Indrani Choudhury
Water is the primordial energy of every creator. It is the universal force that manifests even in the tiniest drop. In traditional literature, the growth and development of the universe are often linked to water. The divine trinity -Brahma, Vishnu, and Maheshwara—who are regarded as the creators and sustainers of the universe, are all deeply connected to the cosmic evolution of water. This belief forms the foundation of water cosmology, emphasizing that life and creation emerge through the sacred essence of water.
In Indian ritualistic practices, water holds immense significance. Almost every religious ceremony begins with the Jal Mantra, a sacred invocation that acknowledges water as the source of all existence. One such verse is:
“Om Apo prajapatayah prapathi prajapatinaaml Apo prajaah”
(Om, Water is the source of all life. Prajapati is the embodiment of water. Water is the essence of all creation.)
This mantra is chanted during pujas, particularly when offering water to rivers, oceans, or any water body. It is a gesture of respect, gratitude, and reverence for water’s life-giving prosperity.
Purification is another vital aspect of traditional worship. It is a common practice to invoke the names of sacred rivers while offering water during rituals. A well-known invocation recited for this purpose is:
“Om Ganga cha Yamuna chaiva, Godavari Saraswati,
Narmada Sindhu Kaveri asmin sannidhim kuru”
(Om, I invoke the sacred presence of the waters of Ganga, Yamuna, Godavari, Saraswati, Narmada, Sindhu, and Kaveri in this water.)
By chanting this verse, devotees connect with the divine energies of these revered rivers, purifying their body, mind, and soul. The priest then sprinkles holy water to cleanse the surroundings, filling the space with positive energy. No religious ritual can take place without water, as purification is considered essential in all traditions. Bathing ceremonies, observed in every religious festival, symbolize spiritual and physical cleansing.
The significance of water purification is evident even in ancient civilizations like the Indus Valley Civilization, where special emphasis was placed on sacred water structures. Indian temple architecture also reflects this reverence—almost all temples feature sculptures of the river goddesses Ganga and Yamuna, often depicted with their vahanas, the crocodile and the tortoise. These representations symbolize the embodiment of water elements, highlighting their supreme role in human development.
Traditional Indian religions, including Hinduism, Buddhism, and Jainism, emphasize a harmonious balance between water bodies and all living beings. This harmony is rooted in the Panchamahabhuta, the five fundamental elements: Earth, Water, Fire, Air, and Ether (Space). If one element is disturbed, the entire balance collapses. Water, being limitless, must be preserved with care. Many ancient sculptures depict pots symbolizing the conservation of water, reinforcing the idea that our future depends on our ability to live in harmony with nature.
By maintaining this balance, we ensure a sustainable and prosperous world, where life continues to flourish in its full presence.
The primary purpose of stupas was to serve as sacred monuments, enabling common people to chant, recite, and cultivate inner peace. Their construction was aimed at spreading the teachings of Buddha, symbolizing prosperity and enlightenment.
After Buddha’s Mahaparinirvana, his relics were divided and enshrined in stupas by various kings and disciples. These stupas are revered as relic chambers, holding ashes, bones, or objects associated with Buddha or respected monks. They serve as symbols of enlightenment, guiding followers on the path to spiritual awakening.
The dome represents the universe and the teachings of Buddha.
The harmika (square railing) symbolizes enlightenment.
The chatra (umbrella-like structure at the top) signifies protection and honor.
Stupas were built across India, Central Asia, and Southeast Asia, marking the expansion of Buddhism and serving as centers of devotion and pilgrimage.
Barhut Stupa: Architectural and Historical Significance
During the Shunga period (2nd century BCE), Barhut experienced significant architectural and artistic developments. The Shunga rulers reconstructed the railings around the Barhut Stupa and added toranas (gateways). An inscription at Barhut credits the Shungas with constructing the toranas, which showcase influences from Hellenistic and other artistic traditions.
The Kanva dynasty, which succeeded the Shungas, also contributed to Barhut’s legacy. Under their rule, numerous cave temples, chaityas, and stupas were built, including notable additions to the Barhut Stupa.
Discovery and Epigraphic Significance
The inscriptions of Barhut were discovered by Sir Alexander Cunningham in 1873 during his archaeological exploration of the site. Cunningham, the first Director-General of the Archaeological Survey of India, documented and studied these inscriptions. They were written in Prakrit using the Brahmi script and were later deciphered by James Prinsep and subsequent scholars of Indian epigraphy. Their work greatly contributed to understanding India’s rich heritage and Buddhist history.
The donor inscriptions at Barhut mention King Dhanabhuti, a Shunga ruler, alongside Buddhist monks Bhikshu Bala and Bhikshuni Nagadevi. Several merchants from Vidisha, Mathura, and Kaushambi, as well as foreign traders from regions like Bactria (Greek influence), are also recorded as donors, reflecting Buddhism’s wide-reaching patronage.
Barhut’s Strategic and Cultural Importance
Barhut was strategically located along major trade and pilgrimage routes, connecting important Buddhist and commercial centers:
Vidisha and Sanchi (Madhya Pradesh): Major Buddhist centers.
Pataliputra (Bihar): A political and cultural hub under the Maurya and Shunga dynasties.
Kaushambi and Shravasti (Uttar Pradesh): Prominent Buddhist sites.
Mathura and Ujjain: Flourishing commercial and religious hubs with diverse populations.
Amaravati and Nagarjunakonda (Andhra Pradesh): Renowned Buddhist centers with impressive monuments.
