THE EIGHT AUSPICIOUS SYMBOLS
This set of symbols is very popular in Tibet, but is also known in Sanskrit as 'Ashtamangala', ashta means eight and mangala means auspicious.
The Umbrella or parasol (chhatra) embodies notions of wealth or royalty, for one had to be rich enough to possess such an item, and further, to have someone carry it. It points to the "royal ease" and power experienced in the Buddhist life of detachment. It also symbolises the wholesome activities to keep beings from harm (sun) like illness, harmful forces, obstacles and so forth, and the enjoyment of the results under its cool shade.
The Golden Fish (matsya) were originally symbolic of the rivers Ganges and Yamuna, but came to represent good fortune in general, for Hindus, Jain and Buddhists. Within Buddhism it also symbolises that living beings who practice the dharma need have no fear to drown in the ocean of suffering, and can freely migrate (chose their rebirth) like fish in the water.
The Treasure Vase (bumpa) is a sign of the inexhaustible riches available in the Buddhist teachings, but also symbolises long life, wealth, prosperity and all the benefits of this world. (There is even a practice which involves burying or storing treasure vases at certain locations to generate wealth, eg. for monasteries or dharma centers.)
The Lotus (padma) is a very important symbol in India and of Buddhism. It refers to the complete purification of body, speech and mind, and the blossoming of wholesome deeds in liberation. The lotus refers to many aspects of the path, as it grows from the mud (samsara), up through muddy water it appears clean on the surface (purification), and finally produces a beautiful flower (enlightenment). The white blossom represents purity, the stem stands for the practice of Buddhist teachings which raise the mind above the (mud of) worldly existence, and gives rise to purity of mind.
An open blossom signifies full enlightenment; a closed blossom signifies the potential for enlightenment.
From the website Exotic India Art:
"The lotus does not grow in Tibet and so Tibetan art has only stylized versions of it. Nevertheless, it is one of Buddhism's best recognized motifs since every important deity is associated in some manner with the lotus, either being seated upon it or holding one in their hands.
The roots of a lotus are in the mud, the stem grows up through the water, and the heavily scented flower lies above the water, basking in the sunlight. This pattern of growth signifies the progress of the soul from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment. Though there are other water plants that bloom above the water, it is only the lotus which, owing to the strength of its stem, regularly rises eight to twelve inches above the surface.
Thus says the Lalitavistara, 'the spirit of the best of men is spotless, like the lotus in the muddy water which does not adhere to it.' According to another scholar, 'in esoteric Buddhism, the heart of the beings is like an unopened lotus: when the virtues of the Buddha develop therein, the lotus blossoms; that is why the Buddha sits on a lotus bloom.'
Significantly, the color of the lotus too has an important bearing on the symbology associated with it:
1). White Lotus (Skt. pundarika; Tib. pad ma dkar po): This represents the state of spiritual perfection and total mental purity (bodhi). It is associated with the White Tara and proclaims her perfect nature, a quality which is reinforced by the color of her body.
2). Red Lotus (Skt. kamala; Tib: pad ma chu skyes): This signifies the original nature and purity of the heart (hrdya). It is the lotus of love, compassion, passion and all other qualities of the heart. It is the flower of Avalokiteshvara, the bodhisattva of compassion.
3). Blue Lotus (Skt. utpala; Tib. ut pa la): This is a symbol of the victory of the spirit over the senses, and signifies the wisdom of knowledge. Not surprisingly, it is the preferred flower of Manjushri, the bodhisattva of wisdom.
4). Pink Lotus (Skt. padma; Tib. pad ma dmar po): This the supreme lotus, generally reserved for the highest deity. Thus naturally it is associated with the Great Buddha himself."
Teoh Eng Soon, in his book The Lotus in the Buddhist Art of India, traces the first appearance of the lotus in Buddhist art to the columns built by Asoka in the 3rd Century BCE. However, the lotus is found frequently in the early Buddhist texts.
The Conch (shankha), which is also used as a horn, symbolises the deep, far reaching and melodious sound of the teachings, which is suitable for all disciples at it awakens them from the slumber of ignorance to accomplish all beings' welfare.
The Auspicious or Endless Knot (shrivatsa) is a geometric diagram which symbolises the nature of reality where everything is interrelated and only exists as part of a web of karma and its effect. Having no beginning or end, it also represents the infinite wisdom of the Buddha, and the union of compassion and wisdom. Also, it represents the illusory character of time, and long life as it is endless.
The Victory Banner (dhvaja) symbolises the victory of the Buddha's teachings over death, ignorance, disharmony and all the negativities of this world, and victory over. The roofs of Tibetan monasteries are often decorated with victory banners of different shapes and sizes.
The Dharma-Wheel (Dharmachakra); it is said that after Siddharta Gautama achieved enlightenment, Brahma came to him, offered a Dharma-Wheel and requested the Buddha to teach. It represents the Buddhist teachings (see above).