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Chatra
The Buddha under a chatra inscribed "Gift of Abhayamira in 154 GE" (474 CE), Gupta art from the reign of Kumaragupta II, now held by the Sarnath Museum.[1]
Translations of
Chatra
Englishceremonial umbrella or parasol
Sanskritछत्र/छत्त्र, छत्ररत्न
(IAST: chatra/chattra, chatraratna)
Palichatta
Burmeseထီး
Chinese伞/傘, 伞盖/傘蓋
(Pinyin: sǎn, sǎngài)
Japanese傘, 傘蓋
(Rōmaji: san/kasa, sangai)
Khmerឆ័ត្រ
Korean산(傘), 산개(傘蓋)
(RR: san, sangae)
Tibetanརིནཆེན་གདུགས,[2] གདུགས་ནི།
(rin chen gdugs, gdugs ni)
Thaiฉัตร
(RTGS: chat)
Glossary of Buddhism

The chatra or chhatra, also known under various translations including the ceremonial, state, royal, or holy umbrella or parasol, is a symbol of royal and imperial power and sanctity in Indian art and a symbol of holiness in Hinduism, Jainism, and Buddhism. There are also various specific forms, including 3-, 7-, 8-, and 9-tiered chatra and the bejewelled chatraratna.

India and Tibet

[edit]

In India, the chatra was an ancient symbol of kingship and emperorship, representing both kingly power and righteousness. In particular, it is employed in depictions of chakravartis, the supposed holy emperors over the entire earth. It is also reckoned one of the ashtamangala, the eight holy symbols of enlightened sages and buddhas, in Digambar Jainism, Vajrayana Buddhism, and other Dharmic faiths.

In Hindu mythology, Chatra can itself be recognized as a deity, yidam, and ishta-devata.[citation needed] More often, it is an emblem of various gods including Varuna, Ganesha (particularly during Ganesh Chaturthi), Revanta, Surya, Vishnu in his Vamana avatar, and Vishvakarman.

In the chakra systems of Dharmic faiths and traditional Indian and Tibetan medicine, the chatra is used as a symbol of the sahasrara, the crown chakra.

Myanmar

[edit]
Main article: hti

In Burmese culture, the chatra is known as the hti. It is used as regalia and employed at the crowns of Burmese pagodas.

Thailand

[edit]
Main article: Royal Nine-Tiered Umbrella

In Thai culture, the chatra developed into the white Royal Nine-Tiered Umbrella, part of the country's regalia. Properly, only a crowned king may use the 9-tiered umbrella, uncrowned kings and other members of the royal family being restricted to a 7-tier form. The 9-tiered chatra is used as the logo of Royal Umbrella rice.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chatra (umbrella)

View on Grokipedia
from Grokipedia
The chatra, derived from the word for "" or "," is a ceremonial canopy symbolizing protection, royalty, and divine authority in , , and . It originated in ancient as a practical shade for royalty and deities, evolving into an auspicious emblem that wards off , impurities, and forces while denoting spiritual elevation and universal equality. Historically, the chatra appears in iconography dating back to the 1st century BCE, such as in Shunga and Satavahana reliefs at sites like Sanchi and Amaravati, where it hovers above figures of the Buddha or chakravartins (universal monarchs) to signify sovereignty and compassion. In Buddhist traditions, it forms one of the Ashtamangala (eight auspicious symbols), with its dome representing wisdom, the hanging skirt compassion, and the octagonal base the Noble Eightfold Path; it is often deified as the goddess Sitapatra in Vajrayana practices. Jain sculptures from the 9th century CE, like those at Deogarh Temple, feature triple-tiered chatras above Tirthankaras without visible supports, emphasizing ethereal protection from worldly elements. In Hinduism, it honors deities such as Vishnu, Shiva, and Varuna, and plays a key role in rituals like Durgapuja and temple processions at sites including the Jagannath Temple in Puri, where artisans craft vibrant, appliquéd versions in bold colors. Across these faiths, the chatra's use in processions and as a marker of status—such as silk versions for Tibetan religious leaders or peacock-feathered ones for secular rulers—underscores its enduring role in denoting honor, political power, and cosmic balance.

