Bharatiya Kala Me Puran Kathaye

Here is a comprehensive summary in English of the provided Jain text, "Bharatiya Kala mein Puran Kathaye" by Prof. Krishnadatta Vajpeyi:

The text, "Puranic Narratives in Indian Art," by Prof. Krishnadatta Vajpeyi, explores the deep-rooted tradition of myths (Puran Kathaye) in Indian culture and their manifestation in art. It highlights how these narratives, originating from ancient times and found in literature and archaeological remains across India and other ancient civilizations, were shaped by the early human environment and lifestyle. These early emotions gradually evolved into beliefs and faiths, profoundly influencing people's lives. Certain religious beliefs solidified over time, forming the basis for the creation of divine and Puranic tales, which often featured more imagination than direct observation, shaping people's views on both worldly and otherworldly existence.

The author notes that Puranic narratives are extensively discussed in both Vedic and non-Vedic Indian literature, with Puranas offering a more comprehensive and varied interpretation. These myths became integral to the daily routines and thinking of people. As Indian society developed, these myths also evolved, being adopted and utilized by various ideologies like Vedic, Puranic, Jain, and Buddhist traditions to propagate their teachings.

Beyond literature, these myths were artistically represented in various forms of folk art, including sculptures, paintings, songs, and plays. Indian art is rich with depictions of deities and their associated stories, a practice considered essential for making art accessible and engaging to the public. Alongside revered deities, folk art frequently portrays Yakshas, Kinnaras, Gandharvas, Suparnas, and Apsaras. Ancient Indian artworks depict men and women participating enthusiastically in diverse religious rituals and festivals. The tradition of illustrating popular Puranic tales through sculptures and paintings remains alive in India.

The most accessible medium of folk art was clay sculptures and toys, with the oldest Indian sculptures being hand-crafted, not mold-made. Among these, mother goddess figurines are highly significant, reflecting the ancient belief of considering the earth as a mother, a concept found in Vedic and other literatures. These figurines, often adorned with heavy jewelry, sometimes have bird-like faces. Other toys depict shal-bhanjika women in attractive poses. A notable sculpture depicts Kamadeva crushing the fisherman Shurpak, illustrating a local tale of a princess's unrequited love and her eventual triumph with Kamadeva's aid.

The text mentions several clay sculptures from the Gupta period, characterized by plain backs and sculpted deities, Yakshas, Gandharvas, and animals on the front. A significant Gupta-era clay sculpture of Kartikeya, seated on a peacock in a valiant pose, is highlighted. Another depicts the river goddess Ganga in an attractive posture holding an auspicious pot. The portrayal of river deities, particularly Ganga and Yamuna, was common in folk art. A Gupta-era sculpture shows a woman pulling a man by his scarf, a scene reminiscent of Bana Bhatt's descriptions of courtly life and the playful interactions of royal women.

The worship of Lakshmi as a principal Indian goddess is widely evident, with her consecration described in detail in the Jain Kalpa Sutra. She is depicted as riding a lotus in a Himalayan lake, being bathed by elephants, symbolizing the life-giving rain provided by cloud deities. In Jain literature, Lakshmi is considered the goddess of fortune and prosperity, and rituals for her worship and consecration are mentioned for attaining wealth and happiness.

The narrative then shifts to the depiction of the Ramayana, found in stone inscriptions at Nachna and Devgarh, and later extensively in North and South India, as well as Southeast Asian countries like Cambodia, Java, and Sumatra. The Ramayana's performance in dramatic forms is still prevalent today. Similarly, ancient depictions of Krishna's life are found in North India at Mathura, Bhandor, Suratgarh, Paharpur, and Bhubaneswar.

South India also features numerous portrayals of Krishna's pastimes, primarily inscribed in ancient temples and caves. The Badami cave fort showcases various scenes from Krishna's life, including his birth, the killing of Putana and others, and Kamsa's demise, dating back to the 6th-7th centuries CE. The worship of Nagas (serpents) in various forms was also prevalent. Lord Krishna's brother, Balarama, is considered an avatar of Shesha Naga, and Vishnu rests on Ananta Naga. Jain Tirthankaras Parshvanatha and Suparshva have the Naga as their emblem. Buddhist accounts mention the Naga Muchalinda shielding Buddha and the Nagas Nanda and Upananda providing him with a bath. The Ramagrama stupa was protected by Nagas. Thus, Nagas hold significant importance across major Indian religions, with numerous associated folk tales.

Ancient Naga sculptures appear in both anthropomorphic and serpentine forms. The former depict Naga and Nagini as human couples, often with five or seven cobra hoods. The latter are worshipped by women desiring offspring, a practice still observed in parts of India. Besides Balarama, other Naga sculptures in human form are found. A Shunga-era stone inscription depicts the Naga king Purnaka and his companions bathing in the lake Atota. A Naga queen sculpture shows five female figures emerging from her body, possibly representing the five senses. Some Buddhist sculptures also feature Nagas. Mathura art depicts the consecration of Prince Siddhartha by the Nagas Nanda and Upananda and the protection of the Ramagrama stupa by Nagas. Sculptures of Jain Tirthankaras Parshvanatha and Suparshva are also notable. Artists have incorporated water beings and sea nymphs in their works, similar to depictions in ancient art from Greece, Asia Minor, and India. Sea nymphs are often depicted as decorative elements in stonework. A lintel from Mathura, dating to the 1st century BCE, shows the worship of Buddha's symbols on one side and Indra with his Apsaras paying respects to Buddha in a cave on the other. This lintel also features auspicious panels adorned with lotus flowers and charming maidens, with their upper bodies human and lower bodies fish-like, elaborately decorated with jewelry. Jain and Buddhist literature also contains engaging tales, many of which were immortalized in art to prove the greatness of Tirthankaras and Buddha. The creation of numerous Puranic narratives to propagate the Jain principles of Ahimsa (non-violence) and Anekantavada (non-absolutism) is evident, with these tales finding their way into literature and the arts. The Jataka tales, recounting Buddha's past lives, are also significant in this regard and have been depicted in ancient sculpture and painting.

The text concludes by referencing two Jataka tales: the Uluka Jataka, about the foolishness of electing an owl as king, and another involving a tortoise whose greed leads to its demise. These tales are found depicted in folk art at Bodh Gaya, Mathura, and Malhar. The abundance of myths and their fascinating portrayal in literature and folk art underscore their crucial role in Indian culture and their significant impact on public life. The author also includes a philosophical observation attributed to Rajendra Suri, emphasizing that true wisdom lies not just in scholarly pursuits but in eradicating negative qualities like pride, malice, attachment, envy, and greed from the heart.