Pūrṇakalaśa (the symbol of abundance)

[Full title: Different symbols visible in the Amarāvatī Art: Pūrṇakalaśa (pūrṇa-kalaśa)]

Significance:-

The Pūrṇakalaśa, the symbol of abundance occupy an eminent place in Indian art tradition. The globular urn full of water and overflowing with bunches of lotus flower is a symbol of material and spiritual prosperity. The overflowing contents of life indicating prosperity are comparable to the rich foliage issuing from the mouth of the pitcher filled with water, the life giving liquid. The Pūrṇakalaśa or the vase of plenty is an artistic and symbolic motif frequently depicted in Hindu, Buddhist and Jain visual representations in India as well as in some places in South East Asia. Like Hinduism and Jainism, the Buddhist text also makes reference of the Pūrṇakumbha. The Dhammpada mentions of Kumbha being gradually filled up with merit and evil deeds. In this way Kalaśa is similar to a personality as container of bad or good states. According to Anguttara Nikāya a person who understands the four aryan truths is like a full vase (Pūrṇakumbha). Thus in Buddhism, the Pūrṇakalaśa is a symbol for the personality of someone who is “full of Dharma”. Thus while in Hindu tradition Pūrṇakalaśa contains amṛta, in Buddhist tradition the pot contains Dhamma which makes life fruitful and brings the person close to the state of nirvāṇa^[1].

Depiction:-

Among several Pūrṇakalaśa depictions from Amarāvatī mention may be made of Pūrṇakalaśa illustrated on the dome slab now preserved in the Archaeological Museum Amarāvatī. From the urn sprouts lotus flowers and leaves with pliable stalk^[2].(Pl 28b)

A fragment of a carved pillar bears a relief showing a seated dwarf supporting a plinth with an over-flowing vase. It is preserved in the Madras Government Museum^[3].

The carving of Pūrṇakalaśa beside the gateway on the drum slab was a favourite theme of the Amarāvatī artists. In one such representation two Pūrṇakalaśas full with lotus are seen in an elaborately decorated drum slab. It may be pointed out that the religious significance of the Pūrṇakalaśa is so deep rooted that the tradition of keeping Pūrṇakalaśa beside the gateway in every auspicious occasion for manifold blessing and wish fulfillment is still present^[4].

For the beautification of the drum slab the craftsmen of Amarāvatī sculpted elaborate series of decorative zones consisting of various religious and artistic motifs. Pūrṇakalaśa is always selected as a prominent member. In this context it should be highlighted that in the inauguration or abhiseka ceremonies of the stūpa, Pūrṇakalaśa were used as an indispensable ritual emblem. Thus in the legend of planting the Bodhi tree by Ānanda in Mahābodhivaṃsa it is stated that the prince placed a string of auspicious vessels (Pūrṇakalaśa-Mala) filled with fragrant water and decorated with blue lotuses after sprinkling the Bodhi plant with auspicious liquid. On the Mahācaitya at Dhānyakaṭaka (Amarāvatī) these replicas were perhaps commemorative of similar Pūrṇakalaśas which may have actually figured in the festivals of enshrining the relics^[5]. The decorative zones consisting of series of Pūrṇakalaśas mentioned above reminds us of the Pūrṇakalaśa-Mālā referred in the Mahavaṃsa.

A couple of Pūrṇakalaśas are visible on the frieze border of the lower half lotus of a richly carved railing pillar. The lotus is bordered by animals, stylized flowers and leaves which are binded together by continuous undulating foliage luxuriating at both ends from the mouth of the Pūrṇakalaśas. It may be suggested that since Pūrṇakalaśa stood as a visible symbol of creation, the artists carved flora and fauna emerging from its mouth^[6].

Footnotes and references:

[1]:

Peter Harvey, 1991, Op.cit, pp 74-76

[2]:

Acc No. 3, Limestone, Measurement 13 x 82 x15 cm Archaeological Museum, Amaravati, Archaeological Survey of India,

[3]:

Sivaramamurti C, Op.cit, pl XIX, fig 3.

[4]:

Acc No. 22, Limestone, Measurement 132 x 82 x 15 cm Archaeological Museum, Amaravati, Archaeological Survey of India,

[5]:

Gangoly O.C, 1973, Andhra Sculptures, Hyderabad, p 49.

[6]:

Burgess Jas, 1886, Op.cit, pl XXXII, Fig 1.