Mayuravahana Saraswati

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The figure of Saraswati itself involves an unusual width of vision. She is riding a peacock and playing upon her vina, but with her right and left legs lifted in rhythmic move, as in a posture of dance, her figure is as well symbolising 'nratya', the prime form of music and drama. As the presiding deity of dance, music, drama and all arts the artist seems to place Saraswati parallel to Roman Minerva and Greek Athane, the other ancient deities representing these human faculties.

This, however, is the simplest, and perhaps the most routine symbolism which the artist has associated with the lowest portion of deity's figure. The frontal part of deity's girdle consists of the Shrimukha, the auspicious symbol of well being. The figure thus symbolises motherhood. In most Puranas Saraswati has been invoked as the deity with 'paripurna' and 'unnata vishala stana', or with breasts large, high and full of milk. The artist has emphatically cast the figure with large and high breasts, certainly not just as adherence to the Puranic prescription but for symbolising the role of Saraswati as the sustainer of life.

Saraswati has her origin in Vedic 'Vak', the inherent power of 'Mantra'. She is thus not only the presiding deity of speech but the prime instrument wherein the universe manifested itself. 'Mantra' and 'yajna' were inseparable and so were 'yajna' and 'agni'. Hence 'agni' came to symbolise 'yajna', 'Mantra' and speech. The crown of the figure here has embossed on its front a chain of three motifs, a lotus, a square and a triple flame of fire. Lotus symbolised water and thereby ocean wherefrom after dissolution the earth emerged. Then emerged 'yajna' symbolised here by the square and finally the 'Mantra' and speech which made the universe known. The triple flame symbolises here 'Mantra', speech and knowledge.

In popular tradition the goddess is known to use peacock as her vehicle. Peacock had spiritual significance during Indus days. It was considered to transport to heaven the soul of the dead. Many a funerary Indus pottery has painted on it the images of peacock bearing the figure of man in its abdomen. This significance of peacock might have continued till the rise of Vedic cult. As Saraswati brought soul's salvation it is quite likely that the peacock was associated with her as her vehicle. Jains worship Saraswati in her sixteen forms as sixteen Vidyas. One of them rides the peacock.

Aesthetically too the image of the goddess is simply outstanding. It has been most richly bejewelled and accoutred. Inlaid with jewels and elegantly textured frilling lace, which tagged on her necklace passes from over her right thigh and across her left knee to reach her shoulder, has been magnificently devised. Each ornament worn by the goddess is not only gorgeous and rich but also unique in its own way. There isn't any traces of costume but the artist has miraculously covered the entire form of the universal mother only with the ornaments he has devised for her.

This description by Prof. P.C. Jain and Dr Daljeet. Prof. Jain specializes on the aesthetics of ancient Indian literature. Dr Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.