Indra's net (also called Indra's jewels or Indra's pearls, Sanskrit IndrajÃÂla, Chinese: å éÂÂ羠網) is a metaphor used to illustrate the concepts of à Âà «nyatà(emptiness), pratëtyasamutpÃÂda (dependent origination), and interpenetration in Buddhist philosophy.
The metaphor's earliest known reference is found in the Atharva Veda. It was further developed by the Mahayana school in the 3rd century BuddhÃÂvataá¹Âsaka Sà «tra and later by the Huayan school between the 6th and 8th centuries.
"Indra's net" is an infinitely-large net owned by the Vedic deva Indra, which hangs over his palace on Mount Meru, the axis mundi of Buddhist and Hindu cosmology. In East Asian Buddhism, Indra's net is considered as having a multifaceted jewel at each vertex, with each jewel being reflected in all of the other jewels. In the Huayan school of Chinese Buddhism, which follows the BuddhÃÂvataá¹Âsaka Sà «tra, the image of "Indra's net" is used to describe the interconnectedness or "perfect interfusion" (yuánróng, Ã¥ÂÂèÂÂ) of all phenomena in the universe.
Francis H. Cook describes Indra's net thus:
The Buddha in the BuddhÃÂvataá¹Âsaka Sà «tras 30th book states a similar idea:
Book 30 of the BuddhÃÂvataá¹Âsaka is named "The Incalculable" because it focuses on the idea of the infinitude of the universe and as Thomas Cleary notes, concludes that "the cosmos is unutterably infinite, and hence so is the total scope and detail of knowledge and activity of enlightenment."
In another part of the BuddhÃÂvataá¹Âsaka sutra, the actual metaphor of "Indra's Net" is used to refer to the all phenomena in the dharmadhÃÂtu ("dharma realm", ultimate reality, the ultimate principle, Chinese: æ³ÂçÂÂä¸Â):
The metaphor of Indra's net of jewels plays an essential role in the metaphysics of the Chinese Buddhist Huayan school, where it is used to describe the interpenetration or "perfect interfusion" (Chinese: yuánróng, Ã¥ÂÂèÂÂ) of microcosmos and macrocosmos, as well as the interfusion of all dharmas (phenomena) in the entire universe. According to Bryan Van Norden, in the Huayan tradition, Indra's net is "adopted as a metaphor for the manner in which each thing that exists is dependent for both its existence and its identity upon every other thing that exists."
The Huayan text entitled "Calming and Contemplation in the Five Teachings of Huayan" (Huayan wujiao zhiguan è¯å´äºÂæÂÂæ¢è§Â, T1867) attributed to the first Huayan patriarch Dushun (557âÂÂ640) gives an extended overview of this concept: <blockquote> The manner in which all dharmas interpenetrate is like an imperial net of celestial jewels extending in all directions infinitely, without limit. ⦠As for the imperial net of heavenly jewels, it is known as IndraâÂÂs Net, a net which is made entirely of jewels. Because of the clarity of the jewels, they are all reflected in and enter into each other, ad infinitum. Within each jewel, simultaneously, is reflected the whole net. Ultimately, nothing comes or goes. If we now turn to the southwest, we can pick one particular jewel and examine it closely. This individual jewel can immediately reflect the image of every other jewel.
As is the case with this jewel, this is furthermore the case with all the rest of the jewelsâÂÂeach and every jewel simultaneously and immediately reflects each and every other jewel, ad infinitum. The image of each of these limitless jewels is within one jewel, appearing brilliantly. None of the other jewels interfere with this. When one sits within one jewel, one is simultaneously sitting in all the infinite jewels in all ten directions. How is this so? Because within each jewel are present all jewels. If all jewels are present within each jewel, it is also the case that if you sit in one jewel you sit in all jewels at the same time. The inverse is also understood in the same way. Just as one goes into one jewel and thus enters every other jewel while never leaving this one jewel, so too one enters any jewel while never leaving this particular jewel.</blockquote>
The Huayan Patriarch Fazang (643âÂÂ712) used the golden statue of a lion to demonstrate the Huayan vision of interpenetration to empress Wu:
According to Rajiv Malhotra, the earliest reference to a net belonging to Indra is in the Atharva Veda (c. 1000 BCE). Verse 8.8.6. says:
And verse 8.8.8. says:
The net was one of the weapons of the sky-god Indra, used to snare and entangle enemies. The net also signifies magic or illusion. According to Teun Goudriaan, Indra is conceived in the Rig Veda as a great magician, tricking his enemies with their own weapons, thereby continuing human life and prosperity on earth. Indra became associated with earthly magic, as reflected in the term indrajal, "Indra's Net", the name given to the occult practices magicians. According to Goudriaan, the term indrajalam seems to originate in verse 8.8.8 from the Atharva Veda, of which Goudriaan gives a different translation:
According to Goudriaan, the speaker pretends to use a weapon of cosmical size. The net being referred to here
In Gödel, Escher, Bach (1979), Douglas Hofstadter uses Indra's net as a metaphor for the complex interconnected networks formed by relationships between objects in a systemâÂÂincluding social networks, the interactions of particles, and the "symbols" that stand for ideas in a brain or intelligent computer.
Timothy Brook uses the metaphor:
Sarah Burton explains that Brook uses the metaphor, and its interconnectedness:
In the 2020 TV series Brave New World inspired by the homonymous book by Aldous Huxley, a new element is introduced in the original story: everyone in New London is always connected to an artificial intelligence called Indra, that observes, monitors and analyzes all citizens 24/7. Writer Grant Morrison named this network after the Vedic deity, since Huxley was famously fascinated by Indian mysticism and named another element of the story, Soma, after a Hindu ritual drink which shares its name with another Vedic deity.
In Indra's Net (2014), Rajiv Malhotra uses the image of Indra's net as a metaphor for:
In the 2020 TV series Midnight Gospel, Indra's Net is discussed in the episode "Annihilation of Joy" where prisoners die over and over.