KANAKADHĀRĀ STOTRA Translated and Annotated EFFE E E E 0 C. SIVARAMAMURTI DEVE EEEEEEEEEEEEEEEEEEE

KANAKADHARA STOTRA

(Translated and Annotated)

by C. SIVARAMAMURTI VISHNU SAHASRANAMA SATSANGAM RAMAKRISHNA PURAM NEW DELHI

Publication No. 8 First Impression 1980 OC. SIVARAMAMURTI Published by The Vishnu Sahasranama Satsangam 469, Sector IX, Ramakrishnapuram New Delhi Printed at Print India Mayapuri New Delhi-110 0 64

PREFACE 'More things are wrought by prayer than this world dreams of'. -TENNYSON The efficacy of prayer and 'Nama Japa'-chanting the name of the Lord-has been stressed by all our saints and seers. Regular recitation of the verses of Bhagavadgita and the Vishnusahasranama helps us to elevate our thoughts and assure communion with the Almighty. The Vishnu Sahasranama Satsangam at Rama- krishnapuram, New Delhi was formed in 1968 with the noble aim of bringing devotees together for group recitation of our sacred hymns and songs Divine. The weekly recitation for an hour every Sunday morning has had a continuous run without a break in different houses by rotation during the last ten years. During the tenth anniversary celebrations on 1978, the Satsangam had brought out a publication containing the sanskrit text of VISHNUSAHASRANĀMA with English translation and annotation based on Śankara Bhashya by Dr. C. Sivaramamurti, ex-Director of the National Museum. On the eleventh anniversary the Satsangam brought out a publication titled Aditya Hridayam with English translation of the Sanskrit verses by Dr. Panduranga Rao, an erudite scholar. On the eve of the Twelfth anniversary celebrations we have great pleasure in bringing out this publication, the

iv eighth in our series, containing the Sanskrit text of 'KANAKADHĀRĀ STOTRA' with English translation and annotation by Dr. C. Sivaramamurti, Ex. Director of the National Museum, New Delhi. We are deeply indebted to all well-wishers who have contributed either money or materials for enabling us to bring out the publication. New Delhi February, 1980 Sri Vishnu Sahasranāma Satsangam

Introduction Text and Translation Annotation Plates CONTENTS Page 1 14 22 29

LIST OF ILLUSTRATIONS 1. शम्भोर्मूर्तिश्चरति भुवने शङ्कराचार्यरूपा Bhagavatpāda Sankara with Vyāsa, Pallava, 8th century A.D. Kanchipuram. 2. Sirima Devata with label sirimā devata in early Brahmi letters, Sunga, and 2nd century B.C., Bhārhut, Indian Museum. 3. Gajalakshmi on eastern torana gateway, Sāta- vāhana, 2nd century B.C., Sanchi. 4. Gajalakshmi on reverse of Sujyeshtha's coin, 2nd century B.C. 5. Rājyalakshmi seated on lion simhasana with cornucopia (kośa) and noose (danda) on reverse of Gupta coin, 4th century A.D. 6. Dhanalakshmi flanked by the treasures Padma (lotus) and Sankha (conch) on reverse of Kumāragupta's coin, 5th century A.D. 7. Kalpavriksha (wish-fulfilling tree) crowning piece of dhvaja (banner) of Lakshmi's shrine with nidhis at its roots, Sunga, 2nd century B.C., Besnagar, Indian Museum. 8. Lakshmi in anthropomorphic, zoomorphic, symbo- lic and botanical forms on Kuninda Amogha- bhūti's coin, 1st century A.D.

(vii)

9. Coin of Amśuvaraman showing cow and legend kāmadehi (giver of all desired), 6th century A.D., Nepal. 10. Vīralakshmi offering wreath to victor on coin of Zionises, Indo-Parthian, 1st century A.D., Taxilā. 11. Rain of gold by wonder clouds (aścharya meghas). Sailendra, 8th century A.D., Barabudur, Indonesia. 12. River goddess as Dhānyalakshmi with water in jug and food in tray suggesting nadīmātrika (river mother fed), Kushāṇa, 1st century A.D., Mathurā, Bharat Kalā Bhavan. 13. Lakshmi on the lotuses of purnaghata (overflowing vase) offering sustaining water as breast-milk, Kushāna, 1st century A.D., Mathura, National Museum. 14. Gajalakshmi bathed by celestial elephants, Rāsh- trakūta, 8th century A.D., Kailāsa temple, Ellora.

at the lotus-feet of Śri Lakshmi Mother of the universe with the prayer that all in the world may be happy through her grace

INTRODUCTION Śaṅkara was not only undoubtedly the greatest of intellectuals of his age but also the greatest inspirer of devotion among devotees, a transformer of even the most unbelieving atheists into the stream of faith, who plunging with gusto, developed greater devoutness than even that of the already most devoted. Śaṅkara was tender-hearted. A young boy, as a brahmachari he was going abegging to five houses for his daily food, as was the wont in ancient India for pupils under their teacher in the period of learning the great parāvidyā. Only five years old and so young, so kind- hearted, he was so touched when at one of the houses he saw a hapless widow in such indigent plight that she could just offer him a small berry, that he burst into poetry at the sad sight of her poverty and prayed to the Goddess of Prosperity to shower on her all Her grace and Her splendour, Her munificence in the form of gold. There was a rain, literally of gold, and the hymn that he composed, a short one of twenty-five verses is named Kanakadhārā stava, the hymn of the stream of golden downpour. From the earliest times in India, there has been the idea of prosperity and plenty in a rain itself of pros- perity, simulating the downpour of laden clouds on the earth, of a rain of gold, of a rain of cloth, of a rain of corn. The goddess of prosperity Herself has been conceived in eight forms, as Dhanalakshmi, goddess of