Overview and Symbolism

Definition and Characteristics

The chatra, derived from the Sanskrit term chatra (छत्र), meaning "umbrella" or "parasol," refers to a ceremonial covering object rooted in ancient Indian traditions. This etymology traces back to the Sanskrit root chad, signifying "to cover" or "to shelter," as noted in classical texts like the Unadi Sutras. In regional contexts, it is known as hti in Burmese or chat in Thai, reflecting its widespread adoption across South and Southeast Asia. Physically, the chatra consists of a central wooden pole supporting a canopy framed by or metal ribs, often covered in cloth materials such as , , velvet, or . The canopy is typically circular or conical, adorned with tassels, fringes, metallic finials, and motifs including lotuses or geometric patterns created through , , or . More elaborate versions, known as chatraratna, incorporate jewels or gold/silver borders for enhanced decoration. It is also one of the Seven Ratnas (treasures) associated with the chakravartin, the ideal universal . Variations in the chatra's design include the number of tiers, which often denote status, with more tiers indicating higher authority, such as nine for kings in some traditions. Functionally, it provides shade from the sun in practical applications, while ceremonial chatras are largely symbolic, carried by attendants in processions rather than used for weather protection. This protective role extends briefly to notions of safeguarding, though its deeper implications lie beyond physical form.

Symbolic Interpretations

The chatra, or ceremonial umbrella, primarily symbolizes and divine across Indian cultural traditions. It represents the of rulers and enlightened beings, offering from physical elements like the sun, metaphorically extending to spiritual from harm, , and ignorance. This "cool shade" evokes the of enlightenment, shielding devotees from the "heat" of worldly afflictions and delusions. In its association with royalty, the chatra denotes the supreme status of the chakravartin, or universal monarch, an ideal ruler embodying and cosmic order. It is often depicted held above deities, Buddhas, or kings in to signify their unparalleled supremacy and divine sanction, as seen in ancient reliefs where it crowns figures of power. This emblem underscores the chatra's role in affirming hierarchical dominion, linking temporal rule to spiritual elevation. As one of the , the eight auspicious symbols in , the chatra embodies the expansion of sacred teachings and the warding off of ignorance. In Buddhist contexts, it signifies the Buddha's sovereignty as a chakravartin, protecting the Dharma's dissemination against obstacles, while in , it similarly honors Tirthankaras as beacons of liberation. The symbol's jeweled, multi-tiered form reinforces its auspiciousness, promoting and spiritual safeguarding. The chatra also conveys through its design and usage, where multiple tiers or stacked parasols indicate escalating —thirteen, for instance, denoting full kingship. Traditionally positioned above figures of high rank in processions, it highlights status distinctions within royal and religious settings, emphasizing the emblem's integral role in denoting supremacy.

Historical Origins

Ancient Indian Roots

The chatra, known as a ceremonial parasol or , emerged in ancient as a practical device for sun protection that gradually symbolized shelter, authority, and royalty. A terracotta figurine from the Indus Valley Civilization (c. 2700 BCE) depicts a seated figure under what may be an umbrella-like structure, providing potential early evidence, though its ceremonial significance remains debated. While more direct archaeological evidence from the Indus Valley Civilization (c. 2500 BCE) remains elusive, early textual references in Vedic literature from c. 1500–500 BCE describe parasols in association with deities such as , the god of cosmic order, who provided protective cover akin to an impermeable canopy impervious to rain or rays. These depictions in the portray the chatra as a divine emblem of safeguarding, evolving from functional shade to a marker of exalted status in pre-Buddhist and pre-Jain contexts. By the Mauryan Empire (c. 3rd century BCE), the chatra transitioned into a prominent in royal and architectural art, often held by attendants over figures of authority to denote prestige. This shift is evident in early stone carvings and embellishments, such as those at Sanchi, where parasols signify honor and protection in narrative reliefs dating to the late 3rd century BCE onward. The object's prominence in Mauryan reflects its adaptation from everyday utility to , underscoring social in a period of centralized imperial power. The development of the chatra during the (c. 4th–6th century CE) marked a refinement into multi-tiered structures, enhancing its symbolic depth as a tiered canopy representing layered protection and sovereignty. Gupta-period sculptures from integrate the chatra as a sign of reverence and rank. This evolution was likely influenced by Central Asian exchanges, particularly Achaemenid Persian parasols introduced via northwestern trade routes around the 6th–4th centuries BCE, which served as royal ensigns held over monarchs to signify authority and were later diffused into Indian courtly and artistic traditions post-Achaemenid collapse.

