|
The Eight Auspicious Symbols of Buddhism
A Study in Spiritual Evolution
Article of the Month - October 2003
A constant intriguing
factor in the imagery of the Great Buddha is the group of three curving
conch-like lines on his neck. In the varied world of Buddhist art this is one
common characteristic that shines across all aesthetic traditions. Like other
Buddhist motifs, it too is soaked in rich spiritual symbolism. It is said to
represent Buddha's deep and resonant voice, through which he introduced his  followers
to the path of dharma.
The association of the conch shell
with Buddha's melodious voice, sweet with the tenor of his uplifting message,
has both an archetypal simplicity and universal appeal. It is a hard-hitting
symbol which associates a primordial object (deemed sacred in all ancient
traditions) with the actual physical body of the Buddha. Indeed, though much
of Buddhist philosophy is esoteric, when it comes to aesthetics, Buddhist art
is justly famous for giving a physical, easily recognizable representation to
abstract philosophical truths.
Buddhism has evolved over the
centuries a complex, yet discernable scheme of symbolism which has found
adequate expression in Buddhist art. Undoubtedly, the most popular of such
symbols is the group of eight, known in Sanskrit as 'Ashtamangala,' ashta
meaning eight and mangala meaning auspicious. Each of these symbols is also
individually associated with the physical form of the Buddha.
These
eight auspicious symbols of Buddhism (Tib. bkra shis rtags brgyad) are:
1). A Conch Shell
2). A Lotus
3). A Wheel
4). A Parasol
(Umbrella)
5). An Endless
Knot
6). A Pair of
Golden Fishes
7). A Banner
Proclaiming Victory
8). A Treasure
Vase
The Conch Shell (Skt. shankha; Tib. dung dkar):
The conch shell has survived as the
original horn trumpet since time immemorial. Ancient Indian epics describe
how each hero of mythical warfare carried a mighty white conch shell, which
often bore a personal name. It is one of the main emblems of Vishnu, and his
conch bears the name of Panchajanya, meaning 'having control over the five
classes of beings.' Arjuna's (hero of the Mahabharata) mighty conch was known
as Devadatta, whose triumphant blast brought terror to the enemy. As a
proclaiming battle horn, the conch is akin to the bugle. It is an emblem of
power, authority and sovereignty whose blast is believed to banish evil
spirits, avert natural disasters, and scare away poisonous creatures. Today,
in its greatly tamed avatar, the conch is used in Tibetan Buddhism to call
together religious assemblies. During the actual practise of rituals, it is
used both as a musical instrument and as a container for holy water.
Ancient Indian belief classifies the
conch into male and female varieties. The thicker-shelled bulbous one is
thought to be the male (purusha), and the thin-shelled slender conch to be
the female (shankhini).
The
fourfold caste division is also applied as follows:
a).
The smooth white conch represents the Brahmin caste
b).
The red conch the kshatriyas (warriors)
c).
The yellow conch the vaishyas (merchants)
d).
The grey conch the shudras (labourers)
Additionally,
there is a fundamental classification of conch shells occurring in nature:
those that turn to the left and those which turn to the right.
|
|
|
|
The Left
Turning Conch
|
The Right
Turning Conch
|
Shells which spiral to the right in
a clockwise direction are a rarity and are considered especially sacred. The
right-spiralling movement of such a conch is believed to echo the celestial
motion of the sun, moon, planets and stars across the heavens. The hair
whorls on Buddha's head spiral to the right, as do his fine body hairs, the
long curl between his eyebrows (urna), and also the conch-like swirl of his
navel.
Vajrayana Buddhism absorbed the conch as a
symbol which fearlessly proclaimed the truth of the dharma. Among the eight
symbols, it stands for the fame of the Buddha's teaching, which spreads in
all directions like the sound of the conch trumpet.
In
addition to Buddha's throat, the conch also appears as an auspicious mark on
the soles, palms, limbs, breast or forehead of a divinely endowed being.
The
Lotus (Skt. padma; Tib. pad ma):
The lotus does not grow in
Tibet
and so Tibetan art has only stylized versions of it. Nevertheless, it is one
of Buddhism's best recognized motifs since every important deity is
associated in some manner with the lotus, either being seated upon it or
holding one in their hands.
