Amaravati School — Key Changes

Entry	Year	Description	Impact
Phase I: Early Aniconic Development	c. 2nd-1st Century BCE	Initial phase characterized by simpler compositions, less crowded panels, and a strong reliance on aniconic symbols (Bodhi tree, Dharma Chakra, stupa) to represent the Buddha. Figures are relatively less dynamic, reflecting early indigenous artistic conventions.	Established the foundational visual language and narrative approach of the school, emphasizing devotion through symbolic representation.
Phase II: Satavahana Zenith and Narrative Sophistication	c. 1st-2nd Century CE	Under Satavahana patronage, the school reached its artistic peak. Sculptures became highly dynamic, with crowded, complex compositions, fluid figures, and transparent drapery. Continuous narration became highly sophisticated, and the first anthropomorphic Buddha images began to appear, though aniconic forms remained prominent.	Defined the iconic Amaravati style, known for its elegance, dynamism, and emotional depth, and marked the transition towards iconic Buddha imagery.
Phase III: Ikshvaku Continuation and Stylistic Refinement	c. 2nd-3rd Century CE	Following the Satavahanas, the Ikshvakus continued patronage, especially at Nagarjunakonda. The style persisted, with anthropomorphic Buddha images becoming more common. Figures sometimes became more elongated and stylized, occasionally showing a slight reduction in the earlier spontaneity.	Ensured the longevity of the Amaravati tradition, adapted it to new dynastic tastes, and solidified the anthropomorphic Buddha's place within the school's iconography.