Gaja- Lakshmi : One of the most beautiful form of Devi Lakshmi !

A trip to Sanchi is always about getting some new information. Whether you’ve visited there for the first time or the 100th time, there will be something new to your perspective always. We have always known “Gaja- Lakshmi” as one of the aspects of Hindu Goddess Lakshmi, but this time while clicking pictures of one of the torana of the main Stupa of Sanchi, I suddenly found a relief which was very familiar, yet presented in quite a different way. I had an urge to find out more about it and would like to share about my findings, that how this same icon has been represented in Hinduism, Buddhism, Jainism and surprisingly; as a Japanese Goddess as well!

We have often seen the pictures and images of Gaja- Lakshmi in different forms at several places, since this is the most ancient form of the iconographic images, but usually the importance of this particular aspect is not much known to everyone. So after reading and comparing several articles, I would like to present my own analysis of it.

Bas relief of GajaLakshmi at the Buddhist Sanchi Stupa, Stupa I, North gateway, Satavahana dynasty sculpture, 1st century CE. It is also interpreted as- the elephants paying homage to Devi MAYA, the mother of Gautam Buddha exactly in a way the Gaja- Lakshmi is represented in Hindu iconography.

View of rear side of the complete torana at Northern Side, where the icon of Gaja-Lakshmi is visible on the bottom left portion above the last architrave, adjacent to the sculpture of elephant.

SANCHI is known for its stupas, monasteries, temples and pillars dating from the 3rd century BCE to the 12th century CE. The most famous of these monuments, the Sanchi Stupa 1, was originally built by Mauryan emperor Ashoka, whose wife Devi was the daughter of a merchant from the adjacent Vidisha. Their son Mahindra and daughter Sanghamitra were born in Ujjayini and sent to Sri Lanka, where they inspired the king, the queen and their people to adapt Buddhism.

This most significant Buddhist art was created under the rule of the Satavahana kings, who personally revered Hindu deities. During the first 600 years almost all of the art based on Buddhist themes that one can see today, was made under the rule of Hindu kings. The earliest known images of Gajalakshmi are found in the Buddhist art. She is a common deity in Hindu, Jain and Buddhist monuments.

WHO IS GAJA- LAKSHMI BASICALLY ?

Gajalakshmi, Gajalaxmi (and other spellings) meaning Lakshmi with elephants, is one of the most significant Ashtalakshmi aspects of the Hindu goddess Lakshmi. In this aspect, the goddess is depicted seated on a lotus, flanked on both side by an elephant (gaja). She is shown as seated in Padmasana yogic posture, and has four arms. In each of her upper pair of arms, she carries a lotus, and the lower hands are generally shown in abhya and varadamudra. The elephants flanking her are shown as “lustrating” (ceremoniously washing/ bathing) her, pouring water from their trunk over the goddess. This aspect like most other aspects of Lakshmi is representative of prosperity, good luck, and abundance; and the Gajalakshmi motifs are very common in Hindu and Buddhist iconography.

Classic painting of Sri Gaja- Lakshmi by Raja Ravi Varma, 1896.

According to mythology, Gaja Lakshmi once helped Lord Indra to regain his lost wealth from the depth of the ocean. This form of Goddess is the bestower and protector of wealth, prosperity, grace and royalty.

IMPORTANCE OF GAJA LAKSHMI :

Lakshmi’s association with elephants symbolize her royal or sovereign powers. Elephants are liked by Goddess Lakshmi since they have a royal, graceful presence and immense strength. They do not harbor enmity with other animals in the jungle and always have access to abundant food. Their sheer size keeps any potential enemies at bay. They walk with pomp,grandeur, and are naturally beautiful.

Four Armed Gaja- Lakshmi; Her both the upper arms are holding lotus bud. Elephants are seen on either side. Her right hand is in ‘Varad Mudra’ while left one is holding a pot. 1000CE, Sanchi.

The King of Gods ‘Indra’ rides his royal and divine elephant ‘Airavata’. Indra is also the rain bearing God and his elephant symbolizes the rain bearing clouds. Together they nourish the crops on earth and depict fertility. Elephants are therefore, associated with Goddess Lakshmi, the Goddess of beauty and fertility.

