Purna kumbha
Rajaram Krishnamurthy
Purna kumbha, or "full pot," is an auspicious Hindu symbol found on wisdomlib.org and elsewhere, representing fullness, prosperity, and abundance. It is a pot filled with water, topped with mango leaves and a coconut, and used in rituals for new homes, weddings, and as a welcoming symbol for honored guests. The term also appears in a specific wrestling technique and as a symbolic representation of the human body filled with divine life.
Symbolism and use
The full pot symbolizes prosperity, abundance, and fertility. It is a key element in many Hindu rituals, including housewarmings, weddings, and the welcoming of saints and sannyasins. It can represent the human body as a complete vessel for the "Divine Spark of Life". It is used as a ceremonial offering to honor distinguished guests, symbolizing hospitality and respect. A brass pot filled with water, decorated with mango leaves and a coconut on top. The pot's body may be carved with a goddess's face or have the symbol of the sun god drawn on it using turmeric and kumkum. It is also known as kalasam. In ancient texts like the Meghasūtra, pūrṇakumbha are full pots of blue water used in rain-making rituals. According to the Mahābhārata, it can also refer to a wrestling technique used by warriors, symbolizing strength and resilience.
Pūrṇakalaśa (the symbol of abundance)
Significance:-
The Pūrṇakalaśa, the symbol of abundance occupy an eminent place in Indian art tradition. The globular urn full of water and overflowing with bunches of lotus flower is a symbol of material and spiritual prosperity. The overflowing contents of life indicating prosperity are comparable to the rich foliage issuing from the mouth of the pitcher filled with water, the life giving liquid. The Pūrṇakalaśa or the vase of plenty is an artistic and symbolic motif frequently depicted in Hindu, Buddhist and Jain visual representations in India as well as in some places in South East Asia. Like Hinduism and Jainism, the Buddhist text also makes reference of the Pūrṇakumbha. The Dhammpada mentions of Kumbha being gradually filled up with merit and evil deeds. In this way Kalaśa is similar to a personality as container of bad or good states. According to Anguttara Nikāya a person who understands the four aryan truths is like a full vase (Pūrṇakumbha). Thus in Buddhism, the Pūrṇakalaśa is a symbol for the personality of someone who is “full of Dharma”. Thus while in Hindu tradition Pūrṇakalaśa contains amṛta, in Buddhist tradition the pot contains Dhamma which makes life fruitful and brings the person close to the state of nirvāṇa.
Depiction:-
Among several Pūrṇakalaśa depictions from Amarāvatī mention may be made of Pūrṇakalaśa illustrated on the dome slab now preserved in the Archaeological Museum Amarāvatī. From the urn sprouts lotus flowers and leaves with pliable stalk.
A fragment of a carved pillar bears a relief showing a seated dwarf supporting a plinth with an over-flowing vase. It is preserved in the Madras Government Museum.
The carving of Pūrṇakalaśa beside the gateway on the drum slab was a favourite theme of the Amarāvatī artists. In one such representation two Pūrṇakalaśas full with lotus are seen in an elaborately decorated drum slab. It may be pointed out that the religious significance of the Pūrṇakalaśa is so deep rooted that the tradition of keeping Pūrṇakalaśa beside the gateway in every auspicious occasion for manifold blessing and wish fulfillment is still present.
For the beautification of the drum slab the craftsmen of Amarāvatī sculpted elaborate series of decorative zones consisting of various religious and artistic motifs. Pūrṇakalaśa is always selected as a prominent member. In this context it should be highlighted that in the inauguration or abhiseka ceremonies of the stūpa, Pūrṇakalaśa were used as an indispensable ritual emblem. Thus in the legend of planting the Bodhi tree by Ānanda in Mahābodhivaṃsa it is stated that the prince placed a string of auspicious vessels (Pūrṇakalaśa-Mala) filled with fragrant water and decorated with blue lotuses after sprinkling the Bodhi plant with auspicious liquid. On the Mahācaitya at Dhānyakaṭaka (Amarāvatī) these replicas were perhaps commemorative of similar Pūrṇakalaśas which may have actually figured in the festivals of enshrining the relics. The decorative zones consisting of series of Pūrṇakalaśas mentioned above reminds us of the Pūrṇakalaśa-Mālā referred in the Mahavaṃsa.
