Bharatiya Sanskruti Ke Pratiko Me Kamal Aur Ashwa - Book Summary

Here's a comprehensive summary of the provided Jain text, "Bharatiya Sanskruti ke Pratiko me Kamal aur Ashwa" (Lotus and Horse in Indian Cultural Symbols) by Sudha Agarwal, focusing on the key ideas presented in each section:

Overall Theme: The book explores the profound symbolic significance of the lotus and the horse in Indian culture, spanning religious, philosophical, artistic, and historical contexts, with a particular emphasis on their representation in Jain traditions.

Page 1: The Lotus as a Symbol of Creation and Life

Cosmic Symbolism: The lotus is presented as a symbol of creative power. Early Indian cosmology envisioned the earth as a four-petaled lotus, with Mount Meru at its center as the seed of creation for many worldly objects and concepts, earning it the name "world-seed mother."
Life and Vitality: The lotus floating on vast waters signifies life and existence. It is awakened by the sun's rays, and the Rigveda equates the sun with Brahma, representing the vital force that awakens life in all beings.
Vishnu and Brahma: The lotus emerging from Vishnu's navel symbolizes the life-giving forces that sustain life. Brahma, the creator, is believed to have emerged from this lotus, originating from Vishnu's navel.
Fertility and Generation: The lotus leaves or petals are associated with the womb and the power of conception. The lotus can symbolize both the universal mind and individual life force.
Saraswati and Lakshmi: The lotus is closely linked to goddesses. While Vedic worship of goddesses is minimal, the lotus is associated with the origin of fire and later evolved into the form of the goddess Padma (Lakshmi). Lakshmi, also known as Shri, is closely identified with the lotus, with names like Padmasambhava, Padmavarni, Padmakshi, and Padmini directly referencing it. Her association with Vishnu as his consort further solidifies the lotus's connection to Vaishnavism and its art.

Page 2: Lotus in Art, Mythology, and Buddhism

Artistic Representations: Lotus motifs are found in ancient Indian art, such as the gateways and roofs of Sanchi and Bharhut, dating back to the 2nd century BCE. The "Gajalakshmi" motif, depicting a goddess seated on a lotus, is a prominent example.
Connection to Earth and Fertility: The goddess Lakshmi, associated with the lotus, is also referred to as "Prasanna Bhava Mata" (prosperous mother) and "Kshama" (forgiveness), which is identified with Earth and Hiranyagarbha. The lotus itself is also seen as a representation of Hiranyagarbha.
Early Depictions: A sculpture from Basarh shows various stages of lotus development, with wings attached to the figures, a feature noted as unusual for Indian art and more common in Mesopotamian art.
Mohenjo-Daro and Buddhist Art: The lotus appears in the context of Shiva worship in Mohenjo-Daro, with a figurine of a lotus-bearing goddess identified with Parvati, suggesting an ancient link between motherhood and the lotus, predating Vedic times. This connection is later seen with Brahma and Lakshmi, symbolizing creation.
Buddhist Iconography: Buddhist art widely features goddesses with lotuses, sometimes using the lotus to signify their presence. Deities like Mahasthamaprapta are depicted holding lotuses. The Mahayana Bodhisattva Padmapani, who assisted Buddhas, is often shown with a lotus, symbolizing compassion, divinity, and beauty. The lotus as a pedestal for Buddhist statues is also common, possibly influenced by Vaishnavism. The Prajnaparamita, the supreme goddess in Mahayana Buddhism, is also depicted on a lotus pedestal.

