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Everything connected with the Hindu icon has a symbolic meaning; the posture, gestures, ornaments, number of arms, weapons, vehicle, consorts and associate deities (parivāra devatā). Symbolic meanings of various rituals and paraphernalia are first given in the Brāhmanas and Aranyakas, and later the iconic symbols are explained in the various Purāṇas such as Srimad Bhāgavatam (S.B.), Viṣṇu Purāṇa (V.P.), Śiva Purāṇa; Upaṇiṣads such as Gopāla-uttara-tāpini Upaniṣad (G.U.T.Up), Kṛṣṇa Upaniṣad (K.U.) and Āgamas.

Iconology

Iconology is defined as the study of the symbolism behind sacred images. One of the most prominent tools of devotion in Hinduism is the use of images. These images or icons are made of wood, stone, metal or painted on cloth. The term generally used by non-Hindus and unfortunately by Hindus themselves when referring to these sacred images is IDOL. This term is actually pejorative — a demeaning, insulting word first used by Christian missionaries who perceived Hinduism in an extremely negative way — describing us as pagans, heathens and idolaters.

The use of images is also predominant among Catholics and Eastern Orthodox Christians who refer to sacred images as ICONS to differentiate them from the ‘idols’ of the heathens.

An icon can be defined as a sacred symbol which embodies a spiritual truth and is worthy of veneration and contemplation.

All Hindu icons are visual representatives of the transcendent Divine and the Spiritual Forces which support, sustain and direct the Cosmos. The art and symbology of Icons has been developed to an extremely sophisticated degree by the Hindu mind. Each and every feature of an icon has a profound truth behind it, and all the mystical teachings of the sages are presented to the spiritual seekers through the means of these icons and symbols.

The language of symbols develops when an attempt is made to represent something that is beyond the normal capacity of the human mind to comprehend or to express. A transcendent reality is expressed in terms of equivalents known as symbols.

All of human interaction is carried out through the use of symbols. To represent a quantity of something we use symbols called numbers. To articulate and communicate ideas we use symbols known as words. To transmit words to others in a graphic manner we use the symbology of letters of the alphabet.

A symbol can be natural or conventional. When we perceive a direct relationship between one order of things with another a natural symbol develops.

In Hindu cosmology, symbolism is the expression of reality. It is the expression of the particular points where two realms meet — the transcendental (niṣkala) with the material (sakala).

The Āgamas affirm 2 core tenets;—

1. The material realm (sakala) is a reflection of the transcendental realm (niṣkala) and

2. The inner spiritual/psychic world is related with the outer (yathā brahmāṇḍa tathā piṇḍāṇḍa)

and therefore symbolism arises from nature itself and is not the result of speculation. And through the contemplation of the outer symbols one reaches the innermost subtle concepts behind those symbols.

However far back we reach in Indian thought as a whole we find a coherent use of symbols to represent the abstract. The whole of Indian iconology is built up upon a code of symbols based on the assumption that there exists a natural affinity between ideas (nāma) and forms (rūpa).

This code of symbols has been transmitted over thousands of years and its origins are lost in the remote past.

Symbols do not speak to the rational mind and cannot be fully understood by logic, they are the subject of contemplation, worship, assimilation, inner experience and ultimate spiritual realization. Symbols are the esoteric language of the unconscious mind.

TERMINOLOGY.

In Sanskrit there is a very rich terminology that is used when referring to icons;

bera — image

mūrtī — anything which has definite shape and physical limits, an embodiment or incarnation.

bimba — reflection or prototype — the original or model after which a thing is copied (the Original Being of course is God)

vigraha — extension, expansion, form.

pratima — resemblance, similitude, representation

pratīka — symbol

rūpa — form, aggregate, a sum total of form.

arca — object of adoration and worship

If one does not have the vocabulary (nāma) one cannot understand an experience (rūpa) and if one cannot understand and define an experience to oneself, one cannot share it with others. The function of the icon is to represent, through a combination of forms and proportions, some fundamental aspect of the cosmos and it's presiding consciousness which is not directly perceptible by our senses. Although these cosmic realities cannot be perceived, they can be experienced, the icons are the vocabulary whereby we interpret the experience of the divine to ourselves and convey that understanding to others.

Theological and Scriptural support for the use of icons.

na ca rūpaṃ vinā dhyātuṃ kenapi śakyate || sarva rūpa nivṛttā hi buddhiḥ kutrāsya tiṣṭhati | nivṛttā glāyate buddhir nidrayā vā parīyate || tasmād vidvān upāsīta buddhyā sākaram eva tam | asti tasya parokṣaṃ tad iti kiṅcid anusmaret || sarvathā akāram uddiṣṭaṃ na parityajya paṇḍitaḥ ||

Vishnu samhita 29:55 — 57

Without a form how can God be meditated upon? If he is completely formless, where will the mind fix itself? When there is nothing for the mind to attach itself to it will slip away from meditation, or will glide into a state of slumber. Therefore the wise will meditate on some form, remembering however that it is an indirect method, a particularization or indication of that which is completely formless.