2 wealth, Dhānyalakshmi, goddess of corn and grain, Bhāgyalakshmi, goddess of fortune, Rājyalakshmī, goddess of royalty, Vīralakshmī, goddess of valour, Jayalakshmī, goddess of victory, Santānalakshmī, goddess of virtuous progeny and Gajalakshmī, goddess bathed by elephants as a symbol of prosperity. In the Śrīsūkta itself, the goddess has been invoked for all the good in this world to be showered on the devotees and for destroying lethargy and poverty represented by Alakshmī: alakshmīm nāśayāmyaham. The prayer is to the fire, the fire so devoutly worshipp- ed, that the goddess of prosperity may be induced to ever dwell in one's home: tām ma āvaha jātavedo lakshmīm anapagāminīm, yasyām hiraṇyam prabhūtam gāvo dāsyo' śvān vindeyam purushān aham, O, Lord of fire ! please vouchsafe for me that goddess of prosperity that never would leave me and from whom I could have immense gold, kine, attendants, horses and servants. Even the gods themselves are embodied in the goddess of prosperity as wealth itself is fire. Fire is wealth, air is wealth, sun is wealth, Indra is wealth, Bṛihaspati and Varuṇa are also wealth, may all these lords be there for you: dhanam agnir dhanam vāyur dhanam sūryo dhanam vasuḥ dhanam indro bṛihaspatir varunam dhanam astu te. In the Bhāgyasūkta, the goddess is rich in all! She is rich in horses, rich in cows, rich in heroes, goddess of dawn and prosperity, may she do the utmost good for us; milk for us, the essence of ghee ail round, and rich in it, may you drink of it ever so much, and ever may there be all prosperity. Oh! fire! If, when I am entitled to it any one desires to deprive me of that portion of my prosperity, eliminate it only for him and make me the recipient of the prosperity to which I am entitled: aśvāvatīr gomatīr na ushāso vīra-

3 vatīr amsadam uchchhantu bhādraḥ, ghṛitam duhānā viśvataḥ prapīnāyūyam pāta svastibhis sadā nah, yo mā 'gne bhāginam santam athābhāgam chikīrshati, abhāgam agne tam kuru mām agne bhāginam kuru. Preceded by equine troop, established centrally on truimphal car, she is alerted by trumpeting elephants, that goddess Śrī I invoke; may that Śrī bl me aśvapūrvām ratha- madhyām hastinādaprabodhinīm, śriyam devīm upahvaye, śrīr ma devīr jushatām. She is already here the goddess of Royal Prosperity surrounded by cavalry, elephants and chariots. She is the lotus-queen seated on the lotus, is of the very essence of the lotus: padme sthitām padmavarṇām tām ihopahvaye śriyam. The prayer to Her is 'may limpid water shower in thick jets, and may She, moistened (as symbol of plenty), dwell in my abode. May this mother goddess Śrī be made to have Her abode in our home: āpaḥ sṛijantu snigdhāni chiklīta vasa me gṛihe, nicha devīm mātaram śriyam vāsaya me kule. Proverbially the highest form of prosperity or Lakshmī at her acme is with Kubera the lord of wealth and Indra the lord of the celestials. Hanumān is aghast at the prosperity of Rāvaņa as he saw in Laṅkā, specially in the Pushpaka palace. May be that this prosperity may slip for either of the former, as even for Kubera when he lost his beautiful city of Laṅkā to his own half brother Rāvana and had to repair to a new abode in Alakā near Kailāsa, or for Indra, when he lost his celestial overlordship to Nahusha for a time till he regained it; but for Ravaṇa it was perennial and unswer- ving till even when he lay a corpse on the battlefield. No wonder Hanumān exclaims : yā hi vaiśravaṇē lakshmīr yā chendrē harivāhane sa rāvaṇagṛihe sarvā nityam ēvānapā- yini, Rāmāyaṇa 5, 9, 8. The symbol of this Bhāgya-

4 lakshmī was naturally carved on the toraṇa of the palace. Lakshmī on lotus, Her lovely arms holding lotuses, as celestial elephants bathed Her: niyujyamānā cha gajaiḥ suhastā lakshmīs 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, Lakshmī arising out of the milky ocean as Kshīrābdhikanyā, daugh- ter of the milky sea, and Somāṁṛitasodarī, 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 Lakshmī occur repeatedly on the Buddhist toraṇa at Bhārhut (Fig. 2), and a lovely one, exactly answering Vālmīki, on the eastern gateway of the Sāñchī stūpa (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 Gāṅgeyadeva'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 Siṁhāsaneśvarī. She is seated not on a throne with supporting leonine couch-steads but on the lion itself, actual lion-seat, simhāsana, 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

Her appropriately Rājyaśrī or Rājyalakshmī. This is further emphasised by the cornucopia and noose in Her hands, the one symbolic of treasure kośa, and the other of power, daṇḍa, kośadaṇḍāviva kshitiḥ as Kālidāsa has put it in his Raghuvamśa, 15, 13. This is prominent in Kushāṇa and Gupta coins (Fig. 5), one of the finest examples being on the reverse of the Chandragupta I and Kumāradevī type of the fourth century A.D. But still earlier it occurs on first century Kushāṇa coins. An interesting representation and probably a unique type to illustrate Dhanalakshmī is Śrī standing on lotus, flanked by lotus and conch (Fig. 6), symbolising the two principal treasures, nidhis, already famous in their occurrence at the root of the Kalpa or wishfulfilling tree as the crowning piece of banner of a derelict temple of Kubera or Lakshmī at Besnagar, and now preserved in the Indian Museum (Fig. 7). This form of Lakshmī occurs on the reverse of Kumāragupta's elephant rider type of coin, where the umbrella held over the monarch suggests his enjoying imperial status as a sovereign of ekachhatrā status, as a samrat or emperor, as the one for whom alone was the only umbrella on earth, even as the poet puts it, that over his head alone was raised an umbrella, and by that umbrella of spotless lustre the affliction of the entire world on account of separation from the former worthy kings was removed: tāsyāi- kasyochchhritam chhatram mūrdhni tenāmälatvishā, pūr- varājaviyogaushmyam kritsnasya jagato hṛitam, Raghu- vamśa 17,33. The nidhis, particularly Śankha and Padma, are shown at the roots of the Kalpa or the celestial wishful- hilling tree as the tree itself is a botanical symbol of Laksmhī The bags of gold beside the nidhis, also at