Lakshmi is depicted in Indian art as an elegantly dressed, prosperity showering golden-coloured woman with an owl as her vehicle, signifying the importance of economic activity in maintenance of life, her ability to move, work and prevail in confusing darkness. She typically stands or sits on a lotus pedestal, while holding a lotus in her hand, symbolizing fortune, self-knowledge, and spiritual liberation. Her iconography shows her with four hands, which represent the four aspects of human life important to Hindu culture: dharma, kāma, artha, and moksha.

According to a legend, she emerges during the creation of universe, floating over the water on the expanded petals of a lotus flower; she is also variously regarded as wife of Dharma, mother of Kāma, sister or mother of Dhātṛ and Vidhātṛ, wife of Dattatreya, one of the nine Shaktis of Viṣṇu, a manifestation of Prakṛti as identified with Dākshāyaṇī in Bharatasrama and as Sita, wife of Rama.

GAJA- LAKSHMI IN OTHER RELIGIONS :

The Japanese Kishijoten is adapted from Lakshmi.

In Buddhism, Lakshmi has been viewed as a goddess of abundance and fortune, and is represented on the oldest surviving stupas and cave temples of Buddhism. In Buddhist sects of Tibet, Nepal, and Southeast Asia, Vasudhara mirrors the characteristics and attributes of the Hindu Goddess, with minor iconographic differences. The Japanese goddess of fortune and prosperity, Kishijoten (吉祥天, ‘Auspicious Heavens’), corresponds to Lakshmi ji. Kishijoten is considered the sister of Bishamon (毘沙門, also known as Tamon or Bishamon-ten), who protects human life, fights evil, and brings good fortune. In ancient and medieval Japan, Kishijoten was the goddess worshiped for luck and prosperity, particularly on behalf of children. Kishijoten was also the guardian goddess of Geishas. While Bishamon and Kishijoten are found in ancient Chinese and Japanese Buddhist literature, their roots have been traced to deities in Hinduism.

Lakshmi is closely linked to DEWI SRI, who is worshipped in Bali as the goddess of fertility and agriculture. Dewi Sri is always depicted as a youthful, beautiful, slim yet curvaceous woman, with stylised facial features idiosyncratic to the respective locale, essentially a woman at the height of her femininity and fertility. In Javanese iconography, usually Dewi Sri is depicted wearing green, white or golden yellow clothes with regal jewelry attire, similar to Hindu goddess Laxmi, and holding rice plant with full rice grains in one of her hands as her attribute (lakçana).

Although the mythology of Dewi Sri is native to Java, after the adoption of Hinduism in the archipelago as early as the first century, she was equated with the Hindu goddess Shri Lakshmi, and often regarded as an incarnation or one of her manifestations, as both are associated with wealth and family prosperity. Thus subsequently her iconography and depictions adopted the typical Hindu goddess attribute, style and aesthetic.

Sanchi Stupa – II, A Medallion Gaja Lakshmi. Source: ASI.

So, after having a look at all the beautiful variations of Gaja-Lakshmi/ Lakshmi, it is notable that whether in Hinduism, Buddhism, Jainism or as a Japanese Goddess, she has always been the symbolism of prosperity, wealth, good health, fortune, self knowledge and spiritual liberation. Elephants tend to symbolize work, activity, and strength, as well as water, rain and fertility for abundant prosperity.

In the present times, when the world is facing so many issues due to the different misinterpretations of their respective cultures, it must be appreciated, that how our ancestors often used to have the same kind of symbolism/ iconography for the Gods/ Goddesses, that are usually surrounded by nature, while remaining in harmony with animals and all the other natural elements like water, flowers, vines etc. thereby respecting nature in every possible form.

CHAUSATH YOGINI- An Excursion Through Time!

Bhedaghat- a small village near Jabalpur is famous for its marble rocks which soar in glittering splendor to a height of about a hundred feet on either side of the Narmada. Alexander Cunningham refers to it as a bathing-place on Narmada whereas the village is situated at the confluence of the Narmada and a small stream locally known as Saraswati but known as Banganga at Karanbel. Because of the Sangam (confluence) of two rivers, this place is considered holy. India’s largest CHAUSATH YOGINI TEMPLE is located on the top of a hill which is said to be on the fork of the confluence of holy River Narmada and Banganga.

A small temple of Matrikas was constructed originally in 1st Century AD when the Kushanas ruled over this region. In the 7th-8th Century during post-Gupta and at the beginning of the Kalachuri period, the original temple was extended as is evident from the analytical study of the existing sculptures. The present shape of the temple came into existence when Yuvrajdeva- I, the Kalachuri ruler came to power in 915 A.D.