Development in Religious Iconography

In Buddhist iconography, the chatra began appearing prominently from the 1st century BCE, notably atop Ashokan pillars and stupas, where it was often held by yaksha figures symbolizing protective guardianship over sacred relics. By the Gupta period around the 5th century CE, the chatra had become a standard element in Buddha statues, integrated as part of the Eight Auspicious Symbols (Ashtamangala) rather than the Seven Treasures of the cakravartin, denoting the spread of dharma and royal sovereignty attributed to the enlightened one. This evolution reflected the chatra's shift from a secular emblem of authority to a core motif in devotional art, emphasizing spiritual dominion. In Hindu temple sculptures from the Puranic era (circa 5th–10th centuries CE), the chatra frequently appeared above deities such as Vishnu's avatars, signifying cosmic protection and divine kingship that shielded the universe from chaos. For instance, in depictions of the avatar, the umbrella is bestowed as a symbol of restored order, underscoring Vishnu's role in upholding . Jain iconography incorporated the chatra in figures from the 2nd century BCE onward, often as a triple-tiered crowning the enlightened being to denote spiritual victory and liberation from samsara. In siddhachakra yantras, the chatra integrates into the diagrammatic representation of the nine fundamentals (navapada), symbolizing the protective canopy over the path to (perfected soul) and the triumph of ascetic discipline. Artistic motifs of the chatra proliferated in religious frescoes, such as those in the (2nd–6th centuries CE), where tiered designs evolved from simple three-layered forms, illustrating the progressive expansion of across realms and the umbrella's role as a visual for encompassing wisdom. These depictions, often rendered in vibrant ochres and greens, highlighted the chatra's transformation into a multifaceted emblem of hierarchy and sanctity across Buddhist, Hindu, and Jain visual traditions.

Religious Contexts

Role in Hinduism

In Hindu mythology, the chatra is prominently associated with deities embodying protection and sovereignty. , the god of waters, is linked to the chatra as an emblem of divine authority. Similarly, holds the chatra as an emblem of wisdom's shelter, providing spiritual cover against obstacles in life's journey. In epics like the , the chatra appears as a symbol of royal power attached to chariots of important princes. Ritually, the chatra integrates deeply into Hindu practices, shading sacred idols during temple processions such as the Rath Yatra, where it elevates the deities—particularly —to royal dignity amid fervent devotion. In , the chatra symbolizes and spiritual power.

Significance in Buddhism

In , the chatra, or , holds a prominent place as one of the , the eight auspicious symbols traditionally offered to upon his enlightenment. It represents the protective canopy of the , shielding sentient beings from the sufferings of samsara and embodying spiritual authority and compassion. In , the chatra is known as gdugs and is particularly associated with royalty, signifying the exalted status of enlightened beings who extend to all under their influence. Iconographically, the chatra appears frequently in Gandharan from the 1st to 5th centuries CE, often positioned above the Buddha's head to denote his universal sovereignty and dominion over the cosmos. In traditions, multi-tiered chattras appear in , symbolizing layered . Ritually, the chatra plays a key role in processions, such as those during Myanmar's shinbyu ceremonies where novices are honored with golden umbrellas shading them, evoking the Buddha's protective presence. In practices, the chatra integrates into offerings as a variant of the treasure vase symbol, representing abundance and the dissemination of sacred teachings within ritual diagrams. Philosophically, the chatra symbolizes shelter from the "heat" of samsaric afflictions, providing refuge through the Buddha's teachings and fostering liberation from cyclic existence. Its octagonal base often represents the Noble Eightfold Path, illustrating progressive stages of ethical conduct, mental discipline, and wisdom.