6 the roots, suggest her as Bhāgyalakahmī This early representation from Besnagar has to be studied in relation to Kuninda coins of the first century A.D. where in some varieties there is the cow as Kāmadhenu, the cow of plenty, the zoomorphic representation of Lakshmī along with Kalpavṛiksha. The line of Śrīsūkta, vanaspatis tava vṛiksho' tha bilvaḥ is suggested by the tree as vanadevatā (sylvan goddess) as Lakshmī, whose protective and sustaining trait as a nourishing mother is shown by her hand extending from a branch to offer food and water to one seeking the shelter of the tree as in Kālidāsa's anyebhyo vanadevatākisalayair āparvabhā- gotthitaiḥ, Abhijñānaśākuntalam, 4,5 actually represented in a Bhārhut sculpture. In another Kuninda coin Śrī Lakshmi is shown standing holding a lotus with a long stalk in her hand in her anthropomorphic form, the cow standing beside her her zoomorphic version, Lakshmī as the symbol Śrivatsa shown between the horns of the cow, and the Kalpav- ṛiksha as her botanic representation (Fig. 8). This interesting coin of the first century is repeated in an emphasis on her Kāmadhenu or celestial cow aspect in the sixth century coin of Amśuvarman from Nepal (Fig. 9) with the picture of the cow and the legend kāmadehi (giver of all that is desired). Godhana cattle- wealth, is a form of Bhagyalakshmi. An Indo-Parthian coin of Zionises of Taxila of the first century A.D. shows a rare figure of the goddess of victory, Vīraśri, holding out a wreath in appreciation of the valour of the satrap (Fig. 10), recalling the line of Kālidāsa who describes Vīraśrī as princess rewarding Her chosen victor āsīd atiśayaprekshyas sa rājyaśrīvadhū- varaḥ, Raghuvamśa 17,25. This is both Vīralakshmī

7 and Jayalakshmī. In the classical battle between Rāma and Rāvaṇa which is famous as incomparable, rāmarā- vaṇayor yuddham rāmarāvaṇayor iva as Vālmīki has it. Kälidāsa compares the goddess of victory as almost equal and almost without a tilt towards either, like a wall between two fighting elephants in rut: vikramavya- tihāreņa sāmāṇyābhūd dvayor api, jayaśrīr antară vedir mattavāraṇayor iva, Raghuvamśa 12,93. The laden cloud, dark in colour but noble in intent, is a symbol of the munificence of heaven, the downpour of parjanya assuring prosperity to the country. There are two great traits in the cloud. There is not, as made clear by the great poet and thinker Nīlakaṇṭha Dīkshita, the least trace of a desire for any return or any waiting for a supplication from any as the cloud drenches the world with its cool showers and helps people to live happily in prosperity astapratyupakāra- gandham akṛitasvaprārthanāpeksham apyambhobhir bhu- vam ārdrayanti jaladā jīvantyato jantavaḥ, Anyāpadeśa- śataka, 7. There are those who complain that by a devastating heavy downpour, everything is destroyed, but Dikshita strongly condemns those that cry that by its downpour the cloud has destroyed the walls of temples, felled the dwellings of so many, flooded entire areas, killed herds of cattle and so forth, forgetting that if only that water were withheld the entire popula- tion would perish, and finally, feeling apologetic, re- quests the cloud to ignore the silly criticism of the petty-minded, and be satisfied with the great good name earned, so difficult to obtain : bhagnam bhittibhir ālayair nipatitam srotobhir āplāvitam vidhvastam paśubhiś cha saṅghaśa iti krośanti vṛishte tvayi, tvayyudgṛihṇati vāri värida janä naśyantyavaśyam kshaṇāt kīrtim chintaya r

8 durlabhām cha gaṇaya kshudrān janān mādṛiśān, Any- āpadeśaśataka, 68. The clouds of the highest lineage, as Kālidāsa would have it, of the Pushkalas and Āvartakas, jātam vamśe bhuvanavīdite pushkalāvartakānām, Meghadūta, 1, 6, represent assurance of the highest celestial abundance of prosperity from on either side of Lakshmī as Gajal- akshmī, and bring on Dhānyalakshmī and Bhāgya- lakshmī. These clouds are none other than the celestial elephants of the quarters which are in another heavenly world of clouds, that as normal clouds have a silvery downpour of rain on earth, but sometimes as wonder clouds a certain downpour of gold as well. There is a belief that the elephants of the quarters, immense in their size, and potent in their drawal of the oceanic waters, fill themselves to their heart's content of the water from the ocean and propelled by strong gusts pour freely from time to time in one place or another on earth to promote wealth and prosperity: hastī samudrād ādāya kareṇa jalam īpsitam, dadyād dhaṇāya tad dadyād vātena prerito ghanaḥ, sthāne prithivyām cha tathā kāle kale yathochitam. There is probably nowhere else the dipiction of clouds so telling and picturesque as at Barabudur in Indonesia, where, in three successive panels, the rain of corn, of cloth and gold (Fig. 11) is depicted. The depic- tion of the contours of the clouds in sculpture is difficult, but the sculptor has wonderfully succeeded. Kālidāsa has no words to describe the showers of the impossible, by clouds, in themselves as beautiful as to be almost impo- ssible, and naturally their sudden downpour is of the most fragrant heavenly flowers to express the joy of heaven gandhodagram tadanu vavṛishuḥ pushpam āśch-

9 aryameghaḥ, Raghuvamsa 17, 87. These wonderful clouds aścharyameghas alone could rain also a rain of gold from heaven. The golden rain from heaven in the treasury of Raghu, narrated by the wondering treasurers of the emperor that came running to report it, is probably the most wondrous of the wonder clouds themselves : hiranmayim kośagrihasya madhye vrishtim śaśamsuḥ patitām nabhastaḥ, Raghuvamsa, 5,92. For Kautsa, sup- plicant brilliant pupil of Varatantu, who had come to Raghu for the impossible fee to be paid to his master in gold, which he also felt almost impossible, specially in the circumstances in which Raghu was placed, after he had given away the entire wealth of the world in the great sacrifice Rajasuya, it was however no wonder that the earth gave all of her treasures to the righteous king who fulfilled justice, but the glory of one, who could command the heavens themselves to rain prosperity, was indeed to him incomprehensible: kim atra chitram yadi kāmasur bhur vritte sthitasyadhipateḥ prajānām, achintani- yas tu tava prabhavo manishitam dyaur api yena dugdhā, Raghuvamsa, 5,33. If the rain of gold is Bhagyalakshmi, Dhanyalakshmi is the goddess of corn and plenty in food. Food itself has been conceived as the supreme Being, as the Mother herself, as the source of the origin of all creatures. Origin is from food nourishment is by food, existence depends upon food annad vai prajāḥ prajayante, yaḥ kaścha prithivim śritaḥ, athonnenaiva jivanti, Taittiriya Upanishad, 2,2. That is why it is considered the highest annam hi bhūtānām jyeshṭham, Taittiriya Upanishad, 2,2. It is therefore the rare potent medicine for life itself: tasmat sarvaushadham uchchyate, Taittiriya Upanishad, 2,2. Those who worship food as the Almighty obtain everything in life: sarvam vai te

