The Handbook of Tibetan Buddhist Symbols PDF

The Handbook of
Tibetan Buddhist Symbols

Robert Beer
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Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page i
The Handbook of
Tibetan buddhist Symbols
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page ii
The
Handbook
of
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page iii
Tibetan
buddhist
Symbols
Written and Illustrated by
ROBERT BEER
Shambhala Boston 2003

Handbook of Tibetan Buddhist Symbols ebook_pp00i-xviii 11-17-15_Handbook of Tibetan Buddhist Symbols_pp00i-xviii 7-10-03 11/17/15 9:47 AM Page iv
Shambhala Publications, Inc.

4720 Walnut Street
Boulder, Colorado 80301
www.shambhala.com
2003 by Robert Beer
All rights reserved. No part of this book may be reproduced

in any form or by any means, electronic or mechanical, including
photocopying, recording, or by any information storage and
retrieval system, without permission in writing from the publisher.
Library of Congress Cataloging-in-Publication Data

Beer, Robert.
The handbook of Tibetan Buddhist symbols / Written and
illustrated by Robert Beer.
p. cm.
isbn 978-1-59030-100-5
eisbn 978-0-8348-4000-3
1. Art, TibetanThemes, motives. 2. Symbolism in art
ChinaTibet. I. Title: Tibetan symbols. II. Title.
n7346.t5b436 2003
704.9'46'09515dc21
2003045433
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page v
Contents
Acknowledgments ix
Introduction xi
THE EIGHT AUSPICIOUS THE CHAKRAVARTIN 36

SYMBOLS 1
The Seven Possessions of the Chakravartin
The parasol 3 or the Seven Precious Jewels 37
The golden fishes 5 The precious wheel 37
The treasure vase 6 The precious jewel 38
The lotus 7 The precious queen 40
The right-turning conch shell 9 The precious minister 40
The endless or glorious knot 11 The precious elephant 40
The victory banner 12 The precious horse 41
The wheel 14 The precious general 41
THE EIGHT AUSPICIOUS The Seven Secondary Possessions of

the Chakravartin or the Seven Auxiliary
SUBSTANCES 16 Jewels 42
The mirror 19 The sword 42
The precious medicine 20 The naga skin 43
The curds or yogurt 21 The royal house 43
The durva grass 21 The robes 43
The bilva fruit 23 The royal gardens 43
The right-turning conch shell 24 The throne 44
The vermilion powder 24 The boots 44
The mustard seed 25
The Seven Jewel Insignia of the
THE FIVE ATTRIBUTES OF Chakravartin 46
The unicorn or rhinoceros horn 46
SENSORY ENJOYMENT 27 The elephants tusks 46
Sight or form 29 The queens earrings 46
Sound 29 The ministers earrings 46
Smell 32 The generals insignia 46
Taste 33 The triple-eyed gem 46
Touch 34 The coral branch 46
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vi Contents
SYMBOLIC EMBLEMS AND The ritual dagger 98

OFFERINGS 49 The tantric staff or khatvanga 102
The hand-drum or damaru 107
The three jewels 49 The thighbone trumpet 110
The three victorious creatures of The skull-cup 110
harmony 50 The curved knife 112
The four friends or harmonious
brothers 51
WEAPONS 115
The six symbols of long life 53
The emblem of the three great The bow and arrow 115
bodhisattvas 55 The arrow-banner or silk arrow 118
The seven water bowl offerings 56 The fire-arrow 120
The wheel and deer emblem 58 The tiger-skin bow case and leopard-
skin quiver 121
ANIMALS AND MYTHICAL The flower bow and flower arrow 121
The sword 123
CREATURES 60 The shield 124
The elephant 60 The scorpion-hilted sword 125
The deer 62 The scorpion 126
The lion and snow-lion 63 The water-knife or wave-bladed knife 127
The tiger 64 The razor 128
The horse and wind-horse 66 The dart or shakti dagger 128
The four supernatural creatures of the The scythe or sickle 129
four directions 67 The plowshare or plow 129
The dragon 69 The trident 130
The naga 72 The trident pike or spear 132
The garuda 74 The caduceus or serpent-trident 133
The water-monster or makara 77 The spear 135
The kirtimukha or face of majesty 78 The spear-flag 135
The javelin 135
COSMOLOGICAL The harpoon 137
The club 137
SYMBOLS 80 The transverse club or wooden gong 139
The sun and moon 80 The skull club 140
The five elements of earth, water, fire, The skeleton club 141
air, and space 82 The corpse club 142
Mount Meru 82 The impaled corpse club 142
The mandala offering 84 The forked stick 143
The axe 144
MAIN RITUAL AND The hammer 145
The foundry hammer and bellows 145
TANTRIC IMPLEMENTS 87 The iron hook or goad 146
The vajra 87 The rope noose or snare 147
The bell 92 The flower hook and flower noose 149
The crossed-vajra 95 The serpent noose 149
The swastika 97 The iron chain 150
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Contents vii
The chakra or discus 150 The jeweled tassel 177

The wooden pestle 152 The yak-tail flywhisk 177
The brazier 153 Peacock feathers 178
The mass of fire 153 The peacock-feathered fan and mirror 179
The fire-wheel and wind-wheel 154 The peacock-feathered parasol 180
The firebrand 154 The book 180
The net 154 The basket 182
The weapons of Maras army 155 The alms-bowl 182
The monks staff 184
THE FIVE MAGICAL The possessions of an ordained monk 185
WEAPONS OF SHRI DEVI 156 The image of the Buddha 186
The stupa or caitya 186
The bag of diseases 156 The rosary 189
The bundle of red curses 157 The jewel or gem 190
The white and black spotted dice 157 The wish-granting gem 192
The ball of thread 158 The wish-granting tree 193
The demon cross-stick 159 The crystal 193
The gzi stone 194
WRATHFUL ATTRIBUTES The mongoose 196
AND OFFERINGS 161 The golden horsewhip 196
The head of Brahma 161 The gold earrings and jeweled crown 197
The severed head 162 The celestial palace 197
The garland of severed heads and The incense-burner or censer 197
skulls 162 The mirror 198
The severed arm and leg 164 The water-pot or flask 198
Intestines or entrails 164 The ritual vase or flask 199
The heart 165 The long-life vase 201
The piece of skull 166 The treasure vase 202
The cemetery shroud 166 The treasure box 202
The wind-cloth 167 The amulet-box 203
The needle and thread 167 The basin and bowl 203
The sorcerers magical horn 168 The lute and vina 204
HAND EMBLEMS AND PLANT ATTRIBUTES 205

RITUAL ATTRIBUTES 169 The picula fruit 205
The lotus 169 The citron 205
The golden wheel or dharmachakra 171 The radish 205
The conch shell 171 The myrobalan fruit 206
The umbrella or parasol 172 The ear of corn 206
The victorious banner 172 The ear of grain 207
The makara banner 173 The ear of rice 207
The wolf, bull, and tiger banner 174 The bodhi-tree or tree of enlightenment 207
The flag 174 Divine trees and flowering branches 208
The silk ribbon 175 The ashoka tree 208
The triple banderole 176 The naga tree 208
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viii Contents
THE REALITY-SOURCE OR The wheel of dharma gesture 225

DHARMODAYA 209 The enlightenment gesture 226
The meditation gesture 226
The wheel of joy 209 The palms-folded gesture 227
The reality-source or dharmodaya 209 The humkara gesture or gesture
The dharmodaya of Vajrayogini 210 of victory over the three worlds 228
The spirit-subduing gesture 228
TORMAS AND SYMBOLIC The threatening forefinger 229
OFFERINGS 212 The mandala gesture 229
The cunda gesture 230
The torma 212
The thread-cross 213
The ransom offering of an arrow and APPENDICES 231
spindle 215
The wrathful offering of the five senses 215
Appendix One The Legend of the
The inner offering 217
Churning of the Ocean 231
Appendix Two The Five Buddha
HAND GESTURES OR Families 234
MUDRAS 221 Appendix Three The Three Kayas 237
Appendix Four The Channel Wheel
The boon-granting gesture 223
System 239
The protection gesture 223
The gesture of giving refuge 224
The earth-touching gesture 224 GLOSSARY 245
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page ix
ACKNOWLEDGMENTS
P rimarily I would like to express my grati-

tude to my partner Gill Farrer-Halls for
lovingly taking care of me throughout the
David Ford, Liz Specterman, Robert Svo-
boda, Marc Baudin, Judy Allan, Khalil
Norland, Danah Zohar and Ian Marshall
many months of solitude in writing this text, for their constant friendship and generosity,
and for making many helpful editorial sug- and to Christina, Thomas, Kali, Mac, and
gestions. I express my thanks to Anthony to Mike, Phil, and Leigh of Wisdom Books
Aris and his wife Marie Laure, and to Shane in London. I would also like to thank my
Suvikapakornkul of Serindia Publications friends Edward Henning, Martin Willson,
for their constant encouragement, and to Martin Boord, Ani Tenzin Palmo, Stephen
Jonathan Green and the staff of Shambhala and Martine Batchelor, and Karma Phunsok
Publications in Boston. For financial assis- for their dedicated work and insight into Va-
tance I would like to thank Jane Reed and jrayana Buddhism. My thanks are also ex-
the Harold Hyam Wingate Foundation in pressed to my daughters Carrina and Rosia,
London. The layout and design of this book and to Helen for bringing such jewels into
was accomplished with the assistance of this world.
Toby Matthews in London, a man of great True democracy occurs when soul meets
skill, diligence, and patience. soul on the open road. There are so many
Gratitude is expressed to all my many fine people whom I have met upon this road
friends around this world for their support. of the alone that have touched me deeply.
In particular I would like to thank Ani They know well who they are, even though
Jampa, Phunsok Tsering, Evan Dvorsek, they are not all mentioned by name.
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page x
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xi
INTRODUCTION
I n the summer of 1999 I completed the text

