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The Flower of
Consciousness and The
Lore of the Lotus: An
Exploration of Lotus
Symbolism in Sacred
Art, Yoga and
Ethnobotany
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This world was water that was moving. He, Prajapati, alone
appeared on the lotus leaf. Within his mind originated a desire may
I create the world Taittriya Aranyaka
Jewel of the Lotus
The lotus has a cherished place in the sacred art of the East
since antiquity. No other flower or symbol is as ever-present in the
depictions of gods and sages, in the erotic and mystical verses of
seer poets, and in the subtle biology of the yogi and shamans. The
lotus was a omen of auspicious splendor, of divine self-generating
birth such as the many lotus-born gods, gurus and saints from the
Buddha to the Tantric master of Tibet Padmasambhava (literally the
lotus born). The earliest mention of the lotus in India may be in the
Rig Veda where it is called puskara and the Atharva-Veda address a
hymn to Mother Earth praising its sweet smell (Basu 2002). The god
of fire, Agni, links with creation myths of the world springing from the
lotus O, Agni, in the beginning atharvan churned thee out of the
lotus, the bearer of all (RV 6.16.13).
As Basu (2002) notes of the Vedic cosmogonical conception,
there were only chaotic waters before the creation. All this was
heaving waters (RV 10.129.3) and the aquatic lotus with its latent
energy has the power of giving stability latent in the surging
waters, which would function as the support of Prajapati, the Creator
(Basu 2002). This will prove a crucial point in understanding the
lotus position and the lotus dais that support gods, kings and
Microcosmic Flowers
'Assuming padmasana and having placed the palms one upon each
other, fix the chin firmly upon the breast and contemplating upon
Brahman, frequently engage the Mula Bandha (root lock) and raise
the apana up; by similar contraction of the Jhalandara Bandha ( the
throat lock) force the prana down. By this, the yogi(ni) obtains
unequalled knowledge through the favor of the roused Kundalini.'
(Hatha Yoga Pradipika, verse 48)
Primordial creations myths speak of the blossoming of creation in
the form of a lotus. The Indian ideas of the supreme creative power
of the lotus permeate all of Asia being used in art, to name sutras,
as code words in Tantra and for the shape of the universe itself. In
Tibet as in India, Above, Heaven is a wheel with eight spokes. In
the middle, the intermediate space is decorated with the eight lucky
signs. Below, the Earth is a lotus with eight petals (Stein 1990).
The blooming of a lotus marks the creation of a world or a god or a
Buddha. The birth of Buddha, as depicted in the Lalitavistara, has a
night where the lotus blooms from the ocean to the heavens.
Brahma collects its all-containing essence and presents it to Buddha
in a scene that recalls soma and later Tantric elixir/amrita potions
and empowering nectars. The visualization of deities are generated
from seed-syllables in the form of a sun and moon disc that rise
from the heart center, which is an eight-petalled lotus (Beer 2004).
Beer also discusses the Tibetan rendering of the I Ching into a
Tibetan system that used an eight-petalled lotus as well as precise
information on the microcosmic and botanical symbolism expressed
in Tibetan art.
Though the precise visualizations or designations of lotuses and
chakras maybe very late, even contemporary in some cases, there
are parallel practices in similar cults. In Chinese tantrism the closed
lotus is also the human heart, (the open lotus or full moon) the heart
of the Buddha. The closed lotus for the heart of an ordinary person
is also known in Taoism and among the Khmers (...it opens up in
the wise man) (Stein 1990). Stein notes the regressive
macrocosmic-- mesocosmic --microcosmic interplay between
cosmology expressed internally and in art and architecture of which
the lotus holds a distinct position. The associations with with fullmoons reflect the deep associations between internal nadis and
alchemy with lunar elixirs and magic plants as discussed in a
separate article Lunar Alchemy: Moon Lore in Chinese and Vedic
Alchemical Sources.
Woodruffe translates some Tantric texts that mention that below
(towards the base of spine) there are Devas symbolized by a
whirlpool and Over it shines the sleeping Kundalini, fine as the
fibers of the lotus stalk. Siddha texts describe the process of
opening the kundalini as strand by strand up the spine
(Padmanabha associated with lower spine I am told by a siddha
doctor) like a lotus stalk as well. Sivavakkiyar describes the cakras
as flowers without buds and in the Siddha tradition the cakras or
lotuses, are upside down except when the kundalini over them,
Formalities
This portion of the paper on the famous lotus position was
inspired by several encounters, conversations and readings of
diverse sources. One conversation was years ago in the context of
this authors intensives into Daoist meditations and qigong practices.
