buddhism. Mahāyāna goes beyond the traditional Early Buddhist ideal of the release from suffering ( duḥkha ) of arhats , and emphasizes the bodhisattva path. The Mahāyāna sutras elevate

4366-433: The official date. The Baekje Kingdom officially recognized Buddhism in 384. The Silla Kingdom, isolated and with no easy sea or land access to China, officially adopted Buddhism in 535 although the foreign religion was known in the kingdom due to the work of Goguryeo monks since the early 5th century. The introduction of Buddhism stimulated the need for artisans to create images for veneration, architects for temples, and

4440-468: The rest of Asia. At the end of the 12th century CE, Buddhism in its full glory came to be preserved only in the Himalayan regions in India. These areas, helped by their location, were in greater contact with Tibet and China – for example the art and traditions of Ladakh bear the stamp of Tibetan and Chinese influence. As Buddhism expanded outside of India from the 1st century CE, its original artistic package blended with other artistic influences, leading to

4514-430: The site's archaeological potential. In 1818, he returned with a team to create detailed drawings and recover some sculptured pieces. Later, Walter Elliot (1803–1887) further excavated the Amaravati Stupa, sending a significant portion of artifacts, known as the "Elliot Marbles," to the British Museum . The Mahachaitya , or Amaravati Stupa, is the most prominent historic monument in Amaravathi. Built in phases between

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4588-493: The so-called international style. State-sponsored Buddhist art flourished during this period, the epitome of which is the Seokguram Grotto. The fall of the Unified Silla dynasty and the establishment of the Goryeo dynasty in 918 indicates a new period of Korean Buddhist art. The Goryeo kings also lavishly sponsored Buddhism and Buddhist art flourished, especially Buddhist paintings and illuminated sutras written in gold and silver ink. [1] . The crowning achievement of this period

4662-438: The spread of Buddhism. Amaravathi’s monasteries and educational institutions attracted scholars from across India, East Asia , and Southeast Asia . The Ikshvaku dynasty , which ruled the region in the 3rd to 4th centuries CE, continued to support these Buddhist institutions even after the decline of the Satavahanas. The Skanda Purana provides accounts of Amaravathi’s religious and cultural significance, particularly focusing on

4736-434: The spread of Greco-Buddhist art style to other parts of the subcontinent. The Indo-Greek King Menander I was renown as a great patron of Buddhism, attaining the title of an arhat . Meanwhile, Pushyamitra Shunga persecuted Buddhism, presumably to further erase the legacy of the Mauryan Empire. This led to the decline of Buddhist art east of Mathura. Gandharan Buddhist sculpture displays Hellenistic artistic influence in

4810-412: The spread of Islam in the 7th century. It is exemplified by the Buddhas of Bamyan . Other sculptures, in stucco , schist or clay , display very strong blending of Indian post- Gupta mannerism and Classical influence, Hellenistic or possibly even Greco-Roman . Although Islamic rule was limited tolerant of other religions " of the Book ", it showed zero tolerance for Buddhism, which was perceived as

4884-457: The state average of 67.4%. Amaravathi gram panchayat is the local self-government of the village. It is divided into wards and each ward is represented by a ward member. The village as a part of Amaravathi mandal, which is part of the Pedakurapadu assembly constituency . The present MLA representing the constituency is Bhashyam Praveen from TDP . The town is a centre of pilgrimage for both Hindus and Buddhists . The inscriptions on

4958-400: The stupa and its surrounding ruins hold great cultural value. Amaravathi is located near Dhanyakataka (modern Dharanikota ), which once served as the capital of the Satavahana dynasty . Key landmarks in Amaravathi also include the Amaravathi Heritage Centre and Museum, which preserves artifacts from its ancient past, and the Dhyana Buddha statue , a prominent modern sculpture representing

5032-400: The styles they incorporated and combined different regional styles together to create a specific Korean Buddhist art style. While Goguryeo Buddhist art exhibited vitality and mobility akin with Northern Wei prototypes, the Baekje Kingdom was also in close contact with the Southern dynasties of China and this close diplomatic contact is exemplified in the gentle and proportional sculpture of

5106-408: The unique blend of Chinese, Tibetan and Manchurian artistic styles that characterized some of the Buddhist art produced in China under Qianlong's reign. After the Qianlong Emperor 's abdication in 1795, the popularity of Tibetan Buddhism at the Qing court declined. The motives behind the Qing emperors' promotion of Tibetan Buddhism have been interpreted as a calculated act of political manipulation, and

5180-507: The village is by road. The Vijayawada–Amaravathi Road connects the village with cities of Vijayawada , Tenali , Guntur , and with the Andhra Pradesh Capital Region areas of Undavalli , Penumaka , Rayapudi . The Guntur–Amaravathi Road connects it with the district headquarters, Guntur . It also has road connectivity from Sattenapalle , Mangalagiri and Krosuru . APSRTC operates buses from major bus stations like NTR bus station in Guntur, Pandit Nehru bus station in Vijayawada and

5254-462: The village's Buddhist heritage. The village, with a population of around 13,400 as per the 2011 census , is also recognized under the Heritage City Development and Augmentation Yojana (HRIDAY) scheme for heritage conservation and development. The name Amaravathi translates to "The Abode of Immortals." The place is named after the Amareswara Temple , one of the Pancharama Kshetras , significant Hindu temples dedicated to Lord Siva . Amaravathi

5328-558: The walls of the Amareswara temple depicts the reign of Vasireddy Venkatadri Nayudu who ruled before the advent of British rule . He was well known for his benevolence, munificence and for the construction of a large number of temples and education centres in the Krishna River delta. It also hosts a 125-foot tall statue of the Buddha, known as the Dhyana Buddha . The ancient structures and replicas can be found at Kalachakra museum, which

5402-409: Was particularly stable with China and Korea both enjoying unified governments. Early Unified Silla art combined Silla styles and Baekje styles. Korean Buddhist art was also influenced by new Tang dynasty styles as evidenced by a new popular Buddhist motif with full-faced Buddha sculptures. Tang China was the cross roads of East, Central, and South Asia and so the Buddhist art of this time period exhibit

5476-629: Was renamed the Amaravathi Heritage Centre and Museum. The ancient Buddhist stupa and other ruins make up one of the centrally protected Monuments of National Importance . The main Hindu festivals celebrated are Mahasivaratri and the Navaratri . The 30th Kalachakra festival, a popular Buddhist ritual, was held at Amaravathi in the first week of January 2006. It is one of the oldest tourist places for Buddhists. The only means of connectivity for

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