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Religious symbols in Buddhism

Buddhist symbolism is the use of symbols (Sanskrit: pratīka) to represent certain aspects of the Buddha's Dharma (teaching). Early Buddhist symbols which remain important today include the Dharma wheel, the Indian lotus, the three jewels and the Bodhi tree. Buddhism symbolism is intended to represent the key values of the Buddhist faith. The popularity of certain symbols has grown and changed over time as a result of progression in the followers ideologies. Research has shown that the aesthetic perception of the Buddhist gesture symbol positively influenced perceived happiness and life satisfaction. Anthropomorphic symbolism depicting the Buddha (as well as other figures) became very popular around the first century CE with the arts of Mathura and the Greco Buddhist art of Gandhara. New symbols continued to develop into the medieval period, with Vajrayana Buddhism adopting further symbols such as the stylized double vajra. In the modern era, new symbols like the Buddhist flag were also adopted. Many
symbols are depicted in early Buddhist art. Many of these are ancient, pre Buddhist and pan Indian symbols of auspiciousness (mangala). At its founding in 1952, the World Fellowship of Buddhists adopted two symbols to represent Buddhism. These were a traditional eight spoked Dharma wheel and the five colored flag.

The earliest Buddhist art is from the Mauryan era (322 BCE – 184 BCE), there is little archeological evidence for pre Mauryan period symbolism. Early Buddhist art (circa 2nd century BCE to 2nd century CE) is commonly (but not exclusively) aniconic (i. e. lacking an anthropomorphic image), and instead used various symbols to depict the Buddha. The best examples of this aniconic period symbolism can be found at sites like Sanchi, Amaravati, Bharhut, Bodhgaya and Sarnath. According to Karlsson, three specific signs, the Bodhi tree, the Dharma wheel, and the stupa, occur frequently at all these major sites and thus "the earliest Buddhist cult practice focused on these three objects". Among the earliest and most common Buddhist symbols found in these early Buddhist sites are the stupa (and the relics therein), the Dharma wheel, the Bodhi Tree, the triratna (three jewels), the vajra seat, the lotus flower, and the Buddha footprint. Thus, Theravada Buddhism retained most of the classic Indian Buddhist symbols such as the Dharma wheel, though in many cases, these symbols became more elaborately decorated with gold, jewels and other designs. Different artistic styles also developed throughout the Theravada world as well as unique ways of depicting the Buddha (such as the Thai style and the Khmer style) containing their own ways of using Buddhist symbols.

East Asian Buddhism adopted many of the classic Buddhist symbolism outlined above. During the Tang dynasty (618–907 CE) Buddhist symbolism became widespread, and symbols like the swastika and the Dharma wheel (Chinese: 法輪; pinyin: fălún, "wheel of life") became well known in China. There were also more elaborate symbols, like Buddhist mandalas and complex images of Buddhas and bodhisattva figures. There are also some symbols that are generally unique to East Asian Buddhism, including the purple robe(which indicated a particularly eminent monastic), the ruyi scepter, the "wooden fish", the ring staff (khakkhara), The Eighteen Arhats (or Luohan) (Chinese: 十八羅漢)the "ever burning lamp" (changmingdeng) and various kinds of Buddhist amulets or charms, such as Japanese omamori and ofuda, and Chinese fu (符) or fulu. Chinese Buddhism also adopted traditional pre Buddhist Chinese symbols and deities, including money trees, Chinese dragons, and Chinese gods like the Jade emperor and various generals like Guan Yu. Japanese Buddhism also developed some unique symbols of its own. For example, in Japanese Zen, a widely used symbol is the ensō, a hand drawn black circle.