A couple of Pūrṇakalaśas are visible on the frieze border of the lower half lotus of a richly carved railing pillar. The lotus is bordered by animals, stylized flowers and leaves which are binded together by continuous undulating foliage luxuriating at both ends from the mouth of the Pūrṇakalaśas. It may be suggested that since Pūrṇakalaśa stood as a visible symbol of creation, the artists carved flora and fauna emerging from its mouth.
TIRUVAI MOZHI Pasuram 10.9.2
Section 9 - Ninth Tiruvaymoli (Cul vicumpu ani mukil)
நாரணன் தமரைக் கண்டுஉகந்து நல்நீர்முகில்
பூரண பொன்குடம் பூரித்தது உயர்விண்ணில்
நீரணி கடல்கள் நின்றுஆர்த்தன நெடுவரைத்-
தோரணம் நிரைத்து எங்கும் தொழுதனர்உலகே.
nāraṇaṉ tamaraik kaṇṭuukantu nalnīrmukil
pūraṇa poṉkuṭam pūrittatu uyarviṇṇil
nīraṇi kaṭalkaḷ niṉṟuārttaṉa neṭuvarait-
tōraṇam niraittu eṅkum toḻutaṉarulakē.
Up in the sky, the joyous clouds, laden with water fine,
Received with honour great, Lord Nārāyaṇa’s votaries,
Presenting unto them gold vessels containing water,
With coconut laid on top, the deep waters of the oceans
Did standing ovation give while the denizens
Of all the worlds set up festive banners, long and tall.
Purna Kumbha Mantra
न कर्मणा न प्रजया धनेन
त्यागेनैके अमृतत्वमानशुः ।
परेण नाकं निहितं गुहायां
विभ्राजते तद्यतयो विशन्ति ॥
na karmaṇā na prajayā dhanena
tyāgenaike amṛtatvamānaśuḥ
pareṇa nākaṃ nihitaṃ guhāyāṃ
vibhrājate tadyatayo viśanti.
Not by work, nor by progeny or by wealth, but by renunciation alone have some attained immortality. That (immortality) which is even beyond the heaven, is attained by the self-controlled renunciates (as the Self) shining in their heart.
ॐ वेदान्तविज्ञानसुनिश्चितार्थाः
सन्यासयोगाद्यतयः शुद्धसत्त्वाः ।
ते ब्रह्मलोके तु परान्तकाले
परामृतात् परिमुच्यन्ति सर्वे ॥
vedantavijnanasuniścitārthah
sanyásayogadyatayah śuddhasattväh
te brahmaloke tu parantakale
paramṛtāt parimucyanti sarve.
Those who make proper effort and whose minds are pure, who have well-ascertained, clear knowledge of Vedanta, because of a life of sannyasa, they, at the time of the resolution of the individuality in Brahman, are all released from (even) the unmanifest (karma).
दहं विपापं परमेश्मभूतं
यत्पुण्डरीकं पुरमध्यसग्म्स्थम् ।
तत्रापि दहं गगनं विशोक
तस्मिन् यदन्तस्तदुपासितव्यम् ॥
dahram vipapam parameśmabhūtam
yatpundarīkam puramadhyasagmstham
tatrapi dahram gaganam visokas
tasmin yadantastadupäsitavyam.
That, which abides in the city of the body, in the lotus, which is the intellect, and in that small space, that, which is free of all hurt and guilt, free from sorrow, and of the nature of Parameśvara, should be meditated upon.
यो वेदादौ स्वरः प्रोक्तो
वेदान्ते च प्रतिष्ठितः।
तस्य प्रकृतिलीनस्य
यः परः स महेश्वरः ॥
yo vedadau svarah prokto
vedante ca pratiṣṭhitah
tasya prakrtilinasya
yah parah sa maheśvarah.
The one who is the syllable (om) that is uttered at the beginning of the Veda and is well- established in the upanişads, the one who is the cause, the truth of that causal principle which is resolved (in himself), he is the Lord, Maheśvara.
Thumb_OmSymbol
Pūrna-kumbha mantra
Purna kumbha literally means a “full pitcher” (Purna = full, Kumbha = pitcher). The Purnakumbha is a pitcher full of water, with fresh leaves of the mango tree and a coconut (Sriphala) placed on the top. Purnakumbha is also known as Kalasam.
