Egyptian Lotus flower
Egyptian Lotus flower symbol which was called Sesen in the Egyptian language. It is a symbol of the sun, of creation and rebirth. At night the flower closes and sinks underwater, at dawn it rises and opens again. According to one creation myth it was a giant lotus which first rose out of the watery chaos at the beginning of time. From this giant lotus the sun itself rose on the first day.

Eastern Lotus flower
In the East, the lotus flower is viewed as a symbol of spiritual enfoldment. The lotus has its roots in earthly mud, but as it grows upward in aspiration toward the light, its petals open out in a beautiful flower. Om Mani Padme Hum, meaning, «Hail to the Jewel in the Lotus» is the sacred mantra of the Tibetans.

Christian Lotus flower
«Blessed are the pure in heart», said Jesus, «for they shall see God». The teachings of the Galilean Master and those of India's great yogis were cut from the same cloth of Self-realization. Only when the likes and dislikes of the heart, and their resultant vortices of desire and aversion, have been dissolved, in short, when the heart has been purified, can Self-realization be attained. Most efforts to transform one self involve a laborious struggle to correct an endless array of individual faults. It would be like trying to realign each molecule in a bar of steel separately.

Indian Yoga Lotus flower
The ancient yogic technique of Kriya Yoga, brought to America by Paramhansa Yogananda, is central and direct in its application to this spiritual awakening. Kriya Yoga directs energy lengthwise around the spine, gradually neutralizing the edges of the verities. At the same time, it strengthens the nerves in the spine and brain to receive cosmic currents of energy and consciousness.

Summary
Symbols are a means of bringing subtle, inner realities to a focus in outward expression. Within the fundamental unity of consciousness, certain symbols, such as the lotus lifting itself in purity above the muddy water, possess universal relevance and power.

Name of the Sutra
The Sutra in Sanskrit word is called Saddharmapundarika Sutra.
Sad means wonderful, fine, proper.
Dharma means teaching, generally used to described the Buddhist teaching.
Pundarika means white lotus flower.
The simplest name is, of course, the Lotus Sutra.

The original text & its propagation & translation
The Lotus Sutras is one of the few whose original text is written in Sanskrit nowadays. Probably, it was once written in dialect in east India, and was transmitted to NW India around the second century A.D., and then written in Sanskrit for further propagation. The Sutra was widely spread to Central Asia and Nepal. Since then, it has been translated in many different languages.
The Sutra was certain in its composition when the first Chinese translation was made by Dharmaraksa in A.D. 286. There were at least six Chinese versions, but only three are still in circulation. Amongst the three, the version translated by Kumarajiva in A.D. 406 is widely known and accepted. It is the most authoritative version on which the present English translation is based. The standard in rendering his oral languages is extremely high. It was a work of great literacy merit. The form of construction is strict, but it is easy to read.
Another Chinese version translated by Jnanagupta and Dharmagupta in A.D. 601 is the third one still in existence.

Veneration for the Sutra
The Lotus Sutra was spoken by Shakyamuni Buddha before he entered Nirvana. It is the Buddha's ultimate teaching i.e. the most final Dharma, containing his final revelation on the universality of salvation, the true nature of Buddhahood, and the best and universally applicable means of attaining Buddhahood.
The Sutra is regarded as the pure, complete, unique and solitarily wonderful teaching in Buddhism. It is also said that all other Sutras were spoken for the sake of the Lotus Sutra, and so it is «the King of the Sutras».
In the first few centuries, Nagarjina and Vasubandhu manifested and promoted the Mahayana Buddhism. The Lotus Sutra was certainly one of the important Sutras venerated by the two great Dharma masters. Vasubandhu wrote a commentary on the Lotus Sutra, which is still one of the oldest and most authoritative Shastra nowadays in India.
Apart from China, the Sutra has been particularly influential to the Buddhists in Korea, Japan and other regions of eastern Asia over many years. It has been held in high regard, and generally well known in the West too.
If Buddhist disciples do not understand the Lotus Sutra, they don't understand Buddhism, because the speaking of the Lotus Sutra is the final goal of the Buddha's life. The Lotus Sutra vigorously advances the position that the superior person only knows the way to ultimate bliss and wisdom, but also helps others to find the Way.

Meaning of the Title
According to the Seven Title Classifications, the Wonderful Dharma Flower Sutra is established by reference to a Dharma and an analogy. The Wonderful Dharma is a Dharma, and the Lotus Flower is an analogy. Because the Wonderful Dharma is difficult to understand, the Lotus Sutra is used as an analogy.