of The Encyclopedia of Tibetan Symbols
and Motifs (Boston: Shambhala. & London:
been presented on the complex symbolism
of Vajrayana art.
This Handbook is based on a synthesis
Serindia). This book took a long time in its from the original text of The Encyclopedia,
making. The brush drawings alone took al- and of the condensed version that appears in
most eight years to complete, and were cre- Deities of Tibetan Buddhism. Although only
ated in a prolonged period of semi-retreat in a limited selection of my original drawings
the remote Western Highlands of Scotland. appear in this book, and the scope of the
By comparison the writing of the text was subject matter has been reduced, I feel that
relatively quick and painless. When there is this material is now presented in a more ac-
much to say words are easy to come by, and cessible and user-friendly format.
perhaps my greatest difficulty was in know- I have tried to structure the contents of
ing when to stop. After writing nearly a this book into a logical progression, so that
quarter of a million words my publisher and the many lists of numerical concepts, which
editor brought the chopper down. The are so characteristic of the Buddhist teach-
book was way past its deadline, and there ings, are gradually introduced into the text.
wasnt even time left to create an index. But The first five sections of this Handbook cov-
I felt it was a good and original work, al- ers the main groups of auspicious symbols,
though I also felt it was virtually being pre- offerings, and emblems, many of which ap-
sented in its first draft. peared as the first symbolic motifs of early
At the beginning of 2000 I wrote a con- Indian Buddhism. The sixth section deals
cise pictorial index for Deities of Tibetan with the origins of the main natural and
Buddhism (Willson, M. and Brauen, M. mythological animals that appear in Bud-
2000. Boston: Wisdom). Martin Willson dhist art. The seventh section deals with the
spent around fourteen years translating and cosmological symbols of the sun and moon,
annotating the Tibetan texts for this work, the five elements, Mount Meru, and the
which covers the abridged descriptions of mandala offering. The eighth section intro-
just over five hundred deities. With the al- duces the main ritual Vajrayana implements
most simultaneous publication of these two of the vajra and bell, crossed-vajra, and
works I felt that some original insight had ritual dagger, and the tantric kapalika
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xii
xii The Handbook of Tibetan Buddhist Symbols
attributes of the khatvanga, damaru, thigh- more accurate interpretation of this term
bone trumpet, skull-cup, and curved knife. should perhaps be purity, as these attributes
The ninth and tenth sections cover the array essentially represent the enlightened qualities
of traditional and magical weapons that are or purities of the deities. These purities are
mainly wielded by the semi-wrathful yidam evocatively expressed in the various Praises
and wrathful protective deities, whilst the to the Deities, which were composed by
eleventh section deals with some of the more many great Indian and Tibetan masters over
necromantic attributes of these deities. The the last fifteen hundred years. The poetic
twelfth and thirteenth sections encompass verses of these beautiful prayers often reveal
the spectrum of hand-held implements and the reverence, faith, love, and devotion that
plant attributes that are held by many di- these masters perceived in the deities as their
verse deities and human teachers. The four- sources of refuge and inspiration.
teenth and fifteenth sections deal with some Throughout the text I have also used the
of the more esoteric symbols of Vajrayana terms often, usually, frequently, generally,
Buddhism, including the reality-source or and traditionally to refer to particular sym-
dharmodaya, sacrificial cake offerings or bolic definitions or descriptions. The use of
tormas, and the inner offering. The six- these terms does not stem from an uncer-
teenth section completes the text with a de- tainty about a symbols meaning or depic-
scription of the main hand gestures or tion, but from the fact that these symbols
mudras made by the deities. often have iconographical variations accord-
At the end of the book are four appen- ing to different traditions or lineages. To ex-
dixes and a glossary. The first appendix plain these tangential variations is beyond
relates the ancient Indian legend of the the scope of this book, although I have
churning of the ocean. The second appendix sometimes partially attempted to do so in
gives a brief outline of the conceptual assem- the more voluminous text of The Encyclope-
bly of the Five Buddha Families. The third dia. In Vajrayana iconography the three lev-
appendix gives a brief explanation of the var- els of an outer, inner, and secret symbolism
ious kayas or divine bodies of the Buddhas. are sometimes given, particularly within the
The fourth appendix attempts to briefly ex- practices of the Highest Yoga Tantras. The
plain the complexities of the Buddhist chan- depths of meaning concealed within these
nel wheel systems of the Highest Yoga teachings are extremely profound and multi-
Tantras, which symbolically relate to the faceted. Like a wish-granting gem that re-
transmutation of the processes of birth, life, fracts a myriad rays of rainbow light, the
death, and rebirth into the state of supreme nature of this light is one, although its as-
enlightenment. The subject matter of these pects of illumination appear to be many.
last three appendixes is extremely profound. A similar spectrum of understanding can
Although these subjects are only briefly and be applied to the classical English terms that
inadequately explained here, a deep under- are used to describe the various Buddhist
standing of them is vital for a true insight listings of mundane and enlightened quali-
into the amazingly sophisticated principles ties. These terms, such as the Eightfold
and practices of Vajrayana Buddhism. Noble Path, the six perfections, and the four
Throughout the text I have used the term immeasurables, are all relative terms with
symbol to refer to the intrinsic meanings as- no easily definable absolutes. Their mean-
cribed to a particular object or attribute. A ings are essentially inspirational, and as
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xiii
Introduction xiii
subjects of contemplation they continually twelfth century. The tantric transmissions of

deepen in significance to accord with the Vajrayana Buddhism were revealed be-
practitioners emotional, mental, psychologi- tween the eighth and twelfth centuries, and
cal, philosophical, and spiritual capacities. this period of four hundred years represents
In the Buddhist scriptures each of these nu- the final blossoming of Indian Buddhist cul-
merical lists may be further subdivided into ture. It was during this same period that the
various aspects or components. The six per- Buddhist teachings were being transmitted
fections, for example, are each divided into into Tibet through Kashmir and Nepal, and
a further threefold structure. The absolute translated from Sanskrit into Tibetan. Most
meaning of these terms exists only within of the symbols that appear in Tibetan art are
the enlightened mind, where they sponta- of Indian Buddhist origin, and many of these
neously manifest as the innate radiance of symbols already existed in ancient India
the Buddhas infinite clarity, wisdom, com- prior to the advent of Buddhism itself. Simi-
passion, and love. larly all of the Buddhas, Bodhisattvas, major
The vast pantheon of Buddhist deities yidam and protective deities are of Indian
and their symbolic attributes are purely an Buddhist origin, and are adorned in the silk
encapsulation or visual expression of the en- robes and jewel ornaments of Indian royalty,
tire path of the Hinayana, Mahayana, and or the bone ornaments and animal skins of
Vajrayana teachings. They can only really be Indian tantric yogins and yoginis.
understood through a deep comprehension The indisputable Indian origin of most of
of these teachings, and they can only be di- these symbols inevitably poses the question:
rectly realized through the continuity of What is it that distinguishes Tibetan Bud-
prolonged practice, performance, and per- dhism from early Indian Buddhism? In his
fection. To think that one can understand book The Jewel in the Lotus (London. Wis-
them through historical, psychological, or dom. 1987), Stephen Bachelor writes: In
comparative interpretation is simply not ad- their presentation of Buddhism the Tibetans
equate. Buddhism is a living tradition that did not diverge greatly from their Indian
extends back over two and a half thousand forerunners in terms of doctrinal content,
years, to which thousands of great scholars, but in the ways in which they organized this
philosophers, and practitioners have devoted content into systematic stages leading to en-
their entire lives and being. These teachings lightenment. It is the logic of the Buddhist
are perfectly integrated as they are and need path which is Tibetan, not the individual
no alternative interpretation. They can be doctrines or insights which are arranged in
apprehended and understood by the human the light of this logic. What gives Tibetan
mind, and herein lies the immaculate beauty Buddhism its own peculiar flavor, therefore,
of this living tradition, wherein one ulti- is not any uniquely Tibetan ingredient, but
mately realizes that the dharma exists the way in which these common Buddhist
nowhere except in ones own mind, and that ingredients have been blended together in
what one has been looking for is in reality the Tibetan mind.
what is actually looking. I have now been involved in the study
Buddhism evolved within its homeland of and practice of Buddhist art for more than
India for seventeen hundred years, until the thirty years, yet never have I ceased to be
invading Islamic armies finally destroyed its amazed by all of the incredible wonders and
great monastic academies at the end of the insights that I have discovered within it.
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xiv
xiv The Handbook of Tibetan Buddhist Symbols
Like a magic mirror it lights up with mean- like a balloon thats about to burst, and then
ing the longer that you gaze into it, and I I remember to relax and stop trying to hold
bow down in gratitude before the Enlight- on to it, and then it flows through me like
ened Mind that conceived all of this divine rain, and then I cant feel anything but grati-
beauty. There are some lines at the end of tude for every single moment of my stupid
Sam Mendes film American Beauty that little life. You have no idea of what Im talk-
seem to succinctly express this sentiment: ing about, Im sure. But dont worry, you
I guess I could be pretty pissed-off about will someday.
what happened to me, but its hard to stay
mad when theres so much beauty in the Robert Beer
world. Sometimes I feel like Im seeing it all Oxford, England
at once, and its too much. My heart fills up Easter Sunday 2003
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xv
After a million years of shining

The sun doesnt say to the earth
You owe me.
Imagine a love like this.
Hafiz
To the memory of John F.B. Miles, Jampa

from Lhasa, Khamtrul Rinpoche, and Sid-
dhimuni Shakya four divine artists who
shone like the sun and who will always
continue to inspire me with their radiance.
And to the memory of my dear friends
Layla Norland and Geoffrey Blundell, who
died during the compilation of this text,
and to our cat Dread who died upon the
day of its completion.
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xvii
The Handbook of
Tibetan buddhist Symbols
Handbook of Tibetan Buddhis#128 9/1/10 11:23 AM Page xviii
Handbook of Tibetan Buddhist Sy 9/1/10 11:29 AM Page 1
THE EIGHT AUSPICIOUS

SYMBOLS
T he eight auspicious symbols (Skt. asta-

mangala; Tib. bkra-shis rtags-brgyad)
are the most well known group of Buddhist
dates the Buddhist group. This Jain list com-
prised of: (1) a treasure vase; (2) a water
flask; (3) two golden fishes; (4) a swastika;
symbols, and are traditionally listed in the (5) an endless knot; (6) a hair-curl; (7) a mir-
order of: (1) a white parasol; (2) a pair of ror; (8) a throne. In Nepal the Newar Bud-
golden fishes; (3) a treasure vase; (4) a lotus; dhist form of the astamangala replaces the
(5) a right-spiraling white conch shell; (6) an golden wheel with a pair of flywhisks or
endless knot or lucky diagram; (7) a victo- chamara (see page 177), and commonly
rious banner; (8) a golden wheel. these eight Newari symbols form a compos-
Originally the eight auspicious symbols ite vase-shaped arrangement.
formed an early Indian assembly of offerings In the Buddhist tradition these eight sym-
that were presented to a king at his investi- bols of good fortune represent the offerings
ture, and are almost certainly of pre-Bud- presented by the great Vedic gods to Shakya-
dhist origin. This early Indian group of eight muni Buddha upon his attainment of en-
auspicious objects probably comprised of: lightenment. Brahma was the first of these
(1) a throne; (2) a swastika; (3) a handprint; gods to appear before the Buddha, and he
(4) an entwined knot or hair-curl (Skt. shri- presented a thousand-spoked golden wheel
vatsa); (5) a vase of jewels; (6) a water liba- as a symbolic request for the Buddha to
tion flask; (7) a pair of fishes; (8) a lidded teach through turning the wheel of the
bowl. An early south Indian group included: dharma. The great sky god Indra appeared
(1) a flywhisk; (2) a pair of fishes; (3) an ele- next, and he presented his mighty white
phant goad; (4) a mirror; (5) a drum; (6) a conch-shell horn as a symbolic request for
banner; (7) a water vase; (8) a lamp. the Buddha to proclaim the truth of the
The Jains also adopted a list of eight aus- dharma. In Tibetan paintings of the Bud-
picious symbols, which probably slightly pre- dhas enlightenment the supplicating forms
2 The Handbook of Tibetan Buddhist Symbols
The eight auspicious symbols: top row, from left the parasol; the golden fishes; the treasure vase;
the lotus; bottom row, from left the right-turning conch shell; the endless knot; the victory banner;
and the wheel.
of four-faced yellow Brahma and white tree, or by a stone impression of his di-
Indra are traditionally shown kneeling be- vinely marked footprints. These footprints
fore the Buddhas throne, where they offer display various auspicious symbols as in-
their respective symbols of a golden wheel signia of the Buddhas divinity, such as the
and a white conch. The earth goddess victory banner, lion throne, trident, Three
Sthavara (Tib. Sai Lha-mo), who had borne Jewels, eternal knot, swastika, conch, and
witness to the Buddhas enlightenment, pre- pair of fishes, but the most common of
sented Shakyamuni with a golden vase full these insignia were the lotus and the wheel.
of the nectar of immortality. In early Vajrayana Buddhism the eight aus-
In early Indian Buddhism the image of picious symbols were deified into eight god-
the Buddha was depicted in an aniconic or desses, known as the Astamangala Devi,
non-representational form, usually by an each of whom carry one of the auspicious
empty throne under a parasol and bodhi- symbols as an attribute.
The Eight Auspicious Symbols 3
In Chinese Buddhism these eight symbols in fours, or as a composite group of eight.

