SATHAVAHANA

The Satavahanas (​IAST​: Sātavāhana), were an​ ​Indian​ ​dynasty​ based in the​ ​Deccan​ region. The
beginning of the Satavahana rule is dated variously from 271 BCE to 30 BCE. Satavahanas
dominated the Deccan region from 1st century BCE to 3rd century CE. The dynasty reached its
zenith under the rule of​ ​Gautamiputra Satakarni​ and his successor​ ​Vasisthiputra Pulamavi​. The
kingdom fragmented into smaller states in the early 3rd century CE. The most liberal estimates
suggest that it lasted until around 220 CE.
Rule conprised of ​Andhra Pradesh​,​ ​Telangana​ and​ ​Maharashtra​. Ancestors were said to be
vassals of the mauryans.
The Satavahanas were early issuers of Indian state​ ​coinage​ struck with images of their rulers.
They formed a cultural bridge and played a vital role in trade and the transfer of ideas and
culture to and from the​ ​Indo-Gangetic Plain​ to the​ ​southern tip of India​.
The Satavahanas patronized​ ​Prakrit​ language instead of​ ​Sanskrit​. They supported​ ​Buddhism​ as
well as​ ​Brahmanism​.
"Satavahana" is a​ ​Prakrit​ form of the Sanskrit ​Sapta-Vahana​ ("driven by seven"; in​ ​Hindu
mythology​, the chariot of the​ ​sun god​ is drawn by seven horses). This would indicate that the
Satavahanas originally claimed descent from the legendary​ ​solar dynasty​, as was common in
ancient India. Another theory connects their name to the earlier Satiyaputa dynasty. Yet another
theory derives their name from the​ ​Munda​ words ​Sadam​ ("horse") and ​Harpan​ ("son"), imply
"son of the performer of a​ ​horse sacrifice

COINAGE

The Satavahanas are the first native Indian rulers to issue their own coins with portraits of their
rulers, starting with king​ ​Gautamiputra Satakarni​, a practice derived from that of the​ ​Western
Satraps​ he defeated
The coin legends of the Satavahanas, in all areas and all periods, used a​ ​Prakrit​ dialect without
,​
exception. Some reverse coin legends are in​ ​Ta​MIL​ and​ ​Telugu language​, which seems to
have been in use in their heartland abutting the​ ​Godavari​,​ ​Kotilingala​,​ ​Karimnagar​ in​ ​Telangana​,
Krishna​,​ ​Amaravati​,​ ​Guntur​ in​ ​Andhra Pradesh​.

Satakarni​ issue,​ ​Maharashtra​ –​ ​Vidarbha​ type.

Satavahana 1st century BCE coin inscribed in Brahmi: "(Sataka)Nisa".​ ​British Museum​.

Silver coin of king​ ​Vashishtiputra Sātakarni​ (c. AD 160).

Scroll supported by Indian​ ​Yaksha​,​ ​Amaravati​, 2nd–3rd century CE.