Page 3: Lotus in Later Art and Buddhist Philosophy

Decorative and Ornamental Use: The lotus became a prevalent decorative element in later art, particularly in creeper designs. It was a favorite flower for women's adornment. Ajanta cave paintings are rich with lotus imagery, reflecting its aesthetic appeal to poets and artists.
Architectural Features: The Ashoka pillar capital is decorated with lotus petals. Gandhara style art also features lotus creepers. Lotus designs are found in various art forms, including depictions of Vishnu reclining on the serpent Shesha. The combination of lotuses with swans is a recurring motif, famously used in the story of Damayanti sending a message via a swan on a lotus leaf.
Narrative and Symbolic Representations: Reliefs at Bharhut and Sanchi depict lotus plants, including their growth stages. These are often integrated with other decorative elements and birth narratives. The lotus plant's symbolism extends to rhythm and the cyclical nature of life.
Buddhist Philosophy of Detachment: The lotus plant is a powerful symbol in Buddhism, representing growth and flourishing in the world without being tainted by it. The Buddha's teachings are often compared to the lotus, emerging from the "mud" of worldly desires (lust, hatred, delusion) but remaining pure. The cycle of samsara and nirvana, good and evil, happiness and sorrow are seen as transient waves. The white elephant with a lotus creeper emerging from its mouth symbolizes unceasing aspiration and creation, rather than just the peace of nirvana.
Bodhisattva Symbolism: Bodhisattvas in Ajanta paintings, holding blue lotuses, embody tranquility and profound compassion for the world. Padmapani Bodhisattva is a model of both physical and spiritual beauty. Buddha statues on lotus pedestals are found in various art traditions. The worship of deities with two lotuses became prominent after the Gupta period.
Regional Variations: Sculptors in Rani Gumpha and Ganesh Gumpha showed a strong preference for lotus flowers in their decorative work. An Ananta Gumpha inscription features a lotus within a triangular design. Pillars with inverted lotus petals are also noted, similar to Besnagar pillar capitals. The motif of swans holding lotuses in their beaks is common, as is Lakshmi seated on lotuses with elephants performing an ablution.

Page 4: Lotus in Cave Art and Jain Iconography

Cave Decorations: The pillars of the Nasik caves are adorned with lotus designs, similar to those found on the Padmavar Vedika from Mathura's Kankali Tila.
Jain Art: A Jain Ayagapata from the Kusana period features a central Parshvanatha image flanked by lotuses and vine decorations. A 10th-century statue from Urraipaindepicts a Tirthankara in lotus posture. Another 9th-century statue is adorned with lotus and vine motifs. Pillars from the Gupta period also feature lotus and vine embellishments.
Upanishadic and Vedic Connections: The Upanishads consider the lotus to be antecedent to all creation. Saraswati, the goddess of knowledge, is invoked while seated on a lotus. The Ashwini Kumaras are described as wearing lotus garlands. The lotus, as India's national flower, is linked to the ancient culture of the Bhagavat tradition.

Page 5: The Horse in Indian Culture

Early Evidence: The horse holds significant importance in Indian culture, appearing in art, rituals (like sacrifices), and coinage. Rock paintings from the Neolithic era depict horse riders in combat. Similar depictions are found in Mirzapur and Banda districts. Rock carvings in Sindh depict armed warriors on horses, camels, and elephants.
Indus Valley and Vedic Periods: While the Indus Valley people's familiarity with horses is debated, a possibly equine figurine from Mohenjo-Daro exists. The Atharvaveda mentions the importance of stables for cows and horses. The Mahajanapada period saw the existence of royal stables. Jain Agamas mention the construction of horse stables. The Rigveda, along with depictions of elephants, lions, and bulls, also includes the horse.
Cosmological and Symbolic Meanings: In early geographical conceptions, the earth was seen as a lotus, with Mount Meru at its center. The eastern continent was called Bhadraśva, meaning "auspicious horse," referencing a white horse revered in China and considered a symbol of good fortune. This likely led to China being known as Bhadraśva in Puranic literature.
Buddhist Tradition: In Buddhism, such horses are called Balaaha. The Bodhisattva himself was once born as a Balaaha horse and saved 500 monkeys. This is depicted in the Balaaha Jataka and on a pillar in Mathura.
Mythical Creatures: Ancient Indian art featured composite creatures like "Ihamriga" (various animal forms), including horse-vultures. These were often depicted with the heads of one animal and the bodies of another. Mathura art features composite creatures like bull-fish, green-fish, and horse-fish. These are considered attendants of Rudra, with distorted faces representing inner natures. This concept has roots in the Rigveda.