Among many obscure religious cults of ancient and early medieval India, the cult of Chausath Yogini precisely called as CHAUNSATH YOGINI ( चौंसठ योगिनी ) in devanagari, was one of its kind. Yoginis are essentially attendants of the Mother Goddess, though different interpretations exist. The literary reference to Yoginis may be traced as far back as the post-Vedic period in India, regular cult worship of Yoginis came into existence sometimes during 8th- 9th Century A.D. Mention of Yogini is found in Skanda Purana, Agni Purana, Kathasaritasagar, Malatimadhava, Rajatarangani, Uttamacharitrakathanaka, etc where they are mentioned as a sorceress, having magical powers to turn human into birds or animals, ability to fly into the air, etc.

There are very few temples dedicated to the Yogini cult; two of them being at Orissa and three at Madhya Pradesh, out of which the one at Jabalpur is the largest and have “Eighty-One” yoginis instead of “sixty-four”. The construction of these temples used to be executed in two patterns; First, when a ruler used to enhance the boundaries of their kingdom or they wanted to offer prayers for their healthy self, then the temple being constructed was supposed to be of “Eighty-one or Ikyasi” yoginis. Secondly, when the purpose of temple construction was for the local people or common people, then it was constructed as “Chausath Yogini Temple”. The temple at Jabalpur is of Eighty One or Ikyasi Yoginis, hence it has more importance.

The temple has an internal diameter of about 116 feet and the external diameter of about 131 feet. Cunningham describes it as “A curious circular cloister of considerable antiquity located on the singularly fine and commanding position above a hill near Narmada.” The cloister consists of 84 square pillars which result in an arrangement of 81 cells and 3 entrances, two on the west, and one on the south-east.

A slab discovered here, that is presently kept in American Oriental Society’s Museum, bears an inscription that mentions that the Kalchuri queen Alhanadevi, who was the wife of the king Gayakarna, built this temple during the reign of her son Narasimhadeva in the Kalachuri year 907 (1155 CE). As per the study of Cunningham, the characters of the labels on the Yogini image pedestals tell that the characters of these labels are older than those used in the slab inscription hence it can be predicted that the Yogini temple is older than the inscription.

The Gauri- Shankar Mandir

Inside the Garbhagriha of the small temple known as “Gaurishankar Mandir” is a rare image of Gauri- Shankar under worship, where Shiv and Parvati are shown seated on the back of a standing Nandi. This image depicts the departure scene of Shiva after his marriage with Parvati, and a small scene depicting the marriage procession is inscribed below this image, along with the inscription of “VARESHWAR” in Nagari- Lipi dating back to Eleventh Century. It is said to be a sculpture which is one of its kind in the whole country. Sculptures of Surya, dancing Ganesha, Lakshmi- Narayana, Naga- Nagi and three headed shiva are also fixed in the walls of Garbha Griha.

The main idol inside the Gauri Shankar Mandir, where Shiva and Parvati are shown seated on Nandi. Source: online.

The design of the temple has been kept simple, but the idols of yoginis are exquisitely carved, each one depicting a unique posture. It has been constructed of primarily granite stone and the columns are all monolithic. This is the only temple where one will find Ganeshani or Vinayaki, the feminine form of Ganesha. She is one of Chausath Yoginis. The courtyard of the Chausath Yogini Temple offers a scenic view of the Gorge at River Narmada and the surrounding landscape.

The old image showing the condition of temple before it was restored by ASI. Source : Beglar’s report.

Association with Aurangzeb:
There is an interesting story (mentioned in local stories) behind this temple linked to Aurangzeb. When Aurangzeb was destroying the temples of the Indian Continent, he reached Jabalpur and started destroying this temple. He destroyed all the Yogini’s IDOLS, but when he went to the central shrine of Shankar and Parvati sitting on Nandi Bull to destroy. He was unable to destroy due to the honey bees attack as a miracle. Then he realized the power of God and he went away from here.

Label reads Sri-Aingini. She is the shakti associated to Ganesha. R D Banerji mentions that the figure below the lotus pedestal depicts Ganesha. (R D Banerji No 41, Cunningham No 54)

Sri Phanendri Devi.
She is shown with four hands, but all broken.

Label reads Sri-Takari. She is shown with six hands. Lion is her mount. (R D Banerji No 38, Cunningham No 9)

Shown with sixteen hands, the goddess Mahishasuramardini stands over Mahishasura (buffalo demon) whose head is cut and lying below.