10 annam āpnuvanti, ye' annam brahmopāsate, Taittirīya Upa- nishad, 3,7; neither should food be neglected: annam na parichakshīta, Taittirīya Upanishad, 3,8. Food being so important it should be multiplied also; this should be a rule: annam bahu kurvīta tad vratam, Taittirīya Upa- nishad, 3, 9. In the context of India's greatest tradition, wel- coming a guest as almost a celestial arrived, the direction to honour him is very clear, that none should be denied a welcome and shelter and food in any home. It is a duty; by any means food must be obtained for him. Worshipping the guest is worshipping him with food: na kañchana vasatau pratyāchakshīta, tad vrātam, tasmād yayā kaya chana vidhayā bahvannam prāpnuyāt, arādhyasmā annam ityāchakshate, Taittirīya, Upanished 3,10. The very first to be fed before all is the guest and is the one to be so worshipped: etam mukhato' smā annam rādhyate, Taittirīya Upanishad, 3,10. This is the philosophy of food. Water itself has been conceived as the source of all. The Almighty and the very syllable representing the Almighty 'om'. The importance is stressed in making it the base of everything in the universe. Verily everything is water, all beings are water, life breath is water, all animals are water, all food is water, ambrosia is water, the Almightly in his subtle (samrāṭ) monumental (virāṭ) and unmanifest (svarāṭ) forms is water, the metres are water, the luminaries are water. Vedic texts are water, truth is water, all the the gods are water, the three worlds, Bhūḥ, Bhuvaḥ and Svaḥ are water. The source of all these, the Almighty, denoted by the syllable 'om': āpo va idam sarvam, viśvā bhūtāny- āpaḥ, prāṇā vā āpah. paśava āpo'nnam āpo'mṛitam āpaḥ saṁrāḍ āpo, virāḍāpas, svarāḍ apas chhandāmsyāpo jyoti-

11 mshyāpas satyam āpas, sarvā devatā āpo, bhur bhuvas suvar āpa om, Nārāyaṇopanishad, 29,1. It is the purifier. It sustains. It is like the mother. In fact, the purifica- tion at the commencement of sandhyā prayers invokes the waters as bliss-conferring, and requested to provide food for the body and great and charming insight for the intellect as well as a share of their auspicious bliss for the soul, even as fond mothers nourish their darling children, so that we could go into whatever home they send us, and make us happy here and hereafter : āpo hi shṭhā mayobhuvas tā na ūrje dadhātana, mahe raṇāya chakshase, yo vas śivatamo rasas tasya bhājayate' ha naḥ, uśatīr iva mātaraḥ, tasmā araṁ gamāma vo yasya ksha- yāya jinvatha āpo janayathā cha naḥ, Taittirīya Samhitā, 4,1,5. Food and water go together and so there is the prayer sumitrā na āpa oshadhayas santu, Taittirīya Saṁhitā, 1,4,45. The river goddess as the mother goddess as also Lakshmī standing on lotus issuing from the pūrṇaghaṭa, the lotuses themselves suggestive of water overflowing, has wonderful sculptural representation both Sātavāhana and Kushāṇa. In a Kushāṇa sculpture of the first century A.D. in the Bhārat Kalā Bhavan she is shown carrying food and water in a tray and jug respectively (Fig. 12). A similar sculpture is also found in the Mathurā Museum. The attitude of the goddess suggesting abundant water and food obtained by a plentiful harvest of splendid crops raised without the least effort in the river-irrigated area reminds us of the line of Bhāravi in the context of the peace and plenty of the Kuru realm, watered by the Yamunā and the Gaṇgã that assure crops without toil: sukhena labhyā dadhataḥ kṛishīvalair ākṛishṭpachyā iva sasyasampadah, vitanvati kshemam adev- amātṛikāś chirāya tasmin kuravas chakāsati, Kirātārjuniya, MO

12 1.17. This sculpture is a visual commentary on the term nadīmātṛika which is the same as adevamātṛika, as 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 madīyā jananīva tena mānyena rājñā sarayūr viyukta, dūre vasantam śiśirānilair mām taraṅgahastair upagūhatīva, 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 nadīmā- trika was sustained as by a mother by the river: yām saikatotsaṅgasukhochitānām prājyaiḥ payobhiḥ parivardhi- tānām, sāmānyadhātrīm iva mānasam me sambhāvayatyut- tarakosalānām, Raghuvamśa, 13,52. The opposite is deva- 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 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 Dhānyalakshmi and Bhāgyalakshmi, 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 Saṅkara invokes this mother goddess as Śrī, who is everything. The heavenly stream Gaṅgā herself is associated with Vishṇu called Suvarṇabindu, as a drop on his foot whence the epithet, and also with Śiva also called Suvarṇabindu, as holding a drop that she became on his jatā in his Gaṅdhādhara form. One of the epithets of gold is Gāṅgeya, its association with the river Gangă. And 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

13 penury. The Chātaka should be fed only by the rain cloud as the drops fall into his bill unasked. The cloud itself quenches the thirst of the bird, magnanimously responding in sweet murmuring thunder, and gives it rain drops to reach its parched throat trishākulais chā- takapakshiņām kulaiḥ prayāchitãs toyabharāvalambinaḥ, prayānti mandam navavāridhāriṇo balāhakās śrotramano- harasvanāḥ, Ṛitusaṁhāra, 2,3. It is this golden downpour, a favourite idea that was realised by Śaṅkara, all because of his compassionate heart. He would himself beg of none anything, but for one in distress he would. A little boy, he did this miracle not just to perform one, but because he was so touched by the extremity of poverty that he wanted her to taste of the happiness of life herein and assuredly hereafter as well by good deeds that she could perform with this same artha, as without artha, there is no acquisition of dharma or kāma and the glory of moksha, all of them qualified by the controlling factor of dharma. Dharma controls the acquisition and expenditure of artha, the expending and controlling of the sensory organs in any form of kama and even in dharma itself, it controls dharma by fighting an illusory dharma that could go against real dharma, dhaṛmam yo bādhate dharmaḥ na sa dharmaḥ, kudharma tat, Mahābhārata. It is this rigorous practice of the balanced three that assures moksha. This is a great hymn composed by not only the greatest thinker but the greatest devotee and in the simplest form of hymnal worship. No wonder the goddess immediately answered his appeal and there was the shower of gold from heaven. It is a fundamental belief in India even today that the daily reading of this stotra of Śaṅkara assures plenty and prosperity for the devotee who utters it with faith.

