On the Origin and Semantics of Chinggis Khan’s White Banner

Abstract

Abstract All nations of the world are expressed through the meaningful phrase “The Five Colors and the Four Foreigners” (Tavan Ungu, Durvun Khari), while the political ideology of a sovereign known as the “Khan of the Nine Banners” – who reigns over them all – emerged over a thousand years ago. The number of the Nine White Banners established during the Great Khuruldai (Yke khuraldai) of 1206 reflects this tradition, while the color white symbolizes the receipt of Heavenly power. It is believed that by offering white horses as a sacrifice to the heavens and using their mane and tail hair as banners raised toward the sky, the people were communicating their will to the divine. For mortal men living under Heaven’s grace, the white falcon, diving straight downward, served as the messenger delivering the majesty ( suu zali ) of the Eternal Heaven (Mőngke Tenggeri). Chinggis Khan’s nine white banners represented the connection between humanity on Mother Earth (Etügen, Eke gajar) and Father Tenggeri (Etsege Tenggeri). During the reign of Khubilai Khan, the traditional heavenly ideology of the White Banner began to shift as the white parasol of the deity Sitatapatra (Tsagaan Shukhert) came to be worshipped as a protector covering the entire nation. The trident of the deity Mahakala, the primary military protector of the Yuan Dynasty, was placed atop the White Banner and consecrated through spiritual rituals, thereby earning it the title “Suld” (Spirit). The earliest artifacts evidencing the transition from “White Banner” to “White Suld” appear to be the “White Suld of the Mongolian State” from Uushin of the Ordos Chakhar, and the “White Suld of the Chagatai Khanate” from the Lu Gun khoshuu of the Zasagt Khan. The original design of Chinggis Khaan’s White Banner likely featured a crown made from the mane and tail of white stallions and mares offered to Heaven; its finial ( sesem ) likely represented the White Falcon – the totem of the Kiyat-Borjigin – gripping the sun and moon as it dived toward the earth to bring down the majesty of Heaven. By reconstructing the sesem of the original White Banner, we envision the sun and moon carved into the trident of the Lu Janjin khoshuu as the downward-diving falcon, its form evolving into the three-pronged trident.