Vesica Pisces the Flower of Life in Buddhist Cult

Vesica Pisces The Flower of Life ArputhaRani Sengupta Synopsis Technically the Vesica Piscis is a symbol made from two circles of the same radius intersecting in such a way that the center of each circle lies on the circumference of the other. Vesica Piscis means ‘Vessel of the Fish’. In Latin it translates as fish bladder. The ancient Pagan symbol is the sacred feminine (vulva). The sexual symbology crops up repeatedly in Buddhist art and architecture. The cross as the female compliment inserted in the oval produces the rhombus by adding a few lines. It creates the indestructible diamond of the sun god inside the ‘propitious eye’. Vesica Piscis also forms the mouth of a pot. Some believe that the that the pot symbol in name of Egyptian mother goddess Isis and sky goddess Nut name also stands for the uterus. The Genesis Geometry is actually linked to the goddess (Gene-of-Isis). Vesica Piscis translates as the worship of the forces of creation, which seem to have determined the main Buddhist design. The earliest sacred architecture and art is distinguished by the monumental phallic pillar and the Vessel of Fullness called Amrit Kalash, the vessel containing the ambrosia of immortality. Published The Flower of Life Vesica Pisces (Vessel of Fish) In: MANI-SUSHMA: Archaeology and Heritage. A Felicitation Volume in the Honour of Dr. Buddharashmi Mani. (eds.) Vinay Kumar, Brijesh Rawat, New Delhi: B R Publishing Corporation, 2015: 103-118, vol. I At all levels early Buddhist culture finds ways to represent what it values as most important. At times the real is depicted in a surreal mode, thus we encounter apparently ‘whimsical image’, composite animals and distorted forms which at times have human connotations. The images are invariably of profound nature and even when religious significance is indistinct and obscure in its unfamiliar iconography their significant role in fertility and funerary rituals makes early art objects essentially religious in content. In yaksha and yakshi cult a miniature sculptured spherical stone depicts ritual scenes that bring together three realms: divine devas, spirit and human world (fig.1). Around the middle of compressed sphere is a frieze divided into two scenes by a tree: one side is in leaf and the other on which a peacock is perched, covered with bloom. The enigmatic miniature has two main scenes. Scene one represents a man and woman with hands raised in adoration. They stand before a rocky outcrop with a lotus bud in front. Profile of a man facing the worshipers can be seen at the centre of the rocks. In scene two the divine female accompanied by a goose dancing to harp played by a man might represent Venus. A couple stands to one side, the woman 1 gazes at the lotus bud in the raised left hand of her companion. The frieze is bordered above by a register of meandering grapevine, complete with bunches of grapes, curling tendrils, and leaves. It is surrounded by a Greek scroll arranged in wave pattern. The top center has carving of a splayed winged creature playing long double pipes like Pan. According to Ananda Coomaraswamy, who has researched extensively on Yaksha cult, wine, music and dance were part of yaksha rituals (1930: 244). The bottom of the sphere is unadorned. 1. Rites at Yaksha Shrine, Spherical stone, Diam.3cm, 1st century, New York: Metropolitan Museum of Art (1987.218.22) Purchase, Evelyn Kranes Kossak Gift in memeory of John Kossak 2. Offering Plate, Schist, Ø17.4 cm, Taxila, 1st century AD Karachi: National Museum (199-1932-33) The circle is the Bindu, which represents the goddess. A state of perfect equilibrium is achieved when a second sphere of equal dimension is intersected. It demonstrates the dual relationship of the female and male principles coming in order to procreate. The very first division of a cell at the miraculous moment of the germination of a seed is conveyed by circles with the Flower of Life inscribed on the reverse of goddess offering her breast for nourishment. The offering plate in which the divine female appears with her consort was deposited in a stupa chapel in Taxila. Engraved on the reverse is the ‘Flower of Life’ (fig.2). The circles precisely intersect to produce series of vulva shaped petals that open to conceive and give birth. It is in the manner of the tree goddess that brings forth the ‘Enlightened Being’ from the mid section of her trunk. The magic of circle incorporated in art refer to current beliefs based on religious myths and legends. Apotheosis in particular adds to its spiritual dimensions. 