THE ENCYCLOPEDIA OF TIBETAN SYMBOLS AND MOTIFS
By ROBERT BEER
Boston: Shambhala, 1999. 372 pages, $60 Valrae

Reynolds

The dizzying array of symbols present in even the most run-of-the-mill Tibetan paintings has long mystified most Westerners. What are all those composite animals, stylized flowers, dismembered body parts, and strange ritual objects? Which aspect of arcane Tibetan Buddhist iconography do they represent? We can now take heart that a humane and lucid artist/writer has undertaken to lead us gently through this maze.
Robert Beer's informative new book on Tibetan symbols and motifs is, thankfully, not just for scholars. Nor is it the dry tome that the title "encyclopedia" might suggest. Rather, the book reflects Beer's first calling-that of an artist. He loves flying nagas and snow lions, and the rhythmic energy of cloud patterns and lotus scrolls. As a student of Buddhism, Beer also appreciates the cosmic, architectural, and anthropomorphic meanings of the stupa and the supranormal power of the fierce weapons held by certain protector deities. Although there are no footnotes and only a brief selected bibliography, it is obvious that the author has researched the esoteric iconography of these myriad symbols with great care. Unfortunately, the book also lacks an index, but it does have a useful and detailed table of contents and list of plates.
Beer approaches this great body of material as an artist would, sketching out his canvas: landscape elements, then flowers and trees, next animals. The chapter on animals includes yaks, horses, and elephants as well as the fantastic creatures of Indic, Chinese, and Tibetan mythology such as the makara and the kirtimukha. Under "Cosmology," such esoterica as the "all-power-10" interlocking syllables and the kundalini yoga chakra system are shown in beautiful drawings and fully discussed. Peaceful and violent offerings, ritual weapons, and monastic implements are also to be found among the twelve chapters.
It is quite easy to find a particular symbol or motif, both in the clear line drawings and in the straightforward text. For example, chapter 8 discusses auspicious symbols, which frequently appear not only in Tibetan painting but also on teapots, tents, jewelry, and numerous other Tibetan objects. The most common of these groups are the eight auspicious symbols: parasol, pair of fishes, treasure vase, lotus, conch shell, endless knot, banner of victory, and wheel. Beer gives information on the Indic origins of these emblems, their Buddhist philosophical meanings, and their artistic uses. He then discusses each symbol at length, noting both Sanskrit and Tibetan terms. Twelve separate plates of drawings show variations on the eight symbols, individually and in groups. The reader can expect, henceforth, to easily identify the group of eight when looking at Tibetan art, architecture, and artifacts.

Chapter 10, "The Wheel of Sharp Weapons," is particularly rich and helpful in dealing with some of the most difficult Tibetan imagery: the fierce objects. Newcomers to Tibetan art are usually taken aback to see destructive weaponry and bloodletting depicted in what "should" be a pacifist culture. Beer gives accurate and nicely phrased overviews to the historical developments and philosophical meanings behind the major Tibetan "sharp weapons." These include the vajra/ dorje (thunderbolt scepter/diamond-hard stone), which is the quintessential emblem of Vajrayana Buddhism, as well as the kila/phurpa, the triple-bladed dagger or spike used to mark hallowed ground and to "stab" obstructing demons. Other forms of charnel and funeral imagery so central to tantric Buddhism, such as skull-and-bone implements and "blood" offerings, are depicted and explained as Buddhist means to defeat the root causes of evil, to transform the hateful illusions of the human ego into wisdom and compassion.
Beer's system doesn't work as well for the more nuanced elements seen in Tibetan art. In the mudra chapter, four plates show a total of a hundred forty-seven separate hand and foot positions, which are identified only in the text discussions. Individual numbering of the drawings of hands and feet would have made it much easier to locate the names and meanings of each mudra in the text. Perhaps, Beer (or his editor?) didn't want us to get the "quick answer." By forcing the reader, for example, to go through seven paragraphs discussing plate 74, single-hand madras, Beer slows us down to savor all of the subtle meanings behind the graceful hand gestures.
Despite these minor annoyances The Encyclopedia of Tibetan Symbols and Motifs is a most welcome addition to the field. For initiates, it is a fine compendium of all the strange and wonderful forms to be found in Tibetan art. For the novice, it is a personable and reliable introduction to Tibetan religion and life views.

Valrae Reynolds is Curator of Asian Collections at The Newark Museum and author of From the Sacred Realm: Tibetan Art from The Newark Museum.