3.3 Auspicious Symbols

All the auspicious symbols discussed in this section are well known emblems from ancient Indian art. They are sometimes depicted as individual symbols but are also depicted together as mangalas or auspicious signs, usually eight in number and also known as a∑†ama∫galå. The emblems were brought together at religious or other special occasions, but the exact composition of the eight symbols varied over time, among different religions and in different geographical regions. In early Indian art, in particular during pre-Kushan and Kushan rule, the eight symbols commonly included the purnaghata, triratna, srivatsa, matsyayugma, dharmacakra, and sankha (Liebert 1986:26-27).

The appearance of these symbols in some of the Begram plaques raises the question of whether these objects were intended to carry religious meaning. In some of the plaques the symbols appear as individual emblems or in small groups, but in others they have been dispersed into repeating decorative motifs (Plate 388). In only two plaques (Plates 406-407) do individual symbols appear in a larger group of the kind sometimes gathered to signify religious purpose.

Given this lack of the significant groupings on the objects and the fact that the great majority of the Begram plaques depict wholly secular, quotidian scenes, it would seem that the stronger argument is that the symbols were not intended to carry a religious connotation. This inference is supported by the fact that such symbols were ubiquitous in ancient Indian art, such that they likely would have been so familiar to the Begram carvers that the artisans would have needed no special stimulus in order to incorporate them into their work as mere decorative components. However, it is equally possible that these symbols were apotropaic in nature and intended to add ‘protective symbolism’ to the objects.

3.3.1 Purnaghata

A partly damaged engraved ivory plaque from Begram depicts a vase of flowers or purnaghata (Plate 402. The vase has a large belly with a shawl tied around it. In the vase are several stems with buds and flowers. In the middle, a full blown lotus is depicted with pointed petals, and on either side, a type of bud. Below, some leafed branches bearing fruit are shown, very reminiscent of the fruit and leaves of the asoka tree.

Two other Begram plaques depict a small winged yak∑a figure supporting a purnaghata, one in his hands, the other on top of his head (Plates 398-399). The vases are similar in shape to the one described above, but in these examples the shawl is replaced by a more decorative band comprised of vertical bars. Emerging from the vases themselves are stems ending in lotus flowers, buds, leaves and fruit.

The motif of the purnaghata or “full vase” is common in Indian art (Liebert 1986:230). It generally signifies fertility and the power to procreate. In Indian mythology, the river goddesses Ganga and Yamuna are sometimes depicted carrying vases out of which water pours as the source of power for creation (Knappert 1991:198). As suggested by Knappert, in its most particular form, the vase represents the womb of a pregnant woman, the most literal of symbols for fertility and growth.

3.3.2 Triratna

One of the symbols which, in Indian art, carried more of a religious connotation, than a general folkloristic or mythological meaning, is the triratna. Depicted in various forms on the Begram carvings, the triratna is generally represented as a three-pointed emblem very much in the shape of the curved letter W. In both Buddhist and Jain religions, the triratna symbol is an auspicious emblem meaning the ‘three jewels’ (Liebert 1986:304). In Buddhism it represents the three aspects of Buddha, Dharma, and Sangha (or the Teacher, the Law and the Buddhist Community of monks and nuns). In the Jain religion it symbolizes perfect knowledge, right conduct and right belief (Czuma 1985:49).

In one Begram piece, the triratna is placed on top of a circular disk, with each of its outer prongs ending in a leaf-like design (Plate 389). From the middle point another vegetal motif emanates. A curious element included in this form is the representation of eyes on the triratna symbol.

Another Begram object depicts the triratna in a more complicated ensemble. The plaque is divided into two scenes separated by a plain horizontal band (Plate 391). The lower portion depicts a bird while the top scene shows the triratna symbol resting on a circular disk with a srivatsa (see below) symbol superimposed on it. The circular disk itself rests on a three-stepped pyramid-shaped platform. The triratna is similar in style to the one described above but lacks the depiction of eyes.

The triratna symbol also appears as a more decorative, repeating design in several Begram plaques. Plate 388 shows a series of triratnas flowing between two-stepped pyramids. In addition, a plaque with openwork design depicts the triratna symbol in a more decorative manner (Plate 409).

3.3.3 Srivatsa

The srivatsa is an auspicious symbol which appears as a mark or dot of chest hair of Visnu, as well as one of the Jain Tirthankaras. It apparently originated in the Indus Valley culture and is thought to symbolize the “source of the natural world” (Liebert 1986:280).

The srivatsa emblem can take a number of shapes. In the Begram plaque described in the previous section, where the symbol is presented atop a triratna, the upper part of the symbol takes the form of a inverted triratna with the middle prong pointed but the outer prongs curled inward (Plate 391). The lower part of the emblem consists of a horizontal band with curled-in endings. In a more vegetal style, the srivatsa appears as a honeysuckle motif rising out of a semi-circle or cakra, with the same basic outline: an upright center and four curled-in branches on the side. This latter type occurs in many Begram plaques, either in multiple form (Plate 409) or individually.

3.3.4 Matsyayugma

In at least two Begram examples, two fish are depicted suspended from a tree or branch with, in one case, a lotus flower (Plates 394, 395, and 396) and, in the other, a miniature purnaghata shown between them. The fish, although not as common as the other symbols mentioned in these sections, is also an auspicious emblem known from Indian art. It is one of the vehicles of the river goddess Ganga and also an attribute of other gods of the Indian pantheon. The fish is one of the avatars or incarnations of Visnu in which form he “tries to save the world from a downpour” (Ramachandra Rao 1988, vol.5:29-31). It is said that two fishes together are the symbol of the rivers Yamuna and Ganga; in the Buddhist and Jain religions, two fishes signify good fortune and bliss. Gosta Liebert also indicates that, when part of a mangala, the fishes may represent procreation (Liebert 1986:176).

3.3.5 Dharmacakra

Several Begram carvings show the wheel or (dharma)cakra. In only one plaque is it shown as a single element (Plate 407); in most it is a repeating motif (Plates 372, 373 and 374). In Buddhism, the dharmacakra represents the teaching of the Law begun by the Buddha during his first sermon at Sarnath. The Wheel also symbolizes the concept of time and the continuing cycle of birth - death - rebirth and its accompanying suffering. In Jainism, too, the dharmacakra signifies the doctrine of Law and Order (Knappert 1991:90; Czuma 1985:49; Liebert 1986:52). And Ramachandra Rao (1988, vol.2:193-195) remarks that the Wheel is an important symbol in the Vedas, in which the sun travels on a single wheel, signifying the life cycle.

3.3.6 Sankha

A few carvings of ivory and bone from Begram depict the shell or conch, together with other auspicious symbols mentioned above, or as a repeating decorative design (Plates 404-405). Symbolically, the conch not only is an attribute of the god Visnu, but also is used on many auspicious occasions, such as a prayer or puja, since the water it holds is considered sacred, or as a call for battle (Ramachandra Rao, vol.6:191-192). Liebert also remarks that the conch is used in war as a horn and as a way to attract the attention of worshippers being called to pray (1986:252-253).

Website Maintained by:
Information Systems and Services,
International and Area Studies,
UC Berkeley

Electronic Cultural Atlas Initiative
URL: ECAI.org