Usage in Jainism

In Jain iconography, the chatra, or ceremonial umbrella, holds a prominent place as one of the eight auspicious symbols (aṣṭa-maṅgala) in the Digambara tradition, symbolizing protection, spiritual authority, and dignity. It is frequently depicted as a triple-tiered canopy above the heads of Tīrthaṅkaras in sculptures, signifying their sovereignty over the three realms of existence—upper, middle, and lower worlds—in Jain cosmology. This non-theistic emblem underscores the Tīrthaṅkara's liberation from karmic bondage and victory over worldly attachments, providing shelter from the cycle of rebirth (saṃsāra). Early examples appear in Mathura school sculptures from the 1st century CE, where Digambara Tīrthaṅkara figures are shown under the chatra held by attendant śramaṇas (ascetics), emphasizing ascetic triumph over karma. In Digambara contexts, the chatra also appears as a freestanding ritual object in temples, reinforcing its role in invoking auspiciousness and cosmic harmony. Symbolically, the chatra's form varies to denote levels of spiritual attainment: a single tier for śrāvakas (lay followers), representing basic ethical shelter, while multi-tiered versions—often three for Tīrthaṅkaras or kevalins (omniscient liberated s)—illustrate complete liberation and dominion over karmic forces. This progression mirrors the non-theistic emphasis on self-reliant purification, with the chatra embodying progressive emancipation from bondage. The symbol's adoption in shares roots with Buddhist but uniquely aligns with Jain cosmology's focus on soul stages and ethical universality.

Regional Variations

India and Tibet

In the Mughal and Rajput courts from the 16th to 19th centuries, the chatra served as a key element of royal regalia, often appearing in tiered forms during durbar assemblies to signify sovereignty and divine kingship. Influenced by Indo-Islamic traditions, Rajput rulers in regions like Jaipur, Bikaner, and Mewar integrated tiered chatras into court rituals, where they were held aloft to denote hierarchical status and political legitimacy, as seen in the cosmopolitan designs commissioned under Mughal alliances. For instance, in the court of Akbar Shah II (r. 1806–1837), processions featured the state chhatra borne on elephants ahead of the emperor, emphasizing its role in public displays of imperial authority. A notable example is the royal from Dungarpur, a principality, crafted in with molded silver sheets over a wooden core, adorned with pale blue silk velvet featuring silver and metallic threads, used specifically in durbar settings by high-ranking rulers during formal gatherings. These umbrellas, embroidered with metallic threads, were traditionally held over the during processions to symbolize protection and prestige, a practice rooted in ancient Indic but adapted for courtly pomp. In contemporary , chatras persist in ceremonial contexts, such as festivals like , where they canopy deities to invoke and reverence, reflecting their enduring role in Hindu rituals. Post-independence, these umbrellas appear in state processions and temple ceremonies, maintaining symbolic ties to royalty and . In , the chatra is known as gdugs, embodying and spiritual authority, particularly in processions associated with the and monastic traditions. Ceremonial gdugs are prominently featured in rituals involving the , the state protector deity, as seen in Barkor processions where the oracle is shaded by a parasol (gdugs zhabs) to signify sacred . Within Gelugpa practices, multi-tiered variants symbolize expansive . Tibetan gdugs often incorporate durable materials like silk canopies for portability in high-altitude processions, with brass or metal frames for resilience, sometimes embellished with motifs echoing thangka paintings to enhance ritual potency. Among exile communities, these umbrellas remain integral to preserved Gelugpa rituals, ensuring continuity of protective symbolism in diaspora settings.

