These are instances of just a couple of rivers that have been deified by artists and artisans over the ages. The Yamuna, Godavari and the mythical Saraswati (which is supposed to flow underground) have also been subjects of deification and artistic inspiration in other parts of India.

However, the river as a generic subject, with its undulating waves, finds expression most effectively in the works of weavers. Chief among these is the lovely lehriya (wave-like) patterns of Rajasthani textiles. Produced from organic pigments with the wrap-resist tie-‘n’-dye technique, the lehriya is made up of broad or narrow stripes flowing diagonally across the material in a carefully orchestrated colour scheme.

So specialised is the art of lehriya that it could take up to a month to create a nine-hued Muslim turban, generally worn by Rajputs. There are also five-hued (panchranga) and seven-hued (satranga) turbans, which, when worn, make for sheer linear lyricism with the criss-crossing and convergence of lines.

Stripes inspired by waves of the river can also be found in the tribal weaves of the north-east. In Assam and Manipur, the loom is designed to produce striking patterns in red or maroon alternating with white. Weave and embroidery complement each other in the designs of phanyeks or lungis and the stunning black borders are embellished with fish, turtles and such riverine fauna.

The fish, in fact, is one of the eight iconographic symbols from Hindu scriptures.

Thus, the fish that floats, darts, leaps, glides and circles around in the stream can be found in countless representations — from the earliest coins of Mohenjodaro and flags of the Pandavas to medallions and sculptures of Chalukyan rulers, the ceilings of Chola and Satvahana temples, and as a recurring motif on saree borders.

Likewise, the crocodile occupies space in numerous temple sculptures and paintings, including the Pallava depiction of Lord Shiva wearing a makara kundala — the creature taking the form of earrings.

There is also the swan, an important symbol of Hindu and Buddhist thought, representing purity, freedom and spiritual attainment. Goddess Saraswati is worshipped as sitting on the swan while in Kumarasambhava, the heroine is said to have worn a swan-patterned garments for her wedding and in several frescoes of the Ajanta caves, the bird appears regularly as part of the background.

But then, there cannot be a more enduring aqua symbol in Indian art than the lotus. As a symbol of perfection and purity, it serves as the peetam (pedestal) for Lakshmi, Saraswati, Ganesha and Buddha. Lord Brahma also appears on the lotus (symbolising the universe) and for Lord Vishnu, it sprouts from his navel.

The lotus blooms everywhere in Indian art — on Kalamkari, Ikkat and Kanjeevaram saree borders, the Rajasthani bandhini, the pomacha worn by expecting women, the gopichandan clay pots of Gujarat, the burnished brass kodams of Swamimalai, sculptures of Amravati, carpet borders, ornaments, not to mention decorative artefacts, including pen and card holders. — MF