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[Full title: Different symbols visible in the 础尘补谤腻惫补迟墨 Art: P奴r峁嘺办补濒补艣补 (辫奴谤峁嘺-办补濒补艣补)]

Significance:-

The P奴r峁嘺办补濒补艣补, the symbol of abundance occupy an eminent place in Indian art tradition. The globular urn full of water and overflowing with bunches of lotus flower is a symbol of material and spiritual prosperity. The overflowing contents of life indicating prosperity are comparable to the rich foliage issuing from the mouth of the pitcher filled with water, the life giving liquid. The P奴r峁嘺办补濒补艣补 or the vase of plenty is an artistic and symbolic motif frequently depicted in Hindu, Buddhist and Jain visual representations in India as well as in some places in South East Asia. Like Hinduism and Jainism, the Buddhist text also makes reference of the 笔奴谤峁嘺办耻尘产丑补. The Dhammpada mentions of Kumbha being gradually filled up with merit and evil deeds. In this way 碍补濒补艣补 is similar to a personality as container of bad or good states. According to Anguttara 狈颈办腻测补 a person who understands the four aryan truths is like a full vase (笔奴谤峁嘺办耻尘产丑补). Thus in Buddhism, the P奴r峁嘺办补濒补艣补 is a symbol for the personality of someone who is 鈥渇ull of Dharma鈥�. Thus while in Hindu tradition P奴r峁嘺办补濒补艣补 contains 补尘峁泃补, in Buddhist tradition the pot contains Dhamma which makes life fruitful and brings the person close to the state of 苍颈谤惫腻峁嘺^[1].

Depiction:-

Among several P奴r峁嘺办补濒补艣补 depictions from 础尘补谤腻惫补迟墨 mention may be made of P奴r峁嘺办补濒补艣补 illustrated on the dome slab now preserved in the Archaeological Museum 础尘补谤腻惫补迟墨. From the urn sprouts lotus flowers and leaves with pliable stalk^[2].(Pl 28b)

A fragment of a carved pillar bears a relief showing a seated dwarf supporting a plinth with an over-flowing vase. It is preserved in the Madras Government Museum^[3].

The carving of P奴r峁嘺办补濒补艣补 beside the gateway on the drum slab was a favourite theme of the 础尘补谤腻惫补迟墨 artists. In one such representation two P奴r峁嘺办补濒补艣补s full with lotus are seen in an elaborately decorated drum slab. It may be pointed out that the religious significance of the P奴r峁嘺办补濒补艣补 is so deep rooted that the tradition of keeping P奴r峁嘺办补濒补艣补 beside the gateway in every auspicious occasion for manifold blessing and wish fulfillment is still present^[4].

For the beautification of the drum slab the craftsmen of 础尘补谤腻惫补迟墨 sculpted elaborate series of decorative zones consisting of various religious and artistic motifs. P奴r峁嘺办补濒补艣补 is always selected as a prominent member. In this context it should be highlighted that in the inauguration or abhiseka ceremonies of the 蝉迟奴辫补, P奴r峁嘺办补濒补艣补 were used as an indispensable ritual emblem. Thus in the legend of planting the Bodhi tree by 膧苍补苍诲补 in 惭补丑腻产辞诲丑颈惫补峁僺补 it is stated that the prince placed a string of auspicious vessels (P奴r峁嘺办补濒补艣补-Mala) filled with fragrant water and decorated with blue lotuses after sprinkling the Bodhi plant with auspicious liquid. On the 惭补丑腻肠补颈迟测补 at 顿丑腻苍测补办补峁璦办补 (础尘补谤腻惫补迟墨) these replicas were perhaps commemorative of similar P奴r峁嘺办补濒补艣补s which may have actually figured in the festivals of enshrining the relics^[5]. The decorative zones consisting of series of P奴r峁嘺办补濒补艣补s mentioned above reminds us of the P奴r峁嘺办补濒补艣补-惭腻濒腻 referred in the 惭补丑补惫补峁僺补.

A couple of P奴r峁嘺办补濒补艣补s are visible on the frieze border of the lower half lotus of a richly carved railing pillar. The lotus is bordered by animals, stylized flowers and leaves which are binded together by continuous undulating foliage luxuriating at both ends from the mouth of the P奴r峁嘺办补濒补艣补s. It may be suggested that since P奴r峁嘺办补濒补艣补 stood as a visible symbol of creation, the artists carved flora and fauna emerging from its mouth^[6].

Footnotes and references:

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[1]:

Peter Harvey, 1991, Op.cit, pp 74-76

[2]:

Acc No. 3, Limestone, Measurement 13 x 82 x15 cm Archaeological Museum, Amaravati, Archaeological Survey of India,

[3]:

Sivaramamurti C, Op.cit, pl XIX, fig 3.

[4]:

Acc No. 22, Limestone, Measurement 132 x 82 x 15 cm Archaeological Museum, Amaravati, Archaeological Survey of India,

[5]:

Gangoly O.C, 1973, Andhra Sculptures, Hyderabad, p 49.

[6]:

Burgess Jas, 1886, Op.cit, pl XXXII, Fig 1.