Mudras in Buddhist and Hindu Practices

ETC in Buddhist and Hindu Practices — An Iconographic Consideration — oredrick OW. BunceMudras in Buddhist and Hindu Practices — An Iconographic Consideration — by Fredrick W. Bunce Professor Emeritus of Art Indiana State University D.K. Printworld (P) Ltd. New DelhiCataloging in Publication Data — DK (Courtesy DK: Agencies (P) Lid. edocinfo@dagencies com>] Bunce, Fredrick W. (Fredrick William), 1935- Mudras in Buddhist and Hindu practices an iconographic consideration / by Fredrick W. Bunee. Pp. 29cm. Includes bibliographical references (p. ) ISBN 812460312X 1. Mudras (Buddhism) — Encyclopedias. 2. Mudras (Hinduism) — Encyclopedias. 3. Gesture — Encyclopedias. 4. Idols and images — Encyclopedias. 1 Title. DDC 704.948 943 21 ISBN 81-246-0312-x First Published in India in 2005 © Author, 2001 All rights reserved. No part ofthis publication may be reproduced or transmitted in any form or by any meant clectronic or mechanical, including photocopying, recording or any information storage or re- rable tem Without prior writen permission of both the copyright holders, indicted abeee are ats ae PI Py publisher. Published and printed by: DX. Printworld (P) Ltd. Regd. office: “Sri Kuny,” F-52, Bali Nagar, New Dethi- 110015, Phones : (011) 2545-3975; 2546-6019; Fax (011) 2546-5026 E-mail: dkprintworld@vsni.net Web: www.dkprintworld.comContents Preface and Introduction | Mudras . Nxe Descriptive Term Designations........ Appendix B Thai Postures of the Lord Buddha. . ...t List of Figures Figure abhaya mudra 2... abhaya mudra IL abhaya mudra IL abhaya mudra IV. abhisheka mudra abhisheka-guhya mudra Achala-agni mudra adara gassho (mudra) 1. adara gassho (muda) IL adho-mukham mudra . adhishthana mudra adho-mushti-mukula mudra agni-chakra muda ........ agni-chakra-shamana mudra 1 agni-chakra-shamana mudra IL agni-jvala mudra agni-shala mudra agraja muda... ahayavarada mudra ahvana mudra..... aja-mukha mudra. Ajanta temborin-in (muda) . akka-in (mudra) alinga mudra aloke mudra . 2 % ‘Amida-butsu seppo-in (mudra) 1. Amida-butsu seppo-in (mudra) IL Amida-butstr seppo-in (mudra) IIT Amida-butsu seppo-in (mudra) IV ‘Amida-butsu seppo-in (mudra) V..... Amida-butsu seppo-in (mudra) VI anchita mudra Angarakha mudra an-i-in (mudra).. an-i-shoshu-in (mudra)... anjali mudral....+.+. anjali mudra Il. anjali mudra IIT... ankusha mudra . anuchitta mudra loo me eVVNnanuevoen Figure a. 42. 43, 44, 45, 46. SVBNRANARY anuja mudra anzan-in (mudra) apan mudra apan-vayu mudra arala mudra 1... arala mudra Il arala mudra I arala-kataka-mukha mudra archita mudra ....... ardhachandra mudra 1 ardhachandra mudra Il... ardha-mukha mudra ardhanjali mudra ardha-pataka mudra ardha-rechita mudra argham mudra Arjuna mudra 1 ashoka mudra 7 ashta-dala-padma mudra ashva-ratna mudra avahana mudra avahittha mudra aviddha-vakra mudra bahya-bandha mudra baka mudra bbaku jo in (mudra) Balaramavatara mudra BAM mudra bana mudra . basara-un-kongo-in (mudra) 1 basara-un-kongo-in (mudra) Il. bhartri mudra. bhartr-bhratri muda... bherunda mudra . Bhima mudra. bhinnanjali mudra bhramara mudra bhumisparsha mudra bhutadamara mudra . bihararieisata gassho (mudra) .... page 28 28 2B 29 29 29Figure SSSSRSRREaRS 101 102 103. 104. 108. 106. 107, 108, 108, 100, m., 12 13, m4, 16. 116, 17, 118 119. 120. 121. 122. 123, 124. 125, viii boda gassho (mudra) bon jiki-in (muda) Brahma muda Brahmana mudra Brihaspati mudra bu bosatsu-in (mudra) Buddhalochani mudra buddhashramana mudra I. buddhashramana mudra IL Budha mudra buku-in (mudra) bu mo-in (mudra) .. buppatsu-in (mudra) butsu bu sammaya-in (mudra) .. bu zo:in (muda) chaga mudra chakra mudra 1 chakra muda Il... chakra-ratna mudra .