Wonderful
The Dharma is spoken only occasionally by the Buddha, just as the Udumbara flower appears but once in a great while. Therefore, it is wonderful to hear the Dharma.
The Dharma is extremely profound that have ever attained. All the Buddhas speak the Dharma in accord with what is appropriate, but its purport is difficult to understand. What is the reason? The Buddha extensively speak all Dharmas by means of countless expedient devices, various causes and conditions, analogies and expression.
The Dharma cannot be understood through deliberation and discrimination. Only the Buddhas alone can know it. As the wonderful Dharma cannot be thought nor expressed in words, it is inconceivable and wonderful. The speaking of Dharma itself is not wonderful, but merely describes how wonderful the Dharma is.
The Dharma is so vast, deep and far reaching that it is immeasurable. Its power is pervading unobstructively, so it is wonderful.
The Dharma is so rare and foremost, that its Real Mark can only be ultimately comprehended amongst Buddhas only.
The Dharma is difficult to think and understand. Those who are arrogant in studying Buddhism will not respect and believe the Dharma expounded by the Lotus Sutra. That is why five thousand Bhikshus, Bhiskshuni, Upasakas, Upasikas in the assembly rose their seats made obeisance to the Buddha and left, when the Buddha started to talk the Wonderful Dharma.
It is not easy to explain the word «wonderful». A great Chinese Dharma Master Chih Che of the Tien Tai School took 90 days to lecture on one word «wonderful», yet he had not finished. Everything is the wonderful Dharma, because it is our heart that everything is to be known. Isn't it wonderful?

Dharma
What is the Dharma expounded in the Lotus Sutra? It is the Dharma of the Buddha Vehicle. When Shakyamuni Buddha attained the perfect and complete enlightenment under the Bodhi tree, he made every endeavour to open and reveal the profound doctrine of Buddhahood to the living beings, so that they could understand and enter the realm of Buddhahood. However, the levels and «roots» of the living beings were so different that the Buddha had no alternative but spoke of the doctrine of the Three Vehicles, for the sake of Sravaka (the Sound Hearer), Pratyeka Buddha (Condition-enlightened One) and Bodhisattva.
The doctrine of the Three Vehicles is an expedient device, which facilitates the Buddha in leading living beings to understand the Wonderful Dharma of One Buddha Vehicle. The Sutra says in the verse,

«In the Buddhalands of the ten directions,
There is only the Dharma of One Vehicle,
There are not two or three,
Except those spoken by the Buddhas as expedients,
And those are but false appellations
Used to induce living beings,
So that he may teach them the Buddha's wisdom»

Lotus Flower
Lotus Flower is used to represent the Wonderful Dharma of One Buddha Vehicle. It is most appropriate because lotus flower is beautiful and noble. Vasubandhu, indicated that there were two meanings of lotus flower in this respect.

The meaning of the flower above water
The lotus flower grows in the pond, which is full of impure water and mud. However, the flower is not contaminated, the flowers blossom above the surface of water, but their stems and roots are still in water and mud. The flower, stem and root of lotus are just like the pure and wonderful doctrine One Buddha Vehicle spoken with the expedient and coarse doctrines of the Two Vehicles and the Three Vehicles in the hierarchy of the Buddha's teachings. Actually, the Two and Three Vehicles finally reveal and converge to One Buddha Vehicle.

The meaning of the blossoming of flower
The lotus flower is beautiful in appearance, fragrant in smell, pure and bright, so that everybody loves it. In the Dharma assembly, many people received the predictions to become Buddhas. They were so happy that they had strong faith and determination to cultivate and practice the Buddhist Way. In this respect, the blossoming of lotus flower is analogous to the attainment of Buddhahood.

That is why lotus flower is one of the important symbols in Buddhism.
Alternatively, the lotus flower can be interpreted as the Absolute Principle of the Middle Way. The root in the mud represents common people. The stem in the water represents those of the Two Vehicles. Common people are attached to existence; the mud is an analogy for existence. Those of the Two Vehicles are attached to emptiness; the stem in the water represents emptiness. The lotus flower, which blossoms above the water, represents the transcendence of emptiness and existence, and represents the Absolute Principle of the Middle Way. Middle Way means neither falling into emptiness nor going to the extreme of existence. Emptiness and existence are the two extremes; To be unattached to either of the two extremes is the Absolute Principle of the Middle Way.
Moreover, as the lotus flower blooms and bears fruit/seeds at the same time, they can represent the non-duality of cause and effect. As the cause is thus, thus is the effect. If the cause planted is one of Buddhahood, the effect will be one of Buddhahood.
The lotus blooming and bearing fruit simultaneously also represents the opening the provisional to manifest the real - one of the most important principle in Lotus Sutra. The blooming of the lotus represents the opening of the provisional Dharma (i.e. the Two Vehicles and the Three Vehicles). The lotus seeds which are revealed when the lotus blooms represent the real Dharma (i.e. One Buddha Vehicle). Provisional Dharma refers to expedient devices, and real Dharma is the genuine and proper Dharma.
When the lotus petals fall away, the seedpod stands alone. This represents annulling the provisional to establish the real i.e. abandoning the provisional Dharma and retaining the real Dharma.
In general, the lotus flower represents the wonderful Dharma. The lotus flower is just the wonderful Dharma, and vice versa. This is an analogy of the Sutra.