The Hymn of The Rain of Gold

वन्दे वन्दारुमन्दारमिन्दिरानन्दकन्दलम् । अमन्दानन्दसन्दोहवन्धुरं सिन्धुराननम् ॥ 1 ॥

I bow to the elephant-faced god, the celestial wishfulfilling tree to adorers, the sprout of joy of the goddess of Prosperity, the sum total of supreme joy.

अङ्गं हरे: पुलकभूषणमाश्रयन्ती भृङ्गाङ्गनेव मुकुलाभरणं तामलम् । अङ्गीकृताखिलबिभूतिरपाङ्गलीला माङ्गल्यदास्तु मम मङ्गलदेवतायाः ॥ 2 ॥

May the sport of the sidelong glance of the god- dess of Auspiciousness, appropriator of the entire range of prosperity, nestling on the body of Hari, charming in its horripilation, like the bee on the dark Tamāla tree, beautified by its sprouts bring me auspiciousness.

मुग्धा मुहुर्विदधति वदने मुरारे: प्रेमत्रपाप्रणिहितानि गतागतानि । माला दृशोर्मधुकरीव महोत्पले या सा मे श्रियं दिशतु सागरसम्भवायाः ॥ 3 ॥

May the garland as it were of the glances of the Ocean-born goddess bestow on me prosperity, like a row of bees on a large blue lotus, as charmingly with love and modesty, she incessently, alternately impels and withdraws her eyes from the face of the foe of Mura,

विश्वामरेन्द्रपदविभ्रमदानदक्षमानन्दहेतुरधिकं मुरविद्विषोऽपि । ईषन्निषीदतु मयि क्षणमीक्षणार्धमिन्दीवरोदरसहोदरमिन्दिरायाः ॥4॥

May the partial glance of Indīrā (Lakshmī) cognate of the soft lotus calyx, potent in bestowing the glory of the sovereignty of the entire celestial world, and pro- ductive of immense joy even to the foe of Mura, just rest ever so little on me.

आमींलिताक्षमधिगम्य मुदा मुकुन्दमानन्दकन्दमनिमेषमनङ्गतन्त्रम् । आकेकर स्थितकनीनिकपक्ष्म नेत्रं भूत्यै भवेन्मम भुजङ्गशयाङ्गनाया: ॥5॥

15 May the eye of the beloved of the slumberer on snake, unblinking, with half-closed drooping lids, pas- sionately enraptured on joyously sighting Mukunda, the sprout of bliss, with eyes half-closed, make for my prosperity.

कालाम्बुदालिल लितोरसि कैटभारे: धाराधरे स्फुरति या तडिदङ्गनेव । मातुस्समस्तजगतां महनीयमूर्तिर्भद्राणि मे दिशतु भार्गवनन्दनायाः ॥6॥

May the lovely form of the daughter of the sage Bhrigu, the mother of the entire universe, that shines on the chest of the foe of Kaiṭabha, beautiful in its dark complexion like trailing clouds of glory, even as the golden streak of lightning on dark laden cumulus, confer on me every good.

बाह्वन्तरे, मधुजित: श्रितकौस्तुभे या हारावलीव हरिनीलमयी विभाति । कामप्रदा भगवतोsपि कटाक्षमाला कल्याणमावहतु मे कमलालयायाः ॥ 7 ॥

May the garland of side-long glances of the god- dess of lotus abode, looking like a necklace of blue sapphires on the Kaustubha-adorned chest of the victor of Mura, kindling the passion of even the Lord Himself, bring me auspiciouness.

प्राप्तं पदं प्रथमतः खलु यत्प्रभावान्माङ्गल्यभाजि मधुमाथिनि मन्मथेन । मय्यापतेत्तदिह मन्थरमीक्षणार्ध मन्दालसं च मकरालयकन्यकाया: ॥8॥

May the tardy, languid, half-closed eye of the daughter of the ocean, by whose potency Cupid could get a hold on the auspicious destroyer of Madhu at the beginning of the creation of the universe itself, look on me with grace.

दद्याद्दयानुपवनो द्रविणाम्बुधारामस्मिन्नञ्चिनविहङ्गशिशौ विषण्णे । दुष्कर्मधर्ममपनीय चिराय दूरं नारायणप्रणयिनीनयनाम्बुवाहः ॥9॥

May the laden cloud of the eye of the beloved of Nārayāṇa, propelled by a gust of compassion, rain a downpour of gold on this sorrow-striken ill-fated fledge- ling in penury, removing afar the drought of sins of a former birth.

इष्टाविशिष्टमतयोsपि यया दयार्द्र दृष्ट्या त्रिविष्टपपदं सुलभं लभन्ते । दृष्टि: प्रहृष्टकमलोदरदीप्तिरिष्टां पुष्टिं कृषीष्ट मम पुष्करविष्टरायाः ॥10॥

May the eye of the lotus-seated goddess, bright like the interior of the blooming lotus, by a look of which, even those, disinclined towards the performance of sacred deeds like sacrifices, speedily attain a place in heaven with ease, nourish me with my desires fulfilled. गीर्देवतेति गरुडध्वजसुन्दरीति शाकम्भरीति शशिशेखरवल्लभेति । सृष्टिस्थितिप्रलयकेलिषु संस्थिता या तस्यै नमस्त्रिभुवनैकगुरोस्तरुण्यै ॥ 11 " Salutation to the consort of the one Lord of the three Worlds, that is engaged in the sport of creation, promotion and dissolution in the guise of the goddess of Speech, the charming spouse of the Garuḍa-bannered and the beloved of the moon-crested.

श्रुत्यै नमोऽस्तु शुभकर्मफलप्रसूत्यै रत्यै नमोऽस्तु रमणीयगुणार्णवायै । शक्त्यै नमोस्तु शतपत्रनिकेतनायै पुष्ट्यै नमोऽस्तु पुरुषोत्तमवल्लभायै ॥12॥

Salutation to the embodiment of the Veda as the source of the fruit of deeds of merit like sacrifices; supplication to the ocean of all desirable qualities like mercy as embodiment of joy; reverence to the dweller on multipetalled lotus as personification of prowess; submission to the beloved of the Superlative Immortal as the embodiment of affluence.