represent the eight vital organs of the Bud- When illustrated as a composite group they
dhas body: (1) the parasol represents his often assume the simulacra shape of a vase.
spleen; (2) the two golden fishes his kidneys; In this form the treasure vase may be omit-
(3) the treasure vase his stomach; (4) the ted, as the other seven symbols embody the
lotus his liver; (5) the conch his gall bladder; symbolic wealth of this vase in their vase-
(6) the endless knot his intestines; (7) the vic- shaped outline. Designs of these eight sym-
tory banner his lungs; (8) the golden wheel bols of good fortune adorn all manner of
his heart. A similar Tibetan tradition identi- sacred and secular Buddhist objects, such as
fies these eight symbols as forming the physi- carved wooden furniture, embellished metal-
cal body of the Buddha, with: (1) the parasol work, ceramics, wall panels, carpets, and
representing his head; (2) the golden fishes silk brocades. They are also drawn upon the
his eyes; (3) the treasure vase his neck; (4) the ground in sprinkled flour or colored pow-
lotus his tongue; (5) the wheel his feet; (6) the ders to welcome visiting religious dignitaries
victory banner his body; (7) the conch his to monastic establishments.
speech; (8) the endless knot his mind.
In Tibetan art the eight auspicious sym-
bols may be depicted individually, in pairs, THE PARASOL
(Skt. chatra, atapatra; Tib. gdugs)
The parasol or umbrella is a traditional In-

dian symbol of royalty and protection. Its
shadow protects from the blazing heat of the
tropical sun, and the coolness of its shade
symbolizes protection from the painful heat
of suffering, desire, obstacles, illnesses, and
The eight auspicious symbols

as a composite group. The parasol.
harmful forces. As a symbol of royalty or As the parasol is held above the head it
secular wealth, the greater the number of naturally symbolizes honor and respect, and
parasols carried in the entourage of a dig- it is for this reason that the parasol became
nity, the higher his social rank would ap- such a prominent aniconic symbol in early
pear. Traditionally thirteen parasols defined Buddhist art. A jeweled parasol was reput-
the status of a king, and the early Indian edly offered to the Buddha by the king of the
Buddhists adopted this number as a symbol serpent-spirits or nagas. This parasol was
of the sovereignty of the Buddha as the uni- fashioned of gold, with nectar-emitting jew-
versal monarch or chakravartin. Thirteen els around its edges. It was hung with sweetly
stacked umbrella-wheels form the conical tinkling bells, and had a handle made of sap-
spires of the various stupas that commemo- phire. Images of the Buddha often display an
rated the main events of the Buddhas life, or elaborate large white umbrella above his
enshrined his relics. This practice was later head, and this large umbrella (Skt. atapatra)
applied to virtually all Tibetan Buddhist was later deified into the Vajrayana goddess
stupa designs. The great Indian teacher, Di- Sitatapatra (Tib. gDugs-dKar). Sitatapatra,
pankara Atisha, who revived Buddhism in meaning the White Umbrella, is one of the
Tibet during the eleventh century, was re- most complex of all Vajrayana deities, with a
puted to have qualified for a retinue of thir- thousand arms, feet, and heads, and a thou-
teen parasols. sand million eyes. The two-armed form of
this goddess is often serenely depicted hold-
ing her white umbrella above the seated form
of the Buddha.
The typical Buddhist parasol is fashioned
from a long white or red sandalwood handle
or axle-pole, which is embellished at its top
with a small golden lotus, vase, and jewel fil-
ial. Over its domed frame is stretched white
or yellow silk, and from the circular rim of
this frame hangs a pleated silk frieze with
many multicolored silk pendants and
valances. An ornate golden crest-bar with
makara-tail scrolling (see page 77) generally
defines the parasols circular rim, and its
hanging silk frieze may also be embellished
with peacock feathers, hanging jewel chains,
and yak-tail pendants. A ceremonial silk
parasol is traditionally around four feet in
diameter, with a long axle-pole that enables
it to be held at least three feet above the
head. Square and octagonal parasols are
also common, and large yellow or red silk
parasols are frequently suspended above the
An elaborate parasol with peacock feathers, jew- throne of the presiding lama, or above the
eled chains, hanging yak tails, and silk valances. central deity image in monastic assembly-
halls. The white or yellow silk parasol is an the lunar and solar channels or psychic
ecclesiastic symbol of sovereignty, whilst a nerves (Skt. nadi), which originate in the
peacock feather parasol more specifically nostrils and carry the alternating rhythms of
represents secular authority. breath or prana.
The dome of the parasol represents wis- In Buddhism the golden fishes represent
dom, and its hanging silk valances the vari- happiness and spontaneity, as they have
ous methods of compassion or skilful complete freedom of movement in the water.
means. The white parasol that was pre- They represent fertility and abundance, as
sented to the Buddha essentially symbolizes they multiply very rapidly. They represent
his ability to protect all beings from delu- freedom from the restraints of caste and sta-
sions and fears. tus, as they mingle and touch readily. Fish
often swim in pairs, and in China a pair of
fishes symbolize conjugal unity and fidelity,
THE GOLDEN FISHES with a brace of fishes being traditionally
(Skt. suvarnamatsya; Tib. gser-nya) given as a wedding present. As fish were so
plentiful in China, and formed an important
In Sanskrit the pair of fishes is known by the part of the staple diet, the Chinese word yu,
term matsyayugma, meaning coupled fish. meaning both fish and great wealth, be-
This alludes to their origin as an ancient came synonymous with material prosperity.
symbol of the two main sacred rivers of In the Chinese tradition of feng-shui the
India, the Ganges (Ganga) and Yamuna. keeping of goldfish is similarly believed to
Symbolically these two great rivers represent attract wealth.
Various examples of the two golden fishes.

The auspicious symbol of a pair of fishes

is common to the Hindu, Jain, and Buddhist
traditions. In ancient Egypt a pair of fishes
symbolized the fertile waters of the River
Nile. The early Christians adopted the
paired fishes as an emblem of Christ as the
fisher of men, and acrostically interpreted
the letters of the Greek word for fish,
ichthys, to mean Jesus Christ, of God the
Son and Savior.
The two golden fishes, a male and a fe-
male, are usually depicted symmetrically and
in the form of carp, with graceful tails, gills,
and fins, and long tendrils extending from
their upper jaws. Carp are traditionally re-
garded as sacred fish in the orient, on ac-
count of their elegant beauty, size, and
longevity, and because of their association The golden treasure vase.
with certain benevolent deities. The paired
fish are often depicted with their noses festival (Skt. mela) is held in rotation every
touching, and in Hinduism this is a symbol three years at the cities of Allahabad, Harid-
of the female sexual organ or yoni. A golden war, Nasik, and Ujain, and commemorates
fish is the attribute of the great Indian Ma- the spilling of the divine nectar of the gods
hasiddha Tilopa, symbolizing both his real- (Skt. amrita) at these four sacred sites (see
ization and his ability to liberate beings Appendix 1).
from the ocean of cyclic existence (Skt. sam- The treasure vase is predominantly a
sara). The auspicious symbol of the two symbol of certain wealth deities, including
fishes that were presented to the Buddha Jambhala, Vaishravana, and Vasudhara,
was probably embroidered in gold thread where it often appears as an attribute be-
upon a piece of Benares silk. neath their feet. One form of the wealth
goddess Vasudhara stands upon a pair of
horizontal treasure vases that spill an end-
THE TREASURE VASE less stream of jewels. As the divine vase of
(Skt. nidhana-kumbha; Tib. gter-gyi bum- plenty (Tib. bum-pa bzang-po) it possesses
pa) the quality of spontaneous manifestation,
because however much treasure is removed
The golden treasure vase, or vase of inex- from the vase it remains perpetually full.
haustible treasures, is modeled upon the The typical Tibetan treasure vase is rep-
traditional Indian clay water pot. This pot is resented as a highly ornate golden vase,
known as a kalasha or kumbha, with a flat with lotus-petal motifs radiating around its
base, round body, narrow neck, and fluted various sections. A single wish-granting
upper rim. This womb-like sacred kumbha gem, or a group of three gems, seals its
is venerated in India at the great religious upper rim as a symbol of the Three Jewels
pot festival of the Kumbh Mela. This of the Buddha, dharma, and sangha. The
great treasure vase (Tib. gter chen-poi THE LOTUS

bum-pa), as described in the Buddhist man- (Skt. padma, kamala; Tib. pad-ma; chu-
dala offering, is fashioned from gold and skyes)
studded with a multitude of precious gems.
A silk scarf from the god realm is tied The Indian lotus, which grows from the
around its neck, and its top is sealed with a dark watery mire but is unstained by it, is a
wish-granting tree. The roots of this tree in- major Buddhist symbol of purity and renun-
fuse the contained waters of longevity, ciation. It represents the blossoming of
miraculously creating all manner of trea- wholesome activities, which are performed
sures. Sealed treasure vases may be placed with complete freedom from the faults of
or buried at sacred geomantic locations, cyclic existence. The lotus seats upon which
such as mountain passes, pilgrimage sites, deities sit or stand symbolize their divine
springs, rivers, and oceans. Here their func- origin. They are immaculately conceived, in-
tion is both to spread abundance to the en- nately perfect, and absolutely pure in their
vironment and to appease the indigenous body, speech, and mind. The deities manifest
spirits who abide in these places. into cyclic existence, yet they are completely
Lotuses stylized as peony and chrysanthemum blossoms.