Mantric Buddhism (Guhyamantra, "Secret Mantra") or Vajrayana has numerous esoteric symbols which are not common in other forms of Buddhism. The vajra is a key symbol in Vajrayana Buddhism. It represents indestructibility (like a diamond), emptiness as well as power (like a thunder bolt, which was the weapon of the Vedic god Indra). According to Beer, it represents "the impenetrable, imperishable, immovable, immutable, indivisible, and indestructible state of absolute reality, which is the enlightenment of Buddhahood." The vajra is often paired with a bell (vajra ghanta), which represents the feminine principle of wisdom. When paired together, they represent the perfect union of wisdom or emptiness (bell) and method or skilful means (vajra). There is also what is called the "crossed vajra" (vishva vajra), which has four vajra heads emanating from a central hub. Other tantric ritual symbols include the ritual knife (kila), tantric staff (khatvanga), the skull cup (kapala), the flaying knife (kartika), hand drum (damaru) and the thigh bone trumpet (kangling). Other Vajrayana symbols popular in Tibetan Buddhism include the bhavacakra (wheel of life), mandalas, the number 108 and the Buddha eyes (or wisdom eyes) commonly seen on Nepalese stupas such as at Boudhanath. There are various mythical creatures used in Vajrayana art as well: Snow Lion, Wind Horse, dragon, garuda and tiger. The popular mantra "om mani padme hum" is widely used to symbolize compassion and is commonly seen inscribed on rocks, prayer wheels, stupas and art. In Dzogchen, the mirror is one important symbol of rigpa.

Tibetan Buddhist architecture is centered on the stupa, called in Tibetan The chörten consists of five parts that represent the mahābhūta (five elements). The base is square which represents the earth element, above that sits a dome representing water, on that is a cone representing fire, on the tip of the cone is a crescent representing air, inside the crescent is a flame representing ether. The tapering of the flame to a point can also be said to represent consciousness as a sixth element. The chörten presents these elements of the body in the order of the process of dissolution at death. Tibetan temples are often three storied. The three can represent many aspects such as the Trikaya (three aspects) of a Buddha. The ground story may have a statue of the historical Buddha Gautama and depictions of Earth and so represent the nirmāṇakāya. The first story may have Buddha and elaborate ornamentation representing rising above the human condition and the sambhogakāya. The second story may have a primordial Adi Buddha in Yab Yum (sexual union with his female counterpart) and be otherwise unadorned representing a return to the absolute reality and the dharmakāya "truth body". it was seen wrong to show that much skin, and that's when robes to cover both arms with long sleeves came in to play. In Tibet, it have changed over time and they show both their shoulders as well as having a two piece attire rather than one. Shortly thereafter, Japan integrated a bib along with their long sleeve robe called a koromo. This was a clothing piece made specifically for their school of Zen which they practice in Takahatsu that involves the monks of Japan wearing a straw hat. Shaving ones head is another ritual and symbolic act most Buddhist monastics complete before entering a monastic order. To shave ones head merely signifies ones readiness to enter into the monastic path and abandon the worldly life.

Buddhist monks traditionally carry a begging bowl, and this is another common symbol of Buddhist monastics around the world (even though not all modern Buddhist traditions make use of the traditional practice of begging for one's food). In all sects of Buddhism, bells are often used to signify the start of rituals or to mark time. They use the bell to detain away the bad spirits and have the Buddha protect them at the time of their ritual. Some sects call this a part of the "Mystic Law" which is the beginning of a Buddhist ritual. Other ritual tools include drums, wooden fish, trumpets, the keisaku, and the tantric the vajra and bell.

Another form of symbolism of the Buddhist is the joining of your hands together at prayer or at the time of the ritual (añjali mudrā). Buddhist compare their fingers with the petals of the lotus flower. Bowing down is another form of symbolic position in the act of the ritual, when Buddhist bow in front of the Buddha or to another person they aren't bowing at the physical (the human or the statue) but they are bowing at the Buddha inside of them (the human) or it (the statue). Mudras are another form of physical hand expression in the Buddhist faith, used to evoke a particular state of mind in buddhist practice. The most recognized mundras are seen in artistic depictions of the Buddha. They often accompany mantras when used in practice.