Sutra
Sutra, a Sanskrit Word, means a tallying text. Above, a sutra tallies with the wonderful principles of all Buddhas, and below, it tallies with the opportunities for the teaching living beings.
The word sutra; can be interpreted in many ways:
A road - one may travel from the status of a common person to the position of Buddhahood.
Basic Dharma - The sutras are the roots forming the foundation of the Dharma.
Manifestation - The sutras clearly instruct and reveal to us the principles of Buddhadharma.
A bubbling spring - the principles flowing out from the Sutras like water gushing continuously from the spring.
A guideline - to make guidelines in cultivating the way.
A flower garland - the principles are linked together in the sutras like flowers woven into a garland.
All sutras have a specific title and a common title. The Wonderful Dharma Lotus Flower is the specific title while the word Sutra is the common title.

Hinduism
Symbols We Live With
Vedic rituals, like the «Yagna» and «Puja», as said Rishi Aurobindo, are «attempts to fulfill the purpose of creation and elevate the status of man to that of a godhead or a cosmic man». Puja is essentially a ritual suggestive of symbolic offering of our lives and activities to God.
Symbolic Significance of Puja Items
Every object associated with the ritual of Puja or worship is symbolically significant. The statue or image of the deity, which is called «Vigraha» (Sanskrit: «vi»+ «graha») means something that is devoid of the ill effects of the planets or «grahas». The flower that we offer to the deity stands for the good that has blossomed in us. The fruits offered symbolize our detachment, self-sacrifice and surrender, and the incense we burn collectively stands for the desires we have for various things in life. The lamp we light represents the light in us, that is the soul, which we offer to the Absolute. The vermilion or red powder stands for our emotions.

The Lotus
The holiest of flowers for Hindus, the beautiful lotus is symbolic of the true soul of an individual. It represents the being, which lives in turbid waters yet rises up and blossoms to the point of enlightenment. Mythologically speaking, lotus is also a symbol of creation, since Brahma, the creator came forth from the lotus that blooms from the navel of Vishnu. It is also famous as the symbol of BJP - the Hindu Right-wing political party of India, the familiar lotus position in meditation and yoga, and as the national India and Bangladesh.

The Purnakumbha
An earthen pot or pitcher - called «Purnakumbha» - full of water, and with fresh mango leaves and a coconut atop it, is generally placed as the chief deity or by the side of the deity before starting a Puja. Purnakumbha literally means a «full pitcher» (Sanskrit: «purna» = full, «kumbha» = pot). The pot symbolizes mother earth, the water life-giver, the leaves life and the coconut divine consciousness. Commonly used during almost all religious rites, the pitcher also stands for goddess Lakshmi.

Fruits & Leaves
The water in the Purnakumbha and the coconut have been objects of worship since the Vedic age. The coconut (Sanskrit: Sriphala = God's fruit) alone is also used to symbolize «God». While worshipping any deity, a coconut is almost always offered along with flowers and incense sticks. Other natural objects that symbolize divinity are the betel leaf, the areca-nut or betel-nut, banyan leaf and the leaf of «bel» or vilva tree.

Naivedya or Prasad
It is our ignorance («avidya») which we offer to the deity in a Puja. The food symbolically stands for our ignorant consciousness, which we place before god for spiritual enlightenment. After he suffuses it with knowledge and light and breathes a new life into our bodies, it makes us divine. When we share the prasad with others, we share the knowledge we thus gained with fellowbeings.

http://www.essences.com/vibration/may02/mandalagal...
http://en.wikipedia.org/wiki/Nelumbo_nucifera