Lotus and flower buds.
uncontaminated by its defilements, emo- lotus that grew from the navel of Vishnu,
tional hindrances, and mental obscurations. like a lotus growing from an umbilical stem.
As a sacred symbol the lotus was Padmasambhava, the lotus born tantric
adopted by many of the worlds great civi- master who introduced Buddhism into
lizations, from Egypt to Japan, and widely Tibet, was similarly divinely conceived from
incorporated into their arts and architecture. a miraculous lotus, which blossomed upon
The lotus opens and closes with the sun, and Dhanakosha Lake in the western Indian
in ancient Egypt the sun was conceived of as kingdom of Uddiyana. The lotus, as a divine
rising from an eastern lotus at dawn, and womb or vagina, is a potent sexual
setting into a western lotus at sunset. Simi- metaphor in both Hindu and Buddhist
larly Surya, the Vedic sun god, holds a lotus tantra. Padma and kamala are synonymous
in each of his hands, symbolizing the suns Sanskrit terms for the lotus of the female
path across the heavens. Brahma, the Vedic vagina, which is soft, pink, and open. Like-
god of creation, was born from a golden wise the vajra is synonymous with the male
penis, which is hard and penetrative. The THE RIGHT-TURNING CONCH

union of vajra and padma is a sexual symbol SHELL
for the union of form and emptiness, or skil- (Skt. dakshinavarta-shankha; Tib. dung
ful means and wisdom. On an inner level gyas-khyil)
this union symbolizes the penetration and
ascent of the psychic winds into the subtle The white conch shell, which spirals to-
bodys central channel, which pierces and wards the right in a clockwise direction, is
opens the lotuses of the channel-wheels or an ancient Indian attribute of the heroic
chakras (see Appendix 3). gods, whose mighty conch shell horns pro-
The lotus is the emblem of Amitabha, the claimed their valor and victories in war.
red Buddha of the west and the Lord of the
Padma or Lotus Family. Amitabhas quali-
ties are indicative of the redness of fire, vital
fluids, evening twilight, the summer season,
and the transmutation of passion into dis-
criminating awareness. Amitabhas consort
is Pandara, whose attribute is also a red
lotus. Amitabhas presiding Bodhisattva is
Padmapani Avalokiteshvara, the Holder of
the Lotus, and the Bodhisattva of great
compassion.
The Buddhist lotus is described as having
four, eight, sixteen, twenty-four, thirty-two,
sixty-four, a hundred, or a thousand petals.
These numbers symbolically correspond to
the internal lotuses or chakras of the subtle-
body, and to the numerical components of
the mandala. As a hand-held attribute the
lotus is usually colored pink or light red,
with eight or sixteen petals. Lotus blossoms
may also be colored white, yellow, golden,
blue, and black. The white or edible lotus
(Skt. pundarika; Tib. pad-ma dkar-po) is an
attribute of the Buddha Sikhin, and a six-
teen-petaled white utpala lotus is held by
White Tara. The yellow lotus (Tib. pad-ma
ser-po) and the golden lotus (Tib. gser-gyi
pad-ma) are generally known as padma, and
the more common red or pink lotus is usu-
ally identified as the kamala. The Sanskrit
term utpala is specifically identified with the
blue or black night lotus, but its transliter- Four examples of white conch shells, with the
ated Tibetan equivalent (Tib. ut-pa-la) may upper left conch turning toward the left, and the
be applied to any color of lotus. upper right turning toward the right.
Vishnus fire-emanating conch was named Hindu tradition the Buddha is recognized as
Panchajanya, meaning possessing control the ninth of Vishnus ten incarnations. It is
over the five classes of beings. Arjunas perhaps more than coincidental that the two
conch was known as Devadatta, meaning great heavenly gods, Indra and Brahma, are
god-given, whose triumphant blast struck traditionally painted before the Buddhas
terror in the enemy. As a battle horn the throne offering the attributes of Vishnus
conch is akin to the modern bugle, as an em- conch and wheel. Vishnu is also commonly
blem of power, authority, and sovereignty. known as the great man (Skt. mahapu-
Its auspicious blast is believed to banish evil rusha) or right-hand god (Skt. dakshina-
spirits, avert natural disasters, and scare deva). These appellations are similarly
away harmful creatures. applied to the Buddha, with his right-curling
Vishnus fiery conch (Panchajanya) is hair, and his body endowed with the thirty-
held in his upper left hand and paired with two auspicious marks of the great man (Skt.
the wheel or chakra in his upper right hand. mahapurusha-lakshana).
These two attributes are commonly held by Early Hinduism classified the conch into
the first five of Vishnus ten avataras or in- gender varieties, with the thicker-shelled bul-
carnations: Matsya (the fish), Kurma (the bous conch being the male or purusha, and
tortoise), Varaha (the boar), Narasingha (the the thinner-shelled slender conch being the
man-lion), and Vamana (the dwarf). In the female or shankhini. The fourfold Hindu
caste division was also applied: with the
smooth white conch representing the priestly
or brahmin caste, the red conch the warrior
or kshatriya caste, the yellow conch the mer-
chant or vaishya caste, and the dull gray
conch the laborer or shudra caste. A further
division was made between the common
conch shell, which naturally spirals to the
left and is known as a vamavarta; and the
more rare right-spiraling conch shell, which
is known as a dakshinavarta and is consid-
ered most auspicious for ritual use. The tip
of the conch shell is sawn off to form a
mouthpiece, and the right-spiraling wind
passage thus created acoustically symbolizes
the true or right-hand (Skt. dakshina)
proclamation of the dharma.
Brahmanism adopted the heroic conch as
a ritual symbol of religious sovereignty. The
early Buddhists similarly adopted it as an
emblem of the supremacy of the Buddhas
teachings. Here the conch symbolizes his
fearlessness in proclaiming the truth of the
dharma, and his call to awaken and work
White conch shells. for the benefit of others. One of the thirty-
two major signs of the Buddhas body is his

deep and resonant conch-like voice, which
resounds throughout the ten directions of
space. Iconographically the three conch-like
curved lines on his throat represent this sign.
As one of the eight auspicious symbols the
white conch is usually depicted vertically,
often with a silk ribbon threaded through its
lower extremity. Its right spiral is indicated
by the curve and aperture of its mouth, which
faces towards the right. The conch may also
appear as a horizontally positioned recepta-
cle for aromatic liquids or perfumes (see page
33). As a hand-held attribute, symbolizing
the proclamation of the Buddhadharma as
the aspect of speech, the conch is usually held
in the left wisdom hand of deities.
THE ENDLESS OR GLORIOUS

KNOT
(Skt. shrivatsa, granthi; Tib. dpal beu)
The Sanskrit term shrivatsa means beloved

of Shri. Shri refers to the goddess Lakshmi; Two examples of endless knots with threaded silk
the consort of Vishnu, and the shrivatsa is scarves.
an auspicious mark or hair-curl that adorns
the breast of Vishnu. Lakshmis insignia on
Vishnus breast represents the devotion in swastika on his breast as a symbol of his en-
his heart for his consort, and since Lakshmi lightened mind. Another possible derivation
is the goddess of wealth and good fortune of both the endless knot and swastika arose
the shrivatsa forms a natural auspicious from the S-shaped markings on the hood of
symbol. The shrivatsa either takes the form the cobra. This in turn gave rise to the naga-
of a triangular swirl, or an upright diamond yantra, where two or more entwining snakes
with loops at its four inter-cardinal corners. form an endless knot design or yantra. The
Krishna, as the eighth incarnation of Vish- endless knot or granthi also appears on clay
nu, also bears the shrivatsa at the center of seals from the early Indus valley civilization
his chest. (circa 2500 BCE). In its final evolution as a
Another name given to this hair-curl is geometric Buddhist symbol the eternal knot
nandyavarta, which means curl of happi- or lucky diagram, which is described as
ness, and this curl is shaped like a swastika turning like a swastika, was identified with
or a Greek hooked-cross (Gk. gammadion). the shrivatsa-svastika, since these parallel
Indian and Chinese representations of the symbols were common to most early Indian
Buddha frequently show the nandyavarta or traditions of the astamangala.
The eternal, endless, or mystic knot is Indian warfare. This standard adorned the
common to many ancient traditions, and be- rear of a great warriors chariot, and was
came particularly innovative in Islamic and mounted behind the great parasol (Skt. ata-
Celtic designs. In China it is a symbol of patra), or royal parasol (Skt. chatra). Each
longevity, continuity, love, and harmony. As standard bore the specific ensign of its cham-
a symbol of the Buddhas mind the eternal pion or king. Krishnas chariot was adorned
knot represents the Buddhas endless wis- with a garuda-topped banner. Arjunas bore
dom and compassion. As a symbol of the the device of a monkey. Bhismas bore the
Buddhas teachings it represents the continu- emblem of a palm tree. But primarily the
ity of the twelve links of dependent origina- dhvaja was the ensign of Shiva, the great god
tion, which underlies the reality of cyclic of death and destruction, whose banner was
existence. topped with a trident. This trident symbol-
ized Shivas victory over the three worlds, or
the three cities, which were located above,
THE VICTORY BANNER upon, and below the earth.
(Skt. dhvaja; Tib. rgyal-mtshan) In Indian warfare the military banner fre-
quently took on horrific forms that were de-
The dhvaja, meaning banner, flag, or ensign, signed to instill terror in the enemy. The
was originally a military standard of ancient impaled head and flayed skin of an enemy or
Three examples of the victory banner, with the two on the right adorned with a frieze of tiger-skin.
victim was one such gruesome emblem. The Kamadevas emblem of the crocodile-headed
heads and skins of ferocious animals, partic- makaradhvaja, and four of these banners
ularly those of the tiger, crocodile, wolf, and were erected in the cardinal directions sur-
bull, were commonly employed. Large effi- rounding the enlightenment stupa of the
gies were also fashioned of other frightening Tathagata or Buddha. Similarly the gods
creatures, such as the scorpion, snake, vul- elected to place a banner of victory on the
ture, raven, and garuda. summit of Mt Meru, to honor the Buddha as
The crocodile-headed banner or makara- the Conqueror (Skt. jina; Tib. rgyal-ba)
dhvaja was originally an emblem of Kama- who vanquished the armies of Mara. This
deva, the Vedic god of love and desire. As victorious banner of the ten directions is de-
the tempter (Skt. mara), or deluder (Skt. scribed as having a jeweled pole, a crescent
maya), Kamadeva was the Hindu counter- moon and sun finial, and a hanging triple-
part of Mara, the evil one, who attempted banderole of three colored silks that are dec-
to obstruct the Buddha from attaining en- orated with the three victorious creatures of
lightenment. In early Buddhism the concept harmony (see pages 50 and 176).
of Mara as a demonic obstructer to spiritual Within the Tibetan tradition a list of
progress was presented as a group of four eleven different forms of the victory banner
maras or evil influences. These four maras is given to represent eleven specific methods
were originally based upon the four divi- for overcoming defilements. Many varia-
sions of Maras army: infantry, cavalry, ele- tions of the banners design can be seen on
phants, and chariots. The first of these four monastery and temple roofs, where four
maras is the demon of the five aggregates of banners are commonly placed at the roofs
the personality (Skhanda-mara). The second corners to symbolize the Buddhas victory
is the demon of emotional defilements (Kle- over the four maras. In its most traditional
sha-mara). The third is the demon of death form the victory banner is fashioned as a
(Mrityu-mara). The fourth is the son of the cylindrical ensign mounted upon a long
god Mara (Devaputra-mara), or the demon wooden axle-pole. The top of the banner
of desire and temptation. It is this fourth takes the form of a small white parasol,
mara, Devaputra-mara, who is identified as which is surmounted by a central wish-
Kamadeva, the king of the gods of the high- granting gem. This domed parasol is
est desire realm. The Buddha is said to have rimmed by an ornate golden crest-bar with
defeated the sensual temptations of Kama- makara-tailed ends, from which hangs a
deva in the dusk before his enlightenment by billowing yellow or white silk scarf. The
meditating upon the four immeasurables of cylindrical body of the banner is draped
compassion, love, sympathetic joy, and with overlapping vertical layers of multi-
equanimity. At dawn he overcame both the colored silk valances and hanging jewels. A
mara of the aggregates and the mara of de- billowing silk apron with flowing ribbons
filements. But it was only three months be- adorns its base. The upper part of the
fore the end of his long life that he finally cylinder is often decorated with a frieze of
overcame the mara of death, through the tiger-skin, symbolizing the Buddhas vic-
power of his fearless resolve to enter into the tory over all anger and aggression. As a
ultimate nirvana (parinirvana). hand-held ensign the victory banner is an
As a symbol of the Buddhas victory over attribute of many deities, particularly those
the four maras, the early Buddhists adopted associated with wealth and power, such as
Vaishravana, the Great Guardian King of ten, twelve, or eighteen sharply pointed
the north. blades, and could be hurled like a discus or
swung upon a rope. The wooden wheels of
the ancient India chariot similarly bore an
THE WHEEL equal number of spokes.
(Skt. chakra; Tib. khor-lo) Buddhism adopted the wheel as the main
emblem of the wheel-turning chakravartin
The wheel is an early Indian solar symbol of or universal monarch, identifying this
sovereignty, protection, and creation. As a wheel as the dharmachakra or wheel of
solar symbol it first appears on clay seals un- dharma of the Buddhas teachings. The Ti-
earthed from the Harappan civilization of betan term for dharmachakra (Tib. chos-kyi
the Indus valley (circa 2500 BCE). The wheel khor-lo) literally means the wheel of trans-
or chakra is the main attribute of the Vedic formation or spiritual change. The wheels
god of preservation, Vishnu, whose fiery six- swift motion represents the rapid spiritual
spoked Sudarshana-chakra or discus repre- transformation revealed in the Buddhas
sents the wheel of the phenomenal universe. teachings. The wheels comparison to the ro-
The wheel represents motion, continuity, tating weapon of the chakravartin represents
and change, forever turning onwards like its ability to cut through all obstacles and il-
the circling sphere of the heavens. As a lusions. The Buddhas first discourse at the
weapon the rimless chakra had six, eight, Deer Park in Sarnath, where he first taught
the Four Noble Truths and the Eightfold
Noble Path, is known as his first turning of
the wheel of dharma. His subsequent great
discourses at Rajghir and Shravasti are
known as his second and third turnings of
the wheel of dharma.
The three components of the wheel -
hub, spokes, and rim - symbolize the three
aspects of the Buddhist teachings upon
ethics, wisdom, and concentration. The cen-
tral hub represents ethical discipline, which
centers and stabilizes the mind. The sharp
spokes represent wisdom or discriminating
awareness, which cuts through ignorance.
The rim represents meditative concentra-
tion, which both encompasses and facilitates
the motion of the wheel. A wheel with a
thousand spokes, which emanate like the
rays of the sun, represents the thousand ac-
tivities and teachings of the Buddhas. A
wheel with eight spokes symbolizes the
Buddhas Eightfold Noble Path, and the
transmission of these teachings towards the
The eight-spoked golden wheel. eight directions.
Two eight-spoked golden wheels to the right and left, with a sixteen spoked double wheel at the center.
The auspicious wheel is described as being correspond to the four directions and ele-
fashioned from pure gold obtained from the ments, and symbolize the Buddhas teachings
Jambud River of our world continent, Jam- upon the Four Noble Truths. The rim of the
budvipa. It is traditionally depicted with wheel may be depicted as a simple circular
eight vajra-like spokes, and a central hub ring, often with small circular gold embellish-
with three or four rotating swirls of joy ments extending towards the eight directions.
(Tib. dga khyil), which spiral outward like a Alternatively it may be depicted within an or-
Chinese yin-yang symbol. When three swirls nate pear-shaped surround, which is fash-
are shown in the central hub they represent ioned from scrolling gold embellishments
the Three Jewels of the Buddha, dharma, and with inset jewels. A silk ribbon is often
sangha, and victory over the three poisons of draped behind the wheels rim, and the bot-
ignorance, desire, and aversion. When four tom of the wheel usually rests upon a small
swirls are depicted they are usually colored to lotus base.
Handbook of Tibetan Buddhis#133 9/1/10 11:34 AM Page 16
THE EIGHT AUSPICIOUS

