पुष्पदंत काव्य में प्रयुक्त “लक्ष्मी”
Summary
The text examines the concept of "kavisamaya" (poetic convention) as used by the great poet Pushpadanta, particularly in relation to the goddess Lakshmi. "Kavisamaya" is a technical term formed from "kavi" (poet) and "samaya" (time or convention), referring to established poetic usages that persist over time, even if contrary to actual reality, due to their aptness and emotional resonance. A key example is the convention that Lakshmi resides in the lotus. This is supported by various texts: the Amarakosha addresses her as Padmalaya and Kamala; the Puvankaragama describes her seated on a lotus; the Vishnudharmottara Purana depicts her holding a lotus and being bathed by elephants; and the Anshumadabhedagama prescribes her image seated on a lotus. This convention is also evident in art from Mathura, Amaravati, Bharhut, Sanchi, and a Gupta-era sculpture showing her elephant-abhisheka. The association is rooted in shared symbolism: the lotus represents purity and peace, while Lakshmi embodies beauty and prosperity. Both originate from water—Lakshmi from the churning of the ocean and the lotus from water—establishing a natural identity. Pushpadanta uses many epithets for Lakshmi reflecting this, such as Kamala, Padmavati, and Kamalamukhi. In his Mahapurana, during the sixteen dreams of the mothers of the Tirthankaras, Lakshmi is described as residing in a lotus. The text also notes that in kavisamaya, Lakshmi is identified with beauty, wealth, and victory, and is used as a standard of comparison for feminine beauty. Pushpadanta calls a virtuous woman "Lakshmi" and "Grihalakshmi." Lakshmi is also associated with knowledge and, due to her nature, is called "Chanchala" (fickle). The text concludes that
Conclusion
The analysis of Pushpadanta's use of the *kavisamaya* (poetic convention) surrounding Lakshmi reveals a deep, culturally embedded symbolism where the goddess is inextricably linked to the lotus, beauty, and prosperity. This study demonstrates that the convention is not merely a literary device but a reflection of a unified aesthetic and philosophical worldview, bridging Sanskrit, Prakrit, and Hindi traditions. The implications are significant for understanding how classical Indian poetry employs shared, time-honored imagery to convey complex ideas of divinity, femininity, and fortune. The outcome is a clearer appreciation of Pushpadanta's mastery in deploying these conventions to enrich his narrative, showing that his work serves as a vital link in the transmission and evolution of these symbolic motifs across literary and artistic mediums.