The Tree of Life
By Mahima Muttoo
Flora and Mythology
In India, flora in general, plays a central role in the Culture. The 'banyan' tree and the 'peepal' tree are the most revered in the Indian tradition and both are considered trees of life. The banyan symbolizes fertility according to the Agni Puran, it is also referred to as the tree of immortality and is believed to have nourished mankind with its 'milk' before the advent of grain and other food. The 'fig' tree is either a player or an observer in several scriptural incidents of Hinduism. Sages and seers sit under the shade of the fig tree to seek enlightenment. The 'Bodhi tree' under which Gautam Buddha achieved enlightenment, is a peepal tree. The fig tree assumes special importance in the Indian tradition owing mainly to its aerial 'roots' which grow downwards in the Earth.
In Jewish and Christian mythology, a tree sits at the center of both the Heavenly and Earthly Edens. The Egyptian's Holy Sycamore stood on the threshold of life and death, connecting the worlds. In the Koran the 'Tooba' Tree's roots spring milk, honey and wine. Also 'Sidrat-al-Muntah' is a lotus tree that marks the end of the seventh heaven, the boundary where no creation can pass. The tree, as the abode of the gods, is another feature common to many mythologies; in some, the tree itself is a god.
Another form, the inverted Tree, represents spiritual growth, as well as the human nervous system. This tree, with its roots in heaven and its branches growing downward, is most commonly found in Kabbalistic imagery. In Jewish Kabbalah, the inverted tree represents the nervous system as well- the 'root' in the cranial nerves, with the branches spreading throughout the body; it also represents the cosmic tree, rooted in heaven, the branches of which are all of creation.
A similar tree is mentioned in the Bhagvad Gita, "The banyan tree with its roots above and its branches below, is imperishable."
Tree as a symbol
The tree has other characteristics that lend easily to symbolism. Most trees lose their leaves in the winter, only to sprout new growth with the return of spring. This aspect makes the tree a symbol of resurrection.
A tree also bears seeds or fruits which contain the essence of the tree and this continuous regeneration is a potent symbol of immortality. This aspect of the tree as a giver of gifts and spiritual wisdom is also quite common.
The Mythological Tree of Life and its gifts are not easy to discover. It is historically difficult to find and almost invariably guarded. The tree of Life in the Jewish bible, is guarded by a Seraph (an angel in the form of a fiery serpent) bearing a flaming sword. In Mayan legends, it is a serpent in the roots that must be contended with. Similarly, the Naga, or divine serpent guards the Hindu Tree.
The Tree of Life in science describes the relationships of all life on Earth in an evolutionary context. Charles Darwin talks about envisioning evolution and ecosystems as a "tangled bank" in 'On the Origin of Species'. However, the book's sole illustration is of a branched diagram that is very tree-like. The evolutionary relationships of the tree of life were refined using genetic data by the great American microbiologist, Carl Woese.
Use of the Tree of Life motif in Design
In the Muslim world, the Tree of Life motif is found in the prayer rugs of Turkey, Iran and other countries. The carved 14th Century marble screen windows of the Sidi Sayyid Mosque in Ahmedabad of Gujarat, are probably the most exquisite examples of the Tree of Life motif in Indian art.
In the 1700's work was being done which combined a naturalist 'tree of life' design with an English-inspired regular, scrolling floral border. Work like on a Palampore bed hanging, with a hand painted Tree of Life motif using Kalamkari (pen work) was being done on the Coromandel Coast of India. These classic examples of India's expertise in textile production, were exported to England in the 17th and 18th centuries to use as furnishing fabrics by the British East India Company.
Initially traditional Indian designs were popular, particularly the 'Tree of life' design with its animals, peacocks and trailing flowers. As the trade and interest developed, orders for specific designs which would complement English interiors were relayed back to the Indian makers. Gradually, elements from English and Indian cultures combined to produce designs that reflected the close trading contacts between the two countries and the effect of cross-cultural influences.
Traditional and modern designs
The essence of tribal India lies in the integral relationship between man and nature, flora and fauna. The rhythm of human society is synchronous with the beat and movement of nature and all things natural. This pantheistic belief is the core philosophy on which Tribal India has thrived through ages. Tribal paintings amply portray this philosophy through a simple depiction of tribal life. The main thrust of the paintings is on a tree, called 'The Tree of Life'. While the branches of the tree are home to birds and monkeys, human beings are seen resting under its shade, sometimes with domestic animals and happy birds flying about. Traditionally, this type of painting uses double borders, the tree is usually edged with bold-lined designs and animals are used as a part of that design. At the base of the canvas, we get to see some shades of domestic life like small clay huts, trees, women with baskets, men rearing cattle and hunting with bow and arrows i.e. life and livelihood at it's most basic.
The Sauras are among the oldest tribes of India, going back to the times of the Ramayan and Mahabharat epics. They decorate the walls of their homes with paintings on religious and ceremonial themes and adorn them with motifs of flowers. The Tree-of-Life is a motif commonly used by the tribal artists. Normally shown frolicking among the large palm-like leaves of the tree, are playful monkeys and at the ground level, snakes slither in the grass.
Even in today's Fashion and Textile designers use the Tree of Life motif. In 1984 bridal wear, design diva Ritu Kumar designed and produced the 'Tree of Life' show which has been featured over the years in many locations, lately at the World Economic Forum in Davos and, in March 2007, at ITB in Berlin. She is also now launching her own perfume line called 'The Tree of Life'. Fashion bloomed on the third day of the Wills India Fashion Week (WIFW) 2009, as designer creations “Ravage” by Raj Shroff and Neetu Gupta showcased the strong concept - “The Tree of Life”. Personifying the art of living, designers Raj Shroff and Neetu Gupta have adopted different inspiring aspects of the tree in their collection- “The Tree of life”. Their creations epitomize the views, emotions and styles inspired by India and its vast heritage. The colour schemes were reflective of the barks and branches of a tree as it would appear in different light at different times of the day and night. With a palette of rich browns, earthy greens, deep reds and rusts with metallic gold, the designers reproduced the magical quality of the Tree of Life.
The Tree of Life is traditionally a mystical concept alluding to the interconnection of all life on our planet, a metaphor for common descent in the evolutionary sense and is used in various world theologies, mythologies and philosophies. It is also widely used in designs both traditionally and in contemporary styles. The Tree of Life is an important symbol in nearly every culture. With its branches reaching into the sky and roots deep in the earth, it dwells in three worlds- a link between heaven, the earth and the underworld- uniting above and below. It is a feminine symbol, bearing sustenance and a masculine union.