In spite of the grandness and huge scale of this temple, one can say that it was constructed in such a humble way, where a human being can relate easily with its scale. While standing at the bottom of the hill, nobody can guess where these stairs lead to. Even after reaching on top one can see the circular outer wall of the temple, but the main temple of Gauri Shankar is visible only once you come very close to the boundary wall or the final landing of steps. The whole setting is very calm and serene where one can definitely attain some peace while overlooking the beautiful views of river Narmada, which are now sadly being encroached by the local people. There is a tunnel (now closed) which is clearly visible near the entrance gate of the circular periphery, and the locals say that this has been connected to the Madan Mahal Fort as Rani Durgavati used to visit this temple. The site does not need much development, as the silence adds on to the ambiance of the temple, just a little bit of maintenance like regular cleaning and protection from vandalism will keep it intact.

The bird’s eye view of temple. Source: Patrika.com

References –

1. Banerji, R D (1931). The Haihayas of Tripuri and Their Monuments. Archaeological Survey of India.
2. Burgess, J (1894). Epigraphia Indica vol II. Archaeological Survey of India.
3. Cunningham, Alexander (1879). Report of a Tour in the Central Province in 1873-74-75-76 (Vol IX). Archaeological Survey of India.
4. Deva, Krishna (1969). Temples of North India. National Book Trust. New Delhi. ISBN: 9788123719702.
5. Puratattva.in/2011/Bhedaghat
6. Images : Self if otherwise mentioned.

Songs of the Stones

Stones are the most ancient material available on earth. They are being used by humans for more than 2.5 million years. We have seen stones in the form of mountains, hills, boulders or pebbles. Stone is also a great building material and we have been observing (or not) it around us in the form of ancient ruins, heritage structures, and even in our own houses. Do we ever think that these stones can also be treated as living objects? Very rare!

What is the first thing that we are taught, while learning about the Non Living Things? STONES right? And we have believed for almost all our lives that the stones are indeed few of the most non living things in this world.

Last year, we planned a family trip to Pondicherry – Mahabalipuram, where we had an opportunity to spend some time with the marvels of Indian history and heritage.

Mahabalipuram lies on the Coromandel Coast which faces the Bay of Bengal. This is an elegant place to watch which was a well established sea port during the 7th to 10th centuries of the Pallava dynasty. This was the second capital of the Pallavas who ruled Kanchipuram. Formerly, mahabalipuram was known as Mamallapuram. The former name of this place ‘Mahabalipuram’ has a history.   It was during the reign of King Narasimha Varman I(630 – 668AD), the name Mahabalipuram was changed. There is a story behind. The name Mamallpuram had been popular after king Narasimha Varman I, who was a great and valiant warrior. He was given the title Mamalla which means ‘the great wrestler’ so the name was converted from Mahabalipuram to Mamallapuram considering the great king and his achievements.https://www.mahabalipuram.co.in/pm

I have always felt that the sculptures are a medium of telling stories by our ancestors without any written text or even saying a single word. We can only imagine, How much physical efforts, thought process and creativity have been put into these marvellous sculptures, for creating such poetic details out of stones is not an easy task.. And even after standing tall for decades, facing so many storms, heavy rains, tsunami, and being eroded, the Monuments are still proudly ready to tell their stories to those who have time to listen to them.

MAHISHASURMARDINI CAVE:
The Mahishasuramardhini Cave is carved into three shrines bass relief of Somaskanda in the rear, Anantasayana Vishnu canopied by Shesha, reclining on the serpent bed. Mahishasuramardhini is struck in bold relief in such an awe-inspiring way with the thrill of the beholder in the battlefield. This is another excellent bas-relief depicting Lord Vishnu sleeping on the coils of serpent king Adisesha and goddess Durga fighting with demon king Mahishasura.

