Jain Journal 1980 04

Author(s): Jain Bhawan Publication
Publisher: Jain Bhawan Publication

Page 58

APRIL, 1980
169
is slightly raised embracing the pillar or stem, the left arm resting on the hip. From the photo, unfortunately, more details cannot be given.
These example show that it is difficult to fix dohada motifs in art inspite of their frequency in literature. In sculptures the salabhanjika pose bending down the branch' had become so dominant that the dohada motif seemed to have been either absorbed or overshadowed by it as both poses, though representing different meanings, deal with one and the same subject : with trees. Under these circumstances it could not be avoided that one motif, in our case the salabhanjika, achieved predominace incorporating dohada motifs as 'the kick of a tree by a lady's foot'. The possibility cannot be overlooked on the other hand that an artist intending to depict a dohada motif may have boldly included the salabhanjika pose in his representation. Pisharoti felt in this direction when he coined the term dohada-salabhanjika, but we will have to be careful in using such a term for which there is no evidence in literature yet.
I would like to conclude with H. Zimmer's remarks on this subject in his already quoted book, The Art of Indian Asia, in which he gives a description of a relief depicting the nativity of the future Buddha from Amaravati, approximate date about second century A.D., 1st Vol. pp. 79-81, 2nd Vol., Fig. 90.45
'In the present relief the most striking feature is the posture of the queen. She stands in the so-called salabhanjika position, a classic attitude of tree-goddesses in Indian art. Compare for example the vrksakas just discussed. Apparently the Hindu craftsmen here again put to use an ancient pattern for the rendition of a new theme, for if the naga and yaksa could serve as models for Parsvanatha and the Buddha, so could the classic postures of tree-goddesses for queen Maya at the moment of the nativity. When compared with the dryads of Sanci the figure in this relief is clearly of the same tradition. Like an actress or a dancer the blessed mother assumed, with a playful momentary gesture, the attitude of a tree-nymph or of a human damsel fertilizing a tree magically by seizing its branches with her hand and giving its trunk a gentle kick with her left heel. The same animation that was apparent with the nymph is evident here, though somewhat subdued by the artist's respect for the dignity of his theme .... (op. cit., pp.80,81).
We agree with Zimmer that the classic postures of tree-goddesses have served as modes for the nativity pose of Queen Maya. But when