American Institute of Indian Studies
Centre for Art and Archaeology, American Institute of Indian Studies
Stupa 1, Northern gateway, West pillar, north side, detail: Yaksi bracket (ca 99-1 BCE)American Institute of Indian Studies
According to the legends, Buddha was born under a sala tree. Hence forth the tree and the tribhanga i.e. tri-bent pose was considered auspicious. According to the Avadanasatakam, a Buddhist text, a festival called Salabhanjika parva was celebrated.
Maya Devi, fragment of birth of Buddha (200-299 CE)American Institute of Indian Studies
Buddha's mother Maya holding the branch of the sala tree.
Stupa 1, Eastern gateway, Capital and yakshi, detail (ca 99-1 BCE)American Institute of Indian Studies
Gradually the concept changed and it portrayed a beautiful women bending the bough of the tree and standing crossed legged. This form was more popular from the Ist century A.D.
Stupa 1, Northern gateway, Back view west side, detail (ca 99-1 BCE)American Institute of Indian Studies
It symbolises eternal beauty and worldly pleasures. The vedika i.e. the railing near the stupa represented momentary human life.
Madhukesvara / Mukhalingesvara temple, Mandapa, main doorway, left jamb, salabhanjika (ca 750 CE)American Institute of Indian Studies
During later times it connoted a statue of a charming women or a nayika i.e. heroine or a goddess.
Cave 20, Interior, antechamber, Top panel on left, detail, salabhanjika (462-480 CE)American Institute of Indian Studies
Salabhanjikas became part of the temple architecture specially in the corner brackets.
Visva Brahma temple, Mulaprasada, south wall, salabhanjika (ca 700-725 CE)American Institute of Indian Studies
It was believed that they can make a tree blossom or produce fruits. Thus she was sacred as well as profane.
She is always shown touching the branch of the tree.
Salabhanjika, standing, seated monk (100-299 CE)American Institute of Indian Studies
Kind of tree changes with time and region.
Stupa 1, Northern gateway, West pillar, north side, detail: Yaksi bracket (ca 99-1 BCE)American Institute of Indian Studies
It was usually a sala or a asoka tree.
Madhukesvara / Mukhalingesvara temple, Mandapa, main doorway, left jamb, salabhanjika (ca 750 CE)American Institute of Indian Studies
Sometimes shown with branches and fruits.
Stupa 1, Eastern gateway, Capital and yakshi, detail (ca 99-1 BCE)American Institute of Indian Studies
The Salabhanjika from Sanchi holds the tree laden with fruits.
Madhukesvara / Mukhalingesvara temple, Mandapa, main doorway, left jamb, salabhanjika (ca 750 CE)American Institute of Indian Studies
She is beautifully craved with jewellery and fine clothes which shows the craftsmanship of the period.
Kanthi Dewal, Salabhanjika (ca 800-899 CE)American Institute of Indian Studies
She also sometimes wears a well carved headdress.
Stupa 1, Northern gateway, West pillar, north side, detail: Yaksi bracket (ca 99-1 BCE)American Institute of Indian Studies
Her hairstyle also changes with time and region. From open tresses to decorated buns.
Stupa 1, Eastern gateway, Capital and yakshi, detail (ca 99-1 BCE)American Institute of Indian Studies
The style of the hair knot is exclusive.
Visva Brahma temple, Mulaprasada, south wall, salabhanjika (ca 700-725 CE)American Institute of Indian Studies
She is shown with an attendant or a gana.
Kanthi Dewal, Salabhanjika (ca 800-899 CE)American Institute of Indian Studies
The gana and attendant are near her feet.
Besides this sculpture has two attendants on her side.
Stupa 1, Northern gateway, North side, east pillar detail: Yaksi bracket (ca 99-1 BCE)American Institute of Indian Studies
The gorgeous Salabhanjika holding a fruit laden tree in a tri-bent posture represents the idea of women and fertility in early Indian art. She is shown with full breast and slim waist which symbolises the idea of nourisher, a provider. She is decorated from head to feet as she also defines beauty and grace.
Dr. Shatarupa Bhattacharya, Assistant Professor, Lady Shri Ram College, University of Delhi.