3. Vesica Pisces Vedika, Stone fence of Buddhist stupa, Early historic period 4a. Visces Pisces is the Seed of Life 4b. The Genesis Flower 4c. Seeds of Life 2 5. Vessel of the fish, Votive painted pottery, Mohenjo-daro, Proto-historic period 6. The Vesica Pisces. Painted offering plate, Mohenjo-daro, Proto-historic period Greco-Buddhist reliquary cult signals the birth of a new culture. The belief that perils encountered by the deceased could be countered by provisions in the ‘House of Eternity’ called for expensive furnishings stupa, chaitya and vihara complexes. The cross-beams of the stupa railing was carved with utmost concentration and skill. The huge blocks of stones weighing tons were laboriously shaped into smooth lenticular shafts with specific dimension. The cross beams are shaped in the same size so as to fit into the ‘fish’ shaped holes in the pillar (fig.3). The cross-section of the railing in elongated oval shape is called Visces Pisces. It is a precise geometric shape produced between two overlapping circles of the same radius. The Vesica Pisces diagram shows that the intersection of two circles have created two crescents, one that waxes and one that wanes, bringing to focus the principles of duality (fig.4a). By continuing with the geometry of six intersecting circles of identical diameter, the overlapping circles of the same size eventually form a ‘Genesis Flower’. It produces a sixth circle at ‘rest’ in the center (fig.4b). In the Genesis Flower we can instantly recognize the symbol of birth and renewal. Hence the diagram of seven intersecting circles is also called the ‘Flower of Life’. The Flower of Life is the simplest form of the lotus blossom, which is a symbol of rebirth. The six-petal lotus with a dot in the center personifies the great goddess. The Genesis Flower is an esoteric diagram in Tantric tradition. Each of the six petals represents a day in the act of creation. It is obvious that within a flower a seed is produced. When repeated, the expanding circle of the Flower of Life appears like a pond filled with lotus blossoms (fig.4c). THE FLOWER OF LIFE Commencing from the Indus Valley the overlapping circle literally gave birth to new ideas and new forms in South Asia. The ‘The Seed of Life’ symbol relies upon the goddess in the celebration of her sacred function at the very centre of all creation. The Vesica is first and foremost the symbol of birth and renewal and 3 hence the design gains dominance in the painted pottery of the Indus Valley. The ‘Flower of Life’ painted on the terracotta vessels of various shapes and size is affirmation of belief in rebirth (fig.5). The Indus Valley painted pottery are literally ‘Vessel of the fish’ that convey amazing grasp of geometry and alchemy aimed to bring forth renewed life. A terracotta plate demonstrates the active principal of growth through the expansion by multiplication (fig.6). The vertically Vesica is an almond shaped ‘fish’ created by intersecting two circles that have the same radius. If the elliptical oval is observed horizontally it resembles a mouth of a pot, which is personified as the womb (garbha) of the goddess. The fish shaped Visica Pisces is literally ‘Vessel of Fish’, a metaphor for vagina. The Vesica Pisces or the Vessel of Fish originated from the ancient Egyptian glyph (Ru), which is the symbol of vulva or the mouth of the birth canal. It is through the fish shaped entrance that man sees the light of day first. A departed soul after leaving the physical world enters this vulva or mouth as a prelude to rebirth and resurrection. The Vessel of Fish symbol acknowledges the first defining moment in the Indian subcontinent. In one of the several two sided copper plates from Mohenjo-daro, Vesica and the fish are inscribed side by side in the middle of the votive tablet (fig.7). An unusual endless-knot is engraved on one side. The same endless-knot appears on a conical terracotta seal from Taxila. 7. Vesica and the fish, Copper plate, Mohenjo-daro, Proto-historic period 8. Six-spoke wheel hieroglyph, Steatite, Mohenjo-daro Proto-historic period Karachi: National Museum The Indus seals express the spirit of an age that was preoccupied with circles. In the Indus Valley seals the six-petal flower reduced to a six-spoke wheel confronts us (fig.8). The six-spoke wheel cryptogram is the most prominent glyph in the sacred writing on the intaglio seals conventionally dated 2600-1900 BC. At the dawn of history it invariably appears at the beginning of a short text above the symbolic image. The wheel transforms into mysterious circles in Harappa. The circular platforms radiate rays by means of unusual kind of brickwork (fig.9). Detail view of the excavated platform in Harappa Trench 43 has Wheeler’s platform to the east toward the top of the image. The mud-brick wall foundations that surround each platform to the east, south, and west and the unexposed remains of the north walls is notable. Traces of baked brick thresholds can be seen on the right (south). Although we may only guess, it is