Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c13.s3.8

c13.s3.8

Thus we see that the earlier sculptors who organised the magnificent *Padmavaravedikā* in its fullfledged form round a *Stūpa* were working on the basis of an extensive repertoire of motifs selected both for their decorative and religious significance but obviously inclined more on the aesthetic side. The artists were conscious of their obligation to the ornamental side of such an important architectural element as the *vedikā* which conferred on the Stūpa its full glory. In the actual railings either in wood or stone there were a number of other decorative features associated with the upright posts or gateways, e. g. *candana-kalaśa* (*pūrṇaghaṭa*), rows of *nāgadanta* or ivory projections with hanging garlands and necklaces, spotted waterpots (*bhiṅgāra*), mirror (Skt. *ādarśa*, Pkt. *āyamsa*), pendants (*śikya*) with incense pots, baskets full of flowers, unguents, ornaments, garments etc, throne, umbrella, *cāmara*, and ten kinds of *śṛṅgāra* caskets. Of these there are literary description as forming part of *vedikā* decoration but actual specimens are naturally wanting. There is one fact, however, which draws particular attention, viz. the great lotus garland (*mahāpuṣkara sraj*) with which the *vedikā* was actually decorated. It consisted of thousands of flowers interwoven with many varieties of floral wealth and foliage, and which in its gorgeous form was considered to be the choicest gift offered to adorn the body of the Stūpa. The presence of such a gigantic lotus garland in the carvings at Bharhut and Mathura makes us look back into a much greater antiquity when these objects were real, and points to a natural transition from actual specimens to engravings in art.