Trashi Ganden Choepel Ling Trust
菩提精舍
The Eight Auspicious Signs
The Eight Auspicious symbols (Tib. bkra shis rtags brgyad) are also known in Sanskrit as 'Ashtamangala' ('ashta' means eight and 'mangala' means auspicious).
This set of
symbols is very popular in Tibet. They appear all together or
singly as a frequent decorative motif in stone, wood, metal, cloth and
paintings.
These astamangala represent the gifts given by celestial beings to
Shakyamuni on his attainment of Enlightenment of Buddhahood.
The Eight Auspicious Signs, marked on paper, cloth or metal, are usually
displayed during the performance of the different Pujas, initiations and
consecrations.
Umbrella
or Precious Parasol (Skt. chattra; Tib. rin.chen.du.ke):
The parasol 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 Asian 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 Precious Parasol embodies also 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 also to the "royal ease" and power experienced in the Buddhist life of detachment.
The dome of the parasol is held aloft by a vertical handle, which is identified with the central axis upholding the world. It is carried above an important dignitary or the image of a deity, to indicate that the person or symbol below the parasol is in fact the center of the universe, and also its spiritual support. Parasols seem to be especially important in processional rites, being like mobile temples. Thus, depictions of the Buddha often display an elaborate and large parasol above his head.
The Precious Parasol symbolizes the beneficial activities of keeping beings from the harms of illness, harmful forces, obstacles and so forth. It also represents the enjoyment of a feast of benefit under its cool shade.
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 His Holiness
the Dalai Lama are entitled to both, and in processions, first a peacock
parasol and then a silk one is carried after him.
Two
Fishes or Golden Fishes (Skt. matsya; Tib. gser-nya):
The sea in Tibetan Buddhism is associated with the
world of suffering, the cycle of samsara. The Golden Fishes have been
said to signify fearlessness and happiness as they swim freely through
the oceans without drowning, freely and spontaneously, just as fish swim
freely without fear through the water. The fishes symbolize happiness,
for they have complete freedom in the water.
The pair of fishes originated as an ancient pre-Buddhist symbol of the
two main sacred rivers in India, the Ganges and the Yamuna.
They are traditionally drawn in the form of carp, which are
commonly regarded in Asia as elegant due to their size, shape and
longevity. The fish represent also the emancipation of one's
consciousness from all suffering and thereby leading to eventual
spiritual liberation.
The
Treasure Vase (Skt. kasala; Tib. bum.pa):
The Treasure Vase symbolizes an
endless rain of long life, wealth and prosperity and all the benefits of
this world and liberation. Also known as the "vase of inexhaustible
treasures, it is a sign of the inexhaustible riches available in the
Buddhist teachings.
Aside from the iconography of the Eight Auspicious Symbols, Treasure
Vases filled with saffron water are found near the shrine offerings in a
Tibetan Buddhist temple, the water of which is used to purify offerings.
There is also a practice performed at monasteries and dharma centers
which involves burying or storing treasure vases at certain locations to
generate wealth and harmony.
The Lotus (Skt. padma; Tib. pay.mah):
The Lotus
symbolizes the complete purification of body, speech and mind, and the
blossoming of wholesome deeds in liberation.
An open blossom signifies full enlightenment; a closed blossom signifies
the potential for enlightenment.
The lotus does not grow in Tibet and
so Tibetan art has only stylized versions of it.
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.
* White Lotus (Skt. pundarika; Tib.
pay.mah 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.
* Red Lotus (Skt. kamala; Tib: pay.mah 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.
* 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.
* Pink Lotus (Skt. padma; Tib. pay.mah dmar.po): This the supreme lotus,
generally reserved for the highest deity. Thus naturally it is
associated with the Great Buddha himself.
The
Right-Coiled White Conch (Skt. sankha; Tib. dong.khar.yay.khail)
The right-turning white conch shell represents the beautiful sound of the spread of the Buddhadharma. Its sound is deep, far-reaching and melodious, and hearing it awakens beings from the deep slumber of ignorance, urging them to accomplish their own and others' welfare.
Shells which spiral to the right in a
clockwise direction are a rarity and are considered especially sacred.
The right-spiraling 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.
Today the conch is used in Tibetan Buddhism to call together religious assemblies. During the actual practice of rituals, it is used both as a musical instrument and as a container for holy water.
The Endless Knot
(Skt. srivatsa; Tib. pel.bai.yo):
The Endless knot or Mystic diagram symbolizes of the endless cycle of
rebirth and 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 (Skt. dhvaja; Tib. gyel.tsen):
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 (the central axis supporting the world) by Buddha himself,
symbolizing his victory over the entire universe.
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 Wheel (Skt.chakra; Tib.
hkor.lo):
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. This symbolism is as follows:
* The hub stands for training in moral discipline. Through this practice
the mind is supported and stabilized. Thus it is the practice of moral
discipline that upholds our meditation, just like the supporting axis of
the world.
* The spokes stand for the correct application of wisdom, which cuts off
ignorance and ends suffering.
* The rim denotes concentration, which holds the entire meditative
practice 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.'
