Amudra (/muˈdrɑː/ ⓘ;Sanskrit:मुद्रा,IAST:mudrā, "seal", "mark", or "gesture";Tibetan:ཕྱག་རྒྱ་,THL:chakgya) is a symbolic or ritual gesture or pose inHinduism,Jainism andBuddhism.[1] While some mudras involve the entire body, most are performed with the hands and fingers.[2]
As well as being spiritual gestures employed in theiconography andspiritual practice ofIndian religions, mudras have meaning in many forms ofIndian dance, andyoga. The range of mudras used in each field (and religion) differs, but with some overlap. In addition, many of the Buddhist mudras are used outsideSouth Asia, and have developed different local forms elsewhere.
Inhatha yoga, mudras are used in conjunction withpranayama (yogic breathing exercises), generally while in a seated posture, to stimulate different parts of the body involved with breathing and to affect the flow ofprana. It is also associated withbindu,bodhicitta,amrita, or consciousness in the body. Unlike older tantric mudras, hatha yogic mudras are generally internal actions, involving the pelvic floor, diaphragm, throat, eyes, tongue, anus, genitals, abdomen, and other parts of the body. Examples of this diversity of mudras areMula Bandha,Mahamudra,Viparita Karani,Khecarī mudrā, andVajroli mudra. These expanded in number from 3 in theAmritasiddhi, to 25 in theGheranda Samhita, with a classical set of ten arising in theHatha Yoga Pradipika.
Mudra is used in theiconography ofHindu andBuddhist art of theIndian subcontinent and described in the scriptures, such asNātyaśāstra, which lists 24asaṁyuta ("separated", meaning "one-hand") and 13saṁyuta ("joined", meaning "two-hand") mudras. Mudra positions are usually formed by both the hand and the fingers. Along withāsanas ("seated postures"), they are employed statically in themeditation and dynamically in theNāṭya practice of Hinduism.
Hindu and Buddhist iconography share some mudras. In some regions, for examplein Laos and Thailand, these are distinct but share related iconographic conventions.
According toJamgön Kongtrül in his commentary on theHevajra Tantra, the ornaments ofwrathful deities and witches made of human bones (Skt:aṣṭhimudrā;Wylie:rus pa'i rgyan phyag rgya) are also known as mudra "seals".[3]
The word mudrā hasSanskrit roots. According to scholarSir Monier Monier-Williams it means "seal" or "any other instrument used for sealing".[4]
A Buddha image can have one of several common mudras, combined with different asanas. The main mudras used represent specific moments in the life of theBuddha, and are shorthand depictions of these.
TheAbhayamudra "gesture of fearlessness"[5] represents protection, peace, benevolence and the dispelling of fear. InTheravada Buddhism it is usually made while standing with the right arm bent and raised to shoulder height, the palm facing forward, the fingers closed, pointing upright and the left hand resting by the side. In Thailand and Laos, this mudra is associated with theWalking Buddha, sometimes also shown having both hands making a double abhaya mudra that is uniform.
This mudra was probably used before the onset of Buddhism as a symbol of good intentions proposing friendship when approaching strangers. InGandharan art, it is seen when showing the action of preaching. It was also used in China during theWei andSui eras of the 4th and 7th centuries.
This gesture was used by the Buddha when attacked by an elephant, subduing it as shown in severalfrescoes and scripts.[6]
InMahayana Buddhism, the deities are often portrayed as pairing the Abhaya Mudrā with another Mudrā using the other hand.
Thebhūmisparśa or "earth witness" mudra ofGautama Buddha is one of the most common iconic images of Buddhism. Other names include "Buddha calling the earth to witness", and "earth-touching". It depicts the story from Buddhist legend of the moment when Buddha attained completeenlightenment, with Buddha sitting in meditation with his left hand, palm upright, in his lap, and his right hand touching the earth. In the legend, Buddha was challenged by the evil one,Mara, who argue for a witness to attest his right to achieve it. In response to Mara, Buddha touched the ground, andPhra Mae Thorani, the earth goddess, appeared to be the witnesses for the Buddha's enlightenment.[7][8]
In East Asia, this mudra (also called theMaravijaya attitude) may show Buddha's fingers not reaching as far as the ground, as is usual in Burmese or Indian depictions.
