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Studies in Indian Art c9.s3: 7. Kalpavṛiksha: The Wish Fulfilling Tree

Studies in Indian Art c9.s3

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7. Kalpavṛiksha: The Wish Fulfilling Tree

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Indian art conveys its meaning in a distinct symbol language. The lotus, the full vase (*Pūrṇa-ghaṭa*), the *Svastika*, the wheel (*Chakra*), the three jewels (*Triratna*), and the *Kalpavriksha*, part as it were of an alphabet, are being used with perfect mastery as elements of decoration; they have not only invested art, Buddhist and Brāhmanic, with endless beauty but also show it as a vehicle of ideas. These symbols formed an integral part of Indian thought for ages serving like pegs for religious and metaphysical ideas. Their meaning was ingrained in the consciousness of the people, and the art-connoisseur carried within him a subconscious reaction to these symbol forms which intensified his appreciation of an art which was rich both in external as well as inner meaning.

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The Lotus has been extolled as the prime symbol of creation, the seat and substratum of universal creative force which springs from the navel or centre of the primeval Creator. Simplified to a concise Sūtra of art, it is expressed as Brahmā, the genius of creation, seated on a full-blown lotus with a long stalk springing from the navel of Viṣṇu. That the elaborate Paurāṇic cosmogony could be treated with such mastery of form gives a vantage-ground to the artist. As the lotus floats above water, so the created cosmos emerged to the surface of the primeval deep or 'chaos', which originally was the confused mass out of which the order of the universe was evolved. The Greek word chaos is the same as Vedic 'Kha'. 'Kham' represented the great chasm or vacuum out of which was born the 'Kam', or the Plenum. 'Kha' is the navel from which the cosmic lotus takes its birth. Again 'Kha' represents the centre of the Wheel of which the spokes and the peripheral frame mark the Universe.

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The symbols of the lotus and [Figure: ] are primarily Vedic symbols. And so is the full vase or the *Pūrṇa-Ghaṭa* in which, as the seer of the Atharva Veda sings, the gods filled in one place immortality and life, prosperity and food, and many a good thing besides. Their opposites, the principles of non-life and non-riches, also lurk, with divine sufferance, in some unperceived corner of this *Pūrṇa-Kumbha*. But what is essential and auspicious for life is the brimming and overflowing aspect of the *Pūrṇa-Kumbha* symbolising the growth and creative fertility in every phase of man's being on this earth. The *Pūrṇa-Kumbha* is verily the human body or Man himself containing within him the fullest range of divine blessings and the choicest gifts to which the soul aspires. With such a perfect symbol to express the idea of fulness and prosperity the Indian artist felt enraptured, and with his genius for the beautiful he portrayed that idea in the form of a full vase overladen with foliage and adorned with girdles of flowery garlands on the neck, shoulder and base. A comprehensive study of the *Pūrṇa-Ghaṭa* and its variations as found in Indian art would be interesting. The same is the case with other symbols which enriched art as elements of decoration and at the same time gave to it deeper philosophic meaning. Not only trees and creepers but also animals and birds of various forms, e.g., *Siṃha*, *Vṛiṣha*, *Haṃsa* and *Suparṇa*, lion, bull, goose and ‘bird’, constantly appear in Indian art contributing to its richness, gaiety and freshness as it would be from al iving contact with nature.

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The symbol of the *Kalpa-vṛikṣha* has been popular both as regards its representation in sculpture and painting and description in ancient poetry and literature. It is variously known as *Kalpataru*, *Kalpadruma*, *Devataru*, etc., and from the point of view of art the *Kalpavallī* and the *Kalpalatā* are but extensions of the same motif treated with luxuriance. The central idea of the *Kalpa-vṛikṣha* is that it is the Wishing Tree which fulfils all desires. It was produced as one of the fourteen gems at the time of the gigantic churning of the ocean by the Devas and the Asuras. The auspicious conch and the auspicious cow—*Pāñchajanya* and *Kāmadhenu*—were also produced along with the Wishing Tree and they too went to the gods. They are kindred symbols with the *Kalpa-vṛikṣha* as bestowing fruition of human desires, and have been employed in Indian art and poetry with remarkable success. The phrase ‘*Kāmadughā*’ is frequent in the Vedas and is applied variously to speech (*Vāk*), Sarasvatī, the goddess of learning, Aditi, the mother of the gods, and Pṛithivī, the Great Mother personified (*Mahī-mātā*). The Wishing Tree also is called *Kāmadughā* as it grants all desires and fulfils all wishes. So long as a man is under its shade, whatever he conceives he realizes. Wealth, women and all kinds of enjoyments issue forth from its fructifying boughs.

