2023-02-16 06:08:34 by ambuda-bot
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lakshmi was naturally carved on the torana of the palace.
Lakshmi on lotus, Her lovely arms holding lotuses, as
celestial elephants bathed Her: niyujyamānā cha gajaiḥ
suhasta lakshmis tathā padmini padmahastā, Rāmāyaṇa
5, 7, 14. This auspicious emblem has been a favourite
symbol of auspiciousness and prosperity and is repeated
not only in Brahmanical but also in Buddhist and Jain
monuments. In the Gupta cave at Udayagiri it is an
elaboration of the theme on the door-lintel, Lakshmi
arising out of the milky ocean as Kshirabdhikanya, daugh-
ter of the milky sea, and Somamritasodarī, with ambrosial
moon as Her brother, as he was also so born, as the
Devas and Asuras churned the milky mass. Early repre-
sentations of Lakshmi occur repeatedly on the Buddhist
toraṇa at Bhārhut (Fig. 2), and a lovely one, exactly
answering Vālmīki, on the eastern gateway of the Sanchi
stupa (Fig. 3). The theme occurs with equal importance
on the lintel of a doorway of the Jaina Rānīgumpha cave
at Udayagiri in Orissa. These are among the earliest
and belong to the second century B.C. The theme
became such a favourite that it is repeated on coins and
seals both early and medieval. Even so late as the
eleventh-twelfth centuries it occurs as for instance on
Gangeyadeva's and Sallakshaṇadeva's issues. As early
as the second century B.C., She is shown standing on
lotus and bathed by elephants on the reverse of
Sujyeshtha's coin (Fig. 4).
It is interesting that Lakshmi is shown seated on a
lion with Her feet on lotus and suggest Her both as Śrī
and Simhasaneśvarī. She is seated not on a throne with
supporting leonine couch-steads but on the lion itself,
actual lion-seat, simhasana, as Royal Prosperity, Her
aspect of royalty suggested by the lion, and Her form of
prosperity by the lotus on which rest Her feet, making
lakshmi was naturally carved on the torana of the palace.
Lakshmi on lotus, Her lovely arms holding lotuses, as
celestial elephants bathed Her: niyujyamānā cha gajaiḥ
suhasta lakshmis tathā padmini padmahastā, Rāmāyaṇa
5, 7, 14. This auspicious emblem has been a favourite
symbol of auspiciousness and prosperity and is repeated
not only in Brahmanical but also in Buddhist and Jain
monuments. In the Gupta cave at Udayagiri it is an
elaboration of the theme on the door-lintel, Lakshmi
arising out of the milky ocean as Kshirabdhikanya, daugh-
ter of the milky sea, and Somamritasodarī, with ambrosial
moon as Her brother, as he was also so born, as the
Devas and Asuras churned the milky mass. Early repre-
sentations of Lakshmi occur repeatedly on the Buddhist
toraṇa at Bhārhut (Fig. 2), and a lovely one, exactly
answering Vālmīki, on the eastern gateway of the Sanchi
stupa (Fig. 3). The theme occurs with equal importance
on the lintel of a doorway of the Jaina Rānīgumpha cave
at Udayagiri in Orissa. These are among the earliest
and belong to the second century B.C. The theme
became such a favourite that it is repeated on coins and
seals both early and medieval. Even so late as the
eleventh-twelfth centuries it occurs as for instance on
Gangeyadeva's and Sallakshaṇadeva's issues. As early
as the second century B.C., She is shown standing on
lotus and bathed by elephants on the reverse of
Sujyeshtha's coin (Fig. 4).
It is interesting that Lakshmi is shown seated on a
lion with Her feet on lotus and suggest Her both as Śrī
and Simhasaneśvarī. She is seated not on a throne with
supporting leonine couch-steads but on the lion itself,
actual lion-seat, simhasana, as Royal Prosperity, Her
aspect of royalty suggested by the lion, and Her form of
prosperity by the lotus on which rest Her feet, making