Nagarjunakonda Museum

Nagarjunakonda Museum

1. Introduction

The archaeological site museum is situated in Nagarjunakonda or Nagarjuna’s hill in Guntur district on right bank of the river Krishna. Comprising overall area of 8 square miles, girt by high hills on the north, east, and south and flanked by the swift flowing Krishna on the west again partly on the north it commands a natural strategic situation. The museum is now transformed into an Island due to the construction of Nagarjunasagar dam across the river about 10 km downstream

View of Nagarjunakonda Island

Its historical importance is derived from its having been the capital of the Ikshvaku kings during 3rd-4th century CE. The Ikshvaku kings as well as their successors, who used the hill as citadel, fortified it by constructing a long brick wall with bastions and gateways in the early period and

later by a cyclopean masonry wall of granite with curtain walls, portioning the top in to three enclosures. In the inscriptions of Ikshvaku kings called the nearby valley as Sri Parvata Vijayapuri ( SIRI PAVATE VIJAYAPURE ).

2. History of the museum

When the plan to transform the valley into a reservoir (Nagarjunasagar project) was decided, the Archaeological Survey of India under R.Subrahmanyam, Superintendant, Nagarjunakonda Excavation Project made a determined effort from 1954-60 to salvage the ruins before the submergence and excavated the entire length and breadth and of the valley exposing more than 100 sites.

Former Prime Minister, Jawaharlal Nehru, while laying foundation stone of the Nagarjunasagar project in 1955, visited the excavated site in the valley and directed the authorities to transplant the important monuments and to preserve the Stupa slabs, stone sculptures, inscribed slabs, coins etc., in a museum to be built on Nagarjunakonda. Nehru named Nagarjunasagar as ‘Modern temple’ while Vijayapuri valley as ‘Ancient temple’. In an attempt to recapture the essence of the architectural tradition, 9 monuments, some of them of gigantic proportions have been rebuilt in their original form and alignment on the hill and 3 monuments at Anupu.

The Museum is established to collect, preserve and exhibit the antiquities retrieved from the excavations of the valley. As per the instructions of Jawaharlal Nehru an U shaped Museum, a spacious structure simulating to a Buddhist vihara on plan has been constructed with the locally quarried stone by A.S.I. The foundation stone was laid by Late Humayun Kabir, the then Minister for Education and Scientific Affairs, Government of India on 31-1-1959 while the museum building was inaugurated by Late M. C. Chagla, Minister for Education, Govt. of India on 23-4-1966.

The museum with five galleries presents relics, collected from excavation and exploration from the valley, of all periods through which Nagarjunakonda valley passed. They are also representatives of the pre- history, proto- history and history of the region. In the entrance hall of the museum can be seen the key-plan of the museum showing the arrangements of the exhibits in the galleries, a sales counter for selling the departmental publications of A.S.I, a map

showing different museums of A.S.I, a touch screen kiosk and few sofas for the visitors. A square hall at the rear of the museum exhibits small scale models of some of the excavated sites in glass showcases arranged around the model of the Nagarjunakonda valley depicting various excavated sites, river Krishna, Nagarjunakonda, museum building, reconstructed monuments etc., on the hill top.

3. Museum Architecture

The Nagarjunakonda Museum building is important for Architectural point of view having the shape of a Buddhist vihara. The building is raised on high platform and in the ground level in rectangular intervals all along the museum there are circular openings having double serpentine design (Naga design), being made of stone enhancing the Aesthetic beauty of the building.

4. Museum collections

The rich collections of antiquities housed in the Museum were retrieved from the excavations carried out by the Archaeological Survey of India. Besides, large numbers of antiquities were added to the collection through the exploration carried by various scholars. Altogether there are 8362 antiquities stored in the museum of which 331 antiquities are on display in five galleries.

The reserve collection containing objects of stupa slabs, sculptures, carved pillars, inscribed slabs due to shortage of space for their exhibition in the galleries. The museum Library equipped with valuable collection of books. Therefore the museum is considered as one of the important in the country particularly in the state of Andhra Pradesh.

5. Scheme of Display

The entire exhibition area of museum has been designed into five Galleries. The artefacts recovered from the excavations have been displayed in the Galleries I, II, IV and V. However,

Gallery III has been designed for display of huge model of the Nagarjunakonda valley before submerge and display of scale models of structures unearthed in the excavations.

The key Galleries are known for the master pieces of Ikshvaku art and architecture in the form of life scenes of Buddha, well sculptured ayaka-slabs, the cross beams of ayaka-plotforms capturing in all fineness the episodes of the enlightened one tree nymphs, inscriptions, pillars, other objects like beads, pottery ctc. A separate section with show- cases high lights the development of human civilization in the region from stone age to the megalithic period through excavated artifacts with adequate illustrations. In addition to that minor antiquities like terracotta and stucco figurines, seals and coins form part of display.