नमोऽस्तु नालीकनिभाननायै नमोऽस्तु दुग्घोदधिजन्मभूम्यै । नमोऽस्तु सोमामृतसोदरायै नमोऽस्तु नारायणवल्लभायै ॥13 ॥

17 Salutation to the lotus-faced one; prostration to the one born of the milky ocean; supplication to the sister of the ambrosial moon; reverence to the beloved of Nārāyana.

नमोऽस्तु हेमाम्बुजपीठिकायै नमोस्तु भूमण्डलनायिकायै । नमोऽस्तु देवादिदयापरायै नमोऽस्तु शार्ङ्गायुधवल्लभायै ॥14॥

Submission to the one seated on golden lotus; respect to the queen of the earth globe; salutation to the merciful to all commencing with the denizens of heaven; prostration to the dear spouse of the wielder of the Śārṅga bow.

नमोऽस्तु देव्यै भृगुनन्दनायै नमोऽस्तु विष्णोरुरसि स्थितायै । नमोऽस्तु लक्ष्म्यै कमलालयायै नमोऽस्तु दामोदरवल्लभायै ॥15॥

Saluation to the divine daughter of the sage Bhṛigu; worship to the goddess stationed on the chest of Vishṇu; prostration to Lakshmī with her abode on the lotus; salutation to the dear one of Damodara.

नमोऽस्तु कान्त्यै कमलेक्षणायै नमोऽस्तु भूत्यै भुवनप्रसूत्यै । नमोऽस्तु देवादिभिरर्चितायै नमोऽस्तु नन्दात्मजवल्लभायै ॥ 16 ॥

Salutation to the lotus-eyed goddess of lustre; pro- stration to the goddess of Prosperity as genesis of the world; worship to the goddess adored by everyone ranging from the celestials; salutation to the beloved of the son of Nanda (Krishna).

सम्पत्कराणि सकलेन्द्रियनन्दनानि साम्राज्यदानविभवानि सरोरुहाक्षि । त्वद्वन्दनानि दुरिताहरणोद्यतानि मामेव मातरनिशं कलयन्तु मान्ये ॥17॥

Oh ! Oh ! adorable one ! Oh! lotus-eyed ! mother ! May salutations to you ever urge me, saluta- tions that enrich, enliven the senses, ever intent on offering imperial glory, striving to wipe out all sins.

यत्कटाक्षसमुपासनाविधि: सेवकस्य सकलार्थसंपदः । संतनोति वचनाङ्गमानसैस्त्वां मुरारिहृदयेश्वरीं भजे ॥18॥

I bow to you, the mistress of the heart of the foe of Mura, by utterence, bent head and mind devoted in a mode of worship of your eye of grace that heaps every mode of treasure on the devotee.

सरसिजनिलये सरोजहस्ते धवलतमांशुकगन्धमाल्यशोभे । भगवति हरिवल्लभे मनोज्ञे त्रिभुवनभूतिकरि प्रसीद मह्यम् ॥19॥

Oh ! lotus-eyed one ! lotus-armed! beautified by immaculate apparel, sandal paste smear and flower garlands ! Oh ! Worshipful one ! beloved of Hari ! Oh ! beautiful one! Oh! assurer of the welfare of the three worlds ! bless me !

दिग्घस्तिभिः कनककुम्ममुखावसृष्टस्वर्वाहिनीविमलचारुजलाप्लुताङ्गीम् । प्रातर्नमामि जगतां जननीमशोषलोक़ाधिनाथगृहिणीममृताब्धिपुत्रीम् ॥20॥

I bow at dawn to the mother of the three worlds, the queen of the Lord of the entire universe, the daughter of the milky ocean, whose limbs are drenched by pellu- cid water of the celestial river poured from the mouths of golden pitchers by the divine elephants of the quarters.

कमले कमलाक्षवल्लभे त्वं करूणापूरतरङ्गितैरपाङ्गः । अवलोकय मामकिञ्चनानां प्रथमं पात्रमकृत्रिमं दयाया: ॥21॥

Oh ! beloved one of the lotus-eyed Lord! Oh ! lady of the lotus! Please deign to look at me with your sidelong glances swirling with wavelets of a torrent of compassion, as I am the most imminent in need of your mercy among the indigent.

विल्वाटवीमध्यलसत्सरोजे सहस्रपत्रे सुखसन्निविष्टाम् । अष्टापदम्भोरुहपाणिपद्मां सुवर्णवर्णा प्रणमामि लक्ष्मीम् ॥22॥

19 I bow to the golden-hued goddess Lakshmi, seated at ease on a thousand-petalled lotus in the garden of Bilva trees, holding golden lotuses in her hands.

कमलासनपाणिना ललाटे लिखितामक्षरपङ्क्तिमस्य जन्तोः । परिमार्जय मातरङिघ्रणा ते धनिकद्वारनिवास दुःखदोग्ध्रीम् ॥23॥

Oh ! mother ! wipe out with your foot the line of fate written by Brahmā on this poor creature's forehead that could only engender the misery of waiting at the portals of the opulent.

अम्भोरुहं जन्मगृहं भवत्या वक्षःस्थलं भर्तृगृहं मुरारेः । कारुण्यत: कल्पय पद्मवासे लीलागृहं मे हृदयारविन्दम् ॥24॥

Oh ! lotus-abode ! your home of birth is the lotus; your conjugal home is the chest of the foe of Mura; compassionately please make the lotus of my heart your home of sport,

स्तुवन्ति ये स्तुतिभिरमूभिरन्वहं त्रयीमयीं त्रिभुवनमातरं रमाम् । गुणाधिका गुरुतरभाग्यभागिनो भवन्ति ते भुवि बुघभाविताशया: ॥25॥

Those who daily hail hymnally by these verses Ramā, the mother of the three worlds, and the embodi- ment of the three Vedas, would excel in great qualities, attain the very peak of prosperity and be honoured for their intellectual attainments.

सुवर्णधारास्तौत्रं यच्छङ्कराचार्यनिर्मितम् । त्रिसन्ध्यं य: पठेन्नित्यं स कुबेरसमो भवेत् ॥26॥

One who daily repeats at dawn, noon and dusk this hymn of golden downpour would become a peer of Kubera the lord of riches. इति श्रीमत्परमहंसपरिव्राजकाचर्यस्य श्रीमच्छङ्करभगवतः कृतिषु कनकधारा- स्तोत्रं संपूर्णम् ॥ Thus ends the Hymn of the Rain of Gold among the several compositions of the uparalleled preceptor Bhagavatpäda Śrī Śaṅkārācharya of the great Parama- haṁsa ascetic status.