Purna Kumbha
The four verses of the purna-kumbha-mantra, from na karmanā na prajayā to yah parah sah maheśvarah, are typically chanted when receiving sannyasins, saints. Originally, the purna-kumbha-mantra used to begin with the chanting of an additional section, yo devanamprathamam purastad, followed by these four mantras. Together, these mantras are called the Ācārya-pañcadi.
दहं विपापं परमेश्मभूतं
यत्पुण्डरीकं पुरमध्यसग्म्स्थम्।
तत्रापि दहं गगनं विशोक
तस्मिन् यदन्तस्तदुपासितव्यम् ॥
dahram vipapam parameśmabhūtam
yatpundarīkam puramadhyasagmstham
tatrapi dahram gaganam visokas
tasmin yadantastadupäsitavyam.
That, which abides in the city of the body, in the lotus, which is the intellect, and in that small space, that, which is free of all hurt and guilt, free from sorrow, and of the nature of Parameśvara, should be meditated upon.
Upasitavyam, to be contemplated upon. What is it? The self which is free from papa, is śuddha and is vipāpa. Papa-rahitam, nityasuddham, ātmānam, the self that is free from papa and is always pure. That self is visoka, free from sadness, meaning that it is sukha-svarūpa, the very nature of happiness. Visoka is freedom from hurt and vipapa is freedom from guilt. The atman that is free from hurt and guilt should be meditated upon.
Yat pundarīkam. Pundarīka is the hrdaya, the heart. Hrtpundarike upäsitavyam. The ätman should be meditated upon in the heart.
Puramadhye. Pura is this deha, a city. Puramadhya is the buddhi. Puramadhye samstham means samsthitam, or samyak sthitam, that which is self-existent, not dependant upon anything. This is the atma-tattva, the truth of the Self. It is in the daharākāśa, that which obtains in the buddhi. It is like gagana, space, without any distortion.
Parameśmabhūtam goes with yatpundarīkam. Parameśma is Parameśvara. It is the svarüpa of Parameśvara, and is not separate from Parameśvara.
Tasmin, in the buddhi, yadantah, which is of this nature, upasitavyam, that is to be contemplated upon.
यो वेदादौ स्वरः प्रोक्तो
वेदान्ते च प्रतिष्ठितः।
तस्य प्रकृतिलीनस्य
यः परः स महेश्वरः ॥
yo vedadau svarah prokto
vedante ca pratiṣṭhitah
tasya prakrtilinasya
yah parah sa maheśvarah.
The one who is the syllable (om) that is uttered at the beginning of the Veda and is well- established in the upanişads, the one who is the cause, the truth of that causal principle which is resolved (in himself), he is the Lord, Maheśvara.
Svara is om, the single syllable. Vedādau means in the beginning of the Veda or before chanting the Veda. Proktah, it is always chanted. Vedante ca pratiṣṭhitah, pratipaditah, it is well established, unfolded, in Vedanta.
Om is abhidhana, name and the abhidheya, what is indicated by the word, is Brahman. Om consists of the three letters, a, u, and m. The a-kara stands for the wakeful state, the physical world, and it is viśva and Virāṭ. The u-kāra represents the experience of dream, and is taijasa and Hiranygarbha. The ma-kāra signifies the state of deep sleep, and is prājña and Ïśvara. The omkära is also that which transcends all the three periods of time.
Tasya prakṛtilīnasya. Prakṛtih līna yasmin, him, unto whom the entire prakṛti resolves totally. All nama-rupa being prakṛti, resolves entirely into the causal form, the unmanifest condition, and then emerges again.
Yah parah sa maheśvarah. Yah parah, that is the parah. Prakṛti-līna is the unmanifest cause of everything. That which transcends the avyakta, the unmanifest, avyaktāt parah, that which is the satya of the avyakta.
Sah maheśvarah. He is the limitless parabrahman. Parah sah is sometimes mistakenly chanted as parasya. Yah parassa maheśvarah. Maheśvara is parabrahman, the para-atman. That is the real svarūpa.
Excerpt from the book ‘Prayer Guide’ by Swami Dayananda Saraswati
K RAJARAM IRS 211025
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