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A '''mudrā''' (Sanskrit, मुद्रा, literally "seal") is a religious gesture, normally made with a hand or fingers, that is said to have deeper symbolic meaning and power. Mudras are an important part of [[Hinduism|Hindu]] and [[Buddhism|Buddhist]] [[iconography]], and they are frequently utilized in Indian [[meditation]], [[yoga]], and devotional practice.  There are numerous types of mudras and they are said to have specific qualities that can allegedly be imparted to practitioners.  
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[[Image:VitarkaMudra.JPG|thumb|right|200px|A Buddhist making the "Vitarka Mudra." Image from the Tarim Basin, ninth century.]]
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'''Mudrās''' (Sanskrit, मुद्रा, literally "seal") are religious gestures, normally made with the hands or fingers, used in [[meditation]], [[iconography]], [[dance]], and [[ritual]], which are said to have deeper symbolic meaning and power. Mudras are an important part of [[Hinduism]] and [[Buddhism]] and they are frequently utilized in Indian [[meditation]], [[yoga]], and devotional practice.  There are numerous types of mudras and they are said to have specific qualities that can be imparted to practitioners.
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In Indian religious practice, the role of mudras as a concentration device has some similarity to the practice of [[prayer]] in other religions. In both cases, adherents use outer physical actions to help concentrate their inner being on their own spiritual practice.
  
In Indian religious practice, the role of mudras has some similarities to aspects of [[prayer]] in the [[Abrahamic religions]].  In each case, the adherents use their hands to concentrate their minds and hearts on the power and glory of the divine absolute.
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==History==
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In [[India]], the use of mudras dates back to antiquity. "Ritual Mudras" can be traced back to Vedic times when they were used to regulate stress, rhythm, and intonation in the chanting of the [[Vedas]]." (Streng 1989) With the advent of Classical Hinduism, mudras continued to play a role in the ritual offerings to deities (see [[Puja]]), and in the visual portrayal of different gods and goddesses, as well as classical Indian dance techniquesMeanwhile, the emergence of Buddhism in the sixth century B.C.E. led to the continued and expanded used of mudras in Buddhist ritual, iconography and meditative practice. As Buddhism developed into different schools of thought, the ''[[Vajrayana]]'' and ''[[Shingon]]'' sects, in particular, made extensive use of mudras in their ritual practices.
  
==Famous Mudras==
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==Ritual contexts==
Some of the most famous mudras are described below:
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[[image:classical_indian_dance_4.jpg|Bharatnatyam|right|200px|thumb|Bharatnatyam is a Classical Indian Dance form that utilizes mudras.]]
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Traditionally, mudras have been used in a variety of ritual contexts depending on the desired effect of the mudra. Mudras play particularly important roles in the following ritual contexts in India: 1) Classical Dance, 2) religious iconography, 3) [[Tantra|Tantric practice]], 4) popular devotional ritual, and 5) advanced meditation and visualization techniques.
  
