Studies in Indian Art c11.s5.6

c11.s5.6

*Dhānya-mañjarī-nānāratnavarṣa-ghaṭa-vāma-hastām.* In the images from Sarnath, [B(f) 19—22] which belong to the late medieval period, we find the three distinguishing features as given in the Dhyāna; which shows that the sculptors followed a genuine tradition. The right hand of the goddess is shown in the gift-bestowing attitude, and from the stalk beneath the left hand it is suggested that this hand held an ear of corn (*dhānyamañjarī*). The other emblem, the vase of treasure (*ratnaghaṭa*) which in reality is the most important of her attributes, is represented by a pair of vases one under each foot (*Catalogue of the Sarnath Museum*, B (f) 19, p. 147, Plate XV, b). In sculpture No. B (f) 20 the right foot of the deity 'is placed on an inverted vase which rests on a lotus flower. This vase is apparently a treasure vase, the attribute of Vasundharā. The line of seven similar vases lying upside down on the top of the vase was added manifestly by the sculptor to emphasise the idea of Vasundharā's control over the wealth of the world'. [Sahni, ibid, p. 147]. The eight vases most probably correspond to the Aṣṭa-Vasus, the eight Vasu deities who are counted as the *gaṇa-devatās* making up the traditional number of the *Trayas-triṃśat Devas*. Whatever that may be, the fact remains that the images of Vasudhārā emphasized the *ratna-ghaṭa* as an emblem of the goddess.