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The Mind is the *Kalpa-vṛikṣha* or the Wishing Tree which gives us every thing for the mere thought of it. In a very real sense the Mind is the most powerful creator, the perennial source of all our enjoyments, and the inexhaustible fountain from where pleasure (*rasa*) constantly oozes out. Thought (*saṅkalpa*) is the nature and power of the Mind which makes life teem with innumerable blessings. The artists made full use of a rich conception like this, and employed the *Kalpa-vṛikṣha* as one of the symbols which adorned art both in respect of beauty of form and depth of meaning.

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At Bharhut bounteous curves of lotus creepers run in continuous bands, each bough or bud of which carries beautiful ornaments, earrings, ‘*kuṇḍalas*’ for the ears of the Prākāra-vapra design,¹ necklaces set with pearls and beads, armlets and anklets and spiral rings of various designs, delicate scarfs with flower-patterns woven in their texture, and ‘*sāris*’ with ‘*paṭī*’ ends of ‘*gomūtrikā*’ designs². The *Kalpalatā* decoration producing such ornaments is a conspicuous feature of early Indian art and it is very often repeated leaving a pleasant effect on the mind.

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¹ For the meaning of the Prākāra-vapra design earrings, see ABORI, XXXIII, p.p. 19-22.

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² Pāṇini in the Gaṇasūtra ‘*gomūtra āchchhādane*’; on Sūtra V. 4. 3. refers to a cloth called ‘*gomūtrikā*’ which seems to be the ‘*sāri*’ worn by men and women in the reliefs at Bharhut and Sanchi; it seems to have derived its name from the particular ‘*gomūtra*’ form of its front pendant portion.

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The motif developed and continued later in the art of the Gupta period and even afterwards. The deep-cut foliage decorations and creepers with intertwining tendrils are a familiar feature of Gupta art, and in some of them objects of enjoyment are carved as the products of the Wishing Tree. On a beautiful pillar from Gadhwa a creeper with youthful maidens springing from its branches has entwining leaves and offshoots (*Kāmalatā*). The pillar is illustrated by Cunningham (ASR. Vol. X. Pl. VI and on p. 7)¹.

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¹ Its present whereabouts are unknown, but I am indebted to Mr. A. G. Shirreff, I.C.S., for an old outline drawing of it which is reproduced here with his kind permission.

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कामलता

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Recently, Sivaramamurti drew attention to the *Kalpa-vriksha-Kalpa-valli* motif explaining it in the light of a few literary references from Kālidāsa². The conception of an idyllic land or clime in which all kinds of human enjoyments are available to man as in a garden of paradise, is of old standing in Indian literature. We read in the story of the Mahāvāṇija Jātaka (No. 493) that a group of merchants who had set out in search of a treasure come to a mighty banyan tree with cool and pleasant shade. From its eastward branch pure and clear water trickled for them; they washed and drank their fill. One of the branches on the south gave them all things to eat:

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² Journal of Oriental Research, Vol. XIV, Pt. III, pp. 180-182.

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'Both rice and meat out in a stream it brings,
Thick porridge ginger lentle soup and many other things',
From the western branch—
'Outcame a bevy of fair girls all pranked in brave array,
And O the robes of many hues, jewels, and rings in plenty!
Each merchant had a pretty maid, each of the five and twenty'.
From the northern branch likewise—
'.........outcame a stream of gold,
Silver in handfuls, precious rings and jewels manifold.
And robes of fine Benares cloth and blankets thick and thin,
The merchants then to roll them up in bundles did begin'.

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This Tree which produced water streams, food, pretty maids and good things is the ideal *Kalpa-Vriksha* so often extolled in literature. The following Pāli gāthā sums up the virtues of this auspicious tree—

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वारिदा पुरिमा साखा अन्नपानञ्च दक्खिणा । वारिदा पच्छिमा साखा सब्बकामे च उत्तरा ॥ (Fausboell. Jāt. IV. 352)

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The idea that the tree deity gave the merchants water to drink, food to eat, beds to lie on, maidens to attend them and all treasures, has an irresistible appeal of which both the poets and the artists took full advantage to embellish their works. In the epic literature and in the Purāṇas the conception of the Wishing Tree producing all desires is extended to the idyllic land of Uttarakuru where Elysian conditions prevail, leading to an exceedingly delightful life of the inmates.