Furthermore many movable objects which were unearthed during excavation were proposed to keep in the archaeological museum built on one such Island. Important monuments like Stadium, Chaitya, Stupa, Viharas were transplanted part by part and using the same materials those were rebuilt few of which are on the Island and few on the right bank of the river. The details of each gallery and mode of exhibition and details of antiquities are discussed here under.

5.1 Gallery I

The Gallery no1 is located immediately after the reception /publication counter in the museum. At the entry of the gallery a bi-lingual (Telugu and English) cultural board is placed describing the objects which are on display inside the gallery. This will felicitate the visitor to understand the cultural importance of the antiquities in the gallery. Apart from that all the displayed antiquities are provided with proper labels in bi-lingual. From the entry of the gallery one can see the image of Buddha in the center of the gallery. In front of which highly ornate moon stone is displayed giving aesthetic appeal of Buddhist vihara. In addition to open display of the stone panels there are six wall showcases accommodating display of prehistoric objects and minor objects of early historic period and photographs of excavated remains. Apart from the above there are models of Plaster of Paris ( PoP) resembling to stone tools are also on display.

5.2 Gallery II

There is no physical partition between Gallery no 1 and 2. For convenience of display of antiquities and to ensure proper security to the objects imaginary partition is made. This gallery is designed to house drum slabs, ayaka patas, other minor objects, pottery of Ikshvaku period ctc. Huge slabs of lime stone is depicted with jataka tales in relief. Apart from display on wooden pedestals there are four showcases which house some of the minor objects. At the end of the gallery a model of mahastupa is displayed which is made of (Plaster of Paris) POP. In order to ensure proper security a brass railing is provided around the model. The wooden pedestals for display are designed keeping view of the height of object and to maintain eye level.

5.3 Gallery III

This gallery is located in a small square chamber. The gallery presents models of a panoramic view of the submerged valley along with models of secular and religious edifices. On the floor of the hall is the model of the valley with its topographical environs locating over120 excavated sites. In the wall show-cases all around, are models of important excavated sites and remains. These include Neolithic and Megalithic burials, stupas, Brahminical Structures dedicated to Sarvadeva, Kartikeya, Pusphabhadraswamin, Asthabhujaswamin, Secular edifices like the amphitheatre, bathing ghat ctc. Though the structural remains, as revealed by the excavation, are fragmentary, they give us a fairly complete picture of the city of Vijayapuri as it stood in the early century of Christian era.

5.4 Gallery IV

It is more or less similar to the size of Gallery no.2. As mentioned in earlier there is no partition between the galleries except Gallery no. 3 which is located inside a square shaped hall. Similar to that of other galleries display is made over the wooden pedestals as well as Island showcases. There are all together four showcases are located inside the gallery which houses minor objects. The large number of stupa slabs are on display in this gallery depicts the popular jataka tales. They depict scenes from life of Buddha. In this gallery can also be seen small and medium sized sculptures and lintels of lime stone, stucco and terracotta figures, all typical of Ikshvaku pottery and pottery of that and subsequent periods. This gallery also houses the Brahmanical deities, few pillars bearing reliefs on secular subjects, inscriptions, few images in round and medieval sculptures.

Display is made systematic manner inside the gallery. All the displayed objects are provided with proper labels. Large size panels are placed over wooden pedestals along the wall where as moderate size objects are placed in the rest of the area.

5.5 Gallery V

This is the last gallery in parallel to gallery no.1 .There is an exit gate provided at the end of the gallery. One can come out of the museum after visiting this gallery. Select specimens of the epigraphs, decorated architectural members and medieval sculptures are on display in this gallery. The inscriptions are written on pillars forming part of the structural complexes, sculptures, pedestals, memorial pillars and detached slabs. The wooden pedestals of this gallery are specially designed to accommodate lengthy ayaka pillars. In addition to that two glass showcases houses big storage jars of early historic period. There is also wall showcase wherein medieval sculptures are placed. Earlier there used to be partition to accommodate huge number of reserve collection antiquities. Now the partition is removed and the available space was utilized for displaying more antiquities. The reserve collection objects are shifted to the newly constructed reserve collection room on the Island.

The gallery wise distributions of antiquities are as follows.

S.NO

Name of Gallery

Total number of antiquities on display

01

Gallery No. I

155

02

Gallery No. II

62

03

Gallery No. III

*** 38

04

Gallery No. IV

83

05

Gallery No. V

31

Total

331

6. Unique objects of Museum collections

 Nagarjunakonda museum known for the master pieces of Ikshvaku art and architecture in the form of all pervading serene Buddha, well sculptured ayaka slabs, the cross beam of ayaka platforms capturing in all fineness episodes of Buddha’s life.

 To the right of the sales counter in Asst. Archaeologists room are preserved a relic casket found in Maha Stupa, golden necklace, Makara Kundalas, golden and silver bowls and Roman gold coins in a locker for security reasons. The gold reliquary containing the relic (DHATU) of Buddha, gold and silver flowers were kept in a silver casket which intern was placed in a copper casket and this group was lodged in a glazed earthen ware (Terracotta) receptacle, resembling a miniature stupa.

