Studies in Indian Art c2.6

c2.6

Indian art is full of hundreds of topics of an auspicious or symbolic character. The paper on Pūrṇaghaṭa is one instance of it. The Harivaṃśa gives a list of 108 auspicious signs (Aṣṭottaraśata maṅgalika cihna) and a standing call comes to the investigator to explore the field much further. Śrī-Lakṣmī is another fascinating subject. There has been extensive mingling of forms in making of divine and art forms. Śrī-Lakṣmī, Pūrṇaghaṭa, Padmavana, Diggaja, these several elements became mingled in evolving art-form of a very charming character. The Kalpavṛkṣa or the wish-fulfilling tree of heaven has a similar appeal and presents a long evolution controlling the decoration of the great Stūpas and railings. The Pūrṇaghaṭa was known as Pūrṇakumbha, Indrakumbha, Somakalaśa, Candana-Kalaśa, Puñja Viṭakāṃsya, (Droṇa-Parva II, 29), Bhadraghaṭa, Maṅgalaghaṭa. It was a well known auspicious symbol from the time of the Ṛgveda where a girl bearing auspicious pitcher was known as Udakakumbhinī (RV. I. 191. 14) same as the Pūrṇakumbhanārī of the Atharvaveda. In religious processions in a standard team of eight auspicious maidens there was one called Pūrṇakumbhakanyā mentioned in the Vālmīki Rāmāyaṇa (Sundara Kāṇḍa) and the Lalitavistara (VII. p. 71).