SUBSTANCES
T he eight auspicious substances (Skt.

astamangaladravya; Tib. bkra-shis
rdzas-brgyad) or bringers of good fortune
clarity of his realization and the unerring
karmic vision of all his previous lives. The
mirror represents right thought or analysis,
form the second main group of early Bud- as it truthfully reflects all things as they are,
dhist symbols. They consist of: (1) a mirror; without favoritism, prejudice, delusion, or
(2) precious medicine; (3) yogurt or curds; distortion.
(4) durva grass; (5) bilva fruit; (6) a white The medicine (Skt. gorochana), derived
conch shell; (7) cinnabar or vermilion pow- from the vital glands in the forehead of an
der; (8) mustard seed. Like the eight auspi- elephant, represents the great guardian ele-
cious symbols, these eight items are probably phant Dhanapala (Tib. Nor-skyong), who
also of pre-Buddhist origin and were adopted protected the meadows at Bodh Gaya where
into early Buddhism during the period of its the Buddha attained enlightenment. This
initial inception. They represent a specific medicine represents right mindfulness, as it
group of offerings that were presented to the cures the disease of ignorance, which is the
Buddha as symbols of his Eightfold Noble root cause of all suffering.
Path of right view, thought, speech, action, The curds represent the offering of milk
livelihood, effort, mindfulness, and medita- rice that the farmers virtuous daughter
tion. Like the eight auspicious symbols, the
eight auspicious substances were later deified
in Vajrayana Buddhism to form a group of Facing page: Various examples of the eight auspi-
cious substances. The mirror (top row); the medi-
eight offering goddesses.
cine (second row); the yogurt (third row); the
The mirror represents the radiant offer- durva grass (fourth row); the bilva fruit (fifth
ing goddess of light, Prabhavati (Tib. Od- row); the conch (sixth row); the vermilion pow-
chang-ma), who presented Shakyamuni der (seventh row); and the mustard seed (bottom
with a stainless mirror, symbolizing both the row).
The Eight Auspicious Substances 17

Bowl containing the mirror, yogurt, bilva fruit, and durva grass (top left corner); bowl containing
conch, medicine, vermilion, and mustard seed (top right corner). Immediately below are a cluster of
jewels with the eight auspicious substances behind them. At the bottom center is a bowl containing the
eight auspicious substances, with a futher bowl of the eight auspicious substances to the right, and a
bowl containing the five sense offerings to the left.
Sujata (Tib. Legs-skyes-ma) presented to the Mangala (Tib. bKra-shis). Durva grass is a
Buddha before he sat under the bodhi-tree. symbol of longevity and tenacity, and repre-
The curds represent right livelihood, as it is sents right effort as the enduring resolve to
free from any impurity and is produced practice the dharma.
without harming any living creature. The bilva fruit was presented to Shakya-
The durva grass represents the eight arm- muni by the god Brahma, and represents
fuls of grass that were presented to the Bud- right action as the fruition of all virtuous
dha as a meditation seat by the grass-cutter activities.
The white right-spiraling conch shell was reflects all objects impartially, and yet re-
presented to the Buddha by the god Indra, mains completely unaffected by the images
and represents right speech as the proclama- that arise in it. It reveals all phenomena to be
tion of the Buddhadharma. void in essence. Like a passing show it re-
The tilaka or sacred mark of red flects all objects of the phenomenal world,
cinnabar was applied to the Buddhas fore- but reveals them to be without substance.
head by the Brahmin astrologer Jyotisharaja In the ancient Indian ritual of abhisheka,
(Tib. sKar-rgyal), and represents right con- meaning consecration by sprinkling, sacred
templation as the samadhi of one-pointed images or ritual objects were ritually bathed,
meditative equipoise. or consecrated by sprinkling. Pouring water
The white mustard seed was presented to over a mirror that reflected the image also
the Buddha by Vajrapani, the great Bodhi- cleansed the reflection of the sacred image.
sattva of power, and represents right view This rite is known as pratibimba, which liter-
as the ability to annihilate all false views or ally means reflected. In Tibet this ritual is
notions. known as the divine ablution (Tib. khrus-
The eight auspicious substances listed gsol), where water is sprinkled over the re-
above also represent the four karmas or ac- flected image of a statue or thangka. The
tivities of an enlightened being. The mirror, water, having bathed the form of the deity, is
medicine, and curds represent peaceful activ- then considered to be consecrated water.
ities. The durva grass, bilva fruit, and conch The mirror that the offering goddess
shell represent activities of increase. The red Prabhavati presented to the Buddha was ab-
vermilion powder represents the activity of solutely clear, flawless, bright, and untar-
subjugation, and the mustard seed repre- nished. As a symbol of the enlightened mind
sents wrathful or destructive activity. it reflected everything perfectly, without dis-
Like the eight auspicious symbols these tortion or impediment. Artistically the mir-
eight precious objects may be represented in- ror is depicted as a small white or silver disc,
dividually, with each object appearing alone with its perimeter usually decorated with a
or in a separate bowl. They may also be col- thin circular golden frame. A small central
lectively grouped behind rows of offering circle and four directional circles are often
jewels, in the branches of a small wish- inscribed upon its surface, symbolizing the
granting tree, or in a shallow bowl or tray. enlightened qualities and wisdoms of the
Five Buddhas.
THE MIRROR
(Skt. darpana, adarsha; Tib. me-long)
The mirror, as the reflective witness of light,

represents form as the sense faculty of sight
and the sense organ of the eye. Its function is
to enable one to see oneself clearly, and as a
cosmetic accessory or household object its
auspicious importance is obvious. In Bud-
dhism the mirror is a perfect symbol of
emptiness or pure consciousness. The mirror The mirror.
THE PRECIOUS MEDICINE traditions animal bezoars were highly es-

(Skt. gorochana; Tib. gi-wang) teemed as an antidote against the rather
common practice of poisoning. Of particu-
The precious medicine is derived from the larly value were the oriental bezoars ob-
intestinal-stones or gallstones that are found tained from the East, which consisted of
in certain animals, particularly elephants, organic resin layers formed around a small
bears, and cattle. The Sanskrit term goro- foreign body. The common Indian antelope
chana refers specifically to the stones or be- is known as the bezoar antelope, and the
zoars found in cattle (Skt. go), such as the wild Persian goat as the bezoar goat. It is re-
bull, cow, ox, and yak. The presence of be- puted that in Turkestan bezoars were ritu-
zoars is reputedly indicated by the snoring ally worshipped to bring rain. In Tibet small
or nocturnal sounds that the animal makes mineral stones, of a white or orange color,
in its sleep. are found at hot springs as calcium and sul-
A Vedic legend relates how the god Indra phur accretions. These calcified stones or
once cast the five precious minerals: gold, pills (Tib. ril-bu) are believed to possess
silver, coral, pearl, and sapphire or tur- similar medicinal qualities to animal be-
quoise, into the great ocean. These precious zoars.
substances were eventually consumed by ele- It is believed that the finest quality of
phants, bears, snakes, frogs, vultures, geese, gorochana is obtained from the brain or fore-
and pigeons, which then formed bezoars head of an elephant, and the second best
within their bodies. The intestinal stones ob- quality is obtained from the stomach of a
tained from these creatures consequently cow. In size and appearance gorochana is
possess different colors and potencies. Their said to resemble the yellow yoke of a boiled
medicinal properties are reputed to counter- egg. The yellow pigment obtained from it is
act poisoning, promote clear thoughts, and used as a tonic and sedative, and may also be
alleviate fevers and contagious diseases. The applied as a sacred mark or tilaka to the fore-
superior, mediocre, and inferior forms of head. When mixed with honey and applied to
these stones are reputed to respectively cure the eyes, gorochana is believed to bestow
seven, five, or three patients who have been clear vision, enabling one to perceive all of
poisoned. the treasures of the world. Similarly the gray
The word bezoar is derived from the or white stone obtained from the crown of a
Persian pad-zhar, meaning protecting king cobras head is believed to enable a
against poisoning, and its general meaning snake charmer to control all lesser serpents,
is antidote. In medieval European medical and bestows immunity against their venom.
The occidental toadstone, obtained from
the skull of an old toad, was similarly cred-
ited with the antidotal qualities of serum.
In Tibetan art this precious medicine is
represented in many different ways. It ap-
pears in the form of pills, or in the shape of
an egg, bean, spiral, fruit, gland, or fungus.
It is usually colored white or yellow, and is
commonly illustrated as a solid oval shape
The precious medicine. suspended in a viscous white liquid.
THE CURDS OR YOGURT

