By Suraj Saraf , Compiled by. Amiay Saraf
Representation of lotus flower has been as age old tradition in Indian art. Its frequency has indeed been surprising. It is carved along with principal deities and also on the temples. It so appears that whereas in the ancient stone temples in India, the practice was rampant to carve lotus on the ceiling slabs, in the later and modern times lotus petals were carved on the exteriors of temples at various levels starting from the base of the spire to right near its top as can be seen on our own city Jammu, too. In the case of the deified figures, lotus was represented as their seat or in their hands. As an interesting motif done very frequently both in sculpture and painting, Brahma is depicted seated on a lotus with a long stalk sprouting from Vishnu’s navel lying on a coach made by Shesh Nag’s coils that also provided the canopy on Vishnu with its multi-hoods. However, the carving of lotus in the ancient stone slags had become too much stylized showing little variety as the centuries passed. As shown in one of the ceiling slabs alongside lotus was shown with its fully expanded petals. At the best the only variation achieved was in the number of petals or their layers carved. In some cases in different ancient sculptures in Jammu I have seen a splendid job done in that behalf. It nevertheless, seems strange that whereas in other cases Indian artists showed so much novelty and penchant for variety galore, why did they ignore lotus even though giving it such a great importance as to make its multi-representation a must in the temples and even in secular construction like palaces. It is because of this fact that any success in giving a striking novel touch to a lotus sculpture, must be taken as welcome addition to the rich Indian art. It needs a closer notice. I came across such a beautiful lotus carving on a big square slab in one of my visits of Babor, the well known site of sixt or seventh century stone temples with enthralling art, about 75 Kms to the east of Jammu city. I found this captivating lotus sculpture while rummaging through the stone slabs scattered in various temples at Babor. As I upturned a triangular stone slab lying on its reverse. I saw this fascinating sculpture. But it was a half broken slab, so I searched for its other half which, too, I found soon. The two parts put together formed a square slab bout a meter on each side. I had four exquisitely carved Lakshmi figures on the four corners that looked stunningly identical. Back had a lotus in her right hand; lotus blooming on a stalk. In between the lakshmi figures is the marvelously carved lotus with four layers of petals and snclosedin two concentric motifs of lozenges with mini globules. The outermost layer of the lotus petals was each having a swan beautifully carved in it with a curved neck. It is, indeed rare depiction of a lotus motif in sculpture. The two outer layers of petals have also some intricate patterns carved inside them and the contours of the petals have been very sharply marked. Thus though overall form of the lotus is only stylized, yet the attractive figures of swans and other patterns in the lotus petals mark this out a singular display of artistic ingenuity in statuary. Even the petals of the lotus shown in the other picture are not simple ones, particularly the outer row of the petals attracts attention for the intricate patterns carved in them.
Artists in various periods have tried to carve it with a religious fervor making it more and more elaborate and aesthetic pendulous job. However, rarely ever artists elsewhere had succeeded in imbuing the lotus carving with inventiveness, which the unknown Babor master artists had certainly succeeded in achieving.
Why Lotus: It may pertinent to point out here as to why the lotus motif has been so frequently used in the Indian art and architecture. Artistically speaking its layers of petals make beautiful and artistic decorative elements and artistic decorative elements in the temples etc. Its color is also arresting. Along with its aesthetics, it is its association with sun, which is one or other form has been considered as the highest divinity in almost every civilization of the world, so also its purity, that give it such a preeminence in religion and art. Long back American Prof. W.K. Goodyear had published a book. “The Grammer of Lotus: A new history of classical ornament as a development of sun worship”. He had developed the sun symbol from the lotus by a series of in genius complicated evolutions passing through the Ionic, style of architecture; the volutes and spirals forming meanders of frets, and from that to Swastiks. According to Prof. Goodyear lotus was a fetish of immemorial antiquity and has been worshipped in many countries. It was a symbol of fecundity, life immortality and resurrection, and also had a mortuary significance and use. But its elementary and most important significance was as a solar symbol. Prof. Goodyear had also shown how different parts of lotus were converted into many ornamental forms in art. According to him the first manifestations of lotus symbol in art and architecture had appeared in Egypt in the 14th century B.C. from where it spread to other nations. However, when Prof. Goodyear wrote his thesis, (in late last century) Sindh Valley Civilization had not come to light as yet. In fact, the lotus symbol had also been found earlier (then in Egypt) in that civilization too, the eldest civilization that thrived in vast expanse in the North, West and East of India and present Pakistan. According to Mr. K.N. Shastri who remained for long year as the curator of the Harappar Museum and is considered an authority on the Sindh Valley Civilization (he belonged to Jammu and settled here after his retirement from the Archaeological Survey of India) in his “New Light on the Indus Civilization:” the Indian literature is replete with allusions to” forests of lotuses blossoming at the shift of the sun and withering at sunset” Indus people were aware of this trait of the lotus that is why they associated it with the sun, says Mr. Shastri. While giving several instances on the potsherds from the Indus Valley period, wherein spirits of the dead people (preta) have been journeying to the solar world along with lotus flowers, Mr. Shastri stresses, Lotus was regarded par excellence a solar plant in the Indus age and the tradition of its association with the sun appears to have been one of the many legacies inherited by the later who followed in their wake. “It is also noteworthy that several seed vessels of lotus in faience have been recovered from the excavations at Harappa and Mohenjo Daro. According to Dr. Koomaraswamy, at a relatively early date the lotus may have represented Brahma, for he is successor of Prajapati, who is born of the water. The Satapatha Brahmma identifies the lotus with water”. Lotus in Indian literature, moreover, represents the Tree of Life, is symbolic of purity and wealth besides having medicinal properties. In view of all that, it is no wonder that lotus had been so profusely represented in Indian Art and architecture, both religious and secular. Artists in various periods have tried to carve it with a religious fervor making it more and more elaborate and aesthetic pendulous job. However, rarely ever artists elsewhere had succeeded in imbuing the lotus carving with inventiveness, which the unknown Babor master artists had certainly succeeded in achieving. Babor temples are, indeed, a great and scintillating manifestation in art and architecture representing even some more elements in Indian art like this superb lotus carving. Who knows there may be still more surprises at Babor.
(The author is Late Suraj Saraf and the column has been compiled by Amiay Saraf from Jammu.)