PANDAVA RATHAS:
Pandava Raths are Monolithic Shrines that are located just behind the bay of Bengal. They are five in number, of which four are carved, out of a single rock, while the fifth is scooped from a small rock. The hut-like Draupadi Rath sports door-keepers, Durga with a worshipper cutting and offering is neck, and the outer walls of Arjuna’s rath have most lovely and graceful figures of gods and mortals carved by a skilful sculptor.  Nakula-Sahadeva rath stands with a huge Monolithic elephant in front.  Bhima’s rath has two storeys and lion-based pillars.  Dharmaraja’s rath is the biggest and has 8 panels of exquisite sculptures. These rock-cut temples, named after the five Pandava brothers and Draupadi are the excellent examples of the Pallava art.  All the five monuments are called Rathas as they are full sized models and look like the chariots of the temple.  However, they recall the earlier architecture of the Buddhist chapels and monasteries. In addition, the Ganesha Ratha in the north side is also a beautiful piece of art. The architecture resembles Dravidian temples with their imposing towers and multi-pillared halls and sculptured walls. Although there hasn’t been any mention of Pandavas visit to this place in order to get the inspiration of creating these structures, but since the rathas and carvings are predominantly depicting the several stories and characters of Mahabharat, hence this place holds a special association with the great Indian epic.

SHORE TEMPLE:
The Shore Temple is located on the beach and if local lore is to be trusted it is one of the best examples of surviving structure of the legendary Seven Pagodas. Despite continuous erosive effects of the moist and salty sea air, the Shore Temple preserves its beauty in many parts. Built between 700 and 728 CE during the reign of Narasimhavarman II, this is indeed a remnant of a larger complex of temples and civil structures much of which lie under the depth of the sea now. The stately shrine set elegantly on the edge of the sea is a long survivor among the seven magnificent temples built over here.  The construction originally started around the middle of the 7th century and was later rebuilt during the reign of Narsimha Varma II, also known as Rajasimha.  It is one of the oldest temples in South India and represents the first phase of structural temples constructed in Dravidian style.  This icon of the soaring aesthetic aspiration of the Pallavas has been listed among the World Heritage Sites of UNESCO and is one of the most visited monuments in Tamil Nadu. Originally, there were seven such temples called as pagodas and only one has been spared. It has a vimana towering over 60 feet built in basaltic rock. The Shore Temple is in fact complexes of three exquisitely carved shrines and are approached through a paved forecourt flanked by weathered perimeter walls supporting striking sculptures of numerous ‘Nandi’ bulls. A temple dedicated to Lord Vishnu is flanked by two Shiva temples, one facing the east and the other facing the west.  Both the Shiva Temples are crowned by soaring spires, while the Vishnu Temple has none, as it may have crumbled with time.  The Vishnu temple was built by Narasimha Varma I or “Mamalla”, while the Shiva temples were later built by his son Narasimha Varman II.

ARJUNA’S PENANCE:
Arjuna Penance is a huge rock in the canvas unfolding a scene of gods and demigods, birds, animals, beasts and natural scenery.  Some people also say that it is Bhagirath’s  penance to bring the celestial Ganges to the earth. A natural cleft in rock has been cleverly carved into the turbulent river Ganges with serpent gods worshipping like devotees along the banks frozen in their prayer a superb poetry in sculpture which no visitor should miss.This a complicated magnificent piece of skilfully carved work, the largest bas-relief sculptures in the world.  Arjuna, the epic hero of Mahabharata, is depicted here as sage doing penance in order to obtain the divine weapons from Lord Shiva. All the carvings are made out of a huge boulder. There is a natural cleft in the centre of the huge rock which is conceived as the sacred river Ganga descending to earth.  Various divine figures have been carved on all the sides.  This piece of work is a masterpiece of creation in expression, particularly the figures relating to the popular Panchatanthra stories. Bhagiratha Penance is one of the largest and the finest bas-relief measuring 29m*7m, sculpted on the face of two enormous adjacent rocks. The panel is divided by a natural crack between the two rocks. The panel is divided by a natural crack between the two rocks. Originally the water fed from a collecting camber above, flowed down the fissure. A figure of bearded sage with floating ribs, standing on his left foot, deeply absorbed in performing penance is believed to be Bhagiratha praying for the Ganga to descend to earth from the Himalayas. The carvings depict realistic life size images of birds, animals, deities and other divine figures watching the flow of the Ganga. Some others relate this bas-relief to Arjuna’s penance, petitioning Lord Shiva for the divine weapon, Pashupatha.  The figure of animals particularly, the two large elephants and scenes from the fables in the Panchatantra are remarkable and unpretentious. The richness in the iconographic content of carvings makes this unique.

These are just some of the amazing man-made marcels of Mahabalipuram, where the artisans had put so much effort to bring the stones to life, and although the information of ASI boards doesn’t do much justice to the description, the stones are very well capable of telling their own stories to everyone who wish to spend some time with them and listen to the silent songs of the stones…