Auspicious Symbols in Buddhism

The Umbrella or parasol (chhatra) embodies notions of wealth or royalty, for one had to be rich enough to possess such an item, and further, to have someone carry it. It points to the "royal ease" and power experienced in the Buddhist life of detachment. It also symbolises the wholesome activities to keep beings from harm (sun) like illness, harmful forces, obstacles and so forth, and the enjoyment of the results under its cool shade.



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The Golden Fish (matsya) were originally symbolic of the rivers Ganges and Yamuna, but came to represent good fortune in general, for Hindus, Jain and Buddhists. Within Buddhism it also symbolises that living beings who practice the dharma need have no fear to drown in the ocean of suffering, and can freely migrate (chose their rebirth) like fish in the water.



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The Treasure Vase (bumpa) is a sign of the inexhaustible riches available in the Buddhist teachings, but also symbolises long life, wealth, prosperity and all the benefits of this world. (There is even a practice which involves burying or storing treasure vases at certain locations to generate wealth, eg. for monasteries or dharma centers.)



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The Lotus (padma) is a very important symbol in India and of Buddhism. It refers to the complete purification of body, speech and mind, and the blossoming of wholesome deeds in liberation. The lotus refers to many aspects of the path, as it grows from the mud (samsara), up through muddy water it appears clean on the surface (purification), and finally produces a beautiful flower (enlightenment). The white blossom represents purity, the stem stands for the practice of Buddhist teachings which raise the mind above the (mud of) worldly existence, and gives rise to purity of mind.

An open blossom signifies full enlightenment; a closed blossom signifies the potential for enlightenment.


From the website Exotic India Art:


"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."


Teoh Eng Soon, in his book The Lotus in the Buddhist Art of India, traces the first appearance of the lotus in Buddhist art to the columns built by Asoka in the 3rd Century BCE. However, the lotus is found frequently in the early Buddhist texts.



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The Conch (shankha), which is also used as a horn, symbolises the deep, far reaching and melodious sound of the teachings, which is suitable for all disciples at it awakens them from the slumber of ignorance to accomplish all beings' welfare.



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The Auspicious or Endless Knot (shrivatsa) is a geometric diagram which symbolises the nature of reality where everything is interrelated and only exists as part of a web of karma and its effect. Having no beginning or end, it also represents the infinite wisdom of the Buddha, and the union of compassion and wisdom. Also, it represents the illusory character of time, and long life as it is endless.







The Victory Banner (dhvaja) symbolises the victory of the Buddha's teachings over death, ignorance, disharmony and all the negativities of this world, and victory over. The roofs of Tibetan monasteries are often decorated with victory banners of different shapes and sizes.







SYMBOLS FOR THE BUDDHA



It is said that the Buddha was reluctant to accept images of himself, as he did not like to be venerated as a person. To symbolise the Buddha in the very early art, one used mainly the Eight Spoked Wheel and the Bodhi Tree, but also the Buddha's Footprints, an Empty Throne, a Begging Bowl and a Lion are used to represent him.







The Dharmachakra has eight spokes, symbolising the Eight-fold Noble Path. The 3 swirling segments in centre represent the Buddha, Dharma (the teachings) and Sangha (the spiritual community).

The wheel can also be divided into three parts, each representing an aspect of Buddhist practice; the hub (discipline), the spokes (wisdom), and the rim (concentration).



The Eight-Spoked Dharma Wheel or 'Dharmachakra' (Sanskrit) symbolises the Buddha's turning the Wheel of Truth or Law (dharma = truth/law, chakra = wheel).


In regards to the Dharma-Wheel (Dharmachakra); it is said that after Siddharta Gautama achieved enlightenment, Brahma came to him, offered a Dharma-Wheel and requested the Buddha to teach. It represents the Buddhist teachings. The whole story is that shortly after the Buddha achieved enlightenment, Brahma came down from heaven and requested the Buddha to teach by offering him a Dharmachakra. The Buddha is known as the Wheel-Turner: he who sets a new cycle of teachings in motion and in consequence changes the course of destiny.