(Skt. dadhi; Tib. zho)
Curds have always been regarded as a pure

and nourishing dietary supplement in India.
In the Ayurvedic medical tradition curds are
highly esteemed as a digestive stimulant, and
are traditionally prescribed as a remedy for
diarrhea and emaciation. Curds made from
The yogurt.
colostrum, the first milk that a cow gives
after delivering a calf, are considered espe-
cially regenerative. The pure white nature of held at great monasteries such as Sera and
curds symbolizes spiritual nourishment and Drepung, where the monks would be served
the abandonment of all negative actions. curds at the end of their hundred-day sum-
The three white substances, milk, curds, mer retreat.
and ghee, which are derived from the sacred The three whites of milk, curds, and
cow are viewed as the concentrated essence ghee, form three of the five nectars ob-
of plants, and are widely employed as puri- tained from the sacred cow, with the other
fying ingredients in many tantric rituals. two being urine and dung. For ritual pur-
As one of the eight auspicious sub- poses the cows urine and dung are collected
stances, curds symbolize the forty-nine- in vessels before they touch the ground, and
mouthful meal of milk-rice, which the are then mixed with the three white sub-
fasting Buddha received from the cowherd stances in a bronze bowl. This mixture is
girl, Sujata. This meal provided the fasting then boiled. When cool the upper scum and
Buddha with the strength to attain enlight- lower sediment of this viscous liquid are dis-
enment under the bodhi-tree, and to recog- carded, leaving only the middle section,
nize with clarity the truth of the middle which is then spread and dried in the sun.
way. For this reason white curds or nectar The dried powder is then blended with saf-
are often represented within the blue alms- fron and made into small pills. In Tibet these
bowl of the Buddha. pills (Tib. ril-bu) are employed in ritual
As a cool, heavy, creamy, smooth, and practices, together with consecrated medici-
soft substance, curds personify the phleg- nal pills, known as dutsi (Tib. bdud-rtsi).
matic (kapha) humor or constitution of the The sacred cow, from which the five nectars
water element. Because of this the eating of are obtained, should be pregnant, of a
curds was not medically advised during the golden or orange color, and endowed with
hot Indian summer and rainy season. The intestinal stones or bezoars, from which the
Indian monsoon, which occurs during the precious medicine gorochana is obtained.
months of July and August, was tradition-
ally a period in which the Buddhist sangha
would undergo a seasonal meditation re- THE DURVA GRASS
treat. Curds were ritually consumed as the (Skt. durva; Tib. rtsva dur-ba)
first celebratory meal after this rainy season
retreat ended. In Tibet this tradition found Durva, durba, or darbha grass is a common
continuity in the Zhoton or curd festival, grass with a variety of names. In the West it
is known as Bermuda grass (Capriola dacty- deposits this ransom vessel in a grove of
lon), Bahama grass, scutch grass, or devil kusha grass, but his deceitful act is wit-
grass, and is commonly grown as pasturage. nessed by the god Indra, who swiftly re-
In the East it is identified as panic grass moves the vessel of amrita from the grasp of
(Panicum dactylon) or bent grass. It also the nagas. In their eagerness to consume the
grows as a white species of grass, known in amrita, the nagas mistakenly identify the di-
Sanskrit as chanda. Durva grass is very vine scent of the nectar with the kusha grass,
hardy, and grows as a ground-trailing grass and as they licked the sharp edges of the
with knotty stalks culminating in leafy grass their tongues split into the forked
heads. Its natural habitat is marsh or wet- tongues of serpents (see Appendix 1).
lands, but such is its durability that even Durva and kusha grass became synony-
when dry it will put out new shoots on con- mously sacred, and both are commonly
tact with water. known as darbha grass. Kusha grass is a long
Durva grass was a prerequisite ingredient brush-like grass, which grows to around two
in the Vedic sacrifice or yagna. The Vedic feet in height. In India a bundle of kusha
altar itself was constructed of cow dung stalks are bound together with a handle of
bricks bound together with knots of durva coiled rope to produce the common house-
grass. In rites to propitiate the gods the hold broom. Traditionally kusha grass was
Vedic priest often wore a finger ring woven used to purify defilements, and Brahmins
from stalks of durva grass, representing the would sleep in a grove of kusha grass when
sacred knot or hair-curl (Skt. shrivatsa) of ritual purification was required. The sharp
Vishnu. points of a stalk of kusha grass proverbially
The sacredness of durva grass originates symbolize a keen intellect, and in Buddhism
from the accidental spilling of the amrita or the grass is believed to enhance the clarity of
nectar of immortality during the legendary visualization and meditation. In many tantric
churning of the ocean, when a few drops of initiations, such as the Kalachakra, two
this nectar fell onto durva grass. A similar stems of kusha grass are employed to reveal
legend concerns the sacredness of kusha clear dreams on the night prior to the initia-
grass (Poa cynosoroides), where Garuda tion, with a long stalk being placed length-
steals the vessel of amrita in order to ransom wise under the mattress, and a short stalk
his mother who has been imprisoned by his placed horizontally under the pillow. Kusha
enemies, the naga serpents. Garuda secretly grass soaked in water often provides the con-
secrated water used for oblations, and the
sacrificial homa fire is initially kindled with a
bundle of dried kusha grass.
On the eve of his enlightenment the fu-
ture Buddha approached the sacred bodhi-
tree, which stood within a meadow of soft
grass. Here he was approached by the grass-
cutter Mangala, who offered him eight arm-
fuls of kusha grass as a meditation seat.
From Vedic times a mat of woven kusha
grass (Skt. kushasana) served as a sacred
The durva grass. mat in religious ceremonies, and the Buddha
was observing an age old tradition in using Shiva, Parvati, Lakshmi, Durga, and Surya.
kusha grass as his seat or asana. Icono- In an early Hindu legend the bilva tree is
graphically many Buddhist ascetics, yogins, said to have originally germinated from the
and siddhas are depicted seated upon such drops of sweat that fell from the forehead
woven kusha grass mats. The ancient capital of the goddess Parvati onto Mt Mandara,
of the Malla kingdom, where the Buddha at- the sacred hill that was used to churn the
tained his final parinirvana, is known as ocean in the Vedic creation legend. Its trifo-
Kushinagara, which means the city of kusha liate leaves symbolize both the trinity of
grass. Artistically, both durva and kusha Brahma, Vishnu, and Shiva (as creator, pre-
grass are represented with many stylistic server, and destroyer), and the trident of
variations in Tibetan art. Shiva. The tree is especially sacred to Shiva,
who is often represented with a trifoliate
bilva leaf crowning his matted hair. Wet
THE BILVA FRUIT bilva leaves are also traditionally placed
(Skt. bilva; Tib. bil-ba) upon the phallic stone symbol or lingam of
Shiva as a cooling offering during the heat
The bilva fruit (Aegle marmelos) is also of an Indian summer. The tree is also the
known as the bel or bael fruit, and as the abode of the various shaktis or emanations
Bengal quince. It is a round fruit about the of Shivas consort Parvati, and the breast-
size of a large orange, with a hard skin and a like fruit of the bilva is believed to contain
dappled reddish-brown color. When British the milk of the great mother goddesses or
botanists were first confronted by the bewil- matrikas. The bilva fruit is also known as
dering array of exotic Indian fruits during the shriphala, meaning the fruit of Shri, which
early nineteenth century, they chose to re- is another name for Lakshmi, the goddess
name many of these fruits in the then fash- of wealth and prosperity.
ionable manner of the English apple, creating Much of the Shaivite and Shakti sym-
such names as the pineapple, custard apple, bolism applied to the bilva arose during the
rose apple, and thorn apple. The bilva fruit, later Hindu tantric period, at a far later
with its tough woody skin, was appropriately date than the time of Shakyamuni Buddha.
named the wood apple. Medicinally it is a But whatever its pre-Buddhist symbolism
potent astringent, and highly regarded for its may have been, the bilva has been endur-
purifying qualities in traditional Ayurvedic ingly regarded as the most sacred of all
and Indian folk medicine. The unripe interior fruits. Brahma, the Vedic god of creation,
of the fruit, especially when boiled as a
preservative jam, was the best-known cure
for diarrhea and dysentery.
In ancient India the bilva was regarded
as the most sacred of all fruits, and was
used as the main food offering to the temple
deities. Only in comparatively recent times
has the coconut superseded the bilva as the
principal fruit of religious offering, or as a
symbol of self-surrender. The bilva tree is
sacred to many Hindu deities, particularly The bilva fruit.
is said to have presented Shakyamuni with THE VERMILION POWDER

the bilva fruit, and in this gesture of vener- (Skt. sindura; Tib. li-khri)
ation and supplication he humbles himself
before a wisdom-enlightenment greater than A Brahmin named Jyotisharaja, meaning
his own. Brahma is traditionally represented king of astrologers, was said to have pre-
offering the golden wheel to Shakyamuni, sented the vermilion powder to the Buddha.
but occasionally a tray containing bilva fruit This orange or red powder is sometimes
may replace the wheel. In Tibetan art the identified as cinnabar (Tib. cog-la-ma) or
bilva is often represented as a group of three natural vermilion (Tib. mtshal), which are
fruits, symbolizing the Three Jewels. It is both forms of mercuric sulphide derived
generally depicted like a pomegranate with from naturally occurring mineral deposits.
a rounded nipple-like tip, and its trifoliate Mercury is extracted from cinnabar by a
leaves may be depicted in a variety of styl- heating process, which separates it from its
ized forms. sulphur content. Recombining sulphur and
mercury to produce crystalline cinnabar can
chemically reverse this process. The transmu-
THE RIGHT-TURNING CONCH tation of cinnabar into mercury and back
SHELL into cinnabar revealed the mutability of the
(Skt. dakshinavarta-shankha; Tib. dung elements, and gave birth to both the Indian
gyas-khyil) and Chinese traditions of alchemy.
In Sanskrit vermilion powder is known
The right-spiraling white conch shell sym- as sindura, and is identified as the mineral
bolizes the Buddhas proclamation of the red lead or minium, the red oxide of lead
dharma, as previously described amongst used as a pigment. The Tibetan materia
the group of eight auspicious symbols (see medica identifies three forms of minium
page 9). This conch was presented to the (Tib. li-khri): coarse minium from stones,
Buddha by the great sky god Indra, who is soft minium from earth, and minium ex-
traditionally depicted in Buddhist iconogra- tracted from wood. A more general interpre-
phy holding this attribute in supplication tation of the word sindura defines it as red
before the Buddha. In this form Indra is lead, cinnabar, vermilion, or sacred ash.
identified as Shakra, the king of the gods, or Both cinnabar and minium have been
as Shatakratu, an epithet of Indra meaning used as mineral pigments since ancient
mighty or one who has performed the sac- times. In India sindura is the orange or red
rifice a hundred times. powder that is used to adorn sacred images,
The right-turning conch shell. The vermilion powder.