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Tucked away in the lanes of Old Delhi, not far from the Red Fort of the Mughal emperors, sits the little visited Anglican church of St James, consecrated in 1836. With its Renaissance - style dome and campanile, and painted a cheerful lemon, this church would not look out of place in Italy. In Delhi it is an oddity, as was its founder, the swashbuckling military adventurer James Skinner, who built it «in fulfilment of a vow made while lying wounded on the field of battle». (Skinner's equally remarkable contemporary Begum Samru - a Kashmiri dancing-girl turned army commander - built a Catholic church in similar style at Sardhana, with two Wren-like spires flanking the dome.) Skinner did not come seamlessly to Christian piety: half-Scot and half-Rajput, he never visited Europe, began his career in the service of the Marathas, and sired numerous part-Indian children by (it was said) 16 wives and mistresses. In a small yard outside the church, members of his multi-ethnic clan lie buried. Some of their tombs have crosses on top and epitaphs on the side in Persian - memorials to a period in Anglo-Indian history when European and Eastern cultures comfortably converged.
Finding your way to St James's Church takes a bit of ingenuity, at least on the part of your auto-rickshaw-wallah, because this is not a place familiar to the average Delhi-ite. Perhaps historical memory has a hand in this. For it was near here, in the spring of 1857, that some of the first and fiercest episodes in the Indian Mutiny played themselves out. On 11 May, rebelling sepoys of the Bengal Army crossed the River Jumna and called on the Mughal emperor Bahadur Shah to serve as their protector. Next, they turned their attention to the British civilians who clustered in the area around the church, slaughtering the firingis in their midst. Inside the church, the memory of those violent days vividly endures. Victorian plaques pay tribute to the military and civilian casualties: to three members of the Corbett family, «who were murdered During the Massacre of the Christians in Delhi»; to Thomas Collins and no fewer than 23 members of his extended family, «all barbarously murdered at Delhi on or about the 11th of May 1857»; to Dr Chimmun Lall, a «native Christian and a Worshipper in this Church», who «fell a martyr to his faith on the day of the massacre of Christians in Delhi». It is no small irony that here, where the mixed-blooded Skinners lie at rest, the blood of Indians and Britons would be copiously spilled in vicious partisan conflict.
Throughout the winter months of 1857 there had been rumours of something afoot in northern India: talk of conspiracies passed by chapati, of secret signals encoded in lotus flowers. Nor was it lost on some (Muslim millenarian preachers among them) that 1857 marked the centenary of the Battle of Plassey, when Robert Clive asserted East India Company ascendancy in Bengal. In the event, it was gun cartridges that set the mutiny off: they were greased, the sepoys believed, with a blend of cow and pig fat, which would defile both Hindus and Muslims when they bit the ends of the cartridges to load them. On 10 May, the sepoys of Meerut revolted and shot their British officers; other mutinies quickly followed across the Bengal army camps of north and central India. Thanks in part to newly laid telegraph lines, the company was able to prevent mutiny from spreading in the Punjab and elsewhere; the Madras and Bombay armies also remained «loyal». But it was not able to prevent the mutineers from marching victoriously to Delhi and reviving Mughal authority, or from attacking and besieging British communities, notably in the Awadh cities of Lucknow and Kanpur.
This was not an organised «national» rebellion; but the Indian Mutiny, as the uprisings collectively became known in Britain, represented the most serious, sustained armed threat posed by Indians against their British rulers. Episodes of violence and Indian «barbarism» branded themselves on the British imagination. One of these was the massacre at Kanpur, where the Maratha king Nana Sahib turned against a corps of about a thousand Europeans, laying siege to their cramped entrenchments. After a punishing fortnight under fire, and some 250 deaths, the British surrendered with a promise of safe passage to Allahabad. But as they pushed off into the river towards their haven, they were attacked by Nana Sahib's men. Most were killed on the spot; 125 women and children were taken captive, only to die of fever or be slaughtered in a final purge soon after. Another focal point of British panic was Lucknow, where 7000 Europeans and loyal Indians holed up inside the Residency to endure a punishing summer under siege, in conditions of unremitting squalor and danger. In September 1857, General Sir Henry Havelock «relieved» the city only to find himself effectively trapped inside it; in March 1858, hundreds of casualties later, Lucknow was finally liberated by British troops. It was not until 1859 that the mutiny was fully put down, and British rule restored and strengthened. Reprisals - then, as throughout the fighting - were savage.
The Indian Mutiny was about more than the gun cartridges, of course. But what exactly it was about would be debated for generations to come. Was this a purely military uprising that got out of hand, a failure of adequate discipline and intelligence? Was it the consequence of administrative mismanagement by the East India Company? Was it, as the early 20th-century nationalist Vinayak Damodar Savarkar would insist, the first «Indian war of independence»? Was it a race war, or a war of religion? (Even what to call it remains a matter of considerable dispute: «rebellion», «revolt» or «uprising» are often preferred to «mutiny».) Competing portrayals in British writing are the subject of Gautam Chakravarty's concise monograph, a study of the seventy or so novels about the mutiny published before 1914.
