Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c17.26

c17.26

At one time Lakshmī and Padminī were regarded as two separate goddesses, as shown by their separate mention in the Purusha-Sūkta of the Yajurveda, and also in a passage of the Sundarakāṇḍa (babhūva devī cha kṛitā suhastā lakshmīstathā padminī padmahastā). She was separately known as Padmāśrī in both the epics (evam te bhāsamānyasya padmāśrī rupatishṭhaṭām, Ayodhyā, 79. 15; abhajat padmarūpāśrī svayameva śarīriṇī, Mbh. 3. 229. 3), or merely as Śrī. But there was great elasticity in her cult. She is reckoned as consort of Nārāyaṇa Vishṇu, and also Kubera. In the later case, she is represented in several Mathurā statuettes with Bhadrā and Hārītī. Śrī-Lakshmī, Bhadrā and Shashṭhī were present in the Brāhmī Sabhā (Sabhā., 11. 40). Out of this amalgam Śrī-Lakshmī emerged as supreme over all whose worship was far spread. Her figure is said to be carved as an auspicious motif in Rāvaṇa’s palace in Laṅkā.