Animal figures

In case of depiction of animal figures there is a connection between Amarāvatī art and centres of early narrative art. In Amarāvatī the animals are sculpted in both true and mythical form. The mythical animals are called ‘ihāmṛgas.’^[1].

Among the mythical type, the lion with wings are found both in Amarāvatī (Pl 36a) and Sāñchī reliefs (Pl 36b). But the animal at Sāñchī is represented with a slight difference in the shape of its rump^[2]. Horned lion is found in both Amarāvatī and Sāñchī. However, horned lion at Sāñchī is a ferocious creature whereas the horned lion at Amarāvatī is a meek animal^[3]. The elephantine monster with the foreparts of an elephant and the tail of a fish and elephant with wings is depicted in the Amarāvatī art. The Mahābhārata mentions them as Gajavaktrajhashas and mināvājis. Dr. A.K Coomaraswamy calls the mythical elephant as Jālebhas^[4]. The early figures at Bodhgayā also depict such elephantine monsters which Grunwedel calls sea-elephant^[5]. In case of mythical and real elephants in the Amarāvatī art sometimes lotus rhizome with flowers, buds and leaves comes out of the jaws of the elephant. Similar depiction is seen on a coping from Bhārhut^[6].

The makara type, that is, the combination of crocodile and fish is visible in several art centres. Parallels of early depiction of makara in the Amarāvatī art are found at Bhārhut, Bodhgayā and Sāñchī. Yakṣī Sudarsanā from Bhārhut preserved in the Indian Museum stands on makara vāhana. (Pl 36c) Mithuna couples from Nāgārjunākoṇḍa stands on double makara. (Pl 36d) However, in comparison to the docile makara in Bhārhut, Amarāvatī makara (Pl 37a) display energy and vigour of the monster. Moreover makara in Amarāvatī art attained a greater importance than makara representations at Bhārhut and Sāñchī. This can be suggested by the fact that often in the Amarāvatī reliefs the focus of the composition was on powerful makara figure whereas the makaras in Bhārhut and Sāñchī was subserviant to other figural forms. The depiction of mermen, that is, half man and half fish is found both in Amarāvatī and Bodhgayā reliefs as a decorative pattern. Bodhgayā specimens also illustrate half man and half horse which is absent in Amarāvatī^[7]. However, mythical horse composed of wings is visible in the Jāggayyapeṭa specimen. It may be recalled that Jāggayyapeṭa demonstrated features of early Amarāvatī idiom and hence belonged to the Amarāvatī repertoire. Such depiction of mythical horse is also seen at Bhārhut. Deer with wings is visible both in the art of Amarāvatī (Pl 37b) and Sāñchī.(Pl 37c)