The Bodhi Tree in BodhgayaThe Bodhi Tree refers to the tree under which the Buddha achieved enlightenment (See image on the right.).

Tree worship was already part of the existing culture in India, so the development of the bodhi tree and leaf as a devotional symbol was a natural one.







The Lion is one of Buddhism's most potent symbols. Traditionally, the lion is associated with regality, strength and power. It is therefore an appropriate symbol for the Buddha who tradition has it was a royal prince. The Buddha's teachings are sometimes referred to as the 'Lion's Roar', again indicative of their strength and power.


The Lion is a sacred and regal symbol in many ancient cultures from Egypt to the Greek and Roman Empires and further east to Persia and ultimately to India in the second century. In Buddhism the Snow Lion is the protector of Buddha and in paintings and sculpture is usually seen as holding up the Buddha's throne (one on the left and one on the right of the throne.) The body of the Snow Lion is white while its flowing hair of mane, tail and curls on legs, is either blue or green. While most Snow Lions are gender neutral in Buddhist art there are some that are represented as obviously male and some as obviously female. When represented as a symmetrical pair the male is on the left and the female on the right. Sculptural Snow Lions are often in repousse metal that has been gilt and painted.







Lion-throne, with 8 Snowlions. The image above shows a capital from a pillar of Asoka: the Lions of Sarnath. Sarnath is where the Buddha first preached, and these lions echo his teachings to the four quarters of the world, sometimes called 'the Lion's Roar'. The wheel symbolizes Buddhist law and also Asoka's legitimacy as an enlightened ruler.


Especially in Tibetan Buddhist art, lions are often depicted on the throne the Buddha sits on, but these are Snow Lions (mythical creatures), and they actually represent the eight main Bodhisattvas (students of the Buddha).







Footprints of the Buddha traditionally symbolize the physical presence of the Enlightened One. This image was reproduced from a rubbing of an ancient stone imprint at Bodh Gaya, India, site of the Buddha's enlightenment."


The story goes that prior to his death the Buddha left an imprint of his foot on a stone near Kusinara, a reminder of his presence on earth.


These footprints often show Dharma-wheels on them, one of the so-called 32 marks of a Buddha. Other auspicious marks, like swastikas and lotuses etc. can sometimes be found, but they are not part of these special marks.







Stupas generally represent the enlightened mind of the Buddha. They were constructed since the early days of Buddhism. One of the symbolic meanings is that they represent the five elements: the square base represents earth, the round dome is for water, the cone-shape is fire, the canopy is air and the volume of the stupa is space. Stupas are often used to store relics from important teachers.







The Snow Lion, sometimes also Snowlion, (Tibetan: གངས་སེང་གེ་; Wylie: gangs seng ge) is a celestial animal of Tibet. It symbolizes fearlessness, unconditional cheerfulness, east and the earth element. It is one of the Four Dignities. It ranges over the mountains, and is commonly pictured as being white with a turquoise mane. In Mainland China, the Snow Lion is called a Rui-Shi.


"The Snow Lion resides in the East and represents unconditional cheerfulness, a mind free of doubt, clear and precise. It has a beauty and dignity resulting from a body and mind that are synchronized. The Snow Lion has a youthful, vibrant energy of goodness and a natural sense of delight. Sometimes the throne of a Buddha is depicted with eight Snow Lions on it, in this case, they represent the 8 main Bodhisattva-disciples of Buddha Shakyamuni, the historical Buddha. Associations: main quality is fearlessness, dominance over mountains, and the earth element." --The Four Dignities, Rudy Harderwijk







From 1909 until 1959 a single snow lion or a pair of these mythological animals were used as national emblem of Tibet on the coins, poststamps, banknotes and the national flag of Tibet.