The
roots of a lotus are in the mud, the stem grows up through the water, and the
heavily scented flower lies above the water, basking in the sunlight. This
pattern of growth signifies the progress of the soul from the primeval mud of
materialism, through the waters of experience, and into the bright sunshine
of enlightenment. Though there are other water plants that bloom above the
water, it is only the lotus which, owing to the strength of its stem,
regularly rises eight to twelve inches above the surface.
Thus
says the Lalitavistara, 'the spirit of the best of men is spotless, like the
lotus in the muddy water which does not adhere to it.' According to another
scholar, 'in esoteric Buddhism, the heart of the beings is like an unopened
lotus: when the virtues of the Buddha develop therein, the lotus blossoms;
that is why the Buddha sits on a lotus bloom.'
Significantly, the color of the lotus too
has an important bearing on the symbology associated with it:
1).
White Lotus (Skt. pundarika; Tib. pad ma dkar po): This represents the state
of spiritual perfection and total mental purity (bodhi). It is associated
with the White Tara and proclaims her perfect nature, a quality which is
reinforced by the color of her body.
2).
Red Lotus (Skt. kamala; Tib: pad ma chu skyes): This signifies the original
nature and purity of the heart (hrdya). It is the lotus of love, compassion,
passion and all other qualities of the heart. It is the flower of
Avalokiteshvara, the bodhisattva of compassion.
3).
Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of
the spirit over the senses, and signifies the wisdom of knowledge. Not
surprisingly, it is the preferred flower of Manjushri, the bodhisattva of
wisdom.
4).
Pink Lotus (Skt. padma; Tib. pad ma dmar po): This the supreme lotus,
generally reserved for the highest deity. Thus naturally it is associated
with the Great Buddha himself.
The Wheel (Skt. chakra; Tib. 'khor lo):
|
|
|
The
Eight-Spoked Dharma Wheel
|
The wheel consists of three basic
parts: the hub, the rim, and spokes (generally eight in number). Its
underlying form is that of a circle, which is recognized across all
traditions as a shape that is complete and perfect in itself, qualities which
inform the teachings of the Buddha too.
Individually, the rim represents
the element of limitation, the hub is the axis of the world, and the eight
spokes denote the Eightfold Path set down by the Buddha, which leads to the
cessation of all suffering.
A further esoteric interpretation
makes reference to the three trainings which form an integral part of
Buddhist meditative practice, associating each of the three parts of the
wheel  with
one such practice. T his symbolism is as follows:
a).
The hub stands for training in moral discipline. Through this practise the
mind is supported and stabilized. Thus it is the practise of moral discipline
that upholds our meditation, just like the supporting axis of the world.
b).
The spokes stand for the correct application of wisdom, which cuts off
ignorance and ends suffering.
c).
The rim denotes concentration, which holds the entire meditative practise
together, just as the wheel of life is held together by its rim.
The wheel evolved as a symbol of the
Buddha's teachings and as an emblem of the Chakravartin or 'wheel turner,'
identifying the wheel as the Dharmachakra or 'wheel of law.' The Tibetan term
for Dharmachakra (chos kyi'khor lo) literally means 'the wheel of
transformation.' The wheel's swift motion serves as an apt metaphor for the
rapid spiritual change engendered by the teachings of the Buddha. Hence,
Buddha's first discourse at the Deer
Park in Sarnath is known as the 'first turning of
the wheel of dharma.' Likewise, his subsequent discourses at Rajgir and
Shravasti are known as the 'second and third turnings of the wheel of
dharma.'
The
Parasol (Skt. chattra; Tib. gdugs):
|
|
|
The Tibetan Parasol
|
Above
the mountain is the dome of the sky. This is symbolized by the umbrella,
whose important function is to cast a shadow, the shadow of protection. The
dictionary defines a parasol as an umbrella used for protection from the sun.
Thus its function is to protect exclusively from the heat rather than the rain
- as the word 'parasol,' meaning 'to
hold off the sun,' and 'umbrella,' meaning 'little  shade,'
similarly  imply.
The Sanskrit term 'chattra,' also means 'mushroom,' in an obvious reference
to its shape.
The parasol or umbrella is a
traditional Indian symbol of both protection and royalty. The ability to
protect oneself against inclement weather has always, in all cultures, been a
status symbol. In Europe, until a few
decades ago, a sunshade was a status symbol for society ladies. In Oriental
thought, the fact that it protected the bearer from the scorching heat of the
sun was transferred into the religious sphere as a "protection against
the heat of defilements." Thus the coolness of its shade symbolizes
protection from the heat of suffering, desire, and other spiritually harmful
forces.
