The Eight Auspicious Symbols of Buddhism - A Study in

Spiritual Evolution
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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:
 A Conch Shell
 A Lotus
 A Wheel
 A Parasol (Umbrella)
 An Endless Knot
 A Pair of Golden Fishes
 A Banner Proclaiming Victory
 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:

 The smooth white conch represents the Brahmin caste
 The red conch the Kshatriyas (Warriors)
 The yellow conch the Vaishyas (Merchants)
 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 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.
 The Eight-Spoked Dharma Wheel

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:
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):

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 Tibetan Parasol

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 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 Vase of Inexhaustable Treasures

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.

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