Salabhanjika is a stone sculpture that is placed in front of the sanctum sanctorum of a temple as Dwarapalika. In South India, many temples have stone sculptures in the shape of a woman holding a lamp. She is set in place as a sacred guard to the deity. However, this Salabhanjika is no ordinary stone. The poet opines the existence of Ahalya in it.

Ahalya was the wife of sage Gautama. Once, Indra the king of heaven, fell in love with Ahalya. Early one morning when the saint went for bathing, Indra, filled with unholy desire for the beautiful Ahalya, entered the ashram disguised as Gautama and approached the lady with urgent solicitation. She lost her judgment and yielded to his desires.

After enjoying the ephemeral pleasure, Indra hurried to leave the place before Gautama returned; but as the latter was leaving, the sage returned and came to know about his daring escapade. He misunderstood Ahalya and cursed her by which Ahalya turned into a stone. He cursed her that she would stand petrified and be invisible to everyone until Lord Rama touched the stone with his feet.

Salabhanjika is a choreography inspired by the story of Ahalya. It is not a mere retelling of the story of Ahalya but a portrayal of a bereaved feminine personality; the varied shades of conflict, pain ephemeral happiness, dreams and aspirations. Both external and internal levels of existence of the human being are portrayed in this theme.

A sculptor in search of an ideal stone to make a Salabhanjika, finds this stone in the dense forest where Ahalya has been lying dormant. The sculptor works tirelessly on the stone touching every bit of the evolving feminine shape, enjoying the emanating beauty. The result is a captivating Salabhanjika, which will be placed in front of the sanctum sanctorum of a Rama temple as Dwarapalika. In spite of this metamorphosis, the true longing of Ahalya remains the same.

Because of Ahalya's presence, the sculpture imparts all the grace and feelings of the feminine ideal. The physical and mental intimacy between the sculptor and Salabhanjika turns into a sense of mutual possession. The split personality within the stone branches out into Ahalya and Salabhanjika. This is an imaginary saga of the innate conflicts of the human heart. Salabhanjika yearns for togetherness, while Ahalya, the cursed spirit, longs for salvation ......a contrast of the bondage of worldly desire with the pining for moksha, of earthly love and spiritual divinity. What Rama represents for Ahalya turns out to be what Shilpi the sculptor becomes for Salabhanjika.

Every human being is bound to pass through temporary transformation in the great drama of life. Nevertheless, even while the transformation goes on he is the same personality in the inner recesses of his existence. Ahalya's waiting for Rama, for her salvation, symbolizes the liberation from all bondages that is the ultimate aim of human existence.