The Snow Lion is an archetypal thoughtform confluence or personification of the primordial playfullness of 'joy' and 'bliss' (Sanskrit: ananda; Tibetan: dga' ), somewhat energetically comparable to the western unicorn, though without a horn. Though paradoxical, the Snow Lion does not fly but their feet never touch the ground; their existence is a playful 'continuum' (Tibetan: rgyud) of leaping from mountain peak to mountain peak. The energetic potency (wisdom or shakti) of the Snow Lion is expressed in the attribute of the gankyil/gakyil ('bliss+whirling' or 'wheel of joy') that the Snow Lion keep in eternal play. The gankyil is a vriddhi derivation of the dragon's fiery 'pearl of great price'.[2] The gakyil is the principal polyvalent symbol and teaching tool of all the doctrinal trinities of Dzogchen, and is the energetic signature of the trikaya. The gankyil is the inner wheel of the Dharmacakra of the Vajrayana Ashtamangala path of Buddhism.







Deer are a direct reference to the Buddha's first teaching in the Deer Park, Sarnath, also called Dharmachakra Parivartan. The suggestion is that so wondrous was the Buddha's appearance and peaceful his presence that even the animals came to listen. In the Tibetan tradition, a monastery which holds the Kangyur and Tengyur collections of texts would have this symbol of deer on both sides of the Dharma-wheel on the roof.







The Swastika is a well-know good-luck symbol from India. Unfortunately, it is too well known in the west, as the Nazis chose it as their main symbol. In Sanskrit, swastika means "conducive to well-being". In the Buddhist tradition, the swastika symbolizes the feet or footprints of the Buddha and is often used to mark the beginning of texts. Modern Tibetan Buddhism uses it as a clothing decoration. With the spread of Buddhism, it has passed into the iconography of China and Japan where it has been used to denote plurality, abundance, prosperity and long life.







The word "mandala" comes from the Sanskrit verbal root "mand" (meaning to mark off, decorate, set off)and the Sanskrit suffix "la" (meaning circle, essence, sacred center).


The mandala's symbolic power can be traced back to millennia-old roots in Indian temple architecture,which created sacred spaces linking the worshiper to the larger cosmos. In these temples, time and space were represented in a vocabulary of circles and squares. Similarly, a mandala helps believers visualize the universe and their place in it, often in relation to a specific deity found in the center of the image.


Mandalas are works of sacred art in Tantric (Tibetan) Buddhism. The word "mandala" comes from a Sanskrit word that generally means "circle," and mandalas are indeed primarily recognizable by their concentric circles and other geometric figures. Mandalas are far more than geometical figures, however. For Tantric Buddhists, they are rich with symbolism and sacred meaning. In fact, the etymology of the word "mandala" suggests not just a circle but a "container of essence."


Simply stated, a mandala is a sacred geometric figure that represents the universe. When completed, a mandala becomes a sacred area that serves as a receptable for deities and a collection point of universal forces. By mentally entering a mandala and proceeding to its center, a person is symbolically guided through the cosmos to the essence of reality. By constructing a mandala, a monk ritually participates in the Buddha's teachings.



1 2 3 4


5 6 7 8


1. Compassion 2. Debate (explaining the Buddha's teachings) 3. Teaching 4. Fearlessness

5. Meditation 6. Praying 7. Renunciation 8. Warding off evil


Mudras


Images of the Buddha were produced from the fifth century onwards. The sacred nature of the representation is reflected in the artistic goal of creating an aura of equanimity, perfection, and holiness. The large number of rules governing the execution of a portrayal or a statue require an erudite understanding of Buddhist symbolism. Any Buddha figure made by a skilled artist exhibits a multitude of characteristics that communicate subtle meanings and intentions to the viewer. The most important of these characteristics are perhaps the mudras, or hand gestures, of the Buddha. These well-defined gestures have a fixed meaning throughout all styles and periods of Buddha images.









Dorje is the Tibetan word for vajra. Do-rje means noble stone > Do = stone and rJe = noble or prince. It embodies not only the brilliance of refracted or reflected illumination, but it also symbolizes the impervious and fixed solidity of the point of power around which all else turns -- the axis mundi or hub of the world.