Chakravarty is at least as much concerned with contemporary historiography as he is with popular literature, so mutiny novels do not make a serious appearance until nearly halfway through the book. His overarching argument is that these novels absorbed and reworked historiography, first-hand accounts and contemporary policy debates. From the outset, British writers infused the mutiny with ideological and emotive significance. East India Company administrators made a point of stressing its military origins, pointing the finger at the army. Officers, in turn, sought to blame administrators for enacting policies that led to wider discontent, such as the unpopular annexation of Awadh in 1856. Many British commentators condemned the company, continuing a long tradition of Whig criticism; while the Muslim reformer Syed Ahmad Khan, in his 1858 Causes of the Indian Revolt, attributed the rebellion to the company's unwillingness to incorporate Indian voices in its legislative council.
Apportioning blame for what had happened was one thing. Describing what happened was another. (It proved to be a lengthy and difficult business for the military historian John Kaye, who died in 1876 before completing his still standard History of the Sepoy War in India: in three volumes he had taken the narrative only to the end of 1857. More recently, Andrew Ward's moving account of the mutiny at Kanpur weighs in at nearly 700 pages; volumes by Christopher Hibbert and Saul David hover around 500.) Seen from certain perspectives, what had happened was a complete collapse of British security, authority and intelligence. The first real mutiny novel, Edward Money's The Wife and the Ward (1859), captured this frank, demoralising view by ending with the massacre of Kanpur, and the death of all the protagonists. Unsurprisingly, later novels would conclude on a brighter, triumphant note, making Kanpur less like the charge of the Light Brigade and more like the Alamo - a martyrdom gilded and redeemed by the victories that followed it.
The apogee of mutiny fiction came at the turn of the century, which should not startle anybody familiar with the jingoistic fervour of the «new imperialism». As one might expect, novels from this period tended to be emphatically heroic, and featured muscular, Anglo-Saxon, Christian soldiers of the sort championed by Cecil Rhodes and Robert Baden-Powell. Thus the prolific G.A. Henty, who churned out more than a hundred boys' adventures in a range of imperial settings, turned to the mutiny with In Times of Peril. His fellow adventure novelist Hume Nisbet's hero Sammy Tompkins disguises himself as an Indian to spy on the sepoys at Meerut, and goes on to slaughter several of them (in Nisbet's words) «as callously as if he had been a professional murderer».
Sammy was not alone: several novels feature the plot device of Britons «going native» to elude capture, or to infiltrate the ranks of the mutineers. Jim Douglas, the hero of Flora Annie Steel's On the Face of the Waters (1896), stays in the heart of occupied Delhi in the guise of an Afghan horse-trader. The leading man of A.F.P. Harcourt's Jenetha's Venture (1899), Roland Ashby, «was a perfect linguist and could easily pass as a native of the country». Women also take part in these cross-cultural charades. Kate Elston, Steel's heroine, sets up house with Douglas in Delhi, pretending to be his Muslim wife, while Harcourt's Jenetha Wentworth boldly takes off after her idol Ashby and, disguised as an old Indian woman, penetrates the Red Fort, where she becomes an invaluable British spy.
Such fictionalised accounts of Britons in Indian disguise rested on two strong historical precedents. As Chakravarty points out, first-person accounts of the mutiny often featured «frightened, fumbling attempts at «going native» as the path to escape and survival. (Or, in the case of mixed-blood Anglo-Indians, assertions of their Indian origins: one of James Skinner's daughters, Elizabeth Wagentreiber, frequently invoked her father's name and her part-Indian lineage as she shepherded her family out of rebel-held Delhi.) Disguise as a survival tactic figures less in the novels, however, than disguise as a strategy, and this also had roots in historical fact. Decades before Kipling sent his Indianised Irish urchin Kim into the Himalayas on the trail of Russian agents, East India Company operatives had disguised themselves, often as Muslim horse-dealers, in order to penetrate the lands beyond the North-West Frontier. From the 1860s, the surveyor Thomas Montgomerie began to map Tibet by training his Indian aides to dress up as Buddhist pilgrims, counting paces with their rosary beads. When Jim Douglas carries Kate safely out of Delhi only to charge back into the mêlée, saying «I am off to the palace to see what has really happened; information's everything», he is indulging in more than plot-lengthening theatrics. He is acting out, in a different context, exactly the sort of dramatic espionage that made (and continues to make) stories of the Great Game so popular. One of Chakravarty's most intriguing suggestions is that these mutiny novels of the 1890s are in some sense Great Game novels - which suddenly stops Kim looking unique.
You can almost hear the «culturally cross-dressed spy-hero» crying out to postcolonial theorists for analysis. To assess these characters Chakravarty invokes Homi Bhabha's influential essay «Of Mimicry and Man», on the ways that colonised subjects emulated or adopted the culture of their colonisers. But where Bhabha's mimic men challenge imperial authority by making a mockery of it, Chakravarty argues that these Britons in disguise work to bolster imperial power, to play out a «fantasy of mastery and colonial knowledge». Getting inside the skin of the Indians is the ultimate statement of dominance: knowing them better than they do themselves.