The dome of the umbrella is held
aloft by a vertical handle (just like the mountain upholds the sky), which is
identified with the 'axis mundi,' or the central axis upholding the world.
The umbrella is carried above an important dignitary or the image of a deity,
to indicate that the person or symbol below the umbrella is in fact the
center of the universe, and also its spiritual support. Umbrellas seem to be
especially important in processional rites, being like mobile temples. Thus,
depictions of the Buddha often display an elaborate and large umbrella above
his head.
As it is held above the
head it naturally symbolizes honor and respect. In Vajrayana Buddhism, this
large umbrella (atapatra) was even deified into the thousand-armed, -footed
goddess Sitapatra, whose name literally means 'the white umbrella.'
In Tibet, depending on their status,
various dignitaries were entitled to different parasols, with religious heads
being entitled to a silk one and secular rulers to a parasol with embroidered
peacock feathers. Exalted personalities such as the Dalai Lama are entitled
to both, and in processions, first a peacock parasol and then a silk one is
carried after him.
The Tibetan version of the parasol
was adopted from its royal Indian and Chinese prototypes, and fashioned from
a wooden, spoked frame with a domed silk cover and hanging silk pendants
making up an overhanging skirt.
The dome symbolizes wisdom, and the
hanging skirt, compassion. Thus the composite form of the parasol signifies
the union of these dual elements.
Octagonal and square parasols are
also common, representing the Noble Eightfold Path and the four directional
quarters respectively.
The Endless Knot (Skt. shrivatsa; Tib. dpal be'u):
The endless knot is a closed, graphic
ornament composed of right-angled, intertwined lines. It is conjectured that
it may have evolved from an ancient naga symbol with two stylized snakes.
 This latter image signifies the dramatic
interplay and  interaction
of the opposing forces in the dualistic world of manifestation, leading to
their union, and ultimately to harmony in the universe. This fact is amply
reflected in the symmetrical and regular form of the endless knot.
The intertwining of lines reminds us
how all phenomena are conjoined and yoked together as a closed cycle of cause
and effect. Thus the whole composition is a pattern that is closed on in
itself with no gaps, leading to a representational form of great simplicity
and fully balanced harmony.
Since all phenomena are
interrelated, the placing of the endless knot on a gift or greeting card is
understood to establish an auspicious connection between the giver and the
recipient. At the same time, the recipient is goaded to righteous karma,
being reminded that future positive effects have their roots in the causes of
the present. This is because the knot represents a connection, a link with
our fates, binding us to our karmic destiny. Not surprisingly, this is one of
the most favorite symbols in Tibetan Buddhism, and often occurs independently
on its own.
Since the knot has no beginning or
end it also symbolizes the infinite wisdom of the Buddha.
The
Golden Fishes (Skt. suvarnamatsya; Tib. gser nya):
This symbol consists of two fishes,
which usually appear standing vertically with heads turned inwards towards
each other.
The pair of fishes originated as an
ancient pre-Buddhist symbol of the two sacred rivers of India, Ganga
and Yamuna. Symbolically, these two rivers represent the lunar and solar
channels, which originate in the nostrils and carry the alternating rhythms
of breath or prana. In Buddhism, the golden fishes symbolize happiness, as
they have complete freedom in water. They represent fertility and abundance
as they multiply very rapidly. Fish often swim in pairs, and in China they
represented conjugal unity and fidelity, where a pair of fishes would often
be given as a wedding present.
Both Jesus Christ and Buddha are
known as 'fisher of men,' because they save mortals from the ocean of
suffering.
The
Victory Banner (Skt. dhvaja; Tib. rgyal mtshan):
In Sanskrit, the banner or sign of
victory is known as the dhvaja, meaning standard, flag or ensign. Originally,
the victory banner was a military standard carried in ancient Indian warfare,
and bore the specific insignia of its champion. For example in the
Mahabharata, Krishna's chariot was adorned
with a banner showing the image of the monkey-god Hanuman.
The victory banner was adopted by
early Buddhism as an emblem of the Buddha's enlightenment, heralding the
triumph of knowledge over ignorance. It is said to have been placed on the
summit of Mt. Meru by Buddha himself, symbolizing
his victory over the entire universe. Again, Mount Meru
here is believed to be the central axis supporting the world.