TheBodhyangi mudrā, the "mudrā of the six elements," or the "fist of wisdom,"[9] is a gesture entailing the left-hand index finger being grasped with the right hand. It is commonly seen on statues of theVairocana Buddha.
The Buddha preached his first sermon after his Enlightenment in Deer Park inSarnath. Thedharmachakra Pravartana or "turning of the wheel"[10] mudrā represents that moment. In general, only Gautama Buddha is shown making this mudrā exceptMaitreya as the dispenser of the Law. Dharmachakra mudrā is two hands close together in front of the chest invitarka with the right palm forward and the left palm upwards, sometimes facing the chest.There are several variants such as in theAjanta Caves frescoes, where the two hands are separated and the fingers do not touch. In theIndo-Greek style ofGandhara, the clenched fist of the right hand seemingly overlies the fingers joined to the thumb on the left hand. In pictorials ofHōryū-ji in Japan the right hand is superimposed on the left. Certain figures ofAmitābha are seen using this mudra before the 9th century in Japan.
Thedhyāna mudrā ("meditation mudra") is the gesture of meditation, of the concentration of the Good Law and thesangha. The two hands are placed on the lap, right hand on left with fingers fully stretched (four fingers resting on each other and the thumbs facing upwards towards one another diagonally), palms facing upwards; in this manner, the hands and fingers form the shape of a triangle, which is symbolic of the spiritual fire or theThree Jewels.This mudra is used in representations ofGautama Buddha andAmitābha. Sometimes the dhyāna mudrā is used in certain representations ofBhaiṣajyaguru as the "Medicine Buddha", with a medicine bowl placed on the hands. It originated in India most likely inGandhāra and in China during theNorthern Wei.
It is heavily used in Southeast Asia inTheravada Buddhism; however, the thumbs are placed against the palms. Dhyāna mudrā is also known as "samādhi mudrā" or "yoga mudrā",Chinese:禅定印; pinyin:[Chán]dìng yìn; Japanese pronunciation:jōin, jōkai jōin[citation needed].
Themida no jōin (弥陀定印) is the Japanese name of a variation of the dhyāna mudra, where the index fingers are brought together with the thumbs. This was predominantly used in Japan in an effort to distinguish Amitābha (hence "mida" from Amida) from the Vairocana Buddha,[11] and was rarely used elsewhere.
Although you can practicePrithvi Mudra at any time, it is best performed early in the morning. It is particularly useful when you are stressed or exhausted.
How to do: Start in Padmasana with both hands resting on your knees. Press the tip of your ring finger against the tip of your thumb, and extend the other fingers.
Benefits: Improves blood circulation, concentration, patience, and tolerance, strengthens bones, improves complexion, and relieves fatigue.
TheVaradamudrā "generosity gesture" signifies offering, welcome, charity, giving, compassion and sincerity. It is nearly always shown made with the left hand by a revered figure devoted to human salvation from greed, anger and delusion. It can be made with the arm crooked and 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 another mudra used by the right hand, typically abhaya mudrā. It is often confused with vitarka mudrā, which it closely resembles. In China and Japan during theNorthern Wei andAsuka periods, respectively, the fingers are stiff and then gradually begin to loosen as it developed over time, eventually leading to theTang dynasty standard where the fingers are naturally curved.
InIndia, varada mudra is used by both seated and standing figures, of Buddha and boddhisattvas and other figures, and in Hindu art is especially associated withVishnu. It was used in images ofAvalokiteśvara fromGupta art (4th and 5th centuries) onwards. Varada mudrā is extensively used in the statues ofSoutheast Asia.
TheVajra mudrā "thunderbolt gesture" is the gesture of knowledge.[12]
TheVitarka mudrā "mudra of discussion" 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 the abhaya and varada mudrās but with the thumbs touching the index fingers. This mudra has a great number of variants inMahayana Buddhism. InTibetan Buddhism, it is the mystic gesture ofTārās andbodhisattvas with some differences by the deities inYab-Yum. Vitarka mudrā is also known asVyākhyāna mudrā ("mudra of explanation"). This is also called as chin-mudra.[13]
TheJñāna mudrā ("mudra of wisdom") 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 towards the heart.[14] The mudra representsspiritual enlightenment in theindian-origin religions. Sometimessadhus chose to be buried alive in thissamadhi position. A 2700 old skeleton arranged like this was found atBalathal in Rajasthan, suggesting that something like yoga may have existed at that time.[15]
Thekarana mudrā 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 nearly the same as the Western "sign of the horns", the difference is that in the Karana mudra the thumb does not hold down the middle and ring finger. This mudra is also known astarjanī mudrā.