Stressing the «anxieties» of empire, as many scholars have done, can sometimes feel dissatisfying - not least because «anxiety» seems too imprecise and feeble a term for describing the range of ways in which Britons responded to, or participated in, their nation's overseas enterprises. Nevertheless, it is a little disappointing that Chakravarty essentially stops at reading these fictions as confirmations of high imperial stereotype. The strength of this book lies in the way it consistently relates literature to history and vice versa, and here it would be worth examining the link more closely.
By the 1890s the mutiny was comfortably a thing of the past, sanitised by time, victory and imperial consolidation. But the prospect of unsettling protest within India was not a thing of the past, particularly following the misbegotten partition of Bengal in 1905. On India's frontiers, competition with Russia reached its most intense at exactly this time. Beyond India, the British Empire faced other serious challenges; and though Chakravarty correctly emphasises the centrality of war to Victorian Britain, the greatest of these wars, the Boer War, barely gets a look-in. Last but not least, there was the fact that the successful expansion of empire brought about increased reliance on the Indian Army, which was needed to hold down key possessions from Singapore to Egypt. Just how critical the sepoy army remained - and how cautious British commanders needed to be in deploying it - would be underscored during the First World War, when woefully ill-equipped sepoys came close to mutiny on the Western Front, and Indian forces in Mesopotamia, some of them Muslim, had to be persuaded to fight against fellow Muslims, in the wake of the Ottoman sultan and caliph's declaration of jihad. Surely it is significant that British writers and readers revived stories of the mutiny at a time when the Indian Army was more vital than ever.
It is worth underscoring that these fantasies of penetration, assimilation and espionage corresponded to a period when Britons in India were far less tolerant of cross-cultural mixing than they had been before 1857. If anything worked to erode the cosmopolitan world of James Skinner (and his intermarried parents), it was the mutiny. One symptom of the increasing certitude that European and Indian communities must remain firmly separate was the British obsession with tales of the rape and murder of European women and children. Though Chakravarty can hardly be faulted for concentrating on literature, his specialism, it is a pity that visual representations rate at best passing mention. (Were these novels illustrated?) For instance, at much the same time that Charles Ball, in one of the first mutiny histories, luridly retailed reports of the «indescribable barbarities» inflicted on British families («infants . . . torn from their mothers' arms, and their little limbs chopped off»), visitors to the 1858 Royal Academy exhibition were shocked by Sir Joseph Noel Paton's painting In Memoriam, which depicted British women, children and an Indian ayah cowering in a cellar as sepoys loomed at the door. So alarmed were viewers, indeed, that Paton was pressured into painting kilts onto the sepoys and transforming them into rescuing Highlanders. The mid-Victorian British imagination was only too keen to envision Indians in the darkest possible terms.
Chakravarty effectively demonstrates how the mutiny, surely Britain's most desperate imperial scare, could end up, reworked into fiction, actually bolstering imperial self-confidence. That reworking emerged from the same spirit that turned Paton's sepoys into Highlanders: an enforced segregation of Indian and Briton, a consolidation of military and political control. The suppression of the mutiny ended the founding fusion of British India: the nominal premise that the East India Company had been operating under the aegis of the Mughal emperor. In late 1858, Parliament abolished the East India Company and assumed the reins of government directly, commencing the Raj. Vengeance was visited on remnants of the Mughal regime. Much of the old city of Lucknow, for instance, was razed to the ground and replaced by wide, easily policed streets. British communities were placed in safe, fortified cantonments at some distance from native quarters. And the elderly, misty-eyed emperor himself, Bahadur Shah, who had been yanked by the mutineers out of his courtly world of poetry and song, found himself convicted of treason in a British military court and exiled to Rangoon. As for the mutineers themselves, they suffered British wrath most immediately; thousands were degraded, flogged and summarily hanged. Grisliest of all were the fates of mutineers tied to cannon barrels and blasted into hash.
Yet what did it say about the new British Raj that even this, its most vicious punishment, had been borrowed from the Mughals? For whatever impact the Indian Mutiny made on the British imagination, it could not entirely eradicate those earlier traditions on which imperial rule had been based. In post-mutiny India, legacies of fusion would persist alongside those of trauma, like the memorial plaques in St James's Church.
The lotus flower appeared in legends pertaining to Ancient India. It played an important part in Ancient Indian religion. The flower is generally pink or white in color, and the Lotus plant is the only plant it the world to flower and fruit simultaneously. It's hard to imagine that something of such breathtaking beauty can emerge from the depths of a muddy swamp. Growing from the mud at the bottom of a pond or a swamp, the wondrous Lotus flower emerges to the top with 15 or more spreading oval petals and a strange seedcase at its center.

