Dr.R.Nagaswamy #6B8E23 The puurna-ghata(the auspicious full vase) is the firm sub stratum of time. We behold it manifesting in various forms" says a Vedic passage:- Puurna kumbha adhi kaala aasthitah tam vai pasyaamo bahudbaa nu santam. The full vase or what is often called the overflowing vase, filled with waters of sacred rivers or grains is the personification of the boundless, unlimited, inexhaustible, happy and auspicious nature of the Goddess, the Mother Earth, who, as Vasundharaa, carries in her womb, fertility, vegetation and precious gems (ratna garbha) and is therefore identical with Dhana-lakshmi and Dhaanya-lakshmi of the later epic period. In the Vedic age, She is identical with the Goddess Aditi, the progenitor of all the Gods and is the supporter of the sky, the sustainer of the earth and sovereign of this world. The water filled in the vessel is the Vedic God, Varuna, who is the most powerful of the Vedic Gods, next only to Indra and is the protector of Dharma-order in the universe. The Vedas say that it was Varuna who endowed powers on all the Gods and is a punisher of the sinners and bestower of mercy on the penitents. As waters personified, he is also called Apaam-napaat also identical with the clouds and lightning, present in waters. The puurna-kalasa thus came to represent the celestial, the terrestrial and abode of waters, and also stood for unlimited happiness and auspicious becoming. From the very beginning of Indian history, it played a vital role and is invariably connected with beginning. A hymn in the Rig Veda (111, 32, 15) states "Overflowing is the vase of the Yajamaana. Glory to him." The puurna-ghata is also associated with the dwellings and homes. A virgin is asked to carry a puurna-kalasa, and an Atharva Vedic hymn recited on the completion ceremony of a new house says 'O fair damsel, bring hitherto us, the puurna-kumbha filled with streams of clarified butter, blent with nectar'. Thus it is transformed into an Amrita-kalasa, the immortal vase. This association of boundless happiness gave it an important place in Hindu, Buddhist and Jaina faiths, as reflected in sculptural art from almost 2nd Century B.C. The Buddhist stupas of the Sunga, Kushana and Satavahana age and region, depict profusely the puurna-kalasa symbol, as evidenced at Bharhut, Sanchi, Amaravati and Nagarjunakonda. Several panels representing this theme decorated the exteriors of the stupa. They often show a full vase (ghata or kumbha), with several lotuses overflowing from it; the lotuses represent not only the sacred waters but also purity and plenty. Similarly the Jain stupas and aayaagapatas show the full vase. In Hindu temples the place of the full vase is so vital, that no rite is complete without it. The great rivers Ganga and Yamuna are shown carrying the kalasa in their arms and standing at the doorways of temples. As mentioned earlier, Varuna is the bestower of health, strength, longivity and happiness. In various rituals the kalasa with water is placed over a spread of grains, a bunch of Kusa grass, tender mango leaves etc. and the God Varuna invoked in the water. The individual is given a ceremonial bath, which endows prosperity. In the coronation ceremony of the Kings, the waters of sacred rivers carried in the vessels and poured over the crowned head of the ruler endows vitality and strength to the monarch, according to the Brahmanas. The great kings of ancient India performed another ceremony called the Hiranya-grabha-yaga. A golden vessel is made in which the King sits for a few minutes accompanied by the chanting of hymns and the mouth is covered. Later he comes out and distributes the gold to the learned and the poor. It symbolizes the King's emergence from the divine-womb Hiranya-garbha. Kings, who performed such sacrifices of emanating from the garbha vessel gold, styled themselves as Hiranya-garbha-yaaji. We have earlier noticed the association of the Puurna-kalasa with the dwellings and homes. In the temples both at the ritual and physical sphere, the kalasa plays a very important role. In the temple architecture, the topmost element of the structure is kalasa. It is the same puurna-klasa on top of the temple, that leads the devotee's vision to the limitless, bountiful nature of the Supreme, encompassing the earth and the vast expansive sky, as the culminating point of the Gods' dwelling. The consecration of this kalasa to the accompaniment of chants, endows the required spirituality to the structure. In the ritual sphere also, it is the puurna-kalasa that acts as the carrier of divine power in every sense of the word. Be it in the new consecration or renovation ceremonies, the God's power is invoked in the waters of the kalasa and transferred to the sculptured images. In the Saivite, Vaishnavite, Sakta or other systems, the underlying principle is the same. For each deity a separate kumbha is installed, each being given a separate name. In the Siva temples, the main kumbha is called Siva-kumbha and the vessel of the Goddess is called Vardhani. In the Vaishnavite temples, the main kumbha is called Deva-kumbha. The Marici-samhita of the Vaishnavite faith, gives the following information. 'In the main kalasa, sacred waters are filled and a few sacred grains put. Tender mango leaves and a small bunch of kusa grass and a coconut are placed. The vessel itself is made of either gold, silver or copper, and is covered with silken threads and flowers. Inside the vessel, several auspicious symbols made of golden sheets, of the size of one inch each, are placed. Among them are included the nine gems (nava ratnas), the figures of eagle, elephant and tortoise, parasol, a pair of chowri, flag, balance etc. Also included in the group are the eight auspicious symbols ashta-mangalas. In the waters of the kalasa, the clouds and the lightning are also visualized. Seated in front of the kumbha, the Acharya observing dhyana-yoga invokes in the kumbha, Lord Vishnu. The invocation is done to the accompaniment of the Vedic chants. When the waters of the kalasa are poured, the Divine power is transferred to the image. Thus every temple ritual is accompanied by the kalasa rite. In Vaishnavite temples it is called the Samprokshana, and in Saivite temples Kumbhaabhisheka. Institution of special abhishekas, with 108 or 1008 kalasas are considered more sacred. The inscriptions of the Chola age, 9th to 13th century, refer to institution of such kalasa-abhisheka ceremonies by the Chola emperors and their queens. To gift a kalasa to be consecrated on top of the temple was even more sacred. In the great temple of Thanjavur, built by the great Chola Emperor, Raja Raja, around 1000 AD., his royal Guru, gifted a Kalasa to be placed on the Vimana. Mention has been made earlier that the puurna-kalasa, represents Vasundhara, the Mother Earth. In the worship of Goddess, two significant festivals may be recalled, one worshipped as Vara-mahaa-lakshmi and the other as Mangala-Gauri. In both the instances, the Goddess is invoked in puurna-kalasa, and propitiated, though in the former, She appears as Lakshmi and in the later as Gouri. In this form, the kalasa represents the eight fold prosperity as Dhana-lakshmi, Dhaanya-lakshmi, Soubhaagya-lakshmi, Santaana-lakshmi etc. As the full vase is one of the eight mangalas (ashta-mangalas) the same is used in welcome rites whenever great men are received. It signifies the concept that the arrival of great men will bring prosperity and happiness. The puurna-kalasa is a visualization of cosmic fullness and no other symbol is held as sacred as puurna, except perhaps the light(diipa). R.Nagaswamy The Hindu, Sunday, April 10, 1983.