ANNOTATION 1. Vandāru is a prayerful devotee, vandārur abhivādeke as the Amarakośa gives it. A hymn itself is a panegyric as abhavādinī eshā ṛik bhavati, Nirukta. Mandāra is a celestial wish-fulfilling tree like the Kalpavṛiksha, flowers from which that have abiding perfume and never fade are used by Śachī : śach- yās chiram pāṇḍukopolalaṁbīn mandāraśūnyān ala- kāmśchakāra, Raghuvamśa, 6, 23. mandāramālā- kalitālakāyai is the description of Devī, in the Ardhanārīnateśastotra of Śaṅkara. 2. Tamāla is a tree of dark foliage. Vishnu who is dark like laden cloud is dark like Tamāla, tarunā- tamālanīlabahalonnamadambudāḥ, Mālatīmādhava, 9,18. The horipilation of Hari is like Tamāla in tender sprouts. Apāngalīlā or the sport of a side-long glance is attractive chalāpāṅgam dṛishtiḥ, Abhijñānaśākunta- lam, 1,24., yad iyam punar apyapānganetrā parivṛit- tārdhamukhī mayādya dṛishtā, Vikaramoraśīya, 1,17. 3. Mugdhā here means charming and not innocent or artless, mugdhas sundaramūḍhayoḥ says Amara- kośa. Poets compare the dark glances of beauti- ful damsels to a garland of blue lotuses as in Kālidāsa's description of the windows of the mansions of Ayodhyā filled with blue lotuses in the form of the eyes of the women anxious to have a

22 look at Sītā, as she enters as the bride of the beloved prince: puram aviśad ayodhyām maithilī- darśinīnām kuvalayitagavākshām lochanair aṅganā- nām, Raghnvamśa, 11,93. prematrāpapraṇihitāni glances directed with love and coyness is the sign of noble birth and breed- ing as in Kālidāsa's description of the princess Indumati, who though first unable to express her love for the prince through her modesty made bold at last and chose him as her lord by her glances lit up with joy as if through the garland for her svayamvara (self-choice of groom): tataḥ sunandā- vachanāvasāne lajjām tanūkṛitya narendrakanyā, dṛishtyā prasādāmalayā kumāram pratyagrahīt samvaraṇasraiena, Raghuvamśa, 6,80. 4. Ikshaṇārdham indīvarodarasahodaram half-closed eyes, twins of blue lotuses. See the poets des- cription of eyes as a pair of blue lotuses on the pink lotus-like face : bāle tava mukhāmbhoje netram indīvaradvayam, Śṛiṅgāratilika, 17. 5. Ākekarasthitakanīnakapakshma the glance in which the pupil is tilted to the tip as the upper lid droops very charming as in nimīlitākekaralolachakshushā, Kīratārjuniya, 8.53. It is defined dṛishṭir ākekarā kiñchit sphuṭāpaṅge prasāritā, mīlitārdhapuṭāloke tārāvyāvartanottarā. As Vishṇu rises from his serpent couch after four months of slumber the eyes drooping and charmingly sleepy are ākekara as Visākhadatta puts it, dṛishṭir ākekarā vaḥ. 6. Dhārādhare...taṭidaṅganeva, Śrī on Hari's chest is a yellow streak of lightning on the dark cloud, even as Jayadeva sings of Rādhā on the chest of Murāri,

23 urasi murārer upahitahāre ghana iva taralabalāke, taṭid iva pīte rativiparīte rājasi sukṛitavipāke, Gita- govinda. 7. Kāmapradā bhagavato'pi, that the beauty of Śrī could excite the passion of even the Lord is no wonder, as Kālidāsa would describe the beauty of Pārvatī, created to perfection in every limb and putting to shame even Rati, as reassuring Cupid of his success over even the peak of the self-control- led, Lord Śiva himself: tām vīkshya sarvāvayavān- avadyām rater api hrīpadam ādadhānām, jitendriye śūlini pushpaketuḥ svakarmasiddhim punar āśaśa- msa, Kumārasambhava 3,57. 8. Yatprabhāvāt manmathena padam prāptam tad vīkshaṇārdham, that by the power of the side long glances of Śrī, Cupid could get a hold on Hari, is answered in Damodaragupta's description of how from his abode in the beautiful side glances of loving damsels Cupid gets a hold on the lovers sa jayati saṅkalpabhavo ratimukhaśatapatrachum- banabhramaraḥ, yasyānukūlalanānayanāntavilocha- nam vasatihḥ, Kuṭṭanīmata. 9. Dayānupavano nayanāmbuvāhaḥ the gust of the compassion of Śrī propelling her laden cloud-like glances to rain prosperity is after the well known mode of the movement of clouds as in the line adres śṛiṅgam harati pavanaḥ kimsvid ityunmukhī bhiḥ vīkshyamāṇaḥ, Meghadūta, 1, 14, where Kālidāsa compares the large laden cloud to the peak of a mountain which almost appears to be pushed along by the wind.

24 asmin akiñchanavihañgaśiśau dravināmbudhārām dadyāt, may there be a downpour of gold on this (flledgeling parched in penury. The thirsty Chātaka birds would eagarly await rain drops to moisten their parched thoats and the kindly clouds sweetly murmur assent and pour their showers in compassion being magnanimous by nature, being of the noble lineage of Pushkala and Āvarta : tṛishākulais chātakapakshiņām kulaiḥ prayāchitās toya- bharāvalambinaḥ, prayānti mandam navavāridhāriņo balāhakās śrotramanoharasvanāḥ, Ṛitusaṁhāra, 2, 3. Nīlakaṇṭha Dīkshita clearly shows how if water were withheld by the cloud everyone would perish; tvayyud- gṛihṅati vāri vārida janā naśyantyavaśyam kshaṇāt, Anyāpadeśaśataka, 68, and shows how without the least trace of a desire for any return, or even waiting for a supplication from any, the cloud drenches the world with its cool showers and helps people to live happily: astapratyupakāragandhām akṛitasvaprcrthanāpeksham ap- yambobhir bhuvam ārdrayanti jaladā jīvantyato jantavāḥ, Anyāpadeśaśataka, 7. In the same manner Śrī as a mother, expecting no return but purely by her compassion, avyājakaruṇā, showers her grace and nourishes the world. There are certain holies that achieve what other holies cannot. Ishṭa is performance of sacrifices and other ritual to win heaven. Pūrta is performance of social service to humanity in the form of planting trees for shade, digging wells and tanks for thirsty travellers, creating sheltering abodes to help homeless folk and so forth which also win heaven. The compassionate look of Śrī assures heaven without the performance of any of these, just as a holy plunge in the waters of the confluence of Gaṅgā and Yamunā

