Earlier I speculated on how the Shambhala Mythologem may have Arrived in Istanbul Via the Silk Road. Now the carpet cognoscente at the scintillatingly entertaining and informative Tea and Carpets Blog are pointing out what may be Buddhist influences in Ottoman Court Carpets:
Some of the most striking carpets of the Ottoman era are as white as a painter’s canvas and covered with finely drawn, mysterious icons. The never-changing symbols repeat in array after array, like waves building strength, creating a powerful, mesmerizing effect The mysterious icons are the “chintamani,” three balls hovering over a pair of cloud-like wavy lines. And for much of the 16th and 17th centuries, they held a special fascination for Ottoman court artists.
In carpet literature, the design is often said to derive from a Buddhist emblem. The word chintamani itself comes from Sanskrit and in Buddhist philosophy signifies a treasure ball or wish-granting jewel. A Buddhist background for the design is an appealing argument because it also recalls the distant past of the Turkic tribes who migrated to Anatolia from Central Asia and created the succession of dynasties that culminated in the Ottoman Empire.
A Chintamani Carpet from the Ottoman EraAccording to one definition of Chintamani:
Cintamani, also spelled as Chintamani (or the Chintamani Stone), is a wish-fulfilling jewel within both Hindu and Buddhist traditions. In Buddhism it is held by the bodhisattvas Avalokiteshvara and Ksitigarbha. It is also seen carried upon the back of the Lung ta (wind horse). Within Hinduism it is connected with the gods, Vishnu and Ganesha.
The Chintamani Symbol is of course also connected with notorious Shambhalist Nicholas Roerich.
Three circle motif in Roerich’s painting “Oriflamma”
Chintamani motif in Roerich’s painting “Sign of Chintamani”The connection between the Sufis of Istanbul and Shambhala is still under investigation. In the meantime, since The Ottomans are Back might we soon see a resurgence of Chintamani Carpets?