The discussion delved into Indian asanas for meditation and the
other person launched into praise of their masters system with the
fruit of the effort being the fully realized lotus position. This struck
me in that the difficulty (or lack thereof) of seating oneself as such
could be relegated largely to mundane considerations such as
culture as opposed to spiritual maturity. That flexibility be equated
with spirituality is, one supposes, reconciled in similar doctrines of
alchemical and macrobiotic health cults.
For instance a friend from India tells me that all children in his
family and extended family (and thus maybe implying a cultural
norm) sit in lotus from very early age and their flexibility remains.
Likewise many people in the west tell me they instinctively sat that
way as a child, or else their parents were into yoga, or that they are
just naturally flexible enough without any training. Again, one
casually hear it expressed as some validation of practice, something
of a yogic attainment or achievement. But the American Zen
proponent Robert Aitken (1982) writes that few people, even
children, even in Japan are flexible enough to sit in the lotus
position implying that he thinks or thinks his readers will think that
Japanese are more flexible or that they sit in the lotus position
casually.
Several incidents also prompted this article in which I attended
various yoga or meditation situations in which my own choice of legs
first was commented upon. These include a Cambodian saying I
had the wrong leg up on the wrong thigh to my friend told me of a
similar circumstance in which a Korean Buddhist master told him
that his posture was incorrect and that is how females do it. Yet
another person informed me of such an occurrence in a Tibetan
context, of which we will discuss in below. But these incidents
prompted a curiosity into the origins of this revered position and its
evolution and exportation from its likely origins in India. But much of
the history of yoga is based on assumptions that specific postures
and practices were anciently yogic and do not consider if these are
constructs of modern scholars and enthusiasts.
Sitting Lotus
The assumption voiced above was raised by the incisive and
cynical genius of these subjects, one David Gordon White. In his
terms of a six-fold yoga for first time that mentions familiar aspects
of yoga such as pranayama (White informs stopping breath in that
context), pratyahara withdrawing the senses), dhyanam
(meditation), dharana (fixing the mind), tarka (contemplative inquiry),
and Samadhi (concentration) with the shocking omission, for
modern scholars anyway, that there is no mention of asanas or
seated positions. The implications of this lack of asanas, especially
to the modern student of yoga, can be potentially devastating to
cherished notions of an ancient science. Whites theory becomes
clear when contemplating this merging in the mind between crosslegged positions and the dais they sit upon.
White (2009) writes I would argue that in the centuries of the
beginning the common era the cross legged lotus position was a
mark of royal sovereignty, royal gods or goddesses, their priests,
and kings sat enthroned in this posture atop a dais, lotus or cushion.
When Buddhas and Jinas began representing anthropomorphically
in Kushan-era sculpture and coinage, their cross-legged posture
was originally an indication of their royal sovereignty, rather than
any meditative or yogic practice. Once again at length:
Here I would suggest that the term lotus posture or position
(padmasana) derives not from the pose itself, which in no way
resembles a lotus flower, but rather from a throne or seat (asana)
representing a lotus (padma). Such is the case in Hindu Tantra, in
which the primary sense of the term asana is, precisely, the throne
of a deity. Such a throne, which is altogether appropriate for the
royal goddess Sri the divine embodiment of royal sovereignty who
dwells in the lotuswould also be for the Buddha (White 2009).
This is a very compelling deduction and it is very well plausible. I will
offer my own speculation on the origins of the position below, but to
offer some embellishment to this theory I would like to mention a few
things. As mentioned above the lotus symbolism of this posture is
fundamental in stilling the body for prolonged periods. Being
naturally prone to idleness, I have investigated sitting postures
extensively and this one can be maintained for hours with out
paresthesia and circulation can be maintained by subtle shifts and
movements. This combined with the use of the mulabandha roots
the yogi while his energy is flying upwards (Uddiyana) through the
his spine until it blossoms in the 1000 petaled lotus flower
Sahasrara the seventh chakra. Many scholars not the psychoactive
use of lotus, even a few a suggest its the soma (Spess 2000;
McDonald 2004) and I think it was certainly admixture. The
concerted symbolism may behind the possible assuming of this
posture assumed when ingesting the soma or lotus potions. Another
point is that certain yogic activities are associated with the subtle
light-body manifestations of the lotus of the heart and the
blossoming lotus chakra. The seven chakras are also
seen/symbolized/experienced as lotus blossoms.
