Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c11.132

c11.132

Firstly, the idea of *Pūrṇaghaṭa* or *Maṅgala Kalaśa* had been known since the time of the Ṛigveda for which continuous literary evidence is available. The Buddhist literature refers to it as *Puṇṇaghaṭa*. More than literature actual religious as well as art tradition is full with this motif of the *Maṅgala Kalaśa*. It is universal in Buddhism, Jainism and Hinduism. It is popular with all ranks of people, both rich and poor. There is practically no festive occasion in which the *Pūrṇaghaṭa* is not installed either as a religious symbol or for beautifying purpose. This can really be said to have been a universal, accessible and readily understood of all symbols. Its auspicious character is so obvious and patent as hardly to need any argument. Moreover, there is another fact to be considered. A motif does not suddenly appear in art and disappear without leaving any trace in subsequent art. It is not an exotic phenomenon which is introduced for a while and then discarded. It is rather a natural thing which grows from inside the tradition and is the fruit of an intelligent acceptance by the people.