A dorje, then is like the diamond, but that gem is an inadequate symbol for it. However, just as any other substance will be destroyed on impact with a diamond, so the ritual object symbolizes that which is indestructible, enduring, powerful, invincible, and irresistible.


Vajra is a Sanskrit equivalent of the Tibetan word dorje and it carries many meanings: Indra's thunderbolt, the lamas' sceptre, and diamond, but only in the sense mentioned above. It may also be used as a qualifying term for anything used in the tantric context. Thus the person who presides at tantric rituals is called the vajra master or dorje lopon.







Paired With the Bell


The vajra or dorje and its complementary object, the bell (Skt.: ghanta) are the characteristic ritual implements of Vajrayana or the tantric methods of Buddhism. While the dorje with its masculine associations represents the compassion of all the Buddhas, the bell represents wisdom, which in this context is considered a female principle. To achieve enlightenment the two principles should work in harmony. In the Buddhist tradition, the bell is visualized as the body, the dorje is the mind, and the sound of the bell is regarded as the speech of the Buddha.


Guru Rinpoche


Padmasambhava, Guru Rinpoche (Precious Teacher) is depicted in 8 ways that commemorate events in his legendary life. When the ministers of the King of Udyana try to burn Guru Rinpoche and his consort alive, he transforms the flames of the pyre into a lake. The form he assumed when he emerged in the centre of a lotus with Mandarava is known as Guru Pema Dorje Tsal -- the Guru with Lotus and Vajra. In this form, he is invoked as Benzar Guru, another way of saying Vajra Guru.


So, in its usual closed form, the vajra is the tool of peaceful or benign embodiments of compassion. The open dorje is associated with the wrathful deities who wield it compassionately but with righteous anger judiciously applied.


The twin faces of the symmetrical vajra represent the unity of relative and absolute truth. Sometimes a vajra is depicted / described as having 9 rather than 5 tips at the ends. This form seems to be related to the nine stages of the Nyingmapas. According to Jeff Watt, some older Tibetan texts refer to the "regular" 5-pointed vajra as a " 9- pointed vajra." In this case, the enumeration derives from the 1 central prong that extends from one end to the other, plus the 4 prongs at each end that surround the tips. It most often has five prongs on each end but as we have seen, sometimes it has nine. It can have other numbers of prongs, too, including one with a single point at each end. (five prong and nine prong are picture above).







No Tibetan custom is as well known as the offering of a kata or white scarf in greeting. The kata is an auspicious symbol. It lends a positive note to the start of any enterprise or relationship and indicates the good intentions of the person offering it. Katas are offered to religious images, such as statues of the Buddha, and to lamas and government. officials prior to requesting their help in the form of prayers or other services. The offering of the kata indicates that the request is not marred by corrupt thoughts or ulterior motives.







Blue: Universal Compassion

Yellow : The Middle Path

Red : Blessings

White : Purity and Liberation

Orange : Wisdom



A fairly recent symbol is the Buddhist flag. It was in designed in 1880 by Colonel Henry Steele Olcott an American journalist. It was first hoisted in 1885 in Sri Lanka and is a symbol of faith and peace, and is now used throughout the world to represent the Buddhism.

The five colours of the flag represent the colours of the aura that emanated from the body of the Buddha when he attained Enlightenment.


The sixth colour is a conglomeration of the five, but for the design, it has been separated into its constituent colours.


The colonel's flag later came to symbolize the unity of Buddhists. Thereafter, it has been used worldwide and has been used in nearly 60 countries during Buddhist festive seasons, particularly during the Vesak celebrations.


Colonel Olcott was one of the greatest American Buddhists who dedicated his later life entirely to the people of Asia. He is known as the father of the Buddhist education movement since he initiated the establishment of close to 400 Buddhist schools and colleges in Sri Lanka.