The Dharmacakra "Wheel of Dharma" or "Wheel of Law" is a symbol that has represented dharma, the Buddha's teaching of the path to enlightenment, since the early period of Indian Buddhism. It is also sometimes translated as wheel of doctrine or wheel of law. A similar symbol is also in use in Jainism. It is one of the Ashtamangala Symbols.
The Dharmacakra symbol is represented as a chariot wheel (Sanskrit cakram) with eight or more spokes. It is one of the oldest known Buddhist symbols found in Indian art, appearing with the first surviving post-Harappan Indian iconography in the time of the Buddhist king Aśoka. The Dharmacakra has been used by all Buddhist nations as a symbol ever since. In its simplest form, the Dharmacakra is recognized globally as a symbol for Buddhism.
In Buddhism, according to the Pali Canon, Vinayapitaka, Khandhaka,Mahavagga, Dhammacakkappavattanasutta—number of spokes of the Dharmacakra represent various meanings:
8 spokes representing the Noble Eightfold Path (Ariya magga). 12 spokes representing the Twelve Laws of Dependent Origination(Paticcasamuppāda). 24 spoke representing the Twelve Laws of Dependent Origination and the Twelve Laws of Dependent Termination (Paticcasamuppāda). 31 spoke representing 31 realms of existence (11 realms of desire, 16 realms of form and 4 realms of formlessness).
In Buddhism, Parts of the Dharmacakra also representing:
Its overall shape is that of a circle (cakra), representing the perfection of the dharma teaching. The hub stands for discipline, which is the essential core of meditation practice. The rim, which holds the spokes, refers to mindfulness or samādhi which holds everything together. The corresponding mudrā, or symbolic hand gesture, is known as the Dharmacakra Mudrā. The Dharmacakra is one of the eight auspicious symbols of Tibetan Buddhism. The dharma wheel can refer to the dissemination of the dharma teaching from country to country. In this sense the dharma wheel began rolling in India, carried on to Central Asia, and then arrived in South East Asia and East Asia.
Aniconic Art
Buddhist art originated in the Indian subcontinent in the centuries following the life of the historical Gautama Buddha in the 6th to 5th century BCE, before evolving through its contact with other cultures and its diffusion through the rest of Asia and the world.
A first, essentially Indian, aniconic phase (avoiding direct representations of the Buddha), was followed from around the 1st century CE by an iconic phase (with direct representations of the Buddha). From that time, Buddhist art diversified and evolved as it adapted to the new countries where the faith was expanding. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India
The first clear manifestations of Buddhist art date back to the time of the emperor Ashoka during the Mauryan era (322-180 BCE), through the building of numerous stupas, such as the one at Sanchi, and the erection of pillars. The pillars were surmounted by animal capitals and decorated with Buddhist symbols (such as the wheel), which invoked respect for all creatures and the acceptance of the Dharma.
During the 2nd to 1st century BCE, sculptures became more explicit, representing episodes of the Buddha¡¯s life and teachings. These took the form of votive tablets or friezes, usually in relation to the decoration of stupas.
Although India
The Wheel of law (skt. dharmacakra), symbol of the Four Noble Truths expressed by the Buddha.
The Bodhi tree, the tree where the Buddha reached enlightenment. It has some antecedent in fertility cults and representations of the tree of life.
The Buddha footprint (skt. Buddhapada ¡°Buddha feet¡±) to represent the impact of the teachings of the Buddha on the world.
The Empty throne.
The Lions, symbol of his royalty. The Buddha was known as the "Shakya Lion" during Ashoka's time, so this symbol was used on the Buddhist pillars he planted throughout India
The Columns surmounted by a wheel, symbol of his teaching.
The Lotus, symbol of pure, unspoiled Buddha Nature, for its beautiful blooming and the impossibility for water to adhere to it, leaving it spotless.
This reluctance towards anthropomorphic representations of the Buddha, and the sophisticated development of aniconic symbols to avoid it (even in narrative scene where other human figures would appear), seems to be connected to one of the Buddha¡¯s sayings, reported in the Dighanikaya, that disfavored representations of himself after the extinction of his body. This tendency remained as late as the 2nd century CE in the Southern parts of India