2023-02-16 06:08:36 by ambuda-bot
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12
1.17. This sculpture is a visual commentary on the
term nadimatrika which is the same as adevamätrika, as
opposed to devamātrika. 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 jananiva tena manyena rajñā sarayūr
viyukta, dure vasantam śiśiranilair mām tarangahastair
upagūhativa, Raghuvamśa, 13,60. On her lap of her sand
dunes the children of the soil could sit and muse without
a thought of the future. The region known as nadimā-
trika was sustained as by a mother by the river: yām
saikatotsangasukhochitānām prājyaiḥ payobhiḥ parivardhi-
tānām, sāmānyadhātrim iva mānasam me sambhāvayatyut-
tarakosalānām, Raghuvamsa, 13,52. The opposite is deva-
mātrika, 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
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 Dhanyalakshmi and
Bhagyalakshmi, 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 Sankara
invokes this mother goddess as Śrī, who is everything.
The heavenly stream Gangā herself is associated with
Vishnu called Suvarnabindu, as a drop on his foot
whence the epithet, and also with Śiva also called
Suvarnabindu, as holding a drop that she became on his
jata in his Gangadhara form. One of the epithets of gold
is Gangeya, its association with the river Gangă. And
as Sankara 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
1.17. This sculpture is a visual commentary on the
term nadimatrika which is the same as adevamätrika, as
opposed to devamātrika. 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 jananiva tena manyena rajñā sarayūr
viyukta, dure vasantam śiśiranilair mām tarangahastair
upagūhativa, Raghuvamśa, 13,60. On her lap of her sand
dunes the children of the soil could sit and muse without
a thought of the future. The region known as nadimā-
trika was sustained as by a mother by the river: yām
saikatotsangasukhochitānām prājyaiḥ payobhiḥ parivardhi-
tānām, sāmānyadhātrim iva mānasam me sambhāvayatyut-
tarakosalānām, Raghuvamsa, 13,52. The opposite is deva-
mātrika, 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
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 Dhanyalakshmi and
Bhagyalakshmi, 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 Sankara
invokes this mother goddess as Śrī, who is everything.
The heavenly stream Gangā herself is associated with
Vishnu called Suvarnabindu, as a drop on his foot
whence the epithet, and also with Śiva also called
Suvarnabindu, as holding a drop that she became on his
jata in his Gangadhara form. One of the epithets of gold
is Gangeya, its association with the river Gangă. And
as Sankara 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