 In a wall showcase are exhibited Early, Middle, Late Stone Age, Neolithic Age tools and iron objects pertaining to Megalithic Period.

 Among the early historic objects exhibited in another showcase are lead coins of Sathavahanas and Ikshvaku rulers, copper coins of Vijayanagara and Muslim rulers, beads belonging to the successive phases of Nagarjunakonda.

 The pot-bellied standing Yaksha Sanka-nidhi and Padma nidhi greet the visitors as soon as they enter the gallery.

 The most attractive piece of the first gallery is the colossal figure of a standing Buddha (3mts height) found from the site no.4 in the valley. This image, like any other sculpture in round from Nagarjunakonda, stands in frontal pose holding the hem of his upper garment (Ardhouka) in the left hand while the right hand (broken now) is in Abhaya Mudra. This image was originally found in several pieces and was carefully mended by the departmental modellers before it was exhibited in the museum.

 Not less than a dozen images of Buddha represented either by their torsos or busts have been exhibited in different parts of the museum

 The ornamental moon stone frinzed by a row of animals like the Lion, Bear, Elephant, Deer, Bull and horse serves as a door step leading to the Buddhist shrine (apsidal Chaitya Gruha).

 In a showcase in the main hall are seen some of the Brahmanical deities like Kartikeya, his consort Devasena, Yakshi and Yaksha, a lime stone Siva linga, Sati, Hariti, the Buddhist goddess and a number of beautiful images in round.

 Nagarjunakonda has produced magnificent examples of door-jambs, screen-slabs, cross-bars and ceiling slabs all bearing the stamps of mature plastic traditions.

 A rare piece and an excellent example of preliminary drawing (HASTHA-LEKHA) on a slab before carving were also on show in the museum.

 Some of the female figures displayed in the showcases are best examples of fine workmanship, representing the climax of the Nagarjunakonda art tradition.

 Two beautifully carved Mandapa pillars, present variety of scenes including dancing Yakshas playing with toys and dance scenes.

 On the eastern wing of the first gallery is a panel depicting in bold lines the main episodes from the life of Gautama Buddha, each scene alternating with a MITHUNA figures. 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 Ikshvaku art.

 A bust of Buddha notable for its features, architectural pieces like the cornice beam, coping stone, AYAKAPATA etc., have been displayed on the other side of same side of gallery.

 The drum and dome slabs and on cornice beam depicts JATAKA tales like Sasa Jataka, Champeyya Jataka, Sibi Jataka, Mandhatu Jathaka, Mahapadma Jataka, Vessantara Jataka, DighitiKosala Jataka, Dasaradha Jataka, Hamsa Jathaka etc. The Jataka tales are the previous births of Bodhisattva in which he was born as a monkey, Serpent (NAGA) prince, swan, king Rama etc. The Jataka tales tell about the previous lives of Buddha in both human and animal form. The Jataka tales are dated between 300BC-400AD and many of the tales are set in and around Varanasi.

 Several drum slabs have been displayed which depict the life events of Buddha. Some of the Stupa slabs on the eastern wing show the worship of Buddha in symbolic forms like Bodhi tree, wheel (chakra) and Stupa. The upper friezes of dome slabs exhibited in the museum generally show rows of animals TRIRATNAS, Stupas Purnaghatas, garland bearers (mala vahakas) Etc.

 Among the medieval sculptures, the ornate image of Yoga Narasimha represents probably the art of 14th century C.E. The standing Jaina Tirthamkara is a dynamic sculpture of about 13th century C.E. The sculptures of Mahishamardini Durga, Ganesha and Nandi belong to the 16th-17th century C.E, Siva and Sakti datable to 17th – 18th century C.E represent the latest phase of art at Nagarjunakonda.

7. Conclusion:

From the above one can understand the importance of the Nagarjunakonda Museum not only by its location on an Island but also multifarious antiquities housed in it. The Museum is unique of its kind among the site museums of Archaeological survey of India.

The particular Island housing the Nagarjunakonda archaeological museum is parallel in the world not only by virtue of solitary instance of being placed in an Island but also its union and

unparallel gift of the nature in terms of beautiful tress, drazzling small waves of the Sagar, little flower with uncanny sweet fragrance, tiny birds and butterflies, wild bears and peacocks.

The Museum is grand repository of ancient cultural treasures of Ikshvaku period of 3-4th Cen. C.E. which is of exceptional interest and universal value. As can be seen above the site museum on Nagarjunakonda houses antiquities from pre-history, proto-history, history upto 18th century C.E through which Nagarjunakonda passed.The above vivid and myriad exhibits have earned a unique place for this museum in India as well as in abroad.

This first Island museum in India is a dream project of Late Pandit Jawaharlal Nehru and can be reached by Andhra Pradesh tourism motor launch from Vijayapuri South. But unfortunately, Pandit Nehru was not there to see his foresighted plan at the time of commissioning of site museum during 1966