As he held them in great
reverence, he embarked upon the task of protecting the trees from any ravages. This action
on the part of man unwittingly resulted in the ecological balance environment and man.
That trees were divine and abodes of various gods led to a point where man dared not fell
them or inflict hurt on them. Such trees were designated as Brahma-taru. Some trees
were given out to sustain life by the sap present in them (Jivana-Vrksa). Then,
there were trees declared of medicinal value thereby earning man’s tremendous
reverence (Rogi-taru). Even the Buddhists and Jainas recognised divine concept of
trees. The notion of caitya-vrksa, bodhi trees, Kevala vrksa gained
popularity among the Buddhists and Jainas. In Brahmanical Hindu religion vata
(shorea-robusta) was identified with Siva, asvattha (ficus-religiosa) with Visnu, lotus
with Surya and nine leaves of nine trees (nava patrika) were associated with nine
different aspects of Durga. Visnu is the primordial man; when he wears a garland of wild
foliage and flower, he is unites with nature, this unification of man and nature leads the
creation to proceed. Siva wears patra-kundla on the right and sankha kundala, on the left
ear, he is symbolissed thereby as ardha-narisvara and known thereby as god of creation. In
this connection, Kapila Vatsyayan opines that the vegetative, animal and human emerge from
the first principle of world order i.e. seed and womb.
Archaeologically speaking, the nature of depictions in the
paintings and artifacts of the prehistoric period do not allow us to conclude that the
trees were worshipped in that period. But the excavations in other parts of India yield
some artifacts which bear definite sign of tree worship during the chalcolithic period.
There are hundreds of references in the Vedic and
post-Vedic literature where the glofication of trees were noted. In order to popularize
this notion and in order to make an awareness regarding certain trees, the Indian artists
carved them in stone, moulded them in terracotta, and painted them in colour, and
reflected them in the narrative art of India. Interestingly, a notion of wishfulling trees
and creepers (Kalpa-Vrksa and Kalpalata) also developed in Early Indian art and thought.
Its conception seems to be a part of folk-cult. The trees and flowers do occupy an
important place in the ancient Indian coins also. To V.S. Aggrawal, the tree symbol on the
coins represents as a Kalpa Vrksa, which was churned out as one of the fourteen jewels
from the ocean.
Tree faith seems to have gone through different stages. In
the first stage, trees, plants, etc. would have been respected because of their aromatic
nature, and natural growth which is apt to inspire awe and fear. Interestingly, we notice
the association of spirits with trees, plants, flowers, leaves, etc. in the next stage. In
yet another stage spirits yield place to deities, and the worship of respective deities.
Finally, most of the trees, plants, leaves, etc. are believed to have magical properties
and power to scare away evil.
B.L. Malla
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