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In the Rāmāyaṇa, Sugrīva directs the monkey chiefs to go in quest of Sītā in the northern direction. There, at the end of the earth they would find the land of the Uttarakurus. "Flowers of gold as resplendent as fire are seen there in eternal bloom imbued with divine fragrance. The beautiful trees produce garments of various kinds and costly gems which are pleasant for men and women to use in all seasons; beds with beautiful coverlets and pleasing garlands; costly drinks and food of many descriptions; and to crown this all, maidens endowed with beauty, virtue and youth".¹

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In the Mahābhārata, the Elysian land of Uttarakuru with all kinds of plenty in fruits and flowers and with trees producing all objects of desire (sarvakāmaphalā Vṛkṣāḥ) is conceived in the northern direction adjacent to Meru. There, as fruits from trees, are produced: garments, ornaments and youthful pairs of men and wome (mithunāni) who draw sustenance from the nectar-like milk of the milky trees and are perfectly matched to each other in beauty, dress and appearance. The human beings in that region are happy and contented like gods being free from all sorrows and ailments, and they do not suffer the pangs of separation.²

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It appears that this description of Uttarakuru was an inherent part of the Bhuvanakośa as we find it repeated in a similar context in the Vāyupurāṇa (Chap. 45 verses 11-50). The description in the Purāṇa, besides recording what the Epic contains is much more elaborate, and we find there reference to streams of 'madhu' and 'maireya', of butter and curds, to mountains of delicious food, to groves furnished with beds, seats, cosmetics, garlands, etc. and to a great many other items of pleasure. In that region there is sweet music of every description rising from lute, flute and tabors, and hundreds andt housands of Kalpa-Vṛkṣhas produce fine and beautiful garments agreeable to wear.

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जातरूपमयैश्चापि हुताशनसमप्रभैः । नित्यपुष्पफलास्तत्र नगाः पत्ररथाकुलाः ।।४३।।
दिव्यगन्धरसस्पर्शाः सर्वान् कामान् स्रवन्ति च । नानाकाराणि वासांसि फलन्त्यन्ये नगोत्तमाः ।।४४।।
मुक्तावैदूर्यचित्राणि भूषणानि तथैव च । स्त्रीणां याम्यनुरूपानि पुरुषाणां तथैव च ।।४५।।
सर्वर्तुसुखसेव्यानि फलन्त्यन्ये नगोत्तमाः । महाहंमणिचित्राणि फलन्त्यन्ये नगोत्तमाः ।।४६।।
शयनानि प्रसूयन्ते चित्रास्तरणवन्ति च । मनःकान्तानि माल्यानि फलन्त्यपरे द्रुमाः ।।४७।।
पानानि च महार्हाणि भक्ष्याणि विविधानि च । स्त्रियश्च गुणसम्पन्ना रूपयौवनलक्षिताः ।।४८।।
—Kishkindhā kāṇḍa, ch. 43, verses 43-48.

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२ उत्तराः कुरवो राजन् पुण्याः सिद्धनिषेविताः ।।२।।
तत्र वृक्षा मधुफला नित्यपुष्पफलोपमाः । पुष्पाणि च सुगंधीनि रसवन्ति फलानि च ।।३।।
सर्वकामफलास्तत्र केचिद्वृक्षा जनाधिप । अपरे क्षीरिणो नाम वृक्षास्तत्र नराधिप ।।४।।
ये क्षरन्ति सदा क्षीरं भद्रसं चामृतोपमम् । वस्त्राणि च प्रसूयन्ते फलेष्वाभरणानि च ।।५।।
मिथुनानि च जायन्ते स्त्रियश्चाप्सरसौपमाः । तेषां ते क्षीरिणां क्षीरं पिबन्त्यमृतसन्निभम् ।।८।।
मिथुनं जायते काले समं तच्च प्रवर्धते । तुल्यरूपगुणोपेतं समवेषं तथैव च ।।९।।—Bhīṣmaparvan, 7, 2-11

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A representation of the Uttarakuru land is probably what we find at Sanchi carved on the western face of the western pillar of the south gateway of the Great Stūpa (*Marshall, 'Monuments of Sanchi', Vol. I, p. 144; Vol. II, Pl. XIXa*). In several undulating bands of a lotus creeper (one of which is reproduced here Figure 32) are youthful couples engaged in music and pleasure surrounded by birds and animals and seated under the shades of boughs overladen with costly ornaments of many kinds.

