The Development of Buddhist Art in South India

Summary

This article traces the evolution of Buddhist art in South India, focusing on the stupa at Amaravati in Andhra Pradesh, one of the most magnificent Buddhist monuments. The author recounts how the stupa, built around the 2nd century B.C., decayed over time and was pillaged by local landlords and European collectors in the 18th and 19th centuries; slabs of marble were removed to decorate temples and houses. Only in the late 19th century did government officials and archaeologists realise its significance and attempt to preserve the remaining sculptures. The article describes the stupa’s architecture: it was a solid drum 162 feet in diameter, encircled by an elaborately carved marble railing; the central dome rose about 90 feet and had no harmika or umbrella, distinguishing it from the stupas of Sanchi and Ceylon. Unique features included four projecting pedestals with lion pillars called aryaka-khambhe, dwarfs carrying offering trays and exquisite narrative panels depicting scenes from the Buddha’s life. The article emphasises the high artistic standard of Amaravati: its sculptors achieved fluidity and grace surpassing earlier works at Bharhut and Sanchi. The narrative reliefs show crowded compositions, attention to naturalism and delicate modelling of human and celestial figures. The author argues that this mature style influenced later Buddhist art across South India and Southeast Asia, as seen in the carvings of Nagarjunakonda and Borobudur. The paper also notes the role of patronage: merchant guilds and local rulers funded these monuments, illustrating the strong lay involvement in Buddhism. The decline of Buddhism in South India led to neglect of these monuments; many sculptures were re-used in Hindu temples. The article calls for further conservation efforts and suggests that studying Amaravati can illuminate the transmission of Buddhist iconography.