ARCHITECHTURE

Amaravathi: ​The Sātavāhana rulers are also remarkable for their contributions to​ ​Buddhist art
and architecture. They built great stupas in the​ ​Krishna River​ Valley, including the stupa at
Amaravati​ in​ ​Andhra Pradesh​. The stupas were decorated in marble slabs and sculpted with
scenes from the life of the​ ​Buddha​, portrayed in a characteristic slim and elegant style. The
Satavahana empire colonized​ ​Southeast Asia​ and spread​ ​Indian culture​ to those parts. The
Amaravati​ style of sculpture spread to Southeast Asia at this time.
The ​Amaravathi ​Mahachaitya​,​ popularly known as the great​ ​stūpa​ at Amaravathi, is a ruined
Buddhist​ monument located at​ ​Amaravathi village, Guntur district​,​ ​Andhra Pradesh​, India. The
site is under the protection of the​ ​Archaeological Survey of India​. The campus includes the
[2]​
stūpa​ itself and the Archaeological Museum.​ The​ ​important sculptures from the site​ are now
dispersed between several museums in India and abroad.
The main construction phases of Amaravati fall in two main periods, with the additions
consisting of ​railings (​vedikā)​ ​and c​ arved slabs placed against the ​stūpa​ proper. These slabs
are usually called​ 'drum slabs' ​because they were placed round the​ base of the ​stūpa​ which has
[7]​
a shape similar to a circular drum​.​ In the early period (circa 200-100 BCE), the ​stūpa​ had a
simple railing consisting of granite pillars, with plain cross-bars, and coping stones​. The​ coping
stones with youths and animal reliefs, the early drum slabs, and some other early fragments
belong to this period​. The ​stūpa​ must have been fairly large at this time, considering the size of
the granite pillars (some of which are still seen ​in situ,​ following excavations).
Late period of construction:
1. The first phase is 50-0 CE, and the same period as the​ ​Sanchi​ ​stūpa​ I gateways
2. The second phase is 50-100 CE, the same period as Karli ​caitya​ and the​ ​Pandavleni
Caves​ (no. 3 and 10) at​ ​Nasik
3. The third phase is circa 200-250 CE based on comparisons with​ ​Nagarjunakonda
sculpture
4. Some other types of sculpture of belong to an even later time, about the seventh or
eighth centuries, and include standing Bodhisattvas and goddesses. Amaravātī
continued to be active after this time, probably to about the thirteenth century..
● Art historians regard the art of Amaravati as one of the three major styles or schools of
ancient Indian art, the other two being the​ ​Mathura​ style, and the​ ​Gandharan​ style.
● The Amravati school of art had great influence on art in Sri Lanka and South-East Asia
as products from here were carried to those countries. It also had influence over South
Indian sculpture.
● A different type of art form evolved and flourished in Amaravati for nearly six centuries,
commencing from 200-100 BCE. Patronized first by the​ ​Satavahanas​ and later by the
Ikshvakus and other groups (feudatories, officials, and merchants), four periods of
activity are easily discernible
● With its beginning in 3rd century BCE, the Amaravati unfolds its chapters through the
galaxy of sculptural wealth that once adorned the Mahachaitya - the majestic monument
of the Buddhists situated here with its history extending over a period of a millennium
and a half

Relief from the side of the stūpa, now at the Government Museum in Chennai

Buddha Preaching in Tushita Heaven, now at Indian Museum in Kolkata

Sculptures at the Archaeological Museum, Amaravati

The Great Departure, from Amaravati

A representation of​ ​Mara​'s assault on the Buddha, depicted in aniconic form, 2nd century AD,
Amaravati.​ ​Guimet Museum​, Paris]]

iconic representation of Maras Assault on the buddha. 2nd cen

Amravathi.

Sanchi: ​The Satavahanas contributed greatly to the embellishment of the

Buddhist stupa of​ ​Sanchi​. The gateways and the balustrade were built after 70
BCE, and appear to have been commissioned by them. An inscription records
the gift of one of the top​ ​architraves​ of the Southern Gateway by the artisans of
the Satavahana Emperor​ ​Satakarni​:

“Gift of Ananda, the son of Vasithi, the foreman of the artisans of rajan Siri
Satakarni”

Nagarjunakonda:​ (meaning ​Nagarjuna Hill​) is a historical​ ​Buddhist​ town, now an island

[1]​[2]​
located near​ ​Nagarjuna Sagar​ in​ ​Guntur district​,​ ​Andhra Pradesh​,​ ​India​. It is 160 km west
side of another important historic site​ ​Amaravathi​. It is one of India's richest Buddhist sites,
known in the ancient times as Sri Parvata. It now lies almost entirely under the Nagarjunasagar
Dam. It is named after​ ​Nagarjuna​, a southern Indian master of​ ​Mahayana Buddhism​ who lived
in the 2nd century AD, who is believed to have been responsible for the Buddhist activity in the
area. The site was once the location of many Buddhist universities and monasteries, attracting
students from as far as​ ​China​,​ ​Gandhara​,​ ​Bengal​ and​ ​Sri Lanka​. The Buddhist archaeological
sites there were submerged, and had to later be dug up and transferred to higher land on the
hill, which had become an island.

Indian ship on lead coin of​ ​Vasisthiputra Sri Pulamavi​, testimony to the naval, seafaring and
trading capabilities of the Satavahanas during the 1st–2nd century CE.

Coin of Gautamiputra​ ​Yajna