Not all figures are cross-legged on the lotus are in lotus position
(which we stipulate as having the feet turned up on the thighs with
the knees down and rotation of hips) nor are they always even
sitting cross-legged or lotus position as the legs dangle over in more
casual poses. If one is a yogi all manner of sitting are yogic and
actions are yogic (consider how Milarepa is usually depicted or the
various casual but belted positions of the mahasiddhas). It depends
on what is meant by the term, which White takes to task as well. But
if it can abstractly be reduced to some sense of abiding, either in
meditation or visualization or prayer or all at once then distinctions
truly blur to the most fundamental behaviors of humanity.
Indian Style
Most authors do not discriminate between the general crosslegged posture that is found represented in art the world over in
ancient times to the more precise lotus posture with the upturned
feet and knees down. Contemporary yoga recognizes a half-lotus or
accomplished pose siddhasana (as well as variations of the lotus
upside down and reclining etc. examples in full version). The actual
definition of a lotus position (full external rotation of the hips in
flexion) of that precision may have been a later evolution of postures
assumed for regal or pious reasons, or it may be the limitations of
primitive art in depicting accurately. The notions of secrecy might
factor in these matters as being esoteric doctrines that evolved and
became occult. But as they questions are likely not to be resolved
satisfactorily there might be room for speculation of a distinctly
Asian posture that evolved into a system. Certainly an Indian or
Chinese origin might be prime suspects for such a science that was
always seemingly vaguely associated with ritual plants, alchemy,
macrobiotic or fasting techniques as well as breath and
manipulations of the body that might be called psycho-sexual drug
yoga.
Practicing yoga in the forest I have just been still enough and for
long enough that certain wild animals gradually forgot that a human
was invading their woods and moved about quite close. I wondered
if the actual position evolved from starving (evolving to fasting)
hunters, who devised a posture to remain utterly still for long periods
(lotus position) and who tried to conceal their smell by covering
themselves with ashes (bhasma). One of the incarnations of Shiva
is kiratar or the hunter and his various forms as Rudra are
associated with the bow and archer that transcend from killing game
to killing the darkness of ignorance. Many artistic renderings of
Shiva, and other yogis, will have them sitting on the skin of a wild
animal (symbolizing the slaying of their passions). The wild animal
pelt of the hunter is still used in many traditions as the standard mat
for meditation and cultivation. This also connects with the discussed
horned god sometimes identified as Shiva, the Lord of animals
(though White doubts the depiction on the seal is Shiva or depicting
yoga.) The most beautiful example of Shiva in the lotus position was
in the home of one guru and it pictured the lord on skins naked with
his bow and three arrows down before him. The guru explained this
was because he invented the doctrine of ahimsa or non-violence.
A hunter becoming disillusioned with hunting is the basis of many
tales the most famous being the famous Banyan deer story. The
hunter progresses up the wheel of incarnations such as with King
Chitrabhanu who was too late in the woods to return to his starving
family with his game. The deer was tied on a bael tree branch and
he climbs up dropping leaves and crying tears of sorrow for his poor
family. At the time of death, I saw two messengers of Lord Shiva.
They were sent down to conduct my soul to the abode of Lord
Shiva. I learnt then for the first time of the great merit I had earned
by the unconscious worship of Lord Shiva during the night of
Shivaratri. They told me that there was a Lingam at the bottom of
the tree. The leaves I dropped fell on the Lingam. My tears which I
had shed out of pure sorrow for my family fell onto the Lingam and
washed it. And I had fasted all day and all night. Thus did I
unconsciously worship the Lord.
The 18 Siddha sit with various legs (right or left foot placed on
opposite thigh first)
first and right leg on top is of no use at all." He also noted that the
lotus done in this way stimulates insulin production.
Contemporary teachers have suggested performing Padamasana
on both side to balance the body. Improving the symmetry of the
body is achieved by through the standing postures. However, the
postures that strongly influence the abdominal and thoracic cavity,
such as Padamasana, do not have have the function of making the
body symmetrical, but of accommodating the symmetry of the
abdominal and thoracic organs. To accommodate the fact that the
liver is in the right side of the abdominal cavity and the spleen in the
left, the right leg is first placed into position with the left leg on top."
