Skip to content
Browse articles

The Development of Buddhist Art in South India

By Deva Prasad Ghosh

Vol. 3 · No. 3September - 1927pp. 486–507English

Summary

The development of Buddhist art in South India, particularly at Amaravati, reflects a dynamic synthesis of indigenous and foreign influences. Early Amaravati art (circa 2nd–1st century BCE) shows experimentation, moving away from earlier Bharhut-style motifs like lotus creepers and abstract ornaments. Instead, it adopts realistic designs, with a focus on pyramidal battlements and Caitya window patterns derived from wooden or bamboo prototypes. The art emphasizes fluid, meandering lines and soft curves, influenced by Hellenistic ideas, as seen in the introduction of the Acanthus leaf motif. Lotus motifs dominate decorative elements, evolving into intricate circular slabs and energetic floral patterns. These designs often combine twisting creepers, mobile animal figures, and rhythmic compositions, creating harmonious visual flow. The lotus rosettes exhibit remarkable variety and carving excellence, resembling later Ajanta cave paintings. Notably, Amaravati avoids earlier motifs like the Tree and Woman theme, favoring abstract scrolls and beadwork for framing. The roll-ornament, likely imported from Gandhara, becomes a favored motif, featuring central lotus blossoms surrounded by floral scrolls. This motif was later refined by Gupta artists. Amaravati’s innovative use of diagonal mat-work bands and rhythmic arrangements, such as umbrella clusters around the Harmika, highlights its artistic sophistication. The art’s evolution toward realism and direct observation marks a departure from the abstraction of earlier periods like Bharhut and Bodh Gaya.

AI-assisted summary, not yet checked. Consult the original PDF before citing.

Conclusion

The development of Buddhist art in South India, as exemplified by the Amaravati school, reveals a dynamic interplay between indigenous traditions and foreign influences. This synthesis not only transformed earlier motifs into innovative, locally rooted designs but also laid the foundation for later artistic evolution, particularly in Gupta-era Mathura. The shift from abstract ornamentation to realistic motifs, the introduction of the Acanthus leaf, and the intricate scroll designs demonstrate the Amaravati artist's exceptional decorative sensibility and technical mastery. These advancements significantly influenced subsequent Indian art, embedding ornamental scrolls and rhythmic stone patterns into medieval traditions. The Amaravati style's harmonious integration of local and external elements underscores its enduring legacy in shaping India's artistic heritage.

Key passages

Chosen by AI from the article's text. Each one is checked word for word against the text before it is shown.

  • “The art of Amaravati 1૩ the expression of an age of ex- perimentation in the ever changing history of evolutionary process.”
  • “These foreign contributions, she welcomed in & perfectly friendly spirit, absorbed them and welded the old and the new in a wonderful synthesis.”
  • “The division of a succession of concentric fillets into delicate little petals along with the beautiful calyx in the centre—all carved in very bold and high reliefs, is responsible for the impression of decerative grandeur.”

Works cited in this article

  1. Codrington—Anciez‘lt India, London, (925. Vol I, fig. 8.
  2. Coomaraswamy—BHistory of [ndian and Indonesian Art, London, 1027, plate 146.
  3. Burgess, The Buddhist Stipas of Amaravati and Jagayyapeta, London, 1887.
  4. Rea—DBuddhist Monasteries on the Gurubhaktakondo of Durgi-konda Hills at Ramatirtham ; A. 5. 1., ઠે. R, 1010-11.
  5. Rea—A Buddhist Monastery on the Sankaram Hills ; A, છ. £, A, R, 1007-08.

Discussed in this article

Places

Texts & works

  • Buddhist Stipas of Amaravati and Jagayyapeta

Dynasties, sects & groups

AI guide

Discuss this record

Ask about the article, its topics, issue context, selected passages, or reading strategy.

Start with the record

I can unpack the summary, turn it into study questions, explain a selected passage, or compare it with the other articles in this issue.

Original PDF

Inline viewer

Checking source PDF

The viewer will load here if the archive file is reachable.

Same author

More by Deva Prasad Ghosh

All articles →
Jain Journal A Quarterly on Jainology

Traces of Jainism in Bengal

By Deva Prasad Ghosh

April - 1984
The Indian Historical Quarterly

Reviews

By Deva Prasad Ghosh

September - 1939
The Indian Historical Quarterly

Kalinga Style of Architecture

By Deva Prasad Ghosh

September - 1939
The Indian Historical Quarterly

A Dated Copper-Plate Grant from Sundarban

By Deva Prasad Ghosh, Benoy Chandra Sen

June - 1934

Continue reading

Related articles

The Indian Historical Quarterly

Kautilya on Royal Authority

By U. N. Ghoshal

September - 1953