Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v7.c47.7294

v7.c47.7294

If this identification of svastika with the ‘Om’ syllable, or the development of the former out of the latter, be accepted, three points would be further clarified. First, the auspicious character of the svastika figure will get support because the ‘Om’ syllable like the svastika figure is used at the commencement of something auspicious. The prefacing of ‘Om’ in pronouncing anything is followed down to this day by ‘Svasti’ (good luck) and it is also the practice to add ‘Svasti’ immediately after ‘Om’ in order probably to clarify or emphasize the meaning of the mystic syllable. Secondly, if the formation of the svastika figure from the joining of two Brāhmi o’s in a crosswise manner be accepted a very great antiquity can safely be attached to this classic symbol, because the title ‘Brāhmi’ implies its origin from Brahma or the Creator Himself and the Brāhmi alphabet may be associated with the writings discovered at Mahenjo-Daro dating from 3000 B. C. Despite various other theories the indegenous origin of the Brāhmi can hardly be questioned although the history of its origin has yet to be written. Thus, thirdly, the Indian origin of the svastika is further vouchsafed by the etymology of the term, which is unquestionably Sanskrit and Indian.