conceivable that the mysterious circles were crucial to afterlife. In the unprecedented Greco-Buddhist reliquary cult the multi-disciplinary craftsperson engaged in producing artifacts 4 were not constrained by limitations imposed by any medium. In the manner of wood or ivory carvers, guild of craftsmen sculpted stone and carved terracotta plaques. Described as ‘the golden edifice’ the splendid pavilion shrine of tutelary goddess in terracotta plaque is exquisitely fashioned by a jeweler. Carving firm clay slab in a technique similar to that of ivory and wood carving. The earliest evidence of comes from the votive terracotta of Chandraketughar in West Bengal. Unmistakably the ceremonial dwarf from Pitalkhora sculpted in the round is inscribed ‘carved by Kannadasa the goldsmith’ (Yaksha, Sandstone, 103 x 60 x 37 cm, Pitalkhora, 1st century AD, New Delhi: National Museum of India (67.195). The level of skill indicates that the master sculptor is equally capable of carving large scale images in stone, draw and paint, as well as sculpt architectural edifice from living rock. The most representative of funerary architecture is the Buddhist chaitya. Chaitya, which means ‘to gather together’, is the haunt or abode (bhavanam) of super natural beings referred to as yaksha and yakshi. The supernatural beings from remote forests devoid of human presence are said to haunt stupa reliquary mounds and chaitya mortuary chapel where daily offerings (chaitya-vadana) were made for the departed. The idea of rebirth is connected to the yaksha mythology, in which a yaksha may have been, or may again become a human being. 9. Detail view of the excavated platform 86, Harappa, Protohistoric period 10. The Genesis Geometry, Shell, Mohenjo-daro, Proto-historic period In folk etymology, bhuta (Gk. BOΔΔO / Buddha) are super-natural beings and yakha-bhuta are those that had become yaksha. Siva is ‘Bhutesvara’ in popular culture. Yaksha known as the ‘good folk’ (punyajana) are of various types. Charmed thread offers protection from evil yaksha (Mahavamsa, VII). However, yaksha is said to be unbeliever, to whom the ethics of the Buddha is distasteful. And Buddha in particular distances himself from the supernatural beings and asserts that he is not a Deva, Gandhabba, or Yakka (Anguttara Nikaya, II, 37). It is thus evident that various animistic cults belonged to popular belief, which Mahayana Buddhism unwittingly tried to supplant through 5 assimilation. Consequently, the convergences took totally unexpected directions of a synthetic theological scheme in which the Buddhist identity is barely perceptible. The mortuary shrine may be outside a city, in a grove, on a mountain, or by a tank or a river or at the gates of a city or within the city or even within a palace precinct. The yaksha’s abode as an altar could be just a stone table or a terracotta plaque installed beneath a tree. As the word citya-vrksa denotes, the sanctuary might be just a sacred tree. However, the dwelling place of a yaksha is often indicated as a structural edifice with arched doorway. Daemons are benevolent or benign nature spirits, ghosts and spirit guides with the same nature as both mortals and deities similar to Yaksha and Yakshi. These generous beings similar to the deities or chthonic heroes are forces of nature itself. Yaksha and Yakshi in Greco-Buddhist seem to derive from Dæmon, the Latin word for the Ancient Greek Daimon meaning godlike, god, power, fate etc. Hariti, the most important Yakshi in Buddhist pantheon seem to have derived from Greek religion and mythology in which Lamia, the Queen of Libya, was transformed into a child-eating dæmon. Hariti, the demonic spirit being that devoured children was transformed into a benevolent Tyche holding cornucopia. In the Greek translation of the Septuagint, made for the Greek-speaking Jews of Alexandria, the Greek ángelos menaing ‘messenger’ translates the Hebrew word mal'ak, while daimon carries the meaning of a natural spirit that is less than divine. The daimon of venerated heroes were localized by the construction of shrines, so as not to restlessly wander, and were believed to confer protection and good fortune on those who offer worship. In early Buddhist sculpture yaksha is generally employed to support super-structure and hold garlands. Yaksha dwelling in rocks and mountains is guardian of earth’s bounty. Yaksha or Yakshi is an appellation and the names of Yaksha generally personify fullness, increase and prosperity. Kubera Yaksha known as Pancika and Dhanada lives in Mount Kailasa. Caitraratha groves surrounding his palace have resplendent trees bearing jeweled leaves and fruit transformed into enchanting maidens. Thus yaksha ultimately embodies fertility, water and rich vegetation. The idea of life germinating out of water takes a symbolic form