The Dharma wheel (dharma chakra) is one of the earliest Buddhist symbols. It is an ancient Indian symbol of sovereignty and auspiciousness (as well as the sun god Surya) which pre dates Buddhism and was adopted by early Buddhists. It appears in early Buddhist sites such as Sanchi and Bharhut, where it is a symbol of the Buddha himself. The Dharma wheel also represents the Dharma (Buddha's teaching, the ultimate truth). The main idea of this symbol is that the Buddha was seen as a person who "turned the wheel", which signifies a great and revolutionary moment in history (i. e. the teaching of the Buddha's Dharma at Varanasi). While the Buddha could have become a great king, he instead chose to become a great sage. The Dharma wheel is thus also a royal symbol, indicating a king who is a chakravartin ("Turner of the Wheel").

The Bodhi Tree (Pali: bodhirukka) was a ficus (ficus religiosa) which stood is on the spot where the Buddha reached awakening ("bodhi"), called the bodhimanda (place of awakening). This tree has been venerated since early Buddhist times and a shrine was built for it. Offerings to the Buddha were offered to the tree. The Bodhi tree (often paired with an empty seat or āsana) thus represents the Buddha himself, as well as liberation and nirvana. Branches and saplings from the Bodhi tree were sent to other regions as well. It is said that when the Buddha was born, the Bodhi tree sprung up on the bodhimanda at the same time.

Stūpas (literally "heap") are domed structures which may derive from ancient Indian funerary mounds. The earliest Buddhist stupas are from about the 3rd century BCE. It may even have been a belief of some early Buddhists that the presence of the Buddha or the Buddha's power could be found in a stūpa. Other relics belonging to the Buddha's disciples were also enclosed in caskets and placed in stupas. Caskets with relics of Sariputta and Moggallana were found in Sanchi stupa number 3, while stupa number 2 contains a casket with relics from 10 monks (according to inscriptions). Stūpa were venerated by Buddhists, with offerings of flowers and the like. Initially, Buddhist stūpas were simple domes which developed more elaborate and complex forms in later periods. Over time, the style and design of the stūpa evolved into unique and distinct regional styles (such as Asian pagodas and Tibetan chortens).

Early Buddhist art contains various animals. These include lions, nāgas, horses, elephants, and deer. Most of these are often symbolic of the Buddha himself (and some are epithets of the Buddha), though they may also be depicted as merely decorative illustrations depending on context. According to Jampa Choskyi, while the animals are considered to be symbols for the Buddha, lions are the symbols of the bodhisattvas or also known as the sons of the Buddha. Though the lion, is a symbol of royalty, sovereignty, and protection, is used as a symbol for the Buddha, who is also known as the "lion of the Shakyas". Buddha's teachings are referred to as the "Lion's Roar" (sihanada) in the sutras, which symbolizes the supremacy of the Buddha's teaching over all other spiritual teachings. When looking at the shrines on the iconography, the lions symbolize another role, which they are considered the bodhisattvas who can be seen as the sons of the Buddha.

Garuda is also known as the king of the birds. When looking at the origins of the name it comes from Gri meaning to swallow since he devours snakes. The way he is represented in iconographies, he can either be seen with the upper body of a human, that has big eyes, a beak, short blue horns, yellow hair standing on the end, a bird's claws and wings. In Hinduism, he can be represented as a human with wings. However, when looking at the symbolism of Garuda, it represents the space element and the power of the sun. Though when looking at the representation from a spiritual view, Garuda represents the spiritual energy that will devour the delusions from jealousy and hatred (represented by snakes). Since he represents the space element, this includes the openness that can be seen when he stretches his wings. Though, when looking at Buddhism specifically, he can represent the dana paramita, when the sun's rays give life to the earth. The deity that Garuda is associated with is Amoghasiddhi, which is the vehicle of the deity. Through this, he is also the vehicle form of Lokishvara Hariharihar vahana. However, he is a deity of his own, who is said to be able to cure the bites of snakes, epilepsy, and diseases caused by nagas. Garuda can be found in toranas which are the semicircular tympanum that stands above the temple doors. Along with an emerald that happens to be named Garuda stone which is said to be protection against poison. Images of the deity are on jewelry as protection against the bites of snakes.

