Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c11.148

c11.148

These three facts, therefore, demanded adequate expression in the symbolism of art created for him or at his instance by his workmen. If we apply these three ideals to the various parts of the capital, we may readily discover that the crowning *Dharma Chakra* symbolises the policy of *Dhamma Vijaya*, the four seated lions represent the majesty and power of the emperor as the supreme ruler of the land. The next constituent part comprising the decoration on the abacus falls in line with the ideal of serving the masses through *Dhamma*. The four animals represent the divinity in the various orders of social organisations and the *Dharma Chakras* illustrate its underlying unity as actually happened in the life of Aśoka. These three orders of reality were integrated and combined into a supreme manifestation of all the resources and availability of the ruler and his kingdom. These three things together represent the emotional integration of the personality of Aśoka himself who dedicated his life and his kingdom to the welfare of his people through the ideal of *Dhamma*.¹