Mudra

This article is about the use of mudrā in Indic religion. For mudra as used in Indian classical music, see Mudra (music).

A mudrā (Sanskrit, मुद्रा, literally "seal") is a symbolic gesture used in the iconography of Hindu and Buddhist art of the Indian subcontinent, and described in the scriptures, such as Natya Shastra that lists 28 Asamyuta (one-hand) mudras and 24 Samyuta (two-hand) Hastas. Mudra positions are usually formed by both the hand and the fingers. Along with āsanas (seated postures), they are employed statically in the meditation and dynamically in Natya practice of Hinduism. Each mudrā has a specific effect on the practitioner. Common hand gestures are to be seen in both Hindu and Buddhist iconography. In some regions, for example Thailand and Laos, these are different from each other but related iconographic conventions are used.

Common Buddhist mudras

Abhaya Mudrā

Korea's National Treasure no. 119. The right hand shows the fear-not gesture while the left is in the Varada (wish-granting gesture).

The Abhaya "No-fear" Mudrā represents protection, peace, benevolence, and dispelling of fear. In the Theravāda it is usually made with the right hand raised to the shoulder's height, the arm bent and the palm facing outward with the fingers upright and joined and the left hand hanging down on the right side of the while standing. In Thailand and Laos this mudrā is associated with the walking Buddha often shown having both hands making a double Abhaya mudrā that is uniform. The mudrā was probably used before the onset of Buddhism as a symbol of good intentions proposing friendship when approaching strangers. In Gandhāra Art it is seen when showing the action of preaching and also seen in China during the Wei and Sui eras of the 4th and 7th centuries. The gesture was used by the Buddha when attacked by an elephant, subduing it as shown in several frescoes and scripts. In Mahāyāna the northern schools' deities often used it with another mudrā paired with the other hand. In Japan when the Abhaya Mudrā is used with the middle finger slightly projected forward it is a symbol of the Shingon Sect. (Japanese- Semui-in; Chinese- Shiwuwei Yin)

Bhūmisparśa Mudrā

Buddha at Seokguram Grotto in South Korea.

The Bhūmisparśa "Earth-touching" Mudrā literally represents the Buddha as taking the earth as witness. It represents the moment when Buddha took the earth as testimony when he had resolved the problem of cessation of suffering while he was under the peepal tree at Bodh-Gaya. Usually represented by the historical Buddha and Akṣobhya sitting in the lotus position. The right hand touches the ground with the fingertips near the right knee extended or with only the index pointing down touching the ground with the left hand commonly resting on the lap with the palm facing up. It can also represent the subjugation of the demon horde of Māra. Akṣobhya is often seen using this mudra while clutching part of his robe with his left hand. In Korea confusion of the high period led to rare imagery where Amitābha was using the Bhūmisparśa Mudrā. (Japanese- Goma-in, Anzan-in, Anchi-in, Sokuchi-in; Chinese- Chudi Yin)

Dharmachakra Mudrā

The Dharmachakra Mudrā represents a central moment in the life of Buddha when he preached his first sermon after his Enlightenment, in Deer Park in Sarnath. Gautama Buddha is generally only shown making this Mudrā, save Maitreya as the dispenser of the Law. This Mudrā position represents the turning of the wheel of the Dharma. Dharmacakra Mudrā is formed when two hands close together in front of the chest in Vitarka having the right palm forward and the left palm upward, sometimes facing the chest. There are several variants such as in the frescoes of Ajanta, India the two hands are separated, and the fingers do not touch. In the Indo-Greek style of Gandhāra the clenched fist of the right hand seemingly overlie the fingers joined to the thumb on the left hand. In pictorials of Horyu-ji in Japan the right hand is superimposed on the left. Certain figures of Amitābha, Japan are seen using this mudrā before the 9th century. (Japanese: Tenborin-in, Chikichi-jo, Hoshin-seppo-in; Chinese: Juanfalun Yin)

Dhyāna Mudrā

Hands of Amitābha statue at Kotokuin in Kamakura

The Dhyāna Mudrā is the gesture of meditation, of the concentration of the Good Law and the Sangha. The two hands are placed on the lap, right hand on left with fingers fully stretched and the palms facing upwards, forming a triangle, symbolic of the spiritual fire or the Triratna, the three jewels. This Mudrā is used in representations of the Buddha Śākyamuni and the Buddha Amitābha. Sometimes the Dhyāna Mudrā is used in certain representations of Bhaiṣajyaguru as the Medicine Buddha, with a medicine bowl placed on the hands. It originated in India most likely in the Gandhāra and in China during the Wei period. This mudrā was used long before the Buddha as yogins have used it during their concentration, healing, and meditation exercises. It is heavily used in Southeast Asia in Theravāda Buddhism however the thumbs are placed against the palms. (Dhyāna Mudrā, Samadhi Mudrā, Yoga Mudrā; Japanese- Jo-in, Jokai Jo-in; Chinese- Ding Yin)