- chakravaka mudra .. chakravartin mudra chakshur mudra champaka mudra Chandra mudra chandrakala mudra | chandrakala mudra I chandra-mriga mudra chapetadana mudra.... chaturahasta mudra chatura mudra I chatura mudra IL chatura mudra II. chaturashra mudra chatur-dig-bandha mudra chatur-mukham mudra chi ker-in (muda) 1 chi ken-in (mudra) I, chiku cho sho-in (mudra) chin mudra 1. chin muda 1 chintamani muda | chintamani mudra IL chintamani mudra I chintamani mudra IV chintamani mudra V , List of Figures Page --36 36 37 37 38 38 38 38 39 39 40 40 40 a 2142, 2 2 B 43 243 Figure 126. 1. 128, 129, 130, BL 132, 133, 134, 135, 136. 137. 138, 139, 140, M1. 142, 143. 44, 145. 146. 7, 148. 149, 150. 151 152, 153, 154, 156. 156, 158, 159, 160. 161. 162. 163, 164. 168, 166. 167. 168. 168. chitta-guhya mudra , cho butsu fu-in (mudra) cho kongo renge-in (mudra) cho nen juin (mudra) chonmukhmukham muda 1 chonmukhmukham mudra Il cho zai-in (mudra) .. dai kai-in (mudra) dai ye-to no-in (mudra) .. damaruhasta (mudra) dampati mudra danda mudra 0... ose Dharani-Avalokiteshvara mudra . dharmachakra mudra maken dharmachakra-pravartana mudra dharmachakra-pravartana-bodhisattva- varga-mudra es dharma-pravartana mudra .. Dharmaraja mudra dhenu mudra | dhenu mudra II. Dhritarashtra mudra dhupa mudra I. dhupa mudra I. dhyana mudra 1. dhyana mudra I dola mudra baseons dviemukham mudra.... fu korin (mudra) 2.02... fukushu gassho (mudra) fu ku-yorin (mudra) ... funnu ken-in (mudra) fu tsu ku yo-in (mudra)..... gada mudra . 3 Gaganaganja mudra I Gaganaganja mudra IL aja(hasta) mudra . gajadanta mudra gandha mudra 1 gandha mudra Il... gandharan temborin-in (mura)... gandhararattha mudra gandharva mudra. gardabha mudra . garuda mudra . page 2052 52 52 53 53 GQReeg eee8 BISSSSRRAQARARARRADABAAeE NagyFigure 170, a7. 172, 17. 174, 175. 176. 17. 178. 17, 180. 181 182, 183. 184. 185. 186, 197. 188. 189, 190, 191 192, 193, 194, 195. 196, 197. 198, 199, 200. 201, 202. 203, 204. 205. 206. 207. 208. 209. 210. 2. 22, 213. 214. ‘garuda-paksha mudra . _gebaku goko (gassho) mudra . sgebaku ken-in (mudra) I. sgebaku ken-in (mudra) I gebaku ken-in (mudra) IIL ge-in (mudra) I... ‘ge-in (mura) IL ge-in (mudra) IIL. ge-in (mudra) IV ge kai-in (mura) ghanta-vadana mudra ‘go buku-in (mudra) go-san-ze (mudra) . gyan mudra . haku sho-in (mudra) 1. haku sho-in (mudra) IL hamsa mudra hhamsa-paksha muda 1 hamsa-paksha mudra IL hamsasya mudra | hansi mudra......... haranama gassho (mudra) harina mudra l... hastasvastika mudra I... hastasvastika mudra I. hastasvastika mudra IIL hastasvastika mudra IV... hasti-ratna mudra Hayagriva mudra I Hayagriva mudra Il hemanta mudra hi ko-in (mudra) HOH mudra a‘ honzon bu jo no-in (muda) , hora no-in (mudra)... horyuji temborin-in (mudra) HUM mudra Indra mudra Ishvara muda issai ho byo do kai go (muda)... JAH mudra jo renge-in (mudra jnana mudra 1... jnana-avalokite mudra jnana-shri mudra List of Figures page oo ah 2B me 23078 74 Figure page AB. jnyana mudra sss sceseeeeses 2 216. jo fudo-in (mudra. ssa 217. join (mudra) | 8 218, jorin (muda) Il... 008 8 219, jo-in (mudra) I....... ret. 220. jo-in (mudra) IV... oy 221. jo-in (mudra) V 5 222. jorin (mudra) VI... serene B 223, jorin (mudra) VIE... sees 95 224, jo-in (mudra) VII... core 96 225, jo zu ma ko ku-in (mudra) ......... 9% 226. ju-ni kushi ji shin-in (mudra) 2.97 227. jyeshta-bhratri mudra 7 228. kadali mudra.......6 52005 +98 229, kai mon-in (mudra) neces 230. kavin (mudra) 9 231. kai shin-in (mudra) .. 9 232. kaji ko sui-in (mudra) saves 233. Kalkiavatara mudra..... 