Hindu Icons and Symbols - Intro

Hindu Icons and Symbols - Intro 

Definition- Icon (ikon) is a word derived from the Greek and is defined as an image or representation of a religious figure. Iconology is the study of icons.

Symbolic meanings of various rituals and paraphernalia are first given in the Brāhmaṇas and Āraṇyakas, and later the iconic symbols are explained in the various Purāṇas such as Śrīmad Bhāgavatam, Viṣṇu Purāṇa, Śiva Purāṇa; Upaniṣads such as Gopāla-uttara-tāpini Upaniṣad, Kṛṣṇa Upaniṣad 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 often 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 them 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.

The technique of Icons

Brahma-vid āpnoti param — Taittirīya Upaniṣad.

One who contemplates upon the Brahman attains the Supreme.

The Upaniṣads prescribe many techniques for spiritual advancement but the most prominent of them is upāsanā. Upāsanā (upa + āsana) literally means –‘sitting near’ and refers to the act of meditation. The term Upāsānā can be translated as worship, contemplation, devotion, the making of offerings etc.

The icons are primarily used for this practice of Upāsānā. They not merely "representations" of the Godhead but are in fact a "focus" or "locus" of the presence of the Godhead. This means that God is actually present in the icons.

How is this doctrine justified?

Firstly God is omnipresent (all-pervading), omniscient (all-knowing) and omnipotent (all-powerful). The entire creation is pervaded by the Godhead, there is no place or thing in this universe which is devoid of the presence of God. So naturally it follows that the Godhead is also present in the icon. When the icon is properly consecrated according to the prescribed rites —God is implored to be especially present in the icon out of compassion and love so that we in turn may love and adore Him/Her.

Secondly God is the Inner-witness who knows our every thought and emotion, and Scripture tells us that God always responds to our devotion. So God with a small fraction of His limitless being takes up residence in the consecrated icon in a very special and specific way, and because by definition God is omnipotent —all-powerful, this empowering of the icon is certainly no great effort on his part!!

The Divine is all-pervading and intimately close. The entire universe is pervaded within and without by Divinity. The Divine cannot be confined to the icon because of omniscience but through the power of mantras (sacred formulae) and mudras(ritual gestures) the Divine Essence is invoked into the icon and It, through Its infinite mercy condescends to take residence in the gross object for the purpose of receiving the worship of devotees and bestowing Grace.

In other words the divine Presence is particularized or focused in the icon. The energy that is already there is awakened, it does not enter from somewhere outside. The image of stone or brass is thus transformed into a living entity. Its actual shape and ornamentation are symbolic and convey meaning in every single aspect.

Once the invocation ceremony (prāṇa-pratiṣṭhā) has been performed, the icon is no longer regarded as merely 'symbolic' but as a mūrti which means 'a materialization or embodiment' of the Divine.

TERMINOLOGY:

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

bera — image

mūrti — 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.

Arcā — 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 Saṁhitā 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 Samhitā 29; 49b — 58. It is pointed out that it is beyond the capabilities of an average human being to adequately conceive of the Supreme Person 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 Saṁhitā 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 Lord should be worship through an icon.

The Sriprashna Saṁhitā 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.

The Temple Structure and Icons:

 The human body is the temple for the Indwelling Spirit of God (Antaryāmin). All the various parts of the temple structure correspond to various parts of the human body.

The temple is the physical body which houses the presence of Divine. So the actual building of the temple itself is a symbol of the presence of the Divine in the world.

The temple with all its intricate imagery represents the universe in all its variety and just as on the macrocosmic scale the universe is the body of the Divine so on a microcosmic scale when the icon represents the manifested Godhead; the temple is It's Body.

Types of Icons:

Two types of icons are encountered in the temple:

There is the main deity which is usually carved out of stone or sometimes in the case of very large icons such as in Srirangam temple they are moulded out of plaster. This is known as the mūla vigraha, and once installed can never be removed — this icon receives all the daily services.

The second type of icon is known as the proxy icon (utsava vigraha). It is smaller than the main icon and is usually constructed of an alloy of 5 metals (pañca-loha).

During festivals the Spiritual Energy [shakti] from the main icon is transferred temporarily into the proxy icon which is then taken out in procession and receives particular services.

The icons for use in the home for daily worship are either pictures or metal images. Metal images, when used for worship should be about 14 cms high.