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InIndian classical dance and derived dances (such asKhmer,Thai orBalinese),[16] the term "Hasta Mudra" is used (however, there are terms used for mudras in derived dances such as "Kayvikear Dai" in Khmer). TheNatya Shastra describes 24 mudras, while theAbhinaya Darpana ofNandikeshvara gives 28.[17] In all their forms of Indian classical dance, the mudras are similar, though the names and uses vary. There are 28 (or 32) root mudras inBharatanatyam, 24 inKathakali and 20 inOdissi. These root mudras are combined in different ways, like one hand, two hands, arm movements, body and facial expressions. InKathakali, which has the greatest number of combinations, the vocabulary adds up to c. 900. Sanyukta mudras use both hands and asanyukta mudras use one hand.[18] In Thai dances, there are 9 mudras.
The classical sources for the yogic seals are theGheranda Samhita and theHatha Yoga Pradipika.[19] TheHatha Yoga Pradipika states the importance of mudras in yoga practice: "Therefore the [Kundalini] goddess sleeping at the entrance of Brahma's door [at the base of the spine] should be constantly aroused with all effort, by performing mudra thoroughly." In the 20th and 21st centuries, the yoga teacherSatyananda Saraswati, founder of theBihar School of Yoga, continued to emphasize the importance of mudras in his instructional textAsana, Pranayama, Mudrā, Bandha.[19]
There are numerous hand gesturemudras in yoga. Each of the hand gestures is based on the concept of the five elements as they relate to one's fingers.
The yoga mudras are diverse in the parts of the body involved, the procedures required, and the supposed effects, as inMula Bandha,[20]Mahamudra,[21]Viparita Karani,[22]Khecarī mudrā,[23] andVajroli mudra.[24]
Mula Bandha, the Root Lock, consists of pressing one heel into the anus, generally in a cross-legged seated asana, and contracting theperineum, forcing the prana to enter the centralsushumna channel.[20]
Mahamudra, the Great Seal, similarly has one heel pressed into the perineum; the chin is pressed down to the chest inJalandhara Bandha, the Throat Lock, and the breath is held with the body's upper and lower openings both sealed, again to force the prana into the sushumna channel.[21]
Viparita Karani, the Inverter, is a posture with the head down and the feet up, using gravity to retain the prana. Gradually the time spent in the posture is increased until it can be held for "three hours". The practice is claimed by theDattatreyayogashastra to destroy all diseases and to banish grey hair and wrinkles.[22]
Khecarī mudrā, the Khechari Seal, consists of turning back the tongue "into the hollow of the skull",[23] sealing in thebindu fluid so that it stops dripping down from the head and being lost, even when the yogi "embraces a passionate woman".[23] To make the tongue long and flexible enough to be folded back in this way, theKhecharividya exhorts the yogi to make a cut a hair's breadth deep in thefrenulum of the tongue once a week. Six months of this treatment destroys the frenulum, leaving the tongue able to fold back; then the yogi is advised to practise stretching the tongue out, holding it with a cloth, to lengthen it, and to learn to touch each ear in turn, and the base of the chin. After six years of practice, which cannot be hurried, the tongue is said to become able to close the top end of the sushumna channel.[26]
Vajroli mudra, the Vajroli Seal, requires the yogi to preserve thesemen, either by learning not to release it, or if released by drawing it up through theurethra from thevagina of "a woman devoted to the practice of yoga".[27]
SomeAsian martial arts forms contain positions (Japanese:in) identical to these mudras.[28]Tendai andShingon Buddhism derived the supposedly powerful gestures from Mikkyo Buddhism, still to be found in manyKo-ryū ("old") martial artsRyū (schools) founded before the 17th century. For example the "knife hand" orshuto gesture is subtly concealed in some Koryu kata, and in Buddhist statues, representing the sword of enlightenment.[29]
One day the Buddha walked through a village. Devadatta fed alcohol to a particularly furious elephant named Nalagiri and had him attack the Buddha. The raging bull stormed towards the Buddha, who reached out his hand to touch the animal's trunk. The elephant sensed the metta, the loving kindness of the Buddha, which calmed him down immediately. The animal stopped in front of the Buddha and bowed on his knees in submission.
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