at Prayāga assures heaven without the realisation of the Absolute through the highest spiritual and philosophic insight: samudrapatnyor jalasannipāte pūtātmanām atra kilābhishekāt, tatvāvavodhena vināpi bhūyas tanutyajām nāsti śarīrabandhaḥ, Raghuvamśa, 13, 58. Gīrdevatā is Sarasvatī, Garuḍadvajasundarī is Lakshmī, Śākambharī is Bhūdevī, consort of Vishṇu, and Śaśiśekharavallabhā is Pārvatī. Devī is of the nature of the Vedas that produce the fruit of meritorious deeds. Compare saishā traiyy- eva vidyā tapati, Nārāyanopanishad. Devī is of the nature of Rati or Kāma but quali- fied by the most desirable dhārmik qualities. Recall Kṛishṇa's remark dharmāviruddho bhūteshu kāmosmi bharatarshabha, Bhagavadgitā. She is the power behind all though her abode is so delicate as a lotus recalling Śaṅkara's śivas śaktyā yukto yadi bhavati śaktaḥ prabhavitum, Saundaryalahari. This exactly answers the Śrīsūkta where Śrī is hastināda-prabodhini roused by the elephants trumpets and chiklīta vasa me gṛihe and moistened by them at dawn. 22. Usually these endowed with learning are in poverty. Those that are opulent have the minimum of learning. The grace of Śrī assures both in the same one, gurutarabhāgyabhāgino.....budhabhāvitā- śayāḥ, which is a rare feature. Kālidāsa discribes a fortunate prince as the abode of both the goddess of Learning and Prosperity that usually dwell apart; nisargabhinnāspadam ekasamstham asmin dvayam śrīs cha sarasvatī cha, Ragharamśa, 6, 29.

26 24. It is fate that is described as the script on the walls of a forehead of the new-born as to his future. A poet prays that Brahmã should not inscribe on his forehead the misery of reading out the best of poetry to the insipient: arasikeshu kavitvaniveda- nam śirasi mã likha mã likha mã likha, Another prays to Śrī as in this verse that the goddess should design mercifully to look at the supplicant with her side-long glances, charming as lotuses, and help him who is so hapless as to be told time and again at the portals of the opulent, that the master is now in bed, now at his bath, and then having his food, and now pacing in the hall, and later drying his moistened hair, still later closeted in his inner apartments, and now again enjoying the play of dice, which certainly is not the time to seek his audience, come again later sometime, but please now be gone, but the rod is here if you im- portune us any more, is the exasperated reply of the guardian of the gateway, making it a misery to the supplicant, all because of his lack of just the side-long look of the goddess who had assured the other pelf: nidrāti snāti bhuṅkte chalati kacha- bharān śoshayatyantar āste dīvyatyakshair na chāyam gaditum avasaṛaḥ bhūya ayāhi yāhi, ityuddṇḍaih prabhūņām asakṛid adhikrītair vāritān dvāri dinān asmān paśyābdhikanye sarasiruharu- chām aṅtaraṅgair apāngaiḥ, Kuvalāyananda. There is the other remark addressed to the deer enquir- ing where and what great penance it had performed to nibble tender grass in the morning and feeling sleepy snooze at noon, never worrying like those in penury and hankering for petty rewards intently,

27 gazing longingly at the faces of the opulent, flattering them with false praise, ardently listen- ing to their haughty prattle, and running to them in high hopes only to get disappointed: yad vaktram muhur īkshase na dhaninām brūshe na chāṭūn mrishā naishām garvarachas śṛiṇoshi na cha tān pratyāśayā dhāvasi, kāle bālatṛiṇāni khādasi param nidrāsi nidrāgame tan me brūhi kuraṅga kutra bhavatā kim nāma taptam tapaḥ, Kuvalayā- nanda.

KIGGIE PASTE

1. (2 शम्भमूर्तिश्चरति भुवने शङ्कराचार्यरूपा 11 Bhagavatpāda Sankara with Vyāsa, Pallava, 8th Century A.D., Kāñchipuram.

www.mal ********* 2 sus net w NADALJEKSE 2. Sirima Devata with label sīrīmā devatā in early Brahmi letters, Sunga, 2nd Century B.C., Bhārhut, Indian Museum.

EEEEEEEEEEEE SA a VE EEEEEEEEEEEEEEEEEEE 3. Gajalakshmi on easternt oraṇā gateway, Satāvāhana, 2nd Century B.C., Sanchi.

4. Gajalakshmi on reverse of Sujyeshtha's coin, 2nd Century B.C.

5. Rajyalakshmi on lion, simhasana with cornucopia (kośa) and noose (danda) on reverse of Gupta coin, 4th Century A.D.

6. Dhanalakshmi flanked by the treasures Padma (lotus) and Sankha (conch) on reverse of Kumāragupta coin, 5th Century A.D. 7. Kalpavriksha (wishfulfilling tree) crowning piece of dhvaja- (banner) of Lakshmi's shrine, with nidhis at its roots. Sunga, 3rd Century B.C.

8. Lakshmi in anthropomorphic, symbolic, and botanical forms on Kuninda Amoghabhuti's coin, 1st Century A.D. WWW 9. Coins of Amśuvarman showing cow and legend kāmadehi (giver of all desired), 6th Century A.D., Nepal

10. Vīralakshmi offering wreath to victor on coin of Zionises, Indo-Parthian, 1st Century AD., Taxila.

F 11. Rain of gold by wonder clouds (aścharyameghas), Sailendra 8th Century A.D., Barabudur, Indonesia.

T Sandesh 111 2. Rive: goddess as Dhanya- lakshmi with water in jug and food in tray suggesting nadi- matrika (river mother fed), Kushāṇa, 1st Century A.D. Mathura, Bharat Kala Bhavan

R POPBOR 31115/191066 PA30/ 13. Lakshmi on the lotuses of purnaghata (overflowing vase) offering sustaining water as breast-milk, Kushāna, 1st Century A.D., Mathura, Bharat Kala Bhavan.

30 11 14. Gajalakshmi bathed by celestial elephants, Rāshṭrakūṭa, 8th century A.D., Kailāsa temple, Ellora.