The flag of victory also denotes
Buddha's triumph over Mara, who personifies hindrances on the path to
spiritual realization. Specifically, there are said to be four types of Maras, each one
representing an individual hurdle on the path to spiritual progress. These
are:
1). The Mara of
Emotional Defilement
2). Mara of
Passion
3). Mara of the
Fear of Death
4). Mara of Pride
and Lust
It was only after conquering these
four negative traits that Buddha could proclaim victory over ignorance, and
achieve nirvana.
Cylindrical victory banners made of
beaten copper are traditionally placed at the four corners of monastery and
temple roofs. These signify the Buddha's victorious dharma radiating to the
four directions and also his triumph over the four Maras mentioned above.
The Treasure Vase (Skt. nidhana kumbha; Tib. gter gyi bum
pa):
|
|
|
The Vase of Inexhaustable Treasures
|
The vase is a fat-bellied vessel with
a short, slim neck. On top, at the opening, there is a large jewel indicating
that it is a treasure vase.
Its
symbolic meaning was almost always associated with the ideas of storage and
the satisfaction of material desires. In the sagas and fairytales of many
different cultures, for example, there is the recurring idea of an
inexhaustible vessel.
Physically, the 'vase of
inexhaustible treasures' is modelled on the traditional Indian clay water pot
or kumbha with a flat base, round body, narrow neck and fluted upper rim.
However much is removed from it, this vase remains perpetually full. Wealth
vases, sealed with precious and sacred substances, are commonly placed upon
altars and on mountain passes, or buried at water springs, where their
presence is believed to attract wealth and bring harmony to the environment.
In relation to Buddhism it specifically means the spiritual abundance of the
Buddha, a treasure that did not diminish, however much of it he gave away.
The question still remains of the
association of these eight symbols with the Buddha's actual physical body. An
ancient text called the Heap of Good Fortune Sutra
(Aryamangalakutanama-mahayanasutra), while addressing the Buddha, has this to
say on the issue:
Veneration to
you with your head like a protecting parasol,
With eyes like the precious golden fishes (even
today a woman with beautiful eyes is known as 'minakshi,' meaning one with
fish-like eyes)
With neck like a precious, adorned vase of good fortune,
With speech like a right-turning Dharma shell,
With a mind infinite with wisdom like the never ending knot,
With a tongue open like the auspicious pink lotus,
With a body proclaiming triumph over the attacking armies of Mara,
With feet that tread the path of dharma like the auspicious wheel.
Artistically, these motifs may be
depicted individually, in pairs, in fours, or as a composite group of eight.
Designs of these eight symbols adorn all manner of sacred and secular
Buddhist objects, such as carved wooden furniture, metalwork, wall panels,
carpets and silk  brocades.
They are also frequently drawn on
the ground in sprinkled flour or colored powders to welcome visiting
religious dignitaries. Indeed, no Tibetan ceremony, be it religious or
secular (for e.g. a marriage), is complete without some depiction of the
eight auspicious symbols of Buddhism, which are believed to propitiate the
environment and grant protection to the activity being undertaken.
References and Further Reading
·
Beer, Robert. The
Encyclopedia of Tibetan Symbols and Motifs: Boston, 1999.
·
Cooper, J.C. An
Illustrated Encyclopedia of Traditional Symbols: London, 1999.
·
Frederic, Louis. Buddhism
(Flammarion Iconographic Guides): Paris,
1995.
·
Greenwood, Susan. The
Encyclopedia of Magic and Witchcraft: London,
2001.
·
Hamani, Laziz, and Claude B. Levenson. Symbols
of Tibetan Buddhism: Paris,
1996.
·
Jansen, Eva Rudy. The
Book of Buddhas (Ritual Symbolism Used on Buddhist Statuary and Ritual
Objects): New Delhi,
2002.
·
Jay, Roni. Sacred
Flowers Creating a Heavenly Garden: July, 1997.
·
McArthur, Meher.
Reading Buddhist Art (An Illustrated Guide to Buddhist Signs and Symbols): London, 2002.
·
Rinpoche, Dagyab.
Buddhist Symbols in Tibetan Culture: Massachusetts,
1995.
·
Sahi, Jyoti. The Child
and the Serpent (Reflections on Popular Indian Symbols): London, 1990.
|
