
In the vast repertoire of Indian ornamental motifs, among the symbols and devices that recur in traditional art and architecture, the lotus occupies pride of place. Unlike western art, in which great emphasis is laid on photographic realism and the naturalistic treatment of human and animal forms, the main concerns in Indian art are profoundly spiritual and religious. Each and every object portrayed in Indian art has a religio-spiritual and symbolic significance.

Rising from the depths of water and expanding its petals and leaves on the surface, through its appearance, it gives proof of the life-supporting power of the all nourishing abyss. This is the reason why a lotus flower
in full bloom is used as the pedestal or throne support of all the deities — Hindu, Buddhist and Jain.

lotus (mahambuja). This has symbolic connotations: the deities are represented in their transcendental, subtle forms, i.e. the spiritual body which is weightless. If seated with one leg dangling down, then also the deity’s foot rests upon the lotus pedestal or cushion.
Numerous Hindu deities are shown holding a lotus flower, for example, Vishnu who preserves the universe, is invariably holding the padmu (lotus) in one of his four hands. Vishnu’s spouse Lakshmi, the goddess of wealth, Shiva’s consort Parvati, Surya the Sun god, the Bodhisattva Padmapani — all these deities hold a lotus flower in their hands. In fact, even the personified sacred river goddesses Ganga and Yamuna always hold a long stemmed lotus, characterized by a long stalk, the undulations of which match the contours of their elegantly standing ‘S’-shaped bodies.
In Indian paintings, whether miniature ones or frescoes, the flowing waters of the river or a pond are always indicated by lotus flower and their broad leaves floating on their surfaces. This tradition has persisted from ancient times. In the world renowned Ajanta caves frescoes, the lotus pond is an alluring part of the landscape, and continued to be so in subsequent centuries till the dawn of 20th century.

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