so that besides kalpa-lata and nari-lata springing from the mouth and navel of a yaksha, the recurring motif of lotus and vessels brimming with leaves and flowers, often framing birds and animals or aquatic makara and fishtailed elephant aptly visualize the yaksha domain in early Buddhist relief. In the ancient world man created for a special purpose and the purpose is certainly other than to entertain, titillate or merely ornament. The image was perceived to be a medium which could perform magic and the symbols inherent in the image are based on correspondence so that it is meant to be a substitute for the real. DISC AND RINGSTONE Contemplation of a circle reveals intelligence from spiritual realm. It holds profound truths regarding imminent transition and dimensional change. If we read them correctly, it could likely mean we're about to undergo some sort of rebirthing process that has been promised. The Indus Valley occupies the nebulous region where both actions take place, presumably at vastly different moments in 6 time. However, the synchronicity of the Vesica Pisces dominates the spiritual quest at all fronts. Despite the layering of time, what we perceive as solitary and isolated images magically come together in one accord. Reading the mysterious signs we may ask: What motivated the signs produced by circles? It is logical to assume that communication of the life force will use a symbolic and at the same time the universal language of geometry having spiritual intent. Among circular objects produced in the Buddhist cult, the singular stone discs and stone rings of about half an inch thickness were produced as votive objects. These might be actually replica of earrings dedicated to the goddess. Framed in decorative rings, at the center of a ring-stone goddess alternates with radiate acanthus as sign of regeneration (1.11). 11. Acanthus Ring-stone, 1st century AD D. 5.9 cm, New York: Metropolitan Museum of Art Lent by Samuel Eilenberg 12. Goddess Geometria by Albert Durer, Copper engraving, 23.9 × 18.8 cm, 1514 Majority of these carved discs and rings are enigmatic remains of a mysterious past. These were deposited in fields for ritual purpose. While the Earth Mother brings forth the eternal renewal in the reliquary stupa (Primeval Mound), the symbols incorporated in the ring stones and stone discs manifest the magic of renewal. Through the carvings we can not only glean ritual worship of the goddess but actually witness the potency of the goddess invoked. A stone disc fragment incorporates crescent and triratna symbols of the goddess. One is amazed by the accurate geometric link between that which ‘eternally renew’ and the reliquary chamber that resembles the garba griha. This sacred space was known to function as a re-birthing chamber in Egyptian temples. The ring stones from Taxila were recovered from the reliquary stupa sites indicating their possible role as funerary goods. If we're to look upon the stupa as being central to cult objects, then surely it should be located in the middle of the genesis flower? Obviously it actually make more sense to construct the stupa on a radial plan. 7 And the radial plan is based on the geometry used to develop the full-blown ‘Flower of Life’. Due to the insistence of the circular shape and primacy of the goddess in Buddhist art, we may safely regard the stupa built on a radial plan as the true epicenter of the votive objects. At the interface both the circles, prehistoric and early historic period seem to follow completely different directions. But the contrary movement brings them together in complete overlap, complementing each other. Visces Pisces is repeatedly painted on the funerary pottery in the Indus Valley. The notable sign that conceals revelation of higher truths finds new application during the early historic relics. The Flower of Life symbol derived from a simple circle evolves into complex symbols known to suggest rebirth and renewal. 13. The Flower of Life, Disc stone, Kara, 1st century AD Allahabad: Allahabad Museum 14. The Flower of Life, Disc stone, Vesica Pisces disc, D.2 in, 1st century AD Murtaziganj, Patna: Patna Museum (10750) 15. Six-pointed Star, Soapstone, D. 2.25 in, Murtaziganj, 1st century AD Patna: Patna Museum (10742) A compass naturally draws a perfect circle. Visces Pisces derived from series of circles of the same radius is a unique shape. It is the building block for a remarkable geometric figure that’s known as ‘The Genesis Geometry’ (fig.12). Without changing its dimension, all that is required is to draw series of circles in a predictable manner to arrive at the Flower of Life. At the dawn of a new present, suspended in the distant past, designs based on the Flower of Life unexpectedly proliferates. The votive stone discs, besides evidencing great skill and experience