and for a variety of other religious purposes bereaved mother to obtain some mustard
and rituals. Along with turmeric or yellow seed from a house in which no one had died.
saffron (Skt. kumkum), red sandalwood Every householder possessed mustard seed,
(Skt. chandan), and white ash (Skt. vibhuti) but none had been spared the grief of be-
made from burnt cow dung, sindura is used reavement, and as she listened to their har-
to apply the sacred marks or tilaka to the rowing stories the womans own distress
foreheads of devout Hindus. Traditionally a came to be alleviated.
circular red dot or tilaka of sindura on the Mustard seed was cultivated to produce
forehead of a married woman indicates that oil for cooking and for fuelling oil lamps. It
her husband is still alive and that she is not occurs in two varieties, white mustard (Tib.
a widow. Such a mark provides an impor- yungs-dkar), and black mustard (Tib. yungs-
tant visual statement in the social order of nag). In ancient India mustard seed was con-
orthodox Hindu society. The marking of the sidered as a magical substance that could
forehead or other parts of the body dates help counteract all hindrances and inauspi-
back to the Vedic period, and elaborate sys- cious turns of fate. This common belief is re-
tems of caste and sect marks have developed vealed in the Buddhas advice to the mother
over the course of time. The marking or who wanted her baby to be brought back to
sealing with a tilaka is one of the meanings life. Mustard seed was one of the sacrificial
of the Sanskrit term mudra. ingredients offered to Agni, the Vedic fire-
Vermilion powder was certainly of great god, during the sacred fire ritual or homa,
ritual significance during Buddhas time. Its where its function was to remove all inauspi-
red color symbolizes power, especially the cious hindrances. In both the Hindu and
magnetizing power of love and desire, per- Buddhist tantric traditions it was considered
sonified as menstrual blood. In Vajrayana to be a wrathful substance that could be used
Buddhism the color red is assigned to certain in destructive rites against all negativities,
subjugating and fertility goddesses, such as which arise in the form of obstructive
Red Kurukulla, Lakshmi, and Vasudhara. demons. Mustard seed may be empowered
Vermilion powder is used in the creation of with mantras of exorcism, and then burned
sand mandalas, and as a pigment in the dec- or cast away to annihilate ghosts or malig-
oration of many secular and religious arti- nant spirits. A certain form of spirit that
facts. In Chinese symbolism vermilion and possesses young children is known as a sar-
gold are regarded as the two harmonious shaparuna, or red mustard demon, referring
colors of joy and prosperity. perhaps to scarlet fever. Mustard seed is one
of the main magical ingredients (Tib. thun)
used in ritual weapons against harmful
THE MUSTARD SEED
(Skt. sarshapa; Tib. yungs-bru)
The wrathful form of Vajrapani, the Bod-

hisattva of power, was said to have offered
mustard seed to the Buddha. Mustard seed
was a common household commodity at the
time of the Buddha, as illustrated by his
parable of asking a distressed and recently The mustard seed.
spirits during Vajrayana rituals of destructive scribed upon its upper surface, whose func-
activity. These weapons may take the form of tion was to destroy the leaders of hostile po-
a sacrificial cake offering (Tib. gtor-ma), a litical parties. The presiding lama appointed
skull cup, or an ox or yak horn engraved for this task would first catch the life
with the images of poisonous creatures, such essence (Tib. srog-snying) of the enemy, and
as the snake, scorpion, and frog. Mustard bind it into a few grains of white mustard
seed is also used in Tibetan rituals of weather seed, which would then be ground under the
control, where hailstorms may be either con- millstones with specific mantras. This
jured forth or prevented. process was evidently extremely dangerous,
In his book Oracles and Demons of as people who handled the mill occasionally
Tibet, Nebesky-Wojkowitz describes a Ti- died soon afterwards.
betan magical weapon known as the mill of The mustard seed offered by Vajrapani
Yama (Tib. gShin-rje), the Lord of the symbolizes the Vajra Buddha Family, which
Dead, which was located at Khardo Gompa is presided over by Akshobya, whose activ-
near Lhasa. This weapon took the form of a ity is to destroy all hatred, aggression, and
double millstone with powerful mantras in- harmful influences.
Handbook of Tibetan Buddhis#12B 9/1/10 11:38 AM Page 27
THE FIVE ATTRIBUTES OF

SENSORY ENJOYMENT
T he five desire qualities (Skt. pancha-

kamaguna; Tib. dod-yon sna-lnga), or
offerings of the five senses, form a group of
Here they generally take the form of a mir-
ror or small golden wheel, a pair of cymbals,
incense or a conch shell, a tray of fresh fruit
the most beautiful objects which can attract or sweets, and a piece of silk cloth. Small
or captivate the five senses of sight, sound, painted images of the five sense offerings, or
smell, taste, and touch. These offerings tra- any of the other groups of auspicious sym-
ditionally take the form of: (1) a mirror for bols, may be represented as rectangular
sight; (2) a lute, cymbals, or gongs for miniature paintings (Tib. tsak-li), which are
sound; (3) burning incense or a perfume- symbolically employed in many rituals. But-
laden conch for smell; (4) fruit for taste; (5) ter sculptures, modeled in the most exquisite
a silk cloth for touch. detail and colors, are also made of the five
As attributes of the most delightful sen- sense offerings, and various other offering
sory pleasures they are mainly represented groups, for specific rituals or festivals. The
as offerings to the peaceful deities and lin- most impressive of these festivals was the
eage gurus. Here they symbolize the desire Monlam Chenmo or Great Prayer Festival,
to please enlightened beings, and represent a held in Lhasa on the full moon of the first
gesture of sensual renunciation on the part Tibetan month, when the capitals various
of the donor. They are traditionally placed monasteries would compete to create the
below the deitys lotus seat or throne as a finest butter sculptures. Shaped like conical
composite group in an offering bowl, but ritual cake offerings (Tib. gtor-ma), these
they may also be depicted as separate sym- sculptures were often over ten feet in height
bols, or held as offerings by the cloud-borne and the product of many weeks of intensive
celestial gods. In many Buddhist rituals these work. The competition was held at night
five symbolic offerings are momentarily pre- outside Lhasas main Jokhang Temple, and
sented as an offering to the presiding lama. the Dalai Lama judged the winning image.
Various arrangements of the five sense offerings, with the mirror or wheel (form) at the center, and
the offerings of sound (cymbals or lute), perfume (conch shell), fruit, and silk cloth.The smaller images
depict the mirror, cymbals and gongs, the conch, fruit, flowers, and silk cloth.
The Five Attributes of Sensory Enjoyment 29
The five sensory offerings are related to with impartiality. Whatever appearances
the Five Buddhas as the faculties of the five arise as reflections, be they beautiful or ugly,
aggregates and senses. Vairocana represents inherently good or evil, the mirror passes no
form (or consciousness) as the faculty of judgment on them. It remains completely
sight, symbolized by the mirror. Ratnasam- unaffected, untarnished, and unchanged by
bhava represents feeling as the faculty of the images that appear to arise in it. Simi-
sound, symbolized by the lute or cymbals. larly pure consciousness is unaffected by the
Amitabha represents perception as the fac- beautiful or ugly, good, neutral, or evil na-
ulty of smell, symbolized by incense or a ture of the thoughts which arise and pass
perfumed conch. Amoghasiddhi represents within it. Like reflections in a mirror their
motivation or will as the faculty of taste, essence is void, without substance, and yet
symbolized by fruit. Akshobya represents they continue to manifest upon the screen
consciousness (or form) as the faculty of of consciousness or within the emptiness of
touch, symbolized by the silk cloth. the mirror. Like a wild animal that sees and
In Vajrayana Buddhism these five sensual attacks an apparent rival in its own reflec-
offerings are deified into a group of five of- tion in a still pool, the unenlightened mind
fering goddesses, who bear the five objects self-identifies with its own projected im-
of the senses as attributes. agery. But the enlightened mind of a Buddha
perceives all phenomena to be empty of self-
nature, just as a desert dweller familiar with
SIGHT OR FORM the appearance of mirages knows that they
(Skt. rupa; Tib. gzugs) will never quench his thirst.
The white or silver disc of the mirror rep-
A small silver mirror, or an eight-spoked resents Vairocana, the Illuminator, and em-
golden wheel, represents the sense faculty of bodies his qualities, including those of: form
sight and the sense organ of the eye. The or consciousness, the faculty of sight, the
mirror represents form (or consciousness) white element of water, and Vairocanas
and the element of space. It is clear, stain- mirror-like or all-pervasive wisdom. Vairo-
less, and bright, and reflects all phenomena cana holds the attribute of an eight-spoked
golden wheel or dharmachakra, and this
wheel may replace the mirror as a specific
symbol of form.
SOUND
(Skt. shabda; Tib. sgra)
A lute or a pair of cymbals most frequently

