In Elements of Buddhist Iconography, Ananda Coomaraswamy analyzes the function of three symbols crucial to Buddhism and its representation in art: the tree of life, the earth-lotus and the word-wheel. Coomaraswamy convincingly demonstrates that these symbols can be found before their earliest representations in Buddhist art in the aniconic period of the Brahmanical Vedas as well as throughout the Rg Vedic period. He further asserts that these symbols continue in use into the present day and throughout their existence, they represent a universal Indian symbolism and a more or less constant set of theological concepts.
             After establishing a framework from which to understand Indian imagery in general and Buddhist imagery, specifically, Coomaraswamy presents a comprehensive explanation of how a particular image, that of the lotus throne, finds its place in Buddhist art.
             The views expressed in Elements of Buddhist Iconography are both consistent with and extensions of Coomaraswamy's earlier works and ideas, particularly those of The Origin of the Buddha Image. As Walter Clark notes in his foreword, Coomaraswamy's work has significance in large part because "objective linguistics is apparently near the end of its resources in dealing with the many remaining obscurities of Rig Vedic phraseology." Coomaraswamy's "metaphysical approach is welcome is welcome even though to the matter-of-fact linguist it may seem that ideas are not being built up on the basis of words but that words are being made to fit ideas."
             Rather than attempt to dissect the complex linguistics involved in Coomaraswamy's arguments, the following highlights first the connection between Elements... and Origin... before reviewing some of Coomaraswamy's more interesting points as they relate to early Buddhist art.
             In The Origin of the Buddha Image, Coomaraswamy contests the view, expressed by M. Foucher, that Greek or Eu...