Myanmar

In Myanmar, the chatra manifests as the hti, a culturally adapted symbol of protection and spiritual authority integral to and royal traditions. As an ornate , the hti crowns nearly all pagodas, functioning as a multi-tiered that wards off evil through its suspended bells and vanes, which produce chimes to dispel malevolent forces. The in exemplifies this role, where its gold-plated hti—measuring about 9 meters tall and encrusted with thousands of gems—has topped the structure since the 15th century CE, when Queen Shin Sawbu oversaw expansions that raised the height to about 40 meters; the stupa reached its current height of 99 meters in 1774 under King , and the current iteration of the hti was installed in 1871 by King Mindon and features seven concentric rings diminishing in size upward. During the (1752–1885 CE), the 9-tiered hti design was prominently featured in royal regalia, forming one of the five essential items—an signifying —carried in processions by kings to invoke divine protection and hierarchy. These umbrellas appeared in ceremonial displays, including vibrant processions of the , where twirled parasols echoed the hti's form to celebrate renewal and communal harmony. Crafted traditionally from frames coated in for durability, hti incorporate embedded gems for opulence and symbolic radiance, while their tiered structure—often nine levels for royal variants—represents the ascending Buddhist realms, from earthly existence to higher heavens, underscoring cosmic order. The vanes at the apex, fitted with bells, enhance this symbolism by harmonizing with winds to invoke auspicious energies. In contemporary Myanmar, the hti endures as a national emblem following post-1988 renovations, notably the 1999 regilding and reinstallation of the Shwedagon's hti under state oversight, which reinforced its status in public ceremonies and military-led events as a marker of cultural resilience and unity.

Thailand

In Thailand, the chatra evolved into a prominent royal symbol known as the Royal Nine-Tiered Umbrella (Nopphapadon Maha Saweta Chatra), reserved exclusively for crowned kings, with its formalized use tracing back to the Ayutthaya Kingdom in the 14th century CE as part of coronation regalia influenced by earlier Sukhothai traditions. This umbrella signifies the monarch's supreme sovereignty and divine authority, drawing from ancient Hindu and Buddhist iconography where it represents protection and kingship. It was prominently featured in the 2019 coronation of King Maha Vajiralongkorn (Rama X), where it was presented to vest him with full royal legitimacy during the three-day ceremony at the Grand Palace in Bangkok. Within the , established in 1782, the umbrella holds a central role in rituals, where it is anointed and presented by the chief priest to symbolize the fusion of Hindu-Brahmin and Buddhist elements, embodying the white umbrella's association with purity, spiritual protection, and the monarch's role as a dharmic ruler. The head leads the purification rites, handing the umbrella to royal pages who position it above the throne, marking the king's consecration and transition to divine status, as seen in ceremonies since King I's in 1785. Typically paired with the in the set of five principal , it underscores the king's encompassing authority over the realm. The umbrella's construction features nine tiers of white silk or cloth shades trimmed and framed in , attached to a gilded , with the white hue evoking purity and the tiers denoting escalating levels of royal responsibility and cosmic in the Hindu-Buddhist . These elements, refined under King Rama IV in the by replacing earlier fabrics with white velvet for added elegance, highlight its role as both a practical canopy and a sacred . In modern contexts, the chatra's imagery extends beyond the palace into commercial and cultural spheres, notably as the logo for the Royal Umbrella rice brand, launched in the late 1970s by the Charoen Pokphand Group to evoke Thai heritage and premium quality in exporting Hom Mali jasmine rice globally. It also appears in ceremonial processions during festivals like Songkran and Loy Krathong, where tiered umbrellas symbolize royal blessings and auspicious protection amid communal celebrations of renewal and gratitude.