represents the appreciation of music as the
sense faculty of delightful sound, although
occasionally a pair of gongs or a flute may
be depicted. The lute (Skt. vina; Tib. pi-
wang) is traditionally represented as a four
Mirrors. or five stringed Central Asian or Chinese
Four stringed Central Asian lute (left) in the form Four-stringed Mongolian horse-head fiddle (left)
of a rabab, with a garuda head crowning its peg- with its horse-hair bow. Two-stringed Chinese
box. Celestial lute of the gods (right), fashioned fiddle (right) with a carved dragon peg-box and
from precious woods, metals, and jewels. horse-hair bow.
lute (Ch. chin), with a pear-shaped body, a neck and head of a horse. On Chinese-style
tapering and unfretted fingerboard, and a thangkas the lute may take the form of the
tuning-head or peg-box fashioned into the two-stringed Chinese fiddle, known in Chi-
shape of a mythological animal or bird. The nese as the erh-hu or hu-chin, and in Ti-
lute is usually depicted resting behind the betan as the ye. This instrument has a small
mirror at an inclined angle towards the left, and deep cylindrical or hexagonal sound
much as it would be held when being box, through the upper part of which runs
played. The lutes upper edge may also ap- its thin round wooden neck, which is
pear straight, giving the instrument the ap- crowned above its peg-box with a carved
pearance of the Afghan rabab. A hanging
tassel, or a tied silk scarf, is also commonly
depicted on the upper part of the instru-
ments neck.
On Mongolian thangkas the lute may
take the form of the traditional horse-head
fiddle, known in Mongolian as the morin-
khur or khil-khur. This two-stringed bowed
instrument has a rectangular sound box, and Indian vina in the form of a vichitra vina, with
its peg-box is ornamented with the carved two lower resonating gourds.
dragon. On Indian-style thangkas the lute deities, these monastic cymbals appear in the
may be shown in the form of the Indian vi- form of the flat cymbals (Tib. zil-snyan) used
chitra vina, with two resonating gourds fas- in peaceful rites, rather than the domed
tened beneath a long and tubular-sectioned cymbals (Tib. rol-mo) used in wrathful rites.
wooden or bamboo neck. When gongs are depicted they are repre-
When two golden cymbals are depicted sented as a pair of symmetrical bell metal
to represent the faculty of sound, they are bowls, with two wooden striking sticks
commonly depicted in a symmetrical placed within them, and cloth rings under-
arrangement at the front center of the offer- neath their bases to sustain their resonance
ing bowl, with a draped silk ribbon looped when struck. The Chinese gong (Ch. lo), and
between their central handles. These cym- the Mongolian gong (Mon. dudaram), were
bals may take the form of the small Tibetan probably the prototypes of these symbols,
hand cymbals (Tib. ting-shag), made of bell which began to appear in later Tibetan art.
metal, which are about three inches in diam- In the modern mythology of the New Age
eter and produce a sustained high-pitched spiritual movement these gongs have come
ring. But they more commonly take the form to be known as Tibetan singing bowls, and
of the large bronze cymbals, which are used many fantastic tales of occult power have
in monastic rituals and produce a clashing been grafted onto their recent history and
sound. As a sense offering to the peaceful innovative techniques of playing. Brass or
bronze bowls first began to appear on Ti-
betan refugee stalls during the 1970s, but
these objects were actually the eating or of-
fering bowls of these impoverished refugees.
Over the last few decades these Tibetan
singing bowls have been widely manufac-
tured for the tourist markets of India and
Nepal, but stories of their employment in
ancient Tibet as mystical musical instru-
ments are a modern myth.
When a flute is depicted it generally takes
the form of the Indian bamboo flute, or the
long transverse Chinese flute or ti. The ti is
fashioned from bamboo, with six or seven
finger holes and two mouth holes. When this
flute is played a thin bamboo membrane
covers one of the lower mouth holes, which
Pair of ritual bronze cymbals (top left); bowl

gong with wooden striker (top right).
Below are two pairs of Tibetan cymbals joined Chinese flute (ti) with bamboo membrane (top);
together with silk cloth as an offering. pair of Indian flutes tied with silk (bottom).
creates the characteristic nasal or kazoo-like bound together with a yellow cotton thread,
tone of the Chinese flute. The flute is gener- may be depicted smoldering within a grain-
ally positioned at an inclined angle behind filled bowl or granary box. Powdered
the mirror, and usually has a silk tassel juniper or bsang is traditionally shown smol-
hanging from its upper end. dering in incense burners (Tib. spos-phor),
which are commonly depicted in the form of
bronze vase-shaped vessels that stand upon
SMELL three small legs. These incense burners can
(Skt. gandha; Tib. dri) be ornately decorated, and may have carry-
ing handles or be suspended upon three
Smoldering incense sticks, an incense burner, chains in the fashion of a swung Christian
or a conch shell full of perfume, traditionally censer. In Tibet large incense burners (Tib.
represent the faculty of smell. The basic in- bsang khung), for burning juniper leaves and
gredient of Tibetan incense (Tib. bsang) is branches, are traditionally constructed upon
powdered juniper leaf, which is burned in rooftops or near the entrances to temples
charcoal braziers or clay incense burners. Ti- and monasteries. These outdoor incense
betan stick incense (Tib. spos) is hand-rolled burners are made of whitewashed clay and
from a paste of juniper powder mixed to var- fashioned in the shape of stupas. For indoor
ious formulas with medicinal herbs, saffron, use a wooden incense box would be more
sandalwood, frankincense, aloes, musk, and commonly used. This rectangular box has a
other fragrant substances. Several upright in- lower metal tray, upon which incense sticks
cense sticks, or a thick round cluster of sticks are burned horizontally on a bed of ashes. In
Four conch shells full of swirling perfumed liquids (top row). Various examples of burning incense with
tripod mounted censers (left); a wooden incense box with stick incense burning above, and a large out-
door incense burner (right).
ancient India incense was generally burned in left of the offering bowl, and balanced with
the form of dhup, which was mixed as a the fruit offering on the opposite side. The
malleable and waxy paste from flower and white conch shell is depicted horizontally,
wood essences. with its spiraling mouth commonly opening
In India a conch shell mounted upon a to the right. Its perfumed water is shown as
small tripod serves as the water oblation ves- a swirling offering of a pale blue liquid
sel in pujas or rituals, and this vessel is with white waves crests, symbolizing the ac-
known as a shankhapatra or conch-bowl. As tive essence or permeating fragrance of the
a Buddhist oblation or offering vessel the perfume.
conch is traditionally filled with saffron-
scented water, or water perfumed with the
five fragrant substances of saffron, sandal- TASTE
wood, musk, camphor, and nutmeg. Rosewa- (Skt. rasa; Tib. ro)
ter, and aloe and champaka flower essences
are also used in India as liquids for conch Fresh fruit is traditionally represented as the
perfume (Skt. shankhanakha). As with many delicious offering of taste, and frequently a
medicinal substances or herbs used in Ti- triangular formation of three round fruits
betan tantric rituals, a virgin or pre-adoles- will be depicted at the left or right side of the
cent child should pick the herbs and collect offering bowl. These three fruits, which may
the water from a natural source. branch from a single stem with leaves, repre-
Iconographically the conch shell full of sent the trinities of the Three Jewels (Buddha,
perfume is usually placed on the far right or dharma, and sangha), the Buddhas of the
Various examples of food and fruit offerings, including guavas, bananas, citrons, plums, strawberries,
and sugar cane. To the left of center is a bowl of sweets; to the right of center are three ritual cake offer-
ings or tormas.
three times (past, present, and future), or the level it refers to the creative juice of spiritual
Chinese symbol of the fruits of the tree of or artistic inspiration, particularly in the
plenty (abundance, maturity, and ripeness). fields of music, drama, and dance. The danc-
These three fruits are often depicted in the ing postures and facial expressions of many
form of peaches, but they may also be repre- of the main Buddhist yidam deities are de-
sented as apples, apricots, mangoes, oranges, scribed as exhibiting the nine rasas or dra-
persimmons, guavas, pomegranates, lemons, matic sentiments (Skt. navanathyarasa).
limes, or bilva fruits. The pomegranate, with These are the nine characteristic modes of
its bright red skin and edible seeds, is a sym- expression that are displayed in Indian
bol of happiness, passion, abundance, and dance and drama. In tantric literature the
fertility. The peach is a symbol of longevity term rasa is also used as a synonym for
and immortality, and the citron is a symbol of semen and mercury. Six kinds of taste are
wealth and prosperity. In Chinese symbolism described in the Ayurvedic tradition: sweet,
these three fruits pomegranate, peach, and sour, salty, pungent, bitter, and astringent. In
citron are known as the three fruits of Vajrayana Buddhism these six tastes are as-
blessings, and represent happiness, long- signed to the wisdom qualities of the Five
evity, and wealth. Occasionally a variety of Buddha Families and Vajradhara, as the
different fruits may be depicted within the of- sixth or primordial Adibuddha.
fering bowl, or the taste offering may take
the form of a ritual cake or torma (Tib. gtor-
ma). However, tormas, which are hand- TOUCH
molded from barley flour dough, are more (Skt. sparsha; Tib. reg-bya)
specifically presented as food offerings to the
wrathful deities. A colored silk ribbon invariably represents
The Sanskrit term for taste, rasa, has a the faculty of touch, as the soft smoothness
wide variety of subtle meanings. In general it of silk is perceived as the most sensually
refers to the faculty of taste as juice, sap, pleasing and unrestrictive of all fabrics. In-
essence, or flavor, but on a more esoteric dian silk merchants often demonstrate the
Various examples of silk ribbons, feathers (lower left), and rolls of silk (right).
fineness of their silks by passing the width of central bosses of the pair of cymbals and
a bolt of silk through a finger ring. However, then extend outwards on either side. It may
the gossamer thread of the divine silks of the be knotted around the neck of the lute. It
gods is described as being so fine that a may also drape over the central lip of the of-
square of this divine silk, large enough to fering bowl and then swirl upwards at either
cover Mt Meru, can be drawn beneath a fin- side. The silk offering may be colored in one
gernail. This divine silk is so light and subtle of the five rainbow colors: white, yellow, red,
that it appears as if to float upon a heavenly green, and blue, which correspond to the five
breeze, with its edges and ends making the elements and the Five Buddhas, or the partic-
most graceful folds and twisting curves. ular Buddha Family to which the deity be-
The silk offering ribbon may be knotted longs. A multicolored and tied bundle of silk,
around the base of the mirror or wheel, with a group of silk bolts, or a cluster of bird
its two ends twisting upwards on either side feathers may also be illustrated to depict the
of the offering bowl. It may pass through the faculty of touch.
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The Handbook of

Tibetan Buddhist Symbols

Written and Illustrated by

Shambhala Boston 2003

Shambhala Publications, Inc.

2003 by Robert Beer

All rights reserved. No part of this book may be reproduced

Library of Congress Cataloging-in-Publication Data

THE EIGHT AUSPICIOUS THE CHAKRAVARTIN 36

THE EIGHT AUSPICIOUS The Seven Secondary Possessions of

SYMBOLIC EMBLEMS AND The ritual dagger 98

The chakra or discus 150 The jeweled tassel 177

HAND EMBLEMS AND PLANT ATTRIBUTES 205

THE REALITY-SOURCE OR The wheel of dharma gesture 225

P rimarily I would like to express my grati-

I n the summer of 1999 I completed the text

xii The Handbook of Tibetan Buddhist Symbols

subjects of contemplation they continually twelfth century. The tantric transmissions of

xiv The Handbook of Tibetan Buddhist Symbols

After a million years of shining

To the memory of John F.B. Miles, Jampa

THE EIGHT AUSPICIOUS

T he eight auspicious symbols (Skt. asta-

2 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Symbols 3

In Chinese Buddhism these eight symbols in fours, or as a composite group of eight.

The parasol or umbrella is a traditional In-

The eight auspicious symbols

4 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Symbols 5

Various examples of the two golden fishes.

6 The Handbook of Tibetan Buddhist Symbols

The auspicious symbol of a pair of fishes

The Eight Auspicious Symbols 7

great treasure vase (Tib. gter chen-poi THE LOTUS

Lotuses stylized as peony and chrysanthemum blossoms.

8 The Handbook of Tibetan Buddhist Symbols

Lotus and flower buds.

The Eight Auspicious Symbols 9

penis, which is hard and penetrative. The THE RIGHT-TURNING CONCH

10 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Symbols 11

two major signs of the Buddhas body is his

THE ENDLESS OR GLORIOUS

The Sanskrit term shrivatsa means beloved

12 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Symbols 13

14 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Symbols 15

THE EIGHT AUSPICIOUS

T he eight auspicious substances (Skt.

The Eight Auspicious Substances 17

18 The Handbook of Tibetan Buddhist Symbols

The Eight Auspicious Substances 19

The mirror, as the reflective witness of light,

20 The Handbook of Tibetan Buddhist Symbols

THE PRECIOUS MEDICINE traditions animal bezoars were highly es-

The Eight Auspicious Substances 21

THE CURDS OR YOGURT