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Fig. 32. Youthful couples engaged in Music. (Sanchi)

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This representation is so close to the literary tradition given in the Epics that it appears to suggest a conscious treatment by the artist of a theme which literary tradition had made popular. The sculptors at Sanchi and Bharhut (*p. 13. Figs. 4 : a, b, c & d,*) have carved time and again the lotus creepers as producing ornaments (*muktavaidūryachitrāṇi bhūṣaṇāni*). Kālidāsa in the *Kumārasambhava*, VIII. 68, refers to necklaces (*hārayaṣṭi*) hanging from the top of *Kalpa-Vriksha* trees. In the *Meghadūta* he mentions the *Kalpa-Vriksha* as the one complete source of all objects of adornment and toilet used by the women in Alakā, for example, beautiful fabrics, wine causing love glances in the eyes, flowers and tender leaves, a variety of ornaments and lac dye for painting the feet are the *Kalpa-Vriksha* products used for female beauty make-up (*abalā-maṇḍana*).¹

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¹ वासश्चित्रं मधु नयनयोर्बिभ्रमादेशदक्षं, पुष्पोद्भवं सह किसलयैर्भूषणानं विकल्पान् । लक्षारागं चरणकमलस्यास्ययोग्यं च यस्यामेकः सूते सकलमबलामंडनं कल्पवृक्षः ॥

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Again the poet refers to the *Kalpa-Vriksha* 'madhu' named 'anangadīpaka' (also called 'ratiphala' in *Meghadūta* II, 3) which was served in cups of scarlet coloured gems ('lohitārka-maṇi-bhājana.' *Kumāra* 8. 75). The conception of fine garments produced from the *Kalpataru* is found not only in Kālisa (*Kalpataru-lambi amśuaka Kumār.* 8.71), but also in Bāṇabhaṭṭa who refers several times to the '*Kalpadruma dukūla*' or the '*Kalpalatā dukūla*' which was diaphanous and transparent like the slough of a snake and so light as to be tossed about even by the air of human breath (धौते निश्वासहार्यं निर्मोकशुचिनी कल्पतादुकूले, *Kādambarī* text, ed. Vaidya, p. 201, 206).²

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² From the above literary tradition we find that the *Kalpa-Vriksha* was considered as the source of the following objects of decoration and enjoyment: Ornaments: 'hārayaṣṭi', 'ābharaṇa', bhūṣaṇa-vikalpa. Garments: 'kalpatarulambi amśuka' (*Kumār.* 8, 71); 'chitravāsas' (*Megh.* II. 11); 'maṅgalya

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वासश्चित्रं मधु नयनयोर्बिभ्रमादेशदक्षं, पुष्पोद्भवं सह किसलयैर्भूषणानं विकल्पान् ।
लक्षारागं चरणकमलस्यास्ययोग्यं च यस्यामेकः सूते सकलमबलामंडनं कल्पवृक्षः ॥
—*Megha. II. 11.*

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With respect to the auspicious symbol the basic point of view was that each one of them represents the truth and power of the creative force that is in nature. For example, a single lotus flower in full bloom of its beauty is not an isolated phenomenon which depends on chance but it is the fruit of Universal system in which the minutest part is related to the whole and depends essentially for its full manifestation on the glory of the law that exists everywhere and at all times. Similarly a conch depicted as a symbol points to the whole background of Nature's laws which are operative in the ocean and the birth of aquatic life in it and the evolution of the crustacea in its waters. The same is true of a Kalpa-Vriksha or a Mithuna motif, which although singly represented, stand as dominant symbols of the whole idea of Uttarakuru. Each one of them is like a sampling of the auspicious substratum of the divine laws in the universe. Even one symbol depicted in painting or on the wall or in relief in sculpture, terracotta or stucco was considered apotropaic and auspicious like the presence of the divine. It is from this point of view that the many representations of the auspicious objects (Mangala-dravya) in stone sculpture or in toy figurines were loved and adorned, and were adopted as decorative motifs,

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kshauma' (Śak. IV), 'Kāsika' cloth and blankets of Uḍḍiyāna or Gandhāra country, known as Pāṇḍukambala in the Jātakas and in Pāṇini. Cosmetics for the body and feet: 'lakṣārāga', 'vichchhitti', etc. Wine and drinks: 'madhu' (Megha. II, 11); 'anaṅgadīpaka'; (Kumāra. VIII. 75) and 'ratiphala' (Megha. II. 3); 'mahārhāṇi pānāni' (Kishkindhā, 43. 48); 'maireya' (Vāyu, ch. 45). Beds: 'chitrāstaraṇavanti śayanāni' (Kishkindhā, 43. 47). Garlands: 'manaḥkānta mālya', (Kish. 43. 47). Food: 'vividha bhakshya', (Kish. 43-48); 'bahu sālimāṃsodana' (Jāt. IV. 352). Maidens and Couples: 'guṇasampannā rūpayauvanalakshitā striyaḥ' (Kish. 43. 48); 'nāriyo saṃlaṅkatā' (Jāt. IV. 352); 'mithunāni' and 'apsarasopamāḥ striyaḥ' (Bhishma, 7.8) Water in regaling streams (Mahāvāṇija Jāt. IV. 351).

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