=== Abhaya Mudrā ===
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1 The canons of [[Classical Indian Dance]] require the use of mudras to facilitate the exposition of mythological and religious tales found in the dances themselves. In this context of dance, mudras become vehicles for the expression of religious teachings, which are conveyed to the audience through the dancers' body language. The classical dance form of ''[[Bharatnatyam]]'' became particularly well-versed for this technique (see picture inset).
On of the most well-known mudras in Buddhism is the outward-facing open palm known as ''Abhaya'' (without fear) mudrā.  This gesture is often assocaited with depictions of the [[Buddha]] who is frequently shown in frescoes  as subduing an elephant when it attacked him. The mudra represents protection, peace, benevolence, and is supposed to dispel all fear of the devotee. In the [[Theravada|Theravāda]] tradition of [[Buddhism]] the mudra 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 body while standing. In [[Thailand]] and [[Laos]] this mudrā is associated with the walking Buddha who is 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 [[Gandhara|Gandhāra]] Art it is seen used during showing the action of preaching and also seen in China during the Wei and Sui eras of the 4th and 7th centuries. In [[Mahayana|Mahāyāna]] Buddhism, the northern schools' deities often used the 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.  
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2 In India and Asia, Hindu, Buddhist, and Jain iconography makes extensive use of mudras to convey deeper truths. One frequently sees statues of the Buddha or Hindu deities in poses making specific gestures with their hands. These mudras are a type of nonverbal symbolic language that is conveyed by the icon to the practitioner. 
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3 Many schools of Tantra, especially the Buddhist schools of [[Tibet]], utilize mudras as part of their religious practices. In the tantric context, mudras have two meanings: in the Hindu tantra, "mudra" refers to one of the five practices partaken by tantric participants, which is often translated cryptically as "parched grain." In the ''Vajrayana'' schools of Buddhism, mudras symbolize the unity of wisdom and compassion, male and female, and are seen as integral to Buddhist tantric practices.
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4 At the level of popular Hindu devotion and ritual, the average Hindu is expected to perform daily ritual oblations in the performance of devotional rites. These rituals involve mudras in the form of cleansing, prostrations, ''[[Darshan]],'' and ''Namaskars'' required to the deity.
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5 Finally, mudras are used in certain forms of advanced mediation and visualization techniques practiced by esoteric schools.
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==Famous mudras==
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The ten most popular mudras are as follows: 1) ''Abhaya Mudrā,'' 2) ''Anjali Mudra,'' 3) ''Bumisparsha Mudra,'' 4) ''Dharmachakra Mudrā,'' 5) ''Dhyāni Mudrā,'' 6) ''Para-Jnana Mudra,'' 7) ''Uttarabodhi Mudra,'' 8) ''Vajrapradama Mudra,'' 9) ''Varada Mudrā'', and 10) ''Vitarka Mudrā''.<ref>Fischer-Schreiber, Ingrid and Franz-Karl Ehrhard and Kurt Friedrichs and Michael S. Diener. ''The Encyclopedia of Eastern Philosophy and Religion.'' (Boston: Shambhala, 1994), 233. ISBN 087773433X</ref> Not all mudras are done with the hands. An example of a mudra done without the hands would be ''Kechari mudra,'' done with the tongue.
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Some of these mudras are described in more detail below:
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=== ''Abhaya Mudrā'' ===
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On of the most well-known mudras in Buddhism is the outward-facing open palm known as ''Abhaya'' (without fear) mudra. This gesture is often associated with depictions of the [[Buddha]] who is frequently shown in frescoes as subduing an elephant when it attacked him. The mudra represents protection, peace, benevolence, and is supposed to dispel all fear of the devotee. In the [[Theravada|Theravāda]] tradition of [[Buddhism]] the mudra 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 body while standing. In [[Thailand]] and [[Laos]] this mudra is associated with the walking Buddha who is often shown having both hands making a double ''Abhaya mudrā'' that is uniform.
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The mudra was probably used before the onset of [[Buddhism]] as a symbol of good intentions proposing friendship when approaching strangers. In [[Gandhara|Gandhāra]] Art it is seen used during showing the action of preaching and also seen in China during the Wei and Sui eras of the fourth and seventh centuries. In [[Mahayana|Mahāyāna]] Buddhism, the northern schools' deities often used the mudra 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.  
 
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===Bhūmisparśa Mudrā===
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===''Bhūmisparśa Mudrā''===
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 papal tree at Bodh-Gaya. Usually represented by the historical Buddha and Akṣobhya sitting in the lotus position.
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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 papal 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.  
 