100 234. kamjayi mudra . a ee 225, kanaka-matsya mudra 100 236, kandanjali mudra......... serous 237. kanishtha-bhratri mucéa 101 238. kanjo-in (mudra) 3 101 239, kanshukuden-in (mudra).. cess 1G 240. kapittha mudra sticeanne elle 241, kapittha mudra Il... vee 102, 242. kapittha mudra III... : 108 243. kapota mudra 1. 103 244. karana mudra | o 103 245. karana mudraIl...... 104 246. karkata mudra.. apeneeorneens Dh 247. Karma-Akashagarbha mucira .. 108 248. kartari (hasta) mudra sare 249. kartari-danda mudra eciomcecsen TDS 250. kartari-mukha mudra I... = 105 251. kartari-mukha mudra Wl. ...26. 020.022. 106 252. kartari-mukha mudra IIL... 106 253. kartari-svastika mudra . +++ 106 254, Karttivirya mudra penance lt 255. kashyapa mudra 107 256. kataka mudra 1. seracaaaneved Op 257. kataka mudrall........ a 108 258. kataka mudra IIL 108 259. kataka mudra IV... oe ABFigure 260. 261. 262. 263. 264. 774, 276. 292, 293, . ketaki mudra | kurma mudra IIL kataka mudra V . kkataka mudra VI kataka-vardhana mudra kati mudra .. katiga mudra ... katyavalambita mudra kavacha mudra I... kkavacha mudra I. kayen sho-in (mudra) ...... ke bosatsu-in (muda) kesha-bandha mudra Ketu mudra .. Khadga mudra 1. khadga mudra Il. khadga mudra IIL Khadga mudra IV khadga-mukula mudra .. khadga-ratna mudra khanda-mukula mudra khatva mucra ichijo-in (mudra) kilaka mudra kimbei-in (mudra) kimyo-gassho (mudra) . kongo-gassho (mudra) .. kongo-ken-in (mudra) I. kongo-ken-in (mudra) Il. kongo mo-in (mudra) kongo rin-in (mudra) |. ko taku(-in) (mudra) .. . Krishnavatara mudra . kshanti mudra........ Kshattriya mudra..... kshepana mudra I. kshepana mudra Il... Kshitigarbha muda kuan butsu kai ye-in (mudra) ken (mudra) kumma(n)ra gassho (mudra) |. kunda-dhvaja mudra , kurma mudra 1. kurma mudra Il. --121 List of Figures page 109 109 109 110 --10 110 ut Ind.: jnana-lolahasta mudra; Thai: pang nakazvalok) The English descriptive phrase for the Thai: pang nakmoalok, See: pang nakarcalok, (DRN 36, JBo 205, ODD 680, OF 35, PSS) expounding the constituent elements mudra ~ (Eng; Ind.: nidratahasta-vitarka mudra; Thai: pang ODD #53) The English descriptive term.‘ for the Thai pang ODD #53 See: pang ODD #53. (PSS, DRN 37, JBo, ODD 680) eating the myrobalan fruit mudra 65fo-puo-yin (mudra) Figure 153 fu ko-in (mudra) {as seen by the holder) 66 Figure 154 ~ fukushu gassho (madra) (asseen by the halen) -F- fo-puo-yin (mudra) ~ (Chin. fo-puo-yin {mudna]; Ind. ‘buddhapatra mudra; Jap.: buppatsu-in {mudral) The Chi- nese term for buppatsu-in (mudra). See: buppatsu-in (mudra). (EDS 113) fu ko-in (mudra) ~ (Jap.:f kon [mudral) ("the eternal light’) A muda, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held ot formed by a devotee or priest during the rites of Garbhadhatw Mandala. It may be accompanied by a mantra. The fu ‘o-in (mara) isa combined (Ind. saryutta) form, held by both hands. It denotes the light that is never extin- ‘guished. This muita is formed by: the palms facing the midline and close, the thumbs folded into the palms, the index fingers extended and straight, the middle fingers curled at the first two knuckles, the tips of the ng and little fingers touch. (GDe 27) See: Figure 153) fukushu gassho (mudra) ~ (Jap.: fukushw gassho Imudral) A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition. Specifi- cally one of the twelve, elemental "hand clasps" (Jap. jJunigosho or junigassho). The fukushu gassho (mudra) isa combined (Ind.: sarryutta) form, held by both hands, This mudra is formed by: the palms face downward, the fingers areslightly splayed and point forward. Thus held the thumbs of the two hands touch along their length. This mudra represents the “clasp of the cover- ing