The Development of Hindu Iconography c9.45.3

c9.45.3

this element of secrecy is further emphasised by the fact that the word is used in the Upaniṣadic literature with three distinct meanings, such as, (1) Secret word (as ‘satyasya satyam’, ‘tadvanam’ or ‘tajjalān’—these words variously describing the Brahman), (2) Secret text (in the Taittirīyaka school a section often ends with the words,—‘iti upaniṣad’), and (3) Secret import (‘secret allegorical meaning of some ritual conception or practice’—e.g., Chāndogya Upaniṣad, 1. 1. 10:—‘for that which is executed with knowledge, with faith, with the Upaniṣad, i.e., the secret import of udgītha as om, that is more effective’). In such esoteric literature where the true nature of the Brahman and Ātman is being deeply cogitated, it will be futile to seek for references to concrete representations of deities; the Vedic gods no doubt make their occasional appearances there, but they do so as mere accessories either to illustrate some parable or to stand as a symbol for Brahman-Ātman (as Indra in the Kauṣītaki Upaniṣad). The anthropomorphism which was present to a certain extent in their conception had no need to be emphasised in their present environment, and as for Brahman, it would be sheer folly to even think of him in terms of other concrete objects, much less to sensibly represent him (Na sandṛśe tiṣṭhati rūpamasya, na cakṣuṣā paśyati kaścanainam; na tasya pratimā asti yasya nāma mahadyaśaḥ).