of the carver, demonstrate the efficacy of dividing a circle equally. It results in a magic formula that opens the gateway to the next world (fig.13). A disc stone carved with the complexity of a singular circle is attractive. At the same time the imaginative pattern on the surface of a stone disc conveys that Visces Pisces is the seed of life. In the disc from Murtaziganj near Patna, the six radiating petals of the Genesis Flower have been emphasized so as to transform into triangles connected by dotted lines (fig.14). It spreads across the convex face of the stone disc as remarkable triangular pattern. The Venn diagram on a disc stone is just a fragment of the Flower of Life. It is comparable to the design on the pointed potteries from the Indus Valley. Words alone simply haven't the same ability to contain a message as do symbols. After all, mathematics and geometry is the basic language of the Cosmos found in many of nature’s patterns. In the communicative language of symbols the drawing of a perfect circle requires 8 mechanical means. Not surprisingly, the compass required to transcribe it is personified as a goddess. In an etching called “Melancholia”, the German artist Albert Durer depicts goddess Geometria with a compass in hand contemplating her next move. 16. Symbol of Life, Terracotta tile, North India, 1st century AD 17. Fish Roundel, Cave 2, Badami , Karnataka, 600 - 700 AD Whether painted or carved, Vesica Pisces in the earliest archaeological material in the sub-continent. It demonstrate that the ‘Circle-makers’ were knowledgeable about sacred geometry and the occult. The colliding circles touch the generative centers of the past and the future in the present, bridging regions of life and death. The meticulously focused disc and ring stones are designed to function as re-birthing chamber. The accurate geometric link with the circle as that which ‘eternally renews’ is truly amazing. The disc and ring stones, like the Indus seals are unsurpassed for the jewel-like finish. Both demonstrate the exquisite workmanship of the jeweler engraver. However, unlike the seals in steatite, the gem like stone relics is executed in relief. The cognitive skill in the production of unique discs and rings in stones is truly amazing. The new art form displays extraordinary understanding of geometry and experience in gem engraving. A soapstone disc is superbly executed with expanding geometric pattern of six pointed star. At the center is a circle (fig.15). The expanding line of radiate star enclosing six segments of rhomboid is an innovation. Framed in the interval space are animals and birds. Enclosed in the inner zone are lion, horse, elephant, humped bull, goat and stag moving in counter clockwise direction. On the outer ring are six birds including cock, goose, crane and heron. The complex arrangement based on the flower of life pattern is skillfully arranged. Except for the animals and birds the composition is unlike any other on disc stone. In one of the votive tiles series of are arcs are inscribed within a square. The permutations and combinations of the arcs produce meaningful form. The compass inscribed solar flares turn time to timeless eternity (fig.16). The imaginative use of the geometry leads to rebirth again and again. 9 The reliquary mound is built on a circular plan with radiating spokes from the center. It replicates the ring stone in three dimensional space. The ring of stone railing surrounding the stupa provides ample surface to reproduce similar carvings in relief. Looking at the radial plan of the stupa with the reliquary chamber in the middle, we're reminded once again of what's behind the symbolism of a circle with a small circle at its centre like the pollen of lotus. It is a common design feature found in quite a number of formations in art. The patterns on the ritual objects incorporating the circle recurs in numer of stupa reliefs. The circle was a magical device during the early historic period in South Asia. Circular compositions in sculptured relief and symbolic motifs within medallions had great significance in Bharhut, Sanchi and Amaravathi. And what's more, the beautiful gifts of the Flower of Life from artists continue to announce renewal. Badami, formerly known as Vatapi in Karnataka, is famous for its sandstone cave temples. Badami cave temple (Cave 2) dedicated to Vishnu is the smallest. The square ceiling of the temple is carved with a circle of fish radiating around a lotus boss. Developed from the genesis pattern it is composed with geometric precision (fig.17). 