Studies in Indian Art c12.s14.t3.2

c12.s14.t3.2

Lakshmī has a hood on her head as found on most of the goddesses of the Kushāṇa period. This representation is in every detail similar to that of Kushāṇa period Hāritī portrayed with Kubera or independently. To discriminate her from Hāritī the sculptor has shown a pair of miniature elephants surmounting the hood and standing facing each other. The images of Gaja-Lakshmī are the first to have been represented in sculpture amongst all the Brahmanical gods and goddesses. She is repeated twice on the portions between the architraves of the right pillar, belonging to the north toraṇa of Stūpa I at Sanchi [*Cf.* Coomaraswamy, *H.I.I.A.* fig. 53]. Another early but conspicuous form is found on an arch of the Ananta Gumpha cave in Orissa [*Cf. Cambridge His. of India*, Vol. I, fig. 75], which was a Jaina monastery [150 to 50 B.C.]. Dr. Coomaraswamy writes: ‘In Buddhist art this would represent the Nativity of Buddha, in Hindu art Gaja-Lakshmī, but what it represents in Jaina art, unless perhaps the Nativity of Mahāvīra, we do not know.’ [*H.I.I.A.*, p. 38]. Most probably it was an ancient motif commonly understood to be representing beauty and prosperity (Śrī-Lakshmī).