Lotus Flower Symbol
The Lotus is an important flower in a lot of religions and theosophically is a much-revered flower and is therefore subjected to endless symbolic interpretation by different cultures. However due to its «spontaneous» generation, it is accepted all over the world as a symbol of purity and divine birth. It is also said to represent one of the core principles of Hindu philosophy, that of birth and rebirth because it closes its petals and sinks underwater every night only to rise again at dawn. Because its seed already has within it perfectly formed embryo leaves and whole plantlets - even to the flowers - this water lily symbolizes the recalling of the universe from the Eternal at the beginning of a great solar cycle. The lotus is called «the child of the Universe bearing the likeness of its mother in its bosom» by Madame H.P.Blavatsky. The Lotus flower is also used for the different flower tattoos and is widely prevelent nowadays.
From some accounts, after the occurrence of the first «OM», «a wondrous golden lotus, resplendent as the sun, floated upon the lonely water» which was the ocean. The three great gods of Hindu tradition, Vishnu, Brahma and Shiva emerged from the «OM» and are represented as being seated on lotus seats. Vishnu's consort Lakshmi was born out of the ocean on a White lotus which became her symbol. She is the goddess of wealth and wisdom and is omnipresent just as Vishnu is all pervading.
If we look at Buddhism, it is said that on the day that Gautam Buddha was born, a lotus flower sprang up from the earth. As one who achieved enlightenment on earth, the Buddha was given the honor of a lotus throne because the lotus is a symbol of «dwija» or twice born.