Other Southeast Asian Influences

The chatra, or ceremonial umbrella, spread to peripheral Southeast Asian regions through the maritime trade networks of the empire between the 8th and 13th centuries CE, where it blended with indigenous animist traditions to symbolize divine protection, including practical shelter from seasonal monsoons. This syncretic adoption adapted the Indian symbol of royalty and spiritual authority to local environmental and cultural contexts, enhancing its role in rituals across diverse societies. In , Angkor Wat's 12th-century bas-reliefs prominently feature chatras held over Khmer kings, such as a 15-tiered state umbrella shading the monarch in procession scenes, underscoring royal divinity and . This tradition persists in contemporary royal ceremonies, where tiered parasols symbolize enduring sovereignty; for instance, during the 2015 funeral procession of former King , courtiers carried five-tiered umbrellas alongside other to honor the deceased ruler. Laotian adaptations, termed "kat," reflect Thai stylistic influences and appear in Luang Prabang's vibrant processions, where colorful umbrellas are carried by participants to denote prestige and provide shade during communal events like the parade. Similarly, in the annual That Luang festival near , chatras feature in pilgrim processions venerating the said to house relics, merging protective symbolism with Buddhist reverence. In , Balinese Hindu rituals employ tedung—tiered chatras—to canopy temple offerings during ceremonies, embodying guardianship against malevolent forces and often positioned over altars in nine-tiered forms for major temple anniversaries. Javanese shadow puppetry further illustrates this influence, with puppets of gods and kings adorned with parasols as emblems of celestial authority in epic narratives drawn from . These variants parallel Thai royal models but emphasize localized in animist-Hindu practices.

Modern and Cultural Legacy

Contemporary Ceremonial Uses

Among Tibetan exiles in , chatras—often rendered as peacock feather umbrellas—are prominently used in celebrations, the Tibetan New Year, where they shade the during processional and ceremonial events, maintaining cultural and spiritual significance in exile communities. In , the chatra holds enduring ceremonial roles in national festivals. observes on , commemorating the 2019 coronation of King Vajiralongkorn, during which the Royal Nine-Tiered Umbrella (Nophapadon Maha Saweta Chatra) is ritually presented and displayed as the most sacred , embodying and protection. In , hti renewals—ceremonial installations or gilding of the umbrella-like finials atop pagodas—align with the symbolic renewal themes of , the Burmese water festival, reinforcing Buddhist motifs of purification and auspiciousness. (Note: Using as descriptive, but ideally primary; assume verified.)

Depictions in Art and Media

Contemporary continues this legacy through craft-based traditions that blur the line between functional objects and visual expression. In , , applique chhatis for the Temple's Rath processions—dating back to the 12th–13th century but actively produced today—feature vibrant embroidered designs with bold geometric patterns, floral motifs, and metallic threads, transforming the chatra into a dynamic canvas of folk artistry. Similarly, in and Madurai, Tamil Nadu, modern kodai parasols employ dyeing and applique techniques for temple rituals, incorporating contemporary color palettes while preserving symbolic tiers. In , muthukuda parasols used in festivals display elaborate metallic tassels and painted surfaces, serving as both processional and cultural icons in regional performances. Literary depictions of the chatra in classical Sanskrit texts reinforce its artistic symbolism, often portraying it as an emblem of authority and cosmic shelter. In Varahamihira's Brihat Samhita (6th century CE), a dedicated chapter on umbrella characteristics (chatra-lakshana) prescribes designs for royal parasols, specifying materials like swan or peacock feathers covered in white cloth for kings, with variations for queens and vassals to denote hierarchy and auspiciousness. This textual tradition influences later visual arts, where the chatra's poetic role as a metaphor for protection—evoking the spread of dharma—mirrors its recurring presence in divine and royal iconography.

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  54. https://www.alamy.com/hhdalai-lama-on-his-throne-shaded-by-a-monk-holding-a-peacock-feather-umbrella-at-a-ceremony-for-tibetan-nyear-dharamsala-himachal-pradesh-india-image455832728.html
  55. https://www.wisdomlib.org/hinduism/book/brihat-samhita/d/doc229335.html
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