Page 6: Horses in Buddhist Art, Rituals, and Royal Symbolism

Yaksha and Chaitya Depictions: The horse-faced Yakshi is mentioned in Buddhist literature. Pillar capitals in Sarnath and the Karle Chaitya house feature "hyasamghata" (animals seated back-to-back), including horses.
Sun God's Chariot: The Rigveda depicts Surya (the Sun God) on a chariot pulled by four horses, later increasing to seven. This is seen in reliefs at Bodh Gaya and in depictions from the Bhaja caves, Mathura, Gandhara, and Sasanian art. From the Gupta period onwards, Surya's chariot is typically shown with seven horses.
Early Coinage and Symbols: Chakki (circular artifacts) from Rajghat, Patna, and Murtajiganj, dating to the Shaisunaga-Nanda period, depict horses, likely as symbolic representations or mantras for mother worship.
Ashoka Pillar and Four Great Animals: The Ashoka pillar at Lumbini, the birthplace of Buddha, had an equine capital. Pillars often feature the "Four Great Auspicious Animals": horse, lion, bull, and elephant. This tradition extends back to the Indus Valley and continues to the 19th century, found across India, Sri Lanka, Southeast Asia, and Tibet. These animals are depicted in stūpa decorations and are referred to as "Chatushpada" (four-footed). They are believed to guard the entrances to sacred lakes and are mentioned as auspicious items for royal coronations.
Shunga Period Art: Shunga period art, particularly at the Bharhut stūpa, features horse chariots. This period also saw depictions of winged horses (sky-traveling horses). Caves at Khandagiri-Udaigiri in Odisha contain reliefs depicting hunting scenes with horses, including the story of Dushyanta and Shakuntala.
Cave Art and Decoration: Ganesh Gumpha features horses adorned with harnesses and jewelry. Manchapuri Gumpha has horse-riders on its torana. Ananta Gumpha contains a unique depiction of the Sun God on a four-horse chariot with his consorts.
Baja and PitalKhora Caves: The Bhaja caves (2nd century BCE) depict a king on a four-horse chariot. PitalKhora cave reliefs also show a horse rider. Bedsa cave pillars feature "hyasamghata" sculptures.
Later Period Art: The Mahastūpa at Jaggayyapeta has a relief of an adorned horse. Toys from Kodapur (Hyderabad) made of white clay depict horses.

Page 7: Horses in Later Art, Warfare, and Royal Rituals

Palaeolithic and Medieval Art: Panels from Paharpur and Mahasthan depict animals, birds, trees, and plants, including horses. A pottery shard shows a person shooting arrows at deer from a chariot pulled by four horses.
Portuguese Influence: 16th-17th century Bengali pottery shows Portuguese soldiers on horseback, reflecting the influence of foreign visitors.
Ashvamedha Sacrifice: The tradition of the Ashvamedha (horse sacrifice) is ancient in India. Historical figures like Pushyamitra Shunga, Samudragupta, and Kumargupta performed this sacrifice. Coins depicting Samudragupta on horseback commemorate his Ashvamedha. Many South Indian kings also performed it. The Gahadvala king Jayachandra of Kannauj is also mentioned as having performed an Ashvamedha. Kumargupta I issued gold coins depicting him on horseback.
Coinage and Symbols: The 20th-century Indian copper paisa coin also featured a horse. Punch-marked coins depict the "Four Great Auspicious Animals." The "Chatushpada" motif predates the rise of Buddhism.
Conclusion: Both the lotus and the horse hold a significant place as auspicious symbols in Indian culture, deeply intertwined with its religious, artistic, and historical heritage.

This summary provides a detailed overview of the book's content, highlighting the multifaceted symbolism of the lotus and the horse across various aspects of Indian civilization.