Lotus Flower In Popular Culture
Lotus flower jewelry is quiet a rage in the western world today. Wearing pendants and earrings shaped like the Lotus is considered an epitome of style and elegance. Blue emeralds are molded into jewelry which resembles the blue lotus flower. Lotus flower tattoo's are especially designed and advertised these days to draw in younger crowds. However, it does sadden one a bit to see that amongst all this commercialization, the true origin, meaning and significance of this enigmatic flower are set to become obsolete!
Among the several kinds of flowers grown in the garden, only a few are natives of our country. The important flowers which are natives of India and which are under cultivation in different parts of the world are orchids, rhododendrons, musk rose (Rosa moschata), begonia, balsam (Immpatiens balsamina), globe amaranth(Gomphrena Globosa), gloriosa lily (Gloriosa superba), foxtail lily (Eremerus himalicus), primula (Primuladenticulata P.rosea), blue poppy (Meconopsis), lotus (Nelumbo nucifera), water lily Nymphae spp.), clematis (Clematis Montana- a climber) and the wild tulip of the Himalayas (Tulipa stellata and T. aitchisonii). Of these, only the lotus has been mentioned in the ancient Sanskrit scripture of the Vedic times. Mention of the lotus was also made by Kalidasa in his play Shakuntala. The poet Asvaghosa (A.D.100) also mentions the lotus in his Buddha Charita. According to Dr. M. S. Randhawa, the flowering trees were commonly grown in the gardens in the Hindu-Buddhist periods and the native annual herbaceous plants were perhaps not cultivated.
Gardening has been popular in India from ancient times. In the Ramayana, mention is made of the Ashokavana, in which Sita was held captive. 'Ashoka trees (Saraca indica) were predominant in this garden. A description of the layout of gardens and parks and artificial lakes in the city of Indraprastha is given in the Sabha-Parva of the Mahaharata. Several trees, such as Saraca indica, Terminalia arjuna, Mesua ferrea, Ficus benghalensis, F. religiosa, Michelia champaka, Butea monosperma and Casia fistula, have been mentioned in the Ramayana. Almost all of them have also been described in the Mahabharata. The association of Lord Krishna with the Kadamba tree (Anthocephalus indicus) is well known. In the ancient Sanskrit work of Panini in Ashtadhyayi, several beautiful trees are mentioned, such as Ficus (F. religiosa, F. benghalensis, F. infectora), Butea monosperma, Prosopis spcigera Kadamba and a few others. The poet Asvaghosa described the Nandanavana in which Siddhartha Gauthama saw flowering trees and lotuses. During the Buddhist period, gardens were laid out around the monasteries and stupas and there were beautiful gardens in Nalanda and Taxila. It is said that Lord Buddha was born under a tree in a garden, the pipal. The Bodhi tree under which The Buddha attained nirvna, is sacred to the Buddhists.
The planting of roadside avenue trees (margeshuvriksha) was an important contribution of the king Ashoka (233 B.C.). Similarly, Shudraka (100 B.C.) has also given an account of gardens and flowers in the Mrichhakatikam. Kalidasa (about 57 B.C.) in his play Shakuntala has mentioned the pleasure garden having a bower of the madhavi creeper (Hiptage madablota) and several beautiful trees like Ashoka (Saraca indica), Kadamba (Anthocephalus indicus), Arjuna (Terminalia arjuna) Vakula (Mimusops elengi), Palasha (Butea monosperma), Parijata (Nyctanthes arbor-tristis) and Kavidara (Bauhinia varieagata).
The art of gardening has been described by Saragadhara (A.D. 1300) in his Upavana Vinoda,and Sarangadhara Paddhati, wherein mention is also made of some trees. Vatsyayana (A.D. 300-400) has also rendered interesting accounts of four kinds of gardens, namely, pramadodyan, udyan, vrikshavatika and nandanavana. Classical Sanskrit literature, as mentioned above, as well as the flower and tree motifs delineated in old sculptures and the architecture of Mathura (Kanishka period A.D. 78-101), Bharhut, Sanchi and several others and displayed in the Ajanta frescoes (A.D. 100-600) bear testimony to the importance of gardening and flowers in Indian culture.
The important native ornamental flowering trees, many of which have been mentioned in ancient literature are Kachnar (Bauhinia variegata), Amaltas (Cassia fistula), Pink cassia (Cassia nodosa) Dhak or Flame of the Forest (Butea Frondosa), Indian coral tree (Erythrina blakei, Pride of India (Lagerstroemia flos-reginae, L. thorelli), Lal Lasora or Scarlet Cordia (Cordia sebestena), Yellow silk cotton (Cochlospermum gossypium), Karanj (Pongamia glabra), Rugtora or Wavy-leafed Tecomella (Tecomella undulata), tulip tree or Bhendi (Thespesia populnae), Crataeva roxburghii, Sterculia colorata, chalta (Dillenia indica), Ashoka,Kadamba and rhododendrons.
Among the native shrubs and climbers, the most important ones are the jasmine (Jasminum sambac, J. pubescens, J. auriculatum, J. humile, J. officinale, J. grandiflora) and madhavi (Hiptage medablota), which have been mentioned by Kalidasa in his plays.The other indigenous species are Bauhinia acuminata, Mussaenda frondosa, Ixora spp. (I. coccinae, I. parviflora, I. barbata, I. undulata) Hamiltonia sauveolens, Holmskioldia sanguinea, Clerodendron inerme, Crossandra ininfundibuliformis, Plumbago rosea, Plumbago zeylancia, Tabernaemontana coronaria, Trachelospermum fragrans, Osmanthus fragrans, Passiflora leschenaulti, Clitoria ternatea, Porana paniculata, Glorosia superba and Clemantis Montana.
Like many crop plants, several of the flowers, particularly the herbaceous annuals, biennials and perennials and bulbous flowers grown in our country, have been introduced from abroad. These exotic flowers have come from Europe, America, Africa, China, Japan and other countries. How these exotic flowers were introduced in India has not been properly recorded. However, it can be said that most of the exotic flowers were introduced during the Mughal and British periods. With the renaissance of gardening in India by the Mughal emperors beginning with Babur, many plant species were brought by them from Persia and Central Asia where herbaceous and bulbous flowers were already under cultivation. Many of these have been mentioned in autobiographies and other books written during those days. Besides, in the Mughal paintings also we find illustrations of many flowers. These have also been used to illustrate the borders of those paintings. In the book Bagh-I-wafa, the emperor Babur has presented a description of gardening in India. The Mughal emperors introduced several types of plants, many of which were planted in Kashmir where the climate was more suitable for the growth of such plants than that of the plains. The species brought by them included the famous Chinar tree, which is the most beautiful tree in Kashmir even today, besides roses, carnations, irises, narcissuses, daffodils, lilies, tulips and others. The rose was introduced into our country via the port of Bussorah by Babur in the year 1526 or so. Jehangir and Nurjehan were ardent lovers of the rose and encouraged rose growing in gardens.
Later during the British period many species were introduced mainly by Englishmen and the Portugese. These were mostly brought in by missionaries and priests, civil servants and individual amateur gardeners. One of the important missionaries who introduced a number of exotic plants was Dr. Firminger, an Englishman, who wrote a book on gardening, giving descriptions of various species of flowers in the year 1863. The book entitled «Firminger's Manual of Gardening in India» is an authoritative reference book on ornamental flowering plants even today.
Several of our native flowers, particularly the attractive flora of the Himalayas including many alpine species, have been introduced in other countries. During the early British period in India, when some famous gardens were being developed in Great Britain, several plant collectors came to our country in search of beautiful wild flowers. The wealth of Himalayan flora was taken to England in the early part of this century. One of these important plant collectors was Frank Kingdon-ward, who visited Assam and Burma about five to seven times during the years 1938 to 1956. He discovered the blue poppy (Meconopsis) for the first time. Ludlow and Sheriff went to Kashmir during the year 1939-1941 besides visiting other areas like Tibet and Bhutan. There were similar expeditions to Nepal also. Several other botanists and plant hunters also came from many other European countries and the USA to our country in search of wild ornamental flowers. As a result of these plant collections, many wild flowers including many alpines like several species of Primula, Orchids, Aconitum, Androsace, Delphinium ,Erigeron, Anemone, Aquilegia, Aster, Bergenia, Campanula, Corydalis, Gentiana, Geum, Saxifraga, Allium, Fritillaria, Lilium, Iris, Meconopsis, Paeonia, Clematis, Cornus, Prunus, Rhododendrons, Sorbus, Viburnum and several others were introduced from their wild habitats in India into England and other European countries. Some of these, like the Blue poppy (Meconopsis), Clematis Montana, many species of orchids, rhododendrons and primula, balsam, begonia, foxtail lily (Eremurus himalaicus), gloriosa lily (Gloriosa superba, musk rose (Rosa moschata) etc, are now widely grown in gardens in several parts of the world. Several species of orchids and rhododendrons, which are native of India, have been extensively used in breeding new varieties and hybrids. Most of the plants species introduced from India into Great Britain are being maintained in the Kew and Edinburgh Botanic Gardens. Unfortunately many of us in India are not aware of our rich heritage of native flowers.

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