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'Dhvaja' (Skt. also Dhwaja; Tib. rgyal-msthan), meaning banner or flag.

Contents

Vedic outlook

Rama's twist

Buddha's realm

Tibetan architecture

References

See also

Vedic outlook

Vedic (Rigveda) sacrifices originated with a cosmic self-sacrifice of Purusha for the creation, maintenance and redemption of the entire universe. Purusha was called Yupa Dhvaja ('Stake-flagged') because the instrument of his cosmic sacrifice was a sacred cross or post ('Axis Mundi Yupa Stake' - simply Yupa), to which Purusha was fixed in the primal 'Purusha Sukta Hymn'. Thus the developed Vedic sacrificial system, sacrificial victims were fixed to Yupa, in memory of Purusha's cosmic sacrifice. Dhvaja in the Brahmanic cults, takes on the appearance of a high column (dhvaja-stambha) erected in front of temples.

Rama's twist

★ 'Dhvaja' banner was a military standard of ancient Indian warfare.
In the epic book Ramayana the messenger, warrior and servant of Rama was Hanuman who had extraordinary skill in warfare and terror of Rakshasas. In a conflict with Ravana he accidentally set the island fortress Lanka on fire. In order to cool himself down, Hanuman jumped into the sea. A drop of his perspiration fell into the mouth of a great fish which gave birth to a mighty hero named Makara Dhvaja (also or Makar-Dhwaja; Magar Dhwaja; Makardhwaja). Makara Dhvaja is considered the son of Hanuman^[1].

Buddha's realm

Makara Dhvaja has become latter an emblem of the Vedic god of love and desire - Kamadeva. As the 'tempter' (Skt. ''mara''), or 'deluder' (Skt. Maya (illusion)), Kamadeva was the Hindu counterpart of the Mara, the 'evil one', who attempted to obstruct the Buddha from attaining enlightenment. In early Buddhism the concept of Mara as a demonic obstructor to spiritual progress was presented as group of four 'maras' or 'evil influences'. As a symbol of the Buddha's victory over the four ''maras'', the early Buddhists adopted Kamadeva's emblem of Makara Dhvaja (also ''makaradhvaja''), and four of those banners were erected in the cardinal directions surrounding the enlightenment stupa of the Tathagata or Buddha.

Tibetan architecture

Within the Tibetan tradition a list of eleven different forms of the victory banner is given to represent eleven specific methods for overcoming defilements. Many variations of the dhvaja's design can be seen on the roofs of Tibetan monasteries to symbolyze the Buddha's victory over four maras. In its most traditional form the victory banner is fashioned as a cylindrical ensign mounted upon long wooden axel-pole. The top of the banner takes the form of a small white parasol, which is surrounded by a cenntral wish granting gem. This domed parasol is rimmed by an ornate golden crest-bar with makara-trailed ends, from which hangs a billowing yellow or white silk scarf (see top right). As a hand held ensign the victory banner is an attribute of many deities, particularly those associated with wealth and power, such as Vaiśravaṇa, the Great Guardian King of the north. As roof-mounted ensign the victory banners are cylinders usually made of beaten copper (technique similar to Toreutics) and are traditionally placed on the four corners of monastery and temple roofs. Those roof ornaments usually take the form of a small circular parasol surmounted by the wish-fulfilling gem, with four or eight makara heads at the parasol edge, supporting little silver bells (see the Jokhang Dhvaja on the left). A smaller victory banner fashioned on a beaten copper frame, hung with black silk, and surmounted by a flaming trident is also commonly displayed on the roofs (see the Dhvaja on the roof of the Potala Palace below).^[2][3].

References

1. SRI HANUMAN by SRI SWAMI SIVANANDA, from the book "Essence of Ramayana"
2. A Handbook of Tibetan Buddhist Symbols by Robert Beer, Shambhala, 2003, p.13
3. The Encyclopedia of Tibetan Symbols and Motifs by Robert Beer, Shambhala, 1999, p.180

See also

★ Potala Palace

★ Sitatapatra