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 [[Mara|Māra]]. Akṣobhya is often seen using this mudra while clutching part of his rode with his left hand. In Korea confusion of the high period led to rare imagery where [[Amitabha|Amitābha]] was using the Bhūmisparśa Mudrā. (Japanese- Goma-in, Anzan-in, Anchi-in, Sokuchi-in; Chinese- Chudi Yin)
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It can also represent the subjugation of the demon horde of ''[[Mara|Māra]].'' '' Akṣobhya'' is often seen using this mudra while clutching part of his rode with his left hand. In [[Korea]], confusion of the high period led to rare imagery where [[Amitabha|Amitābha]] was using the ''Bhūmisparśa Mudrā.'' (Japanese- ''Goma-in,'' ''Anzan-in,'' ''Anchi-in,'' ''Sokuchi-in;'' Chinese- ''Chudi Yin)''
 
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===Dharmachakra Mudrā===
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===''Dharmachakra Mudrā''===
<!-- Unsourced image removed: [[Image:Maitreya dharmacakra mudra.jpg|thumb|left|130px|[[Maitreya]] displaying the Dharmacakra mudra]] —>
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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 mudra, save [[Maitreya]], as the dispenser of the Law. This mudra 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.
 
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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 [[Gandhara|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 [[Amitabha|Amitābha]], Japan are seen using this mudra before the ninth century. (Japanese: ''Tenborin-in, Chikichi-jo, Hoshin-seppo-in;'' Chinese: ''Juanfalun Yin)''
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 [[Gandhara|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 [[Amitabha|Amitābha]], Japan are seen using this mudrā before the 9th century. (Japanese: Tenborin-in, Chikichi-jo, Hoshin-seppo-in; Chinese: Juanfalun Yin)
 
 
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==Dhyāna Mudrā==
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===''Dhyāni Mudrā''===
 
[[Image:KamakuraDaibutsu3969.jpg|thumb|left|130px|Hands of [[Amitabha|Amitābha]] statue at Kotokuin]]
 
[[Image:KamakuraDaibutsu3969.jpg|thumb|left|130px|Hands of [[Amitabha|Amitābha]] statue at Kotokuin]]
  
The [[Dhyana|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.  
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The ''Dhyāni 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 [[Gautama Buddha|Buddha Śākyamuni]] and the Buddha [[Amitabha|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 [[Gandhara|Gandhāra]] and in China during the Wei period. This mudrā was used long before the Buddha as [[Yoga|yogins]] have used it during their concentration, healing, and mediation exercises.
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It is heavily used in Southeast Asia in [[Theravada|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)
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This Mudra is used in representations of the Buddha and [[Amitabha|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 [[Gandhara|Gandhāra]] and in China during the Wei period. This mudra was used long before the Buddha as [[Yoga|yogins]] have used it during their concentration, healing, and mediation exercises.
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It is heavily used in Southeast Asia in [[Theravada|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)''
 
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== Varada Mudrā ==
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===''Jnana 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 period|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)
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The ''Jnana Mudrā'' is the mudra of teaching. It resembles the ''vitarka'' mudra, and is done by joining the tips of the thumb and the index together, and keeping the other fingers straight. The fingers are somewhat kept straighter and rather horizontal, and the hand is held at the level of the chest.
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===''Karana Mudrā''===
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The ''Karana Mudrā'' is the mudra that 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.
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===''Vajra Mudrā''===
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[[Image:VajraMudra.JPG|thumb|right|130px|Vajra Mudrā]]
  
==Vajra Mudrā==
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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.
[[Image:VajraMudra.JPG|thumb|left|130px|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.<br>
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===''Varada Mudrā''===
<br>
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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 period|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 mudra is used in images of [[Avalokitesvara]] from the [[Gupta]] Period of the fourth and fifth centuries. The Varada mudrā is extensively used in the statues of Southeast Asia. (Japanese- Yogan-in, Segan-in, Seyo-in; Chinese- Shiynan Yin)
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).
 
