Some of the sacred objects already described may be regarded as symbols. Of those which are more strictly symbols the Tri-ratna ‘three-jewel’ emblem comes first. It is three-pointed, and the three points are simply emblematical of the Buddha, the Law, and the Monastic Order. It is often used as an ornament. Good examples may be seen in some of the Bharhut sculptures (see Sir A. Cunningham’s work). The central point is often the least elevated.
The use of this triple symbol is another proof of the connexion between Buddhism and Hindūism. Both delight in triads and in symbolizing triads[273], but the Buddhist ‘three-jewel’ symbol should not be confused with the Hindū Tri-ṡūla, which is Ṡiva’s trident used as a weapon in his warfare with the demons. The Tri-ratna is merely the analogue of the Tri-ṡūla, as it is also of the triple horizontal mark on the forehead of Ṡaivas, and of the Tri-puṇḍra or triple frontal mark of the Tengalai sect of Rāmānuja Vaishṇavas. The two outer marks of the latter stand for Vishṇu’s two feet and the middle for his consort Lakshmī[274].
Sir A. Cunningham was the first to show that the three fetish-like figures of Jagannāth (Kṛishṇa) and his sister and brother, at Purī in Orissa, were derived from three of the combined emblems of the Buddhist Tri-ratna (compare [p. 166] of this volume).
Next to the Tri-ratna comes the Ćakra or wheel. This symbolizes the Buddhist doctrine that the origin of life and of the universe ([p. 119]) are unknowable—the doctrine of a circle of causes and effects without beginning and without end. The wheel also typifies the rolling of this doctrine over the whole surface of the world (pp. [410], [423]). It is perhaps one of the most important symbols of Buddhist philosophy. It is often represented as either supporting the Tri-ratna or supported by it, or the latter may be inserted in it.
Observe that the Ćakra or wheel is equally a Vaishṇava symbol, but in the hand of Vishṇu or of Kṛishṇa it is a circular weapon, hurled at a demon-foe.
Another symbol is the Lotus-flower. Its constant use as an emblem, seems to result from the wheel-like form of the flower—the petals taking the place of spokes, and thus typifying the doctrine of perpetual cycles of existence—or from the perfection typified by the regularity of these petals, or from the idea that its expanded flower, reposing on a calm mirror-like lake, is a fit emblem of Nirvāṇa.
The Wheel, the Tri-ratna, and the Lotus are so important, as symbols of Buddhism, that they are combined in the vignette on the title-page of this volume.
Another symbol is the Svastika mark, consisting of two lines crossing each other, the termination of each arm of the cross being usually bent round in the same direction[275]. Much controversy has been devoted to the origin and meaning of this symbol, which simply symbolizes good luck, and equally belongs to Hindūism. Long ago I propounded a theory that it might represent the four arms of Lakshmī. I now think it a mere curtailed form of the Wheel, consisting of four spokes with a portion of the periphery of the circle. In my opinion, the four spokes may represent the four groups of worlds (i. e. the lower worlds and three groups of heavens, [p. 213]) circling in an eternal cycle. Sir A. Cunningham considers this symbol to be a monogram or interlacing of the letters of the auspicious words su asti (svasti) in the Aṡoka characters.
Another symbol is the Throne or seat of Buddha—a favourite emblem in many sculptures. In Cunningham’s ‘Stūpa of Bharhut’ the throne of each Buddha is often represented under his Bodhi-tree (but without any image), and the thrones of the last four Buddhas are joined together in a single bas-relief. Sometimes the throne is covered by an umbrella with garlands, or the Buddha’s bowl may rest on it. Sometimes two foot-prints are on a foot-stool under the throne.
Another venerated symbol is the Stūpa (see [p. 505]). It is often an object of adoration in itself.