Hindu theology affirms that the Supreme Being is a Personal God/Goddess but at the same time declares that His/Her form is undefinable (anirdeśya), incomprehensible (acintya) and infinite — i.e. unconditioned by Time and Space (ananta). We should not think of the “Personality” of God in human terms – like a great Sultan in the Sky!

In the Vishnu Samhita 29; 49b — 58. It is pointed out that it is beyond the capabilities of an average human being to adequately conceive of the Supreme Being for the purpose of contemplation. The human mind relies on concepts and forms and contrasts, in order to focus its thinking processes.

Without a definitive content, the mind wanders and contemplation becomes impossible. So therefore the Āgamas have prescribed the use of symbols for focusing the mind and providing content upon which to meditate. This content itself must be meaningful, in order to bring about the required change of consciousness.

In the Parama Samhita 3:7 it is stated;

nirākāre tu deveśe na arcanaṃ saṃbhave nṛṇām | na ca dhyānaṃ na ca stotraṃ tasmāt sākāram arcayet ||

It is impossible for the human being to worship, meditate or praise a deity without form. Therefore the deity should be worship through an icon.

The Sriprashna Samhita 18;1 affirms that the descent of the Lord into a permanent iconic abode is due to His Divine Initiative alone, for bestowing grace and blessing upon the devotees.

Saturday 29th September 2019

UNDERSTANDING ICONOGRAPHY

There are certain features which are common to almost all Hindu deities and some Buddhist ones.

  1. Lotus Throne

All the gods & goddesses, buddhas and boddhisattvas are usually depicted standing or seated upon lotuses. The pure and unsullied lotus arising from the depth of the waters and far from the banks of the lake is associated with the idea of purity which arises from the law-of-conduct (dharma) and wisdom (jñana). The Lotus is also symbolic of the enlightened mind. It rises in the mud of material existence gradually growing through the waters until it reaches the surface and then opens up to the sun in all its glory. Water splashed upon a lotus leaf never remains but immediately slips off. In the same way the dirt of worldliness never stains the enlightened being. The lotus base therefore establishes the idea that the devata or buddha contemplated is nothing but a projection of the mind, and has no existence apart from the devotee.

2. The Postures.

The deities and buddhas are shown in various stereotyped postures, reclining, sitting with one foot raised, two feet raised or two feet down or standing.

The reclining posture indicates absolute transcendence, a state of inscrutable "otherness" and is beyond all our powers of comprehension.

Seated there are three stages of manifestation being depicted. Both legs crossed in padmasana (lotus posture) indicate a state of transcendence with a potential for manifestation. One leg lowered indicates a concern for sentient beings, a desire to be pro-active and an intention to engage in acts of compassion and liberation. Both legs down indicates a full intention to assist the devotee and an impending act of great compassion guiding others to enlightenment and moksha.

Standing indicates full manifestation within our realm of being and capacity to comprehend — it indicates immanence — the closeness of our inner being. It is the Divine in full action within our minds and the world in which we live.

FRIDAY 5th OCTOBER 2018

3. The Four Arms.

Most Hindu deities are depicted with four arms, these represent:—

  • The poises or states of Rality:— Brahman — the Absolute all inclusive totality of being; Īśvara — the Personal Creative Deity, Hiraṇyagarbha — the conglomeration of individual Selves or Jīvas, and Virāṭ — the manifest universe.
  • The cardinal directions; indicating that the god is all pervading and has perfect dominion over all the directions.
  • The four divisions of society; intellectuals, administrators, entrepreneurs, and workers.
  • The four stages of life; student, householder, retirement and renunciate.
  • The four aspects of Hindu psychology — the lower cogitative mind (manas) the intellect (buddhi), ego (ahamkara) and consciousness (cit).
  • The four levels of consciousness; waking (jagrata), dream (svapna), sub-consciousness (sushupti) and transcendental consciousness (turiya).
  • The four essential components of dharma; truth (satya), meditation (tapa), compassion (daya), and charity (Dana).
  • The four aims of human endeavor (purusharthas); pleasure (kama), prosperity (artha), righteousness (dharma) and liberation (moksha).
  • The four "immeasurable" qualities — friendliness (maitri), compassion (karuna), empathetic joy (mudita) and non-attachment (upeksha).

4. The Crown

The crown is the quintessential symbol of sovereignty and is also said to be indicative of the Unknowable Reality which is trying to be presented through this deity.

5. The Earrings

The earrings shaped like mythical sea-monsters (makara) represent the two methods of pursuing knowledge — intellectual knowledge (sankhya) and intuitive perception (yoga).

6. The Gestures

The language of the hands known as mudra is very significant in all forms of Indian art — in dance as well as sculpture and ritual. There are some mudras which are common to many deities and buddhas. These are:—

Abhaya Mudrathe gesture of fearlessness — the palm displayed with the fingers pointing to the sky. Indicates the practice of harmlessness to all beings in word, deed and thought (ahimsa) and granting to all beings the gift of freedom from fear.

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