http://www.livemaster.org/archive/KujiIn_front_low.wmv
 
 
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==Vitarka Mudrā==
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===''Vitarka Mudrā''===
[[Image:VitarkaMudra.JPG|thumb|left|130px|Vitarka mudrā, [[Tarim Basin]], 9th century]]
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The ''Vitarka Mudrā'' is the gesture of discussion and transmission of Buddhist teachings. 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 [[Mahayana|Mahāyāna]] Buddhism in East Asia. In [[Tibet]] it is the mystic gesture of [[Tara|Tara]]s and [[Bodhisattva]]s with some differences by the deities in [[Yab-yum]]. (Sanskrit: ''Prajñāliṅganabhinaya, Vyākhyāna mudrā;'' Japanese: ''Seppo-in, An-i-in;'' Chinese- ''Anwei Yin)''<br clear="all" />
  
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 [[Mahayana|Mahāyāna]] Buddhism in East Asia. In [[Tibet]] it is the mystic gesture of [[Tara|Tara]]s and [[Bodhisattva]]s with some differences by the deities in Yab-yum. (Sanskrit: Prajñāliṅganabhinaya, Vyākhyāna mudrā; Japanese: Seppo-in, An-i-in; Chinese- Anwei Yin)
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==Notes==
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<references/>
  
==Jnana mudra==
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==References==
The Jnana mudra is the mudra of teaching. It resembles the vitarka mudra, and is done by joining the tips of the thumb and the index together, and keeping the other fingers straight. The fingers are somewhat kept straighter and rather horizontal, and the hand is held at the level of the chest.
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* Bunce, Fredrick W. ''Mudras in Buddhist and Hindu Practices: An Iconographic Consideration.'' DK Printworld, 2005. ISBN 9788124603123
  
==Karana mudra==
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*Fischer-Schreiber, Ingrid and Franz-Karl Ehrhard and Kurt Friedrichs and Michael S. Diener. ''The Encyclopedia of Eastern Philosophy and Religion,'' Boston: Shambhala, 1994. ISBN 087773433X
The Karana mudra is the mudra which expells 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.
 
  
An example of a mudra done without the hands would be Kechari mudra, done with the tongue.  
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* Hirschi, Gertrud. ''Mudras: Yoga in Your Hands,''  Weiser Books, 2000. ISBN 9781578631391
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* Saunders, Ernest Dale. ''Mudra: A study of Symbolic Gestures in Japanese Buddhist Sculpture,'' Princeton University Press, 1985. ISBN 9780691018669
  
==References==
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*Streng, F. T. and C. R. King. "Mudra" in Keith Crim (ed.), ''The Perennial Dictionary of the World Religions,'' San Francisco: Harper and Row, (1989): 498. ISBN 006061613X
* Bunce, Fredrick W. ''Mudras in Buddhist and Hindu Practices: An Iconographic Consideration.'' DK Printworld, 2005. ISBN 978-8124603123
 
* Hirschi, Gertrud. ''Mudras: Yoga in Your Hands.'' Weiser Books, 2000. ISBN 978-1578631391
 
* Saunders, Ernest Dale. ''Mudra: A study of Symbolic Gestures in Japanese Buddhist Sculpture.'' Princeton University Press, 1985. ISBN 978-0691018669
 
  
 
==External links==
 
==External links==
* [http://healing.about.com/od/east/ig/Mudra-Gallery/index.htm Mudras Photo Gallery]
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All links retrieved November 10, 2022.
* [http://www.livemaster.org/archive/KujiIn_front_low.wmv A Kuji-in ritual using 9 mudrās]
 
* [http://www.archaka.com/puja/how_why/mudraa1.htm A description of a few Hindu mudrās]
 
* [http://www.exoticindiaart.com/article/namaste Exotic Indian Art website article, in-depth, on Hindu mudra ''Namaskar''/''Namaste'']
 
* [http://www.bremen.de/info/nepal/Icono/Mudras/Mudras.htm Mudras in Buddhism]
 
 
* [http://www.exoticindiaart.com/article/mudras Mudras of the Great Buddha: Symbolic Gestures and Postures]
 