18. Disc stone, Taxila, D. 4.6 cm, 1st century AD New York: Metropolitan Museum of Art (1987.142.55) Gift of Samuel Eilenber 19. Mycenaean Swastika patera, Silver, Phoenicia, 2000-1400 BC This immediate apprehension of an intelligent identity or what one might call ‘primary thought’ is pre-relational or pre-conceptual. It might be matter of surprise that the ‘Circle Makers’ time and gain have re-work this amazing design into variations controlled by the underlying geometry. It is demonstrated by a disc stone quartered by acanthus curligs expanding irresistibly towards the edge of the disc (fig.18). It is reminiscent of a terracotta disc from Basrah that incorporates six-petal flowers within a geometric grid. At the center of the circumscribed acanthus is a circle of eternity. As a symbol of life emerging from the grave the ancient Greeks acknowledged acanthus as life affirming. By placing a compass point right in the center and repeatedly controlling the curves the artist forms tracery of unrestrained growth. The suggestion of nourishing water is picked out in delicate relief. The underlying principle of germinating forces in 10 nature appears in a silver platter of Phoenician origin. In the Mycenaean tray the interlaced swastika meander is circumscribed by a circle (fig.19). An offering tray from a stupa complex in Taxila has a single swastika in the center enclosed by a circular border of flowing water. The cult object carved in schist suggests long lost cultural links. 20. Padma Sri, Sandstone, Bharhut, 1st century AD 21. Flower of Life fruit, Mathura, Kushana, 1st -2nd century AD Similar to the offering trays, tconography of ring stones and discs show a mythology pre-occupied by the great problems of life and death. The idea of afterlife re-emerging from the womb of the mother goddess shows hope in a happy and secure future life. The main boon asked of the goddess was an assurance of life, the continuance of existence even beyond the portals of earthly existence symbolized by the circular hole in the middle. The geometric ‘Genesis Flower’ designed on circular stone and terracotta discs are mysterious objects whose function is at best hypothetical. If we’re to look upon the goddess as being central to all this though, then surely it should be located in the middle of the flower? Obviously that does actually make more sense, and when a bindu or dot is placed there and the geometry is developed into a full-blown ‘Flower of Life’ that is perfection personified. The goddess beams from the centre of lotus bloom and radiates around the significant hole that is gateway to the realm of immortals. Apparently there was no sanctuary meant for worship except the lap of the mother earth herself, for the discs and ring stones are found scattered on the earth in Central India. Looking at just the overlaid centre flower in its middle we're reminded once again of what's behind the basic symbolism of a circle with a smaller circle or dot at its centre. It's a common design feature found in quite a number of disc earrings. For a number of reasons the carved disc is the true epicenter of Buddhist cult and not the deified images. These enigmatic objects have been purposely made in order to symbolize ‘The Primeval Mound’. For here 11 we have a strategically carved disc or ring stone that symbolically represents the Earth Mother that brings forth and eternally renews. The disc and ring stone as a symbol of regeneration was an important cult object in the worship of the goddess. The sophisticated Bharhut relief depicting the “Dream of Maya” is spot lights rebirth within a circle. Padma Sri carved within a lotus medallion is similar in concept (fig.20). The circular shape stands for heaven and eternity. Hence Mediterranean divinities of the pre-Christian era are constructed on its principle. The tradition continued in new designs, such as the Chi Rho monograms of Christ. The rebus of Christ is fish that was at times paired as in the triratna. The tree goddess holding the fruit of the Flower of Life is a related relief from Mathura. It demonstrates the role of the goddess as protective companion that bestowed boons (fig.21). The symbol is an article of faith and exists between myth and metaphor the idealization of which is a distinct cultural trait of the early historic period. It has to be borne in mind that the Flower of Life, like the Swastika has engaged human beings from the beginning of civilization. One of the earliest depictions in a work of art is probably a carpet depicted in one of the palace reliefs. This stone ‘carpet’ decorated with intricate designs is from ancient Assyria now in Northern Iraq (fig.22). The design of Flower of Life is inexplicably combined with the Egyptian lotus immortality. 