hands.” (EDS 40) (See: Figure 154) fu ku-yo-in (mudra) ~ (Jap: fu ku-yoin [mudra}) ("the universal offering”) A mudra, a ritual hand pose, seal, a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. The fu ku-yo-in) (mudra) isa combined (Ind.: swmyutta) form, held by both hands. This muudra is formed by: palms facing the midline,thumbs together, middle, ring and little fingers inter- laceat their tips, index fingers are erect, flexing at their first and second joints and tips touching, (GDe 80) ( Figure 155) funnu ken-in (mudra) ~ (Jap. funn ken-in [nara]; Ind.:krodhia mudra) ‘anger fist") A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhalu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by ‘a mantra. The funnu ken-in (mudra) is a single (Ind: ‘sarhyutta) form, held by one hand. It denotes anger. ‘This muira is formed by: palm facing forward, thumb folded into the palm, middle and ring fingers folded over the thumb, index and little fingers extend straight upwards. (EDS 39) (See: Figure 156) futsu ku yo-in (mudra)~ (Ind. :fu ts ku yovin [mura]) ("fil with decorations”) A mudra,a ritual hand pose, a seal, a tartric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayena) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatw Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra, The fu tsu ku yo-in' (mudra) is a combined (Ind. sarityutta) form, held by both hands. It denotes the uni versal offering. This mudra is formed by: palms facing the midline and close, thumbs extended upward and touching along their length, index fingers arched and touch at their tips, middle fingers folded and interlaced on the outside, ring and little fingers touch at their tips (GDe 35) (See: Figure 157) funnu ken-in (mudra) Figure 155 ~ fu ku-yorin muda) {asseen by the holder Figure 156 fonnu ken-in (mudray (gessen by another), Figure 157 ~ fu tsu ku yorin (mudra) (as seen by the holder) 67gada mudra f Figure 158 — gada mudra (as seen by the holder) GO Figure 159 — Gaganaganja muda T {os seen bythe holder) eS Figure 160 ~ Gaganaganja mudra II {as sen by the holder) B -G- gada mudra~ (Ind: gaiit-mudra) A moudra, a ritual hand Pose, a seal, which is common to the Hindu Tantric tradition. It denotes the mace and power. The gada rmudra isa combined (Ind.: sarinyutta) form, held by both hands. This muda is formed by: the fingers and thumbs of both hands are interlaced inwards, towards the palms, except the middle fingers which extend upwards, touching at their tips. (AMK 141) (See: Figure 158) Gaganaganja mudra 1 ~ (lap.: Gaganiagaija-mutra) A ‘miudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devotee or priest during various rites. It may be accompanied by a mantra, The Gaganaganja mudra is a combined (Ind.: saiyutta) form, held by both hands. It denotes the bodhisattoa Gaganaganja, This muda is formed by: palms facing backward, ring and little fingers folded into the palms, thumbs folded over the two fingers, index and middle fingers extend and together. ‘Thus formed the extended index and middle fingers are crossed at their tips, right fingers over left. (GDe 198) (See: Figure 159) Gaganaganja mudra I ~ (Ind.: Gaganagaiija-mudra) A mudra,a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, “Mantrayana) tradition and is held or formed by a devotee or priest during various rites. It may be accompanied by a mantra, The Gaganaganja nudra is a combined (Ind; saryutta) form, held by both hands. Itde- notes the bodhisattoa Gaganaganja. This muda is formed by: palms facing downward, little fingers and thumbs folded into the palm,’ index, middle and ring fingers are straight and interlaced on top. (GDe 