* [http://www.exoticindiaart.com/article/mudras Mudras of the Great Buddha: Symbolic Gestures and Postures]
* [http://members.tripod.com/~Neurotopia/Zen/Mudra/ The Ten Most Important Mudras (with Pop up)]
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* [http://members.tripod.com/~Neurotopia/Zen/Mudra/ The Ten Most Important Mudras]  
* [http://mudra_makers.tripod.com/index.html About Yoga Mudras]
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* [http://100megsfree.com/yoga/mudrapage.htm Many Yoga Mudras to Try.  Home of Mudra Makers]
 
* [http://100megsfree.com/yoga/mudrapic.html View mudras with mudra slide show]
 
* [http://www.akhand-jyoti.awgp.org/ArticlesMarApr03/YogaMudras.html Yoga Mudras for Balancing the Five Vital Elements]
 
* [http://jeroenarendsen.nl/2006/06/new-mudra-for-small-lump-on-my-leg.html How to Create your Own Mudra]
 
  
 
[[Category: Philosophy and religion]]
 
[[Category: Philosophy and religion]]

Latest revision as of 17:54, 10 November 2022

A Buddhist making the "Vitarka Mudra." Image from the Tarim Basin, ninth century.

Mudrās (Sanskrit, मुद्रा, literally "seal") are religious gestures, normally made with the hands or fingers, used in meditation, iconography, dance, and ritual, which are said to have deeper symbolic meaning and power. Mudras are an important part of Hinduism and Buddhism and they are frequently utilized in Indian meditation, yoga, and devotional practice. There are numerous types of mudras and they are said to have specific qualities that can be imparted to practitioners.

In Indian religious practice, the role of mudras as a concentration device has some similarity to the practice of prayer in other religions. In both cases, adherents use outer physical actions to help concentrate their inner being on their own spiritual practice.

History

In India, the use of mudras dates back to antiquity. "Ritual Mudras" can be traced back to Vedic times when they were used to regulate stress, rhythm, and intonation in the chanting of the Vedas." (Streng 1989) With the advent of Classical Hinduism, mudras continued to play a role in the ritual offerings to deities (see Puja), and in the visual portrayal of different gods and goddesses, as well as classical Indian dance techniques. Meanwhile, the emergence of Buddhism in the sixth century B.C.E. led to the continued and expanded used of mudras in Buddhist ritual, iconography and meditative practice. As Buddhism developed into different schools of thought, the Vajrayana and Shingon sects, in particular, made extensive use of mudras in their ritual practices.

Ritual contexts

Bharatnatyam is a Classical Indian Dance form that utilizes mudras.

Traditionally, mudras have been used in a variety of ritual contexts depending on the desired effect of the mudra. Mudras play particularly important roles in the following ritual contexts in India: 1) Classical Dance, 2) religious iconography, 3) Tantric practice, 4) popular devotional ritual, and 5) advanced meditation and visualization techniques.

1 The canons of Classical Indian Dance require the use of mudras to facilitate the exposition of mythological and religious tales found in the dances themselves. In this context of dance, mudras become vehicles for the expression of religious teachings, which are conveyed to the audience through the dancers' body language. The classical dance form of Bharatnatyam became particularly well-versed for this technique (see picture inset).

2 In India and Asia, Hindu, Buddhist, and Jain iconography makes extensive use of mudras to convey deeper truths. One frequently sees statues of the Buddha or Hindu deities in poses making specific gestures with their hands. These mudras are a type of nonverbal symbolic language that is conveyed by the icon to the practitioner.

3 Many schools of Tantra, especially the Buddhist schools of Tibet, utilize mudras as part of their religious practices. In the tantric context, mudras have two meanings: in the Hindu tantra, "mudra" refers to one of the five practices partaken by tantric participants, which is often translated cryptically as "parched grain." In the Vajrayana schools of Buddhism, mudras symbolize the unity of wisdom and compassion, male and female, and are seen as integral to Buddhist tantric practices.

4 At the level of popular Hindu devotion and ritual, the average Hindu is expected to perform daily ritual oblations in the performance of devotional rites. These rituals involve mudras in the form of cleansing, prostrations, Darshan, and Namaskars required to the deity.