The Indian lotus (Nelumbo nucifera, Sanskrit: padma) is an ancient symbol of purity, detachment and fertility, and it is used in various Indian religions. In Buddhism, the lotus is also another symbol for the Buddha and his awakening. In the Buddhist scriptures, the Buddha compares himself to a lotus (in Pali, paduma). Just like the lotus flower comes up from the muddy water unstained, the Buddha is said to transcend the world without stains. In Buddhism, this symbol later came to represent the Buddha, Dharma (teaching, eternal law), and sangha (Buddhist monastic community). In early Buddhist art, the vajra seat may also be depicted as an empty seat (often under a tree) or a platform. However, these seats or platforms may not specifically symbolize the "vajra seat" itself and may just be an altar or a symbol of the Buddha. A vajra seat or empty seat may also be decorated with lotuses or be depicted as a giant lotus (in this case, it can be referred to as a "lotus throne").

The Buddha footprint (buddhapāda) represents the Buddha. These footprints were often placed on stone slabs, and are usually decorated with some other Buddhist symbol, such as a Dharma wheel, swastika, or triratna, indicating Buddhist identity. According to Karlsson, "in the 3rd century AD as many as twelve signs can be seen on slabs from Nagarjunakonda. At that time we can found such signs as fishes, stupas, pillars, flowers, urns of plenty (purnaghata) and mollusc shells engraved on the buddhapada slab". It also represents royalty and protection, as well as honor and respect.

The Indrakhila ("Indras post") which appears in early Buddhist sites has sometimes been interpreted as a symbol for the Buddha (but it could just be a symbol of auspiciousness). This is usually "a series of formalized lotus plants one above the other, with artificial brackets in the borders from which hang jewelled garlands and necklaces of lucky talismans betokening both worldly and spiritual riches. At the top there is a trident and at the bottom a pair of footprints".

Another symbol which may indicate the Buddha is a "flaming pillar". This may be a reference to the Twin Miracle at Savatthi and the Buddha's magical abilities.

The svastika was traditionally used in India to represent good fortune. This symbol was adopted to symbolize the auspiciousness of the Buddha. The left facing svastika is often imprinted on the chest, feet or palms of Buddha images. The swastika was also a symbol of protection from evil. The ancient swastika (which are also Chinese characters, mainly 卍 and 卐) is common in Buddhist art. It is widely used in East Asia to represent Buddhism, and Buddhist temples. Buddhist symbols like the swastika have also been used as a family emblem (mon) by Japanese clans.

The endless knot is a symbol of good luck. It may also represent dependent origination. It also symbolizes the "endless wisdom and compassion for the Buddha," among other interpretations. The symbols are used in a variety of ways, such as greeting cards, ceremonial scarves, and in jewelry.

A pair of fishes (Sanskrit: matsyayugma) represent happiness and spontaneity as well as fertility and abundance. In Tantric Buddhism, it represents the left and right subtle body channels (nadis). In China, it often represents fidelity and conjugal unity.

The victory banner was a military symbol of victory, and symbolizes the Buddha's victory over Mara and the defilements (an epithet for the Buddha is the "conqueror"; in Sanskrit, Jina).

A treasure vase, which represents inexhaustible treasure and wealth, is also an attribute of wealth deities like Jambhala, Vaishravana and Vasudhara.

A conch shell represents victory, the spreading the teachings of the Buddha far and wide, and the aspect of speech. It is blown on auspicious events to announce (and also invite) the deities or other living beings of the happening of the auspicious event, such as marriages (in Sri Lanka).

The "ever burning lamp" (changmingdeng) is "an oil lamp kept in the monastery that in theory was never allowed to burn out". This was used as a symbol for the Buddhist teachings and for the "mind of correct enlightenment" (zhengjuexin).

Ruyi may have been used as a baton held by a speaker in a conversation (a talking stick), and later became imbued with different Buddhist meanings. The scepters exact usage is unknown, however, is depicted in ancient Chinese artwork commonly as being held by scholars. The artistic style mirrors Buddhist appreciation of natural forms. Ruyi scepters were often given as gifts.

Buddha footprints often bear distinguishing marks, such as a Dharmachakra at the centre of the sole, or the group of 32, 108 or 132 auspicious signs of the Buddha, engraved or painted on the sole.