22. Flower of Life carpet, Nineveh, Neo-Assyrian, 645 BC Palace relief of Ashurbanipal (668 – c. 627 BC) London: British Museum 12 The early Buddhist symbols represent a great civilization with a distinct worldview and the configuration of symbolic form and style points to coming together of several cultures. The interlocked triple ring, like the Visces Pisces is a metaphor for restoration and healing. It is also a powerful symbol of spiritual transformation, resurrection and metamorphosis. In Gandhara the magicoreligious ‘Genesis Flower’ is made of shell-bangles, identical to the ones worn by the married women of Bengal. Some of the bangles were whole, others cut in half or in quarter. These were put to rather unusual use to produce the Flower of Life pavement. The processional path surrounding the Dharmarajika Stupa was adorned with shell bangles embedded in the plaster and arranged in a number of simple geometric patterns. The bangles were made of conch shells that came from the depth of the ocean, as though asserting triumph over the dark and the deep. Besides being part of the burial goods in the Indus Valley Civilization shell bangles were also part of the material culture of ancient Egypt. 23. A prehistoric petroglyph of vulva worshiped as yoni in Hindu culture. Symbolism is an intrinsic part of art, magic and religion (fig.23). Apart from the Vesica Pisces the triple-ring is one of the most mysterious symbols of the Buddhist cult. Maintaining the veil of mystery, the symbol is used to heighten the dramatic effect of illusion found in the classical form of magic. Time and again the triple-ring act is performed in Gandhara art within the confines of a stage that takes its form from the theatre and performance. Maintaining the veil of mystery, the symbol is used to heighten the dramatic effect of illusion found in the classical form of magic. The triple-ring motif makes impenetrable penetrable so that one leaves the world of reality to enter the realm of divine spirit. The illusion of three separate rings interlocked in space takes control of the universe as a metaphor for restoration and healing. Every age has its cosmology and six petals of Genesis Flower transformed as the triple-ring embodies infinite consciousnesses of the immortal that is united in metaphysical ring of the goddess. Crystallized as three interlocked rings the symbol takes control of the universe in a miraculous mirage and transforms it into the power of faith. Stone rings and stone discs are votive objects in the cult of the goddess. Apart from its radical creativity and spirituality the enigmatic ring stones and terracotta discs are significant for their extraordinary originality and the newness of intelligibility. The cult objects are as extraordinary as their brief existence in 13 culturally meaningful environment. They convey a vital new force. Its sudden appearance and abrupt disappearance, however, defies law of evolution. Scholars continue to speculate on the spontaneous new art form and its function. However, the puzzle of the unfamiliar due to the lack of established traditions is compensated by the symbols and metaphor that provide the subsequent meaning. In order to recognize the unifying concepts and the relationship between the related forms, we have to deal with the origin of related thinking. But understanding depends on much more than intelligent response or apprehension of prior thinking in other cultures. In India the socio-religious system of the early historic period as described by the archaeological material exists in a time warp. As such ‘understanding’ is an inferential process. It recognizes signs as a logical possibility of being related. Or unrelated, as in the case of the Buddhist legends, in which case we may arrive at a comprehensive understanding either deductively or inductively. At best we perceive the early Buddhist art and culture as unique religious experience. But when we try to show a relationship to the Buddha mythology, the hypothetical inference of original forms introduced by the GrecoBuddhist reliquary cult is disappointing. Reference Agrawala, P. K. Ancient Indian Mother-Goddess Votive Discs. Varanasi: Books Asia, 1993. Agrawal, V. S. Indian Art. Varanasi, 1965. Banerjea, J. N. The Development of Hindu Iconography. Calcutta. 1941:185-89. Coomaraswamy. Ananda Kentish, Yakshas, Part 2. New Delhi: Munshiram Munoharlal, 1971. Deva, Krishan and V. K. Mishra. Vaisali Excavations 1950. Viasali, 1961. Kenoyer, Jonathan Mark. Ancient Cities of the Indus Valley Civilization. American Institute of Pakistan Studies, Oxford: Oxford University Press, 1998. Lerner, Martin and Steven Kossak, The Lotus Transcendent: Indian and Southeast Asian Art from the Samuel Eilenberg Collection, Exh. Cat., 1991, Metropolitan Museum of Art, New York. Postel, Michel. Ear Ornaments of Ancient India, Project for Indian Cultural Studies, Publication II, Franco-Indian Pharmaceuticals, Bombay, 1989. Mode, H. The Harappa Culture and the West, Calcutta, 1961. Satnislav, Czuma. Kushan Sculpture: Images from Early India. Exh.cat., Cleveland Museum of Art, Cleveland, Ohio, 1985. 14