5 Finally, mudras are used in certain forms of advanced mediation and visualization techniques practiced by esoteric schools.

Famous mudras

The ten most popular mudras are as follows: 1) Abhaya Mudrā, 2) Anjali Mudra, 3) Bumisparsha Mudra, 4) Dharmachakra Mudrā, 5) Dhyāni Mudrā, 6) Para-Jnana Mudra, 7) Uttarabodhi Mudra, 8) Vajrapradama Mudra, 9) Varada Mudrā, and 10) Vitarka Mudrā.[1] Not all mudras are done with the hands. An example of a mudra done without the hands would be Kechari mudra, done with the tongue.

Some of these mudras are described in more detail below:

Abhaya Mudrā

On of the most well-known mudras in Buddhism is the outward-facing open palm known as Abhaya (without fear) mudra. This gesture is often associated with depictions of the Buddha who is frequently shown in frescoes as subduing an elephant when it attacked him. The mudra represents protection, peace, benevolence, and is supposed to dispel all fear of the devotee. In the Theravāda tradition of Buddhism the mudra 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 body while standing. In Thailand and Laos this mudra is associated with the walking Buddha who is often shown having both hands making a double Abhaya mudrā that is uniform.

The mudra 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 used during showing the action of preaching and also seen in China during the Wei and Sui eras of the fourth and seventh centuries. In Mahāyāna Buddhism, the northern schools' deities often used the mudra 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.

Bhūmisparśa Mudrā

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 papal 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 rode 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 mudra, save Maitreya, as the dispenser of the Law. This mudra 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 mudra before the ninth century. (Japanese: Tenborin-in, Chikichi-jo, Hoshin-seppo-in; Chinese: Juanfalun Yin)

Dhyāni Mudrā

Hands of Amitābha statue at Kotokuin

The Dhyāni 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 Mudra is used in representations of the 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 the Gandhāra and in China during the Wei period. This mudra was used long before the Buddha as yogins have used it during their concentration, healing, and mediation 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)

Jnana Mudrā

The Jnana Mudrā is the mudra of teaching. It resembles the vitarka mudra, and is done by joining the tips of the thumb and the index together, and keeping the other fingers straight. The fingers are somewhat kept straighter and rather horizontal, and the hand is held at the level of the chest.

Karana Mudrā

The Karana Mudrā is the mudra that 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.

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.

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 mudra is used in images of Avalokitesvara from the Gupta Period of the fourth and fifth centuries. The Varada mudrā is extensively used in the statues of Southeast Asia. (Japanese- Yogan-in, Segan-in, Seyo-in; Chinese- Shiynan Yin)

Vitarka Mudrā

The Vitarka Mudrā is the gesture of discussion and transmission of Buddhist teachings. 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)

Notes

  1. Fischer-Schreiber, Ingrid and Franz-Karl Ehrhard and Kurt Friedrichs and Michael S. Diener. The Encyclopedia of Eastern Philosophy and Religion. (Boston: Shambhala, 1994), 233. ISBN 087773433X

References
ISBN links support NWE through referral fees

  • Bunce, Fredrick W. Mudras in Buddhist and Hindu Practices: An Iconographic Consideration. DK Printworld, 2005. ISBN 9788124603123
  • Fischer-Schreiber, Ingrid and Franz-Karl Ehrhard and Kurt Friedrichs and Michael S. Diener. The Encyclopedia of Eastern Philosophy and Religion, Boston: Shambhala, 1994. ISBN 087773433X
  • Saunders, Ernest Dale. Mudra: A study of Symbolic Gestures in Japanese Buddhist Sculpture, Princeton University Press, 1985. ISBN 9780691018669
  • Streng, F. T. and C. R. King. "Mudra" in Keith Crim (ed.), The Perennial Dictionary of the World Religions, San Francisco: Harper and Row, (1989): 498. ISBN 006061613X

External links

All links retrieved November 10, 2022.

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