In Tibet, where the full lotus pose is called rdo rje'i skyil krung is
also called the vajra pose and the definitive text in the west on
Tibetan yoga or Yantra Yoga instructs for the Flaming Lotus to
cross your legs in vajra posture with the left leg under the right with
the footnote adding to reverse this for females (Norbu 2008). In
other words one puts the left foot on the right thigh first corresponds
to personal instructions I have been given from various lamas. But
the introductory text on tummo describes the preliminary practices
advises one to assume the full-lotus position with your right foot on
the left thigh and your left foot on the right thigh implying that the
right foot goes first (Yeshe 1998). But a class on such things reveal
people, irregardless of sex, assuming the position as they wished
with no corrections forthcoming as what seemed crucial, as Lama
Yeshe's text notes, is that the spine is straight. This accords with the
theory of the lotus and spine as stem symbolism. A scientific study
of of tummo deduced that the toes were protected from heat loss by
the lotus position, and remained elevated for circulation (Benson et
al 1982).
The Japanese styles seem to favor the right foot on the left thigh
first for kekka fuza. These stem from the traditions known in the
sutras as the five positions of Vairocana or in the tantras as the
seven positions or Dharmas of Vairocana. I have seen Korean,
Cambodian and Indian representations, practitioners and
photographs of different feet in different orders even in the same
artistic grouping.
Spess (2000) argues that the lotus and related plants is the soma
of the Vedas and makes a cogent argument for its place in the
visionary plants of ancient mystics from Egypt into India and the rest
of Asia. It is certainly very gentle and subtle in its effects, perhaps
more Buddhist than Vedic, though that is based on perhaps
prejudicial readings of sources. But it is easy to write this herbs
effects off, some claim placebo, but the extracts effect on visual
perceptions alone and the noted aphrodisiac effects, beg this herb
be given more attention. The petals are not a bad smoke as well
and though mild, its fragrant enough and lacking acridity to be
thoroughly pleasant, again with other smoked plants. Said to be
especially attributed to Arya Tara and Manjugosha. The five
precious medicines, and one list is from Beyer (1978) which is stag
tser (vyaghra-hantaka), kantakara, aparajitam, utapala, and
indrapani which he says are Potentilla discolor, Sambucus
racenisam Clitoria ternate, Nymphaea caerules, and Belamcanda
chinensis.
Robert Beer (2004) describes the blue lotus Skt. utpala or nilabja or
nilakamala as especially sacred to Green Tara, representing purity
and compassion. He notes that ut pa la in Tibetan usually refers to
blue lotus but also mentions other colors. The White lotus, Sanskrit
upadarika, kumudo, Tib. pad ma dkar po or edible lotus, Nymphaea
esculenta is esteemed by White Tara, its sixteen or one hundred
petals symboling purity and perfection. The red or pink Melumbium
speciosum is known as Sanskrit kamala Tibetan pad ma dmar po is
the one most used in dais or lotus seats. The yellow utpala is really
a water lilly, while the black or night lotus is a dark indigo species of
nilakamala or blue lotus.
Note: I have rarely met an athletic or healthy female that could not
do the position, even if it took some initial effort while many males
have told me they could not do it or only after a period of stretching.
Perhaps women are involved in sports or activities that promote
increased flexibility or even perhaps biologically women are
naturally more flexible. Hip flexibility is a primary concern here, and
a study (Hamilton et al 1992) suggested
that ballet dancers of both sexes had equal difficulty assuming the
lotus position.
References
Aitken, Robert. (1982). Taking the path of Zen. North Point Press.
Basu, Santona (2002). The Lotus Symbol in Indian Literature and
Art. DK Fine Arts Press P Ltd.
Beer, Robert (2004). The encyclopedia of Tibetan symbols and
motifs. Serindia Publications, Inc.
Benson, H. et al. (1982). Body temperature changes during the
practice of g Tum-mo yoga. Nature.
Beyer, S. (1978). The Cult of Tara. University of California Press.
Ganapathy, T.N. (2003). The Yoga of Siddha Boganthar. KYP.
Hamilton, G. et al. (1992) A profile of the musculoskeletal
characteristics of elite professional ballet dancers. Am J Sports Med
June vol. 20 no. 3 267-273
Magee, Mike (2010). Kulachudamani Tantra.
http://www.shivashakti.com/kulachu.htm
Maehle, Gregor (2007). Ashtanga Yoga: Practice and Philosophy.
New World Library.
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