Studies in Indian Art c11.s5.19

c11.s5.19

The above iconography of Vasudhārā, ancient as it is, was preceded by an elaborate symbolism rooted in Vedic philosophy and ritual, and transferred to an extensive folk-cult. Vasudhārā literally means 'Shower of wealth'. It is the same as the latter idea of the 'Rain of Heavenly Gold' (divya-suvarṇa-vṛṣṭi). It had become an accepted literary motif and a common belief in the people that the rule of piety, Dharma, of the Chakravartī Sovereign brings the Rain of Gold from Heaven. In the Śānti Parva, we read of Hiraṇya Vṛṣṭi in the kingdom of Suhotra (Śānti Parva, 29.24—26, Poona Ed.). The Divyāvadāna says that in the reign of the Chakravartī King Māndhātā there was Rain of Gold for a week (vṛṣṭam me saptāham antaḥpure hiraṇya-varsham, Divyāvadāna, p. 213). The motif of the 'Shower of Coin' is repeated in the Divyāvadāna (na kārṣāpaṇa-varṣeṇa tṛptiḥ kameshu vidyate, Divyāvadāna, p. 224). This was a predominant belief during the Golden Age of Indian history when mountains of gold accumulated in the country as a result of inter-continental commerce so that actually a shower of golden coins appeared to have come as heavenly rain. This is visible to us even today in the abundant hoards of Gupta Gold coins. Bāṇa inspired by the same ideals of plenty and prosperity mentions the motif of Vasudhārā, Shower of Wealth brightened with gold descending from a merciful Heaven (mahākanakāvadātam Vasudhārāmiva dyauḥ, Harsha Charita, ch. 4, p. 134, Nirnayasagar, 5th Ed.). Mahākanaka is taranslated by Śaṅkara as tila-suvarṇa, i.e. minute particles of gold (Hindi, ravālā sonā) which was the same as the ancient Paipīlika suvarṇa, or in other words, gold-dust. When the earth reaches its maximum point of productivity that is known as abhyudaya, prosperity; but when even that is exceeded due to the potency of good Karmas, a state of mahā-abhyudaya, Great Prosperity, is made visible in Heaven's Grace by sending down a rain of gold, Dhana-vṛṣṭiḥ (Vasudhārā mahā-bhyudaya sūchanāya divā patati, Śaṅkara). The above references are from the Gupta civilisation and later than the figurines of Vasudhārā discussed above but they show the continuity of this idea. As in the case of Srī-Lakshmī, her iconography and cult had been handed down from Vedic times and continued up to even later periods, so it was in the case of Vasudhārā.