During the third and fourth centuries CE, the Ikshvaku dynasty ruled in India's eastern Krishna River valley from their capital at Vijayapuri (modern Nagarjunakonda in Andhra Pradesh). To distinguish themselves from their legendary namesakes, the Ikshvakus are also known as the Andhra Ikshvakus or the Ikshvakus of Vijayapuri. The Ikshvaku kings were Shaivites who followed Vedic rituals, but Buddhism flourished during their reign as well. Several Ikshvaku queens and princes helped build the Buddhist monuments at present-day Nagarjunakonda. In this article, we will discuss the Ikshvaku Dynasty (225-340 AD) which will be helpful for UPSC exam preparation.

Region of Ikshvaku Dynasty

Ikshvaku Dynasty - Origin

• Although the origin of the Ikshvaku clan is still debated, there are numerous references to the dynasty's origin and existence.
• The Ikshvakus inscriptions found in Nagarjunakonda, Jaggayyapetta, Amravati, and Bhattiprolu document their activities such as donation, construction, religious faith, social outlook, and so on.
• The Puranas also mention ikshvakus as Andhrabhrtyas (Andhra servants) and Sriparvatiyas (Foresters).
• In the Ikshvaku inscriptions, sriparvatiya is referred to in relation to vijayapuri (the ancient name of the Ikshvaku capital) as Sriparvate Vijaypur, which appears to be the ancient name of the Nallamalai Range.
• According to the Kannada poem Dharmamrita, the Andhra Ikshvakus were the descendants of the renowned Ikshvakus of North India, though the authenticity of this is debatable as it was possibly done to elevate the tribe's status in the eyes of the people.
• The Andhra Ikshvakus undoubtedly believed that claiming descent from the mythological Ikshvakus of Ayodhya, to whom Lord Rama (the mythological hero) also belonged, would endear them to their subjects.
• According to Oriental scholars such as Buhler and Rapson, northern Ikshvakus migrated to the south and established their sovereignty.

Art and Architecture

• The Ikshvakus are well-known for their dual religious beliefs, which are reflected in their art and architectural projects.
• Their inscriptions record facts such as donations for the construction of chaityas and viharas at Bhattiprolu and Jaggayyapeta, as well as the construction of temples during the reigns of each ruler, indicating that they practised both Buddhism and Brahminism.
• Furthermore, according to the inscriptions of Jaggapatteya, Kottampalugu, and Nagarjunakonda, it appears that most of the Ikshvaku women of royal families were Buddhist patrons, as they mostly funded Buddhist construction.
• This reign represents the Krishna-Guntur region's cultural and religious growth and development.
• As a result, the architectural splendour of the Ikshvakus, as seen in the Mahachaitas and viharas, as well as the richly ornate temples, particularly at the site known as Nagarjunakonda, demonstrate that they supported both the Vedic and Buddhist faiths.
• Excavations at Nagarjunakonda (Vijayapuri) reveal that it was the main site of the Ikshvakus and saw growth in architecture, religion, and sculptural techniques during their reign.
• The citadel of the Ikshvakus, which was well fortified and had rampart walls for effective security, was one of the most prominent structures at Nagarjunakonda. The citadel's structures included residential buildings, barracks, stables, baths, cisterns, and square walls.
• A strange edifice discovered near Nagarjunakonda was thought to be the palace of Ikshvakus, but this has not been proven conclusively, though traces of a moat outside the edifice's rampart support the former case.
• According to the ASI study, a stepped tank with a water overflow mechanism was also excavated, which originally had a wooden superstructure with lamps, hooks, and so on.

Sculpture

• The ikshvakus' sculptures are classified as part of the declining phase of a glorious art tradition that began with Amravati and Jaggapatteya art in the second century B.C.
• Ikshvaku art was the final glimmer in the lamp of the great tradition of satavahana art, which began around 230 B.C.E. THE ikshvakus sculptural tradition had its own development history.
• During the early phases (Virapurushadutta's reign), the carvings displayed on structures lacked the vigour of mature Amravatitrdition and were made in low relief.
• The stupas were also plain, with no anthropomorphic depictions of Buddha, and he was represented in symbolic forms such as a wheel, feet, and throne with Swastika.
• Sculptures with delicate poses and subtle expressions represented the mature phase. The themes behind the depicted sculptures are mostly jatakas like the Mandhatu-jataka. Figures carved in round appear during the 11th regnal year of EhuvalaCamtamula, as evidenced by the archaeological remains of a mutilated Buddha image discovered in an apsidal shrine at Nagarjunakonda's site 9.
• There is also an evolved phase in ikshvaku art, as evidenced by the dating of a long panel discovered at site 106 in Nagarjunakonda. This is dated to the 24th regnal year of Ehuvala Camtamula and features intricate depictions of mithuna figures and scenes from Gautama Buddha's life.
• Other sculptures from this period are in bold relief and have evolved features such as depictions of human emotions and expressions. Such expressions can be seen in sculptures of mithuna couples and other dwarf figures.
• The major themes are drawn from great canons of Buddhist literature and more than a dozen jataka stories, including the Sasa jataka, Mahapaduma jataka, Vessantra jataka, and Mahahamsa jataka.
• The sculptures depict Mara's attack and retreat, Muchalinda protecting Buddha, and scenes from the Lalit Vistara.
• The mature style of art appears to be prominent in the Brahmanical art tradition of the Ikshvakus, with intricately designed and beautifully carved reliefs of Sati, a female deity with two arms, and Karttikeya sculptures carved in round.
• The secular art tradition of the ikshvakus is visible in the battle scenes depicted on pillars, which are from the mature phase but have different contents.
• Such scenes indicate that the capital city of Ikshvakus, Vijayapuri, was subjected to military dangers.
• An important scene depicted on King Kulhaka-memorial Chamtapula's depicting an elephant with a rider is an example.

A Nagarjunakonda sculpture depicting the division of Buddha Relics

Conclusion

Thus, during the period when the new elements of Ikshvaku art began to take root in the Krishna valley, i.e. around the second quarter of the third century, when the Satavahana art style or Amravati school of art was not at its peak, the valley saw prosperity and spectacular growth not only as a centre of art but also in terms of political power. During Ikshvaku's brief reign, people of various faiths and beliefs thrived, such as royal women who practised Buddhism and men who practised Vedic religion. The undisputed supremacy of the ikshvakus, as evidenced by magnificent structural activities and patronage of various styles and art forms, came to an end in the 11th regnal year of Rudrapurushadutta. Purushadatta II, the last of the Iksvaku kings, was deposed by Pallava ruler Simhavarman I.