Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c17.50

c17.50

The ancient cult of the four quarters (Diśāvrata) was made concrete in the four faces of Brahmā. He became the type of Agni-Prajāpati for whom the fire-altar was built exemplified as Yajña with its laddles (sruk-sruvā) over which Brahmā presided as the superintending priest assimilating himself in his office the functions of all other priests and the Vedas. He was given the form of a Brāhmanic ascetic from which were derived his matted locks, sacred-thread of black antelope-skin, and cross-legged seat. The pot-bellied feature was taken from the iconography of Yakshas named Brahman, which term also signified Brahmā. The lake Mānasarovara symbolised the primeval waters of creation known as Āpaḥ or Salilam, and the Golden Haṃsa floating in that lake the original form of Indra, friend of the pregnant cosmic waters.¹ The water-pot of Brahmā which is filled with the waters of creativity was taken from the cult of chamasa, the bowl, worshipped as the Full Jar and Auspicious Pot, and represented severally in Kushāṇa art in the form of big stone bowls, nectar flask and Pūrṇaghaṭa.