Which of the following statements on the Amaravati Stupa and its relief sculpture is/are correct?

It was located in the lower Krishna valley.
In India, it was next only to the Sanchi Stupa in size.
The Amaravati school of sculpture made a lasting impact on the later South Indian sculpture, and its products were carried to Sri Lanka and South-east Asia.

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Answer: (b) 1 and 3 only

Statement 1 is correct: The Amaravati Stupa (historically known as Dhanyakataka) was built in the lower Krishna river valley in modern Andhra Pradesh, thriving under the patronage of the Satavahanas and later the Ikshvakus.
Statement 2 is incorrect: When fully intact, the Amaravati Stupa was actually larger than the Sanchi Stupa. It was renowned as the grandest stupa (Mahachaitya) in ancient India, measuring roughly 50 meters in diameter and 30 meters in height, with highly elaborate narrative relief medallions.
Statement 3 is correct: The Amaravati school was distinct for its use of white marble-like limestone and its dynamic, crowded narrative style emphasizing movement. Its stylistic idioms deeply influenced Pallava and Chola art, and direct trade links led to the export of Amaravati-style Buddha statues to Sri Lanka (Anuradhapura), Thailand, and Indonesia.

River Valley Matrix: Located on the right bank of the Mudra/Krishna River in the Guntur district of Andhra Pradesh, flourishing in the lower Krishna-Godavari valley region.
Dynastic Patronage: Developed primarily under the patronage of the Satavahana Dynasty (1st century BCE to 2nd century CE) and later the Ikshvaku Dynasty (3rd century CE).
Capital Connectivity: Situated near Dharanikota (ancient Dhanyakataka), which served as the capital of the later Satavahanas.

Size Paradox: The Amaravati Stupa (Mahachaitya) was actually larger than the Sanchi Stupa.
The Dimensions: Sanchi Stupa No. 1 has a diameter of roughly 36.5 meters. The Amaravati Mahachaitya was the largest stupa in the Indian subcontinent during its peak, with a dome diameter exceeding 50 meters and a height of nearly 30 meters.
Structural Components: Unlike Sanchi’s stone railings, Amaravati was renowned for its Ayaka platforms topped with five Ayaka pillars facing each cardinal direction, symbolizing the five major events of Buddha’s life.

Material Identity: Characterized exclusively by the use of distinctive white marble-like limestone (greenish-white limestone), which sets it apart from the red sandstone of Mathura and the grey schist of Gandhara.
Stylistic Impact: The school favored a highly narrative, dynamic style featuring elongated, slim human figures in complex, crowded compositions displaying high emotional intensity and physical movement.
Maritime Diffusion: Located near ancient ports of the eastern coast (like Ghantasala and Masulipatnam), artifacts, Buddha images, and stylistic elements of Amaravati art were exported extensively along trade routes to Sri Lanka (Anuradhapura school), Thailand, Indonesia, and Vietnam (Amaravati-style bronzes). It laid the stylistic foundation for later Pallava, Chola, and Chalukyan architectural reliefs.

Transition of Forms: The school captures the transition from aniconic (symbolic representation of Buddha like the empty throne or footprints) to anthropomorphic (human form) art, showcasing both simultaneously on its casing slabs.
Jataka Narratives: Extensively depicts specific Buddhist legends, most notably the Chaddanta Jataka (six-tusked elephant), the Nalagiri Elephant episode (taming of the rogue elephant by Buddha), and the Mandhatu Jataka.
Discovery and Dispersion: Documented by Colin Mackenzie in 1797. Large portions of its surviving relief medallions were removed and are now split between the British Museum (the “Amaravati Marbles”), the Government Museum in Chennai, and the National Museum in New Delhi.