Mudra

The Abhayamudra "gesture of fearlessness"[5] represents protection, peace, benevolence and the dispelling of fear. In Theravada 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 the Walking Buddha, sometime 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. In Gandharan art, it is seen when showing the action of preaching. It was also used in China during the Wei and Sui eras of the 4th and 7th centuries.

This gesture was used by the Buddha when attacked by an elephant, subduing it as shown in several frescoes and scripts.[6]

In Mahayana Buddhism, the deities are often portrayed as pairing the Abhaya Mudrā with another Mudrā using the other hand.

The bhūmisparśa or "earth witness" mudra of Gautama 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 complete enlightenment, 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, and Phra Mae Thorani, the earth goddess, appeared to be the witnesses for the Buddha's enlightenment.[7][8]

In East Asia, this mudra (also called the Maravijaya attitude) may show Buddha's fingers not reaching as far as the ground, as is usual in Burmese or Indian depictions.

The Bodhyangi 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 the Vairocana Buddha.

The Buddha preached his first sermon after his Enlightenment in Deer Park in Sarnath. The dharmachakra Pravartana or "turning of the wheel"[10] mudrā represents that moment. In general, only Gautama Buddha is shown making this mudrā except Maitreya as the dispenser of the Law. Dharmachakra mudrā is two hands close together in front of the chest in vitarka with the right palm forward and the left palm upwards, sometimes facing the chest. There are several variants such as in the Ajanta Caves frescoes, where the two hands are separated and the fingers do not touch. In the Indo-Greek style of Gandhara, the clenched fist of the right hand seemingly overlies the fingers joined to the thumb on the left hand. In pictorials of Hōryū-ji in Japan the right hand is superimposed on the left. Certain figures of Amitābha are seen using this mudra before the 9th century in Japan.

The dhyāna mudrā ("meditation mudra") 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 (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 the Three Jewels. This mudra is used in representations of Gautama Buddha and 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 Gandhāra and in China during the Northern Wei.

It is heavily used in Southeast Asia in Theravada 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.

The mida 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.

The Varadamudrā "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 the Northern Wei and Asuka periods, respectively, the fingers are stiff and then gradually begin to loosen as it developed over time, eventually leading to the Tang dynasty standard where the fingers are naturally curved.

In India, varada mudra is used by both seated and standing figures, of Buddha and boddhisattvas and other figures, and in Hindu art is especially associated with Vishnu. It was used in images of Avalokiteśvara from Gupta art (4th and 5th centuries) onwards. Varada mudrā is extensively used in the statues of Southeast Asia.

The Vajra mudrā "thunder gesture" is the gesture of knowledge.[12] An example of the application of the Vajra mudrā is the seventh technique (out of nine) of the Nine Syllable Seals.

The Vitarka 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 in Mahayana Buddhism. In Tibetan Buddhism, it is the mystic gesture of Tārās and bodhisattvas with some differences by the deities in Yab-Yum. Vitarka mudrā is also known as Vyākhyāna mudrā ("mudra of explanation"). This is also called as chin-mudra.[13]

The Jñāna 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 represents spiritual enlightenment in the indian-origin religions. Sometimes sadhus chose to be buried alive in this samadhi position. A 2700 old skeleton arranged like this was found at Balathal in Rajasthan, suggesting that something like yoga may have existed at that time.[15]

The karana 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 as tarjanī mudrā.

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  Korea's National Treasure 119. The right hand shows abhayamudra while the left is in the varadamudra.
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  The Buddha sitting in bhūmisparśa mudrā. Birmany. White marble with traces of polychromy. Gallo-Roman Museum of Lyon-Fourvière
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  Bodhyangi Mudrā
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  A statue of the Buddha from Sarnath, Uttar Pradesh, India, 4th century CE. The Buddha is depicted teaching, while making the Dharmacakra Pravartana mudrā.
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  Reproduction of the Amitābha statue of Phật Tích Temple, Hanoi, demonstrating the dhyāna mudrā
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  Vajra Mudrā
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  Vitarka mudrā, Tarim Basin, 9th century
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  Joseon figure displays the karana mudrā.

There are numerous hand gesture mudras 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 and in the procedures required, as in Mula Bandha,[20] Mahamudra,[21] Viparita Karani,[22] Khecarī mudrā,[23] and Vajroli mudra.[24]

Mode of action of mudras, serving to trap energy-fluids (breath, prana, bindu, amrita) and thus help to unblock the central sushumna channel[25]

Mula Bandha, the Root Lock, consists of pressing one heel into the anus, generally in a cross-legged seated asana, and contracting the perineum, forcing the prana to enter the central sushumna channel.[20]

Mahamudra, the Great Seal, similarly has one heel pressed into the perineum; the chin is pressed down to the chest in Jalandhara 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 the Dattatreyayogashastra 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 the bindu 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, the Khecharividya exhorts the yogi to make a cut a hair's breadth deep in the frenulum 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 the semen, either by learning not to release it, or if released by drawing it up through the urethra from the vagina of "a woman devoted to the practice of yoga".[27]