Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c17.1

c17.1

Indian art from the earliest times had been evolved on the basis that it is of auspicious character (*bhadrakrit*). All the gods invested with the heavenly powers and the material forms created in nature are repeatedly mentioned in Vedic literature. They are of benevolent form for man (*bhadrāṇi*), and whatever turns amiss becomes *abhadra*. Many such auspicious forms filled the life of the Vedic people between earth and heaven. It is said that the gods born from the womb of Mother Aditi were a team of auspicious and immortal brothers (*taṃ devā anvajāyanta bhadrā amṛtabandhavaḥ*, RV. 10.72.5). The most typical auspicious symbol evolved in Vedic times was the *Pūrṇa-Kalaśa* (RV. 3. 32. 15) and it is stated that in each home the artistic form of a women bearing the full vase (*pūrṇakumbhanārī*) was installed (AV. 3.12.8). In the RV. itself the parallel word *maṅgala* came into existence and a young bride loaded with manifold blessings was called *sumaṅgalī vadhū*. In the very first hymn of the RV. the truth of Agni's nature is stated to confer auspiciousness upon one who invokes him. Of all the auspicious signs which became universal for all occasion, the archetypal mark was *svastika*, a solar symbol, since in the sun all the good things of life were believed to exist. Many a term expressing these beautiful objects begin with the prefix *su*, e.g. *sudṛśīka* (of handsome form), *supratīka* (of beautiful face), *sudraviṇa* (of good wealth), *subhadra* (of goodly nature), *sudevatā* (benign godhead), *suchakra* (perfect wheel), *suvijñāna* (good mind), *surūpakṛtnu* (fashioner of beautiful forms), and so many others. Gradually the number of such auspicious forms, both concrete and abstract, was much expanded, and a collective offering was made to them (*maṅgalikebhyaḥ svāhā*, AV. 19. 23 28).