The Eastern Gate of certain monuments is now preserved in the Indian Museum. The Torana (gateway) has a significant height and length, with intricate carvings that primarily depict relics from Buddha’s life. These carvings illustrate:
His life before birth
His childhood
The contemporary life of the people
Three crucial episodes of his journey: encountering an old man, a sick person, and a dead person
His enlightenment, teachings, and Mahāparinirvāṇa
Water Cosmology and Natural Elements in Sculptures
The sculptures also depict natural elements, particularly in relation to water cosmology, which signifies the presence of the five elements (Pancha Mahabhuta). Water is symbolized as a source of prosperity and an exotic experience of life. 1.
In many depictions, pots contain ingredients of watery bodies, arranged in an artistic manner. The top part of the Torana features the Śāla tree, symbolizing welcoming life and ecological balance.
Interpretation and Preservation
A former Director of the Indian Museum meticulously analyzed and modified the structures, akin to the efforts of Alexander Cunningham, while archaeo-botanists worked to reorganize and identify plants useful to humans. The second entrance pillars of the site are adorned with carvings of Śilābanjikā, a celestial maiden symbolizing an enthusiastic life, depicted holding a Śāla tree (plate 1), surrounded by birds and daily life activities, adorned with ornaments, and possessing subtly blissful eyes despite a slightly stiff profile. Beneath this structure, divine figures of gods, goddesses, and numerous portraits in varied artistic styles are present. The Bharhut railing, a significant artistic feature, exhibits plant-style decorations deeply connected to water cosmology, which holds that the Tree of Life emerged from primeval waters, giving rise to all beings. Water (Rasa) is omnipresent, existing as sap in trees, clouds in the sky, and rivers and oceans. Puranic literature reveres the Aśvattha (Peepal) and Nyagrodha (Banyan) trees (plate 2) as immortal, associating Brahmā’s birth with the lotus plant, a symbol of natural creation that emerges from Vishnu’s navel or Makara’s mouth, representing purity and divine energy. The artistic representation of the lotus in the Bharhut railing includes 114 full-blown lotus medallions and 13 bust-bearing lotus medallions (plates 3, 4, 5, 6, 7), 101 full-blown lotuses and 11 bust-bearing lotuses on 64 crossbars, and 13 full-blown lotuses with 2 bust-bearing lotuses on 11 pillars. These medallions are central to water cosmology, symbolizing creation, purity, and divine blessings. Another essential motif, the Purna Kumbha (full pot of water), signifies life-giving energy, prosperity, and abundance, believed to contain the essence of creation and serve as a crucial element in Indian rituals. Frequently depicted in the Bharhut railing, the Purna Kumbha appears as a decorated globular pot with emerging plants (plate 8), birds such as parrots, pigeons, peacocks, and swans perched on flowers, and Gaja Lakshmi, seated or standing on lotuses sprouting from water pots (plate 9), reinforcing the concept of the Garden of Abundance and its close ties to lotus symbolism in Indian art.
The Bharhut reliefs depict various birds…
The Naga literature also contains much serpent lore. In the legends relating to the previous birth of Buddha (1st-century Jataka) as well as in his existence as Sakyamuni, the Nagas always played a prominent role. In his previous births, the Bodhisattva was born as a Naga no less than three times. In episodes of his last mundane existence, there are no fewer than a dozen and a half instances where one or more Nagas appear as divine personages. 8.
In the Bharhut railings, the Naga appears on several relics in connection with the portrayal of scenes from the Buddha’s life. 10.One of the panels on the Prasenjit pillar depicts the visit of the Naga king Elapatra to the Buddha. The relief on medallion 81 does not seem to be labeled, but it appears to be a part of the general decorative scheme, forming an element of the iconography of water cosmology. The most important feature of Indian serpent lore is the Nagas’ association with water. In many legends, Nagas are said to inhabit lakes, ponds, and rivers. They are also believed to be bringers of rain. This strengthens the belief that Nagas are essentially water spirits.
The Jatakas mention two types of Nagas—those who dwell in the sea and those who dwell in the mountains. In the first chapter of the Bhuridatta Jataka, the Naga queen tells her royal husband, “My children are of water’s nature (Udakavijaka).” 9 Water, indeed, is the primary element of Nagas. They were also believed to possess the power to produce rain. According to Hiuen Tsang, a Naga named Apala had this power, and due to his influence, the land of Suvastu remained safe from violent storms and disasters. 10.
One of the strongest pieces of evidence of the Nagas’ connection with rain is found in a Tibetan legend about two Naga kings, Girika and Vidyujvalaka.11. When they were banished from Rajgriha by the king, the rains stopped, crops failed, and famine spread across the land. Only when the two Nagas were brought back did the rains return, lifting the shadow of famine.
From ancient times, people observed that snakes emerged at the beginning of the rainy season. The primitive mind associated this phenomenon with the advent of rain, leading to the belief in the Nagas’ magical powers over water.12.
In a country like India, where water is the key to vegetation, prosperity, and human survival, the connection between snakes and water became deeply embedded in the popular imagination.
Thus, from very early times, a common tradition existed, linking Nagas with water. This explains their prominent role in the iconography of water cosmology seen in the railings of the Bharhut Stupa. 13
Pillars medallions have also seen some symbols of Swastika. The svastika had always remained a design for ornamentation. The Bharhut” artist appears to have used it not only for its religious and auspicious significance .
Conclusion :- The Bharhut remains, preserved in the Indian Museum, embody India’s rich cultural heritage, showcasing the ancient civilization’s profound understanding of ecological balance and harmony. These relics inspire us to adopt sustainable practices, emphasizing the importance of coexisting with nature.
The Japanese practice of Forest Bathing (Shinrin-yoku) similarly reminds us of the significance of reconnecting with nature to achieve inner peace and harmony.
The sophisticated hydraulic systems evident in the Bharhut remains highlight the importance of responsible water management, a valuable lesson for modern times.
As we navigate the challenges of technological advancements, we must recognize the imperative of preserving our limited resourc
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