Varada Mudrā

The Varada Mudrā signifies offering, welcome, charity, giving, compassion and sincerity. It is nearly always used with the left hand for those whom devote oneself to human salvation. It can be made with the arm crooked the palm offered slightly turned up or in the case of the arm facing down the palm presented with the fingers upright or slightly bent. The Varada Mudrā is rarely seen without using another mudra used by the right hand, typically with the Abhaya Mudrā. It is often confused with the Vitarka Mudrā, which it closely resembles. In China and Japan during the Wei and Asuka periods respectively the fingers are stiff and then gradually begin to loosen as it developed through time, eventually leading to the Tang Dynasty were the fingers are naturally curved. In India the mudrā is used in images of Avalokitesvara from the Gupta Period of the 4th and 5th centuries. The Varada mudrā is extensively used in the statues of Southeast Asia. (Japanese- Yogan-in, Segan-in, Seyo-in; Chinese- Shiynan Yin)

Vajra Mudrā

Vajra Mudrā

The Vajra Mudrā is the gesture of knowledge. It is made making a fist with the right hand, index extending upward, and the left hand also making a fist and enclosing the index. A good example of the application of the Vajra Mudrā is the seventh technique (out of nine) of the Nine Hand Seals, using the mudra with mantras in a ritual application. Here is a video of a Sanskrit prayer to set the mind in a sacred state, followed by a quick version of the kuji-in ritual, using the Japanese kanji pronunciation (Sanskrit mantras are usually offered to the serious seeker).

Vitarka Mudrā

Vitarka mudrā, Tarim Basin, 9th century

The Vitarka Mudrā is the gesture of discussion and transmission of Buddhist teaching. It is done by joining the tips of the thumb and the index together, and keeping the other fingers straight very much like Abhaya and Varada Mudrās but with the thumbs touching the index fingers. This mudra has a great number of variants in Mahāyāna Buddhism in East Asia. In Tibet it is the mystic gesture of Taras and Bodhisattvas with some differences by the deities in Yab-yum. (Sanskrit: Prajñāliṅganabhinaya, Vyākhyāna mudrā; Japanese: Seppo-in, An-i-in; Chinese- Anwei Yin)

Jnana mudra

The Jnana mudra (Sanskrit: jñanamudrā), or "gesture of knowledge" is done by touching the tips of the thumb and the index together, forming a circle, and the hand is held with the palm inward toward the heart.

Karana mudra

Joseon Dynasty figure on the left makes the Karana mudra.

The Karana mudra is the mudra which expels demons and removes obstacles such as sickness or negative thoughts. It is made by raising the index and the little finger, and folding the other fingers. It is rather similar to the gesture known as corna in the West.

Martial arts and mudra

Mudras are arm, hand and body positions used in the traditions of Hinduism and Buddhism. The historic Buddha knew the use of mudras and is often depicted using these ritual gestures. Various Kung Fu forms contain positions identical to these mudras.

See also: Foreign influence on Chinese martial arts

Cross-cultural correlate

Donn Draeger ventures that an informing cross-cultural correlate to Mudra as employed in martial arts is evidenced throughout esoteric Buddhism and martial traditions. Draeger describes these techniques demonstrating that they are congruent and cognate with anchoring from within the discipline of Neuro-linguistic programming.

References

• Draeger, Donn (1980). "Esoteric Buddhism in Japanese Warriorship", in: No. 3. 'Zen and the Japanese Warrior' of the International Hoplological Society Donn F. Draeger Monograph Series. The DFD monographs are transcriptions of lectures presented by Donn Draeger in the late 1970's and early 1980's at the University of Hawaii and at seminars in Malaysia.
• Template:Harvard reference
• Muromoto, Wayne (2003) Mudra in the Martial Arts. Source: [1] (accessed: Thursday December 20, 2007)
• Template:Harvard reference Originally published 1985, Routledge & Kegan Paul plc, London.

External links

• Mudras Photo Gallery
• Mudras in Buddhism