Nelumbo nucifera, commonly known as the Sacred lotus or Indian lotus, stands as one of the two surviving species of aquatic plants within the Nelumbonaceae family. Often casually referred to as a water lily, it differs significantly from members of the Nymphaeaceae family.
These lotus plants have uniquely adapted to thrive in the flood plains of slow-moving rivers and delta regions. Each year, these plants shed hundreds of thousands of seeds into the pond. While some seeds sprout immediately and many become a part of wildlife diets, the remaining seeds possess the remarkable ability to remain dormant for extended periods, lying in wait as ponds silt in and dry out. During flood periods, sediments housing these dormant seeds crack open, allowing the revitalization of new lotus colonies.
The seeds of this perennial aquatic plant can endure for many years under favorable conditions. Remarkably, the oldest recorded lotus germination derived from northeastern China. This unique longevity has led to the lotus being regarded as a symbol of endurance and long life in Chinese culture.
The native distribution of Nelumbo nucifera is exceptionally vast, spanning from central and northern India to regions across northern Indochina and East Asia, extending as far north as the Amur region. There have been occasional sightings in isolated areas at the Caspian Sea. Presently, this species is found in southern India, Sri Lanka, almost all of Southeast Asia, New Guinea, as well as parts of northern and eastern Australia. However, its presence in these regions is likely due to human interventions, representing translocations.
With a history of cultivation spanning approximately 3,000 years, the lotus has been prized for its edible seeds and is a common sight in water gardens. Notably, it holds significant cultural value, being designated as the national flower of both India and Vietnam.
Nelumbo nucifera, commonly known as the lotus, holds significant religious importance in various Indian faiths such as Hinduism, Buddhism, Jainism, and Sikhism.
In Asian artistic representation, a lotus throne is a stylized depiction of the lotus flower serving as a seat or foundation for a figure. Typically, it functions as the customary base for divine figures in Buddhist and Hindu artistic traditions and is frequently observed in Jain artwork. Initially emerging in Indian art, the concept of lotus thrones migrated along with Indian religions to East Asian cultures, particularly influencing their art forms.
Within Hinduism, the lotus, specifically Nelumbo nucifera, holds profound symbolism intertwined with various deities. Vishnu, Ganesha, Shiva, Durga, Kali, and Saraswati are among the revered figures associated with the lotus in Hindu religious iconography.
The lotus flower serves as a significant element in representing divine entities. Vishnu and Lakshmi are frequently portrayed seated on a pink lotus, while deities like Brahma, Saraswati, and Kubera typically occupy a stylized lotus throne. In the depiction of Vishnu as Padmanabha (Lotus navel), a lotus emerges from his navel with Brahma seated on it. The goddess Saraswati is often depicted on a white lotus. The lotus stands as a symbol of what is divine or immortal within humanity and embodies notions of divine perfection. It is also associated with sun and fire gods and signifies the realization of inner potential.
In Hindu literature, both Puranic and Vedic texts extensively reference the lotus. For instance, the Bhagavad Gita illustrates its significance by drawing parallels: “One who performs duty without attachment, surrendering the results to the Supreme Lord, remains untouched by sinful action, akin to the lotus untouched by water.” The symbolism of the lotus extends to the soul’s expansion, signifying spiritual growth emerging from the mire of its origin, carrying a promising spiritual message. Additionally, deities like Ganga and Ganesha are often depicted with lotus flowers adorning their seats in Hindu iconography.
The Aṅguttara Nikāya, a collection of Buddhist scriptures, contains a notable comparison made by the Buddha himself. In this text, the Buddha likens himself to a lotus (referred to as “padma” in Sanskrit and “paduma” in Pali). He draws this analogy to illustrate that, just as the lotus flower rises unsullied from muddy waters, he too emerges from this world, untainted by the defilements described in the specific sutta.
In the realm of Buddhist symbolism, the lotus embodies the concept of purity in body, speech, and mind. It is as if the lotus, floating gracefully above the turbid waters of material attachments and physical desires, serves as a visual representation of this spiritual purity. Traditional biographies of Gautama Buddha mention that the first seven steps he took caused lotus flowers to blossom in his wake.
Lotus thrones serve as the customary pedestals for many prominent figures in Buddhist art, and this tradition also extends to figures in other Indian religions.
In the context of Tibetan Buddhism, Padmasambhava, known as the “Lotus-Born,” is revered as the Second Buddha. He is credited with introducing Buddhism to Tibet, achieved through the conversion or subduing of local deities. Depictions of Padmasambhava often feature him holding a lotus flower, and there is a belief that he was born within the heart of a lotus. This association with the lotus further underscores the symbol’s significance within Buddhist traditions.
The lotus holds symbolic significance in Jainism, much like it does in other Indian religions. In Jain tradition, the lotus represents purity, enlightenment, and detachment from the material world.
Jainism, an ancient Indian religion, views the lotus as a symbol of spiritual awakening and growth. Just as the lotus emerges from the muddy waters unstained, Jains aspire to rise above the impurities of the material world and achieve spiritual purity. The lotus is considered a representation of purity of thought, speech, and action in Jain philosophy.
Moreover, in Jain art and religious depictions, the lotus often serves as a prominent seat or pedestal for revered figures. It is used as a symbolic base for the representation of revered Tirthankaras and other deities in Jain iconography, symbolizing their detachment from the world while being firmly rooted within it.
Jainism’s association with the lotus aligns with the broader context in Indian religions, signifying spiritual evolution, purity, and detachment from the worldly attachments in the pursuit of higher consciousness and enlightenment.
The revered founders of Jainism, known as Tirthankaras, are often depicted in Jain tradition either seated or standing on lotus thrones. One such Tirthankara, Padmaprabha, draws his identity from the symbolism of the lotus. The name Padmaprabha, rooted in Sanskrit, translates to ‘bright as a red lotus’. According to Śvetāmbara sources, it is believed that his mother had a strong inclination towards a couch made of red lotuses (padma) during her pregnancy with Padmaprabha. This association with the lotus not only shapes the iconography but also forms a significant part of the narrative surrounding the origins of this particular Tirthankara in Jain tradition.
The Lotus Temple, located in Delhi, India, is a prominent architectural marvel and a Bahá’í House of Worship. Renowned for its distinctive lotus flower-inspired design, the structure embodies the Bahá’í principle of unity and oneness. The Mashriq al-Adhkār, meaning “place where the uttering of the name of God arises at dawn,” stands as a temple or house of worship central to the Bahāʾī faith. Noteworthy for its nine-sided construction, aligning with the Bahāʾī belief in the mystical significance of the number nine, the mashriq embodies a key aspect of the faith’s architectural symbolism.
It is open to people of all religions and beliefs, offering a space for silent prayer, meditation, and reflection. The temple’s striking lotus-like appearance, composed of 27 free-standing marble-clad “petals,” symbolizes purity, peace, and the divine manifestation found in various religions. The Lotus Temple stands as an architectural wonder, inviting visitors to contemplate and seek spiritual solace within its serene and inclusive environment. Emphasizing a lack of ritual and clergy, the mashriq welcomes adherents of all religions, offering a straightforward service involving readings from the sacred Bahāʾī writings and texts from other faiths. The vision of the Bahāʾī community includes the establishment of a mashriq in every substantial community, functioning as the nucleus of a social center. These centers would encompass facilities such as hospitals, orphanages, dispensaries, and schools, fostering a holistic community structure rooted in the Bahāʾī principles of unity and service.
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