2023-02-27 13:26:52 by Kala S
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12
1.17. This sculpture is a visual commentary on the
term nadimatr
term nadīmātṛika which is the same as adevamätrātṛika, as
opposed to devamātr
opposed to devamātṛika. As Rāma approaches Ayodhyā
in the aerial car, he addresses Sītā and describes the river
in affectionate terms as if she were his mother beckoning
and trying to embrace him with her cool wavy arms :
seyam madiya
seyam madīyā jananiva tena manyena raīva tena mānyena rājñā sarayūr
viyukta, duūre vasantam śiśiranilair mām tarangahastair
ānilair mām taraṅgahastair
upagūhatiīva, Raghuvamśa, 13,60. On her lap of her sand
dunes the children of the soil could sit and muse without
dunes the children of the soil could sit and muse without
a thought of the future. The region known as nadiīmā-
trika was sustained as by a mother by the river: yām
saikatotsanṅgasukhochitānām prājyaiḥ payobhiḥ parivardhi-
tānām, sāmānyadhātri
tānām, sāmānyadhātrīm iva mānasam me sambhāvayatyut-
tarakosalānām, Raghuvamsśa, 13,52. The opposite is deva-
mātr
mātṛika, a region depending solely on the gods for rain.
The Kushāṇa sculpture of Śrī as both river and goddess
shows her standing on the purnaghata mother touching
shows her standing on the pūrṅaghata mother touching
Her breast to suggest payas milk and water that she offers
(Fig. 13). The pitcher or the ghata below suggesting Her
stream. This is the great concept of Dhaānyalakshmi and
Bhaāgyalakshmi, prosperity arising out of the plenty in
food, plenty in crops, plenty in prosperity in everying.
It is no wonder, rather it is evident why Sanṅkara
invokes this mother goddess as Śrī, who is everything.
The heavenly stream Gangā herself is associated with
ṅgā herself is associated with
Vishnṇu called Suvarnṇabindu, as a drop on his foot
whence the epithet, and also with Śiva also called
Suvarnṇabindu, as holding a drop that she became on his
jataā in his Gangaṅdhādhara form. One of the epithets of gold
is Ganāṅgeya, its association with the river Gangă. And
as San
as Śaṅkara called for a stream of gold, lo and behold!
there it was, for satisfying the drought-stricken Chātaka
fledgeling, the lady in the house, who was withered in
fledgeling, the lady in the house, who was withered in
1.17. This sculpture is a visual commentary on the
term nadimatr
term nadīmātṛika which is the same as adevam
opposed to devamātr
opposed to devamātṛika. As Rāma approaches Ayodhyā
in the aerial car, he addresses Sītā and describes the river
in affectionate terms as if she were his mother beckoning
and trying to embrace him with her cool wavy arms :
seyam madiya
seyam madīyā janan
viyukta, d
upagūhat
dunes the children of the soil could sit and muse without
dunes the children of the soil could sit and muse without
a thought of the future. The region known as nad
trika was sustained as by a mother by the river: yām
saikatotsa
tānām, sāmānyadhātri
tānām, sāmānyadhātrīm iva mānasam me sambhāvayatyut-
tarakosalānām, Raghuvam
mātr
mātṛika, a region depending solely on the gods for rain.
The Kushāṇa sculpture of Śrī as both river and goddess
shows her standing on the purnaghata mother touching
shows her standing on the pūrṅaghata mother touching
Her breast to suggest payas milk and water that she offers
(Fig. 13). The pitcher or the ghata below suggesting Her
stream. This is the great concept of Dh
Bh
food, plenty in crops, plenty in prosperity in everying.
It is no wonder, rather it is evident why Sa
invokes this mother goddess as Śrī, who is everything.
The heavenly stream Ga
Vish
whence the epithet, and also with Śiva also called
Suvar
jat
is G
as San
as Śaṅkara called for a stream of gold, lo and behold!
there it was, for satisfying the drought-stricken Chātaka
fledgeling, the lady in the house, who was withered in
fledgeling, the lady in the house, who was withered in