199) (See: Fig- ure 160) gaja mudra ~ (Ind. gaja-mudra aka gajafhasta] muda) A variant term applied to gaja(hasta) mudra. See: _gajathasta) mudra. (BNS, JDo)gajathasta) mudra -- (Ind.: gajalhastal-mudra aka dolalhastal mudra, gaja mudra) A mudra, a ritual hand pose, a seal, which is common to the Hindu tradition, It denotes the trunk of an elephant and power. It is a pose that is frequently found in dancing figures, particularly Shiw-Nataraja and other Nrittamurtis forms, However, this mudra is viewed by some as a purely aesthetic pose-i-c., without iconic import or meaning.* The guja(hasta) mudra isa single (Ind. asaityutta) form, held by one hand. This mudra is formed by: left arm crosses the front of the body, there is a slight bend at the elbow and wrist, the hand is relaxed, palm downward, and the pose assumes graceful movement. The aja(hasta) mudra is at times equated with the danda ‘mura (HKS 271, MJS 44, RSG 3) (See: Figure 161) gajadanta mudra ~ (Ind. gajadanta-mudra) ("the elephant’s tusk") A hand pose, a seal, a dramatic (Ind. natya) mudra oF gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The gajadanta mudrais a combined (Ind.: sarnyutta) form, held by both hands, Itdenotes grasping a pillar, lifting anything heavy, etc ‘This mudra is formed by: the palms facing forwards, the thumbs are against the index fingers’ base, the index, middle, ring and little fingers curl, half-way towards the palms. Thus formed the forearms are crossed close to the elbows. (ACG 42) (See: Figure 162) gandha mudra 1 ~ (Ind. gandha-mucra, aka gandhe) This isan assigned term." A mudra,a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, a tantric mudra, It denotes perfume, which is cone ofthe five ‘gifts’ or ‘outer offerings’ proffered to a divine guest-the other four being: flowers, incense, lamps and food-during the early stages worship, particularly as associated with the worship of the powerful Vajrayana goddess, Tara, The gandha mudra 1 is a combined (Ind.: suriyutta) form, held by both hands, This mudra is formed by hands in mirror-pose: the hand, palm facing downwards, is fisted, thusly formed both are brought close together, but not touching. This ‘mura he held in front ofthe body, below the chin. The mantra associated with this mudra is: "OM Guru-sarea- Tathagata Gandhe puja-megha-samuatra-spharan-samaye HUM." (SBe 147) (See: Figure 163) gaja(hasta) mudra Figure 161 ~ gaja(hasta) mudra (os seen by another) Figure 162 ~ gajadanta mudra (as seen by another) Figure 163 — gandha mudra (osscen by another) 69gandha mudra II Figure 164 ~ gandha mudra II {as seen by the holder) 70 Figure 165 — gandharan temborin-in (mudra) (as sen by another) gandha mudra I~ (Ind: gandha-mudra) A mudra, a ritual hand pose, a seal, a tantric mudra which is com- ‘mon to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites. It may be accompanied by a ‘mantra. The gandha mudraisa combined (Ind. sariyutta) form, held by both hands. It denotes 'smell.” This mura is formed by: right palm faces left, left palm faces right, thumbs folded into the palms, middle and ring fin- ‘gets folded over the thumbs, index and little fingers extend and curl. Thus formed, the back of the right hand is crossed over rests against the back of the left hand, and the index and little fingers “hook.” (GDe 451) (See: Figure 164) gandha mudra III ~ (Ind. gandha-muctra; Jap.: 2 ko-in [mudra}) The Indic term for 2u ko-in (mudra). See: 21 ko- in (mura). (GDe 46) gandharan temborin-in (mudra) ~ (Jap.: gandharan temborin-in [mudra] aka temborin-in) A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition. It is related to the temborin-in* (nnudra) (Ind.: dharmacakra muda) being.a variation of the same. The gandiaran temborin-in (mudra) is a combined (Ind.: sarnyutta) form, held by both hands. This ‘mudra is formed by: the right hand is loosely fisted, palm facing the midline; the palm of the left hand faces upwards, the tips of the thumb and index finger touch and the other fingers curl towards the palm, and the tips ofthe thumb and the index finger are inserted into the bottom of the loosely fisted right hand. The mudra is held at waist level. (EDS 94) (Gee: Figure 165) gandhararattha mudra ~ (Ind. gandhararattha-mudra aka ancita-ahayaoarada mudra; Thai: pang khor-phon) A ‘mudra, a ritual hand pose, a seal, which is common to the Thai Buddhist tradition. One of forty mudras and asanas compiled by the Prince Patriarch Paramanujita Jinorasa and established during the reign of Rama Il as being acceptable for the depiction of images of The Lord Buddha~ive., “gandhararattha mudra” or "calling down the rain’ the twenty-seventh ofthe forty attitudes noted.! The gandhararattha mudra is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: the right palm upwards, fingers cuppedsomewhat, the thumb slightly bent towards the fin- ‘gertips, fingers oriented outward resting on the corre- sponding thigh or knee; the left is similar to the abhaya mmudra in that the fingers and thumb are extended upwards and together, relaxed, slightly cupped, palm facing forward and downward at approximately 45°, away from the body and generally at the level of the chest. (DRN 37, JBo, MSD, ODD 680, SVB) (See: Figure 166) gandharva-raja mudra ~ (Ind.: gandharea-raja-mudra) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devotee or priest during various rites. It may be accompanied by a mantra, The ganidharoa mudra is a combi (ind.: samnyutta) form, held by both hands. This mudra is formed by: palms face each other, index, middle and ring fingers and thumbs are interlaced with fingers and thumbs inside (palm-side), little fingers extend upwards, but do not touch. (GDe 324, LCS 176) (See: Fig- ure 167) Ganga mudra ~- (Ind: gariga-mudra aka tamractda mudra) A hand pose, a seal, a dramatic (Ind.: natya) ‘mudra or gesture (Ind: darpana) held or formed by a performer, dancer or actor. It denotes the river Gan- Bes, one of the famous rivers of India, The mudra employed is identical in form to the tamrachuda mudra See: tantracuda mudra, (ACG 48) gardabha mudra ~ (Ind: gardabha-mudra) A hand pose, a seal, a dramatic (Ind.: nafya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. It denotes an animal, in this case a mule. The sgardabha mudra® is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: palm facing forwards, the thumb is against the index fin- er’s base which extends upwards, the middle, ring and little fingers curl, half-way towards the palm. Thus formed, the hands are crossed! at the wrist. Its similar to the naga-bandha mura, (ACG 49) (See: Figure 168) garuda mudra ~ (Ind.: garuda-mudra) ("the garuda") A ‘mudra,a ritual hand pose, a seal, a tantric mura which is common to the Japanese Buddhist (Vajrayana, gandharva mudra ca Figure 166~ gandhararattha mudra (as sen by anater) i Figure 167~ gandharva-raja mudra (as seen by the holder) 8 Figure 168 gardabha mudra (as seen by another) nmgaruda-paksha mudra Figure 169 ~ garuda mudra {as seen by the holier) Figure 170 ~ garuda-paksha mudra (as seen by another) ee Figure 171 — gebaku goko (gassho) mudra (as seen by the holder) ‘Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Gurbhadhatu Mandala, Vajradliatu Mandala, Home Rites and other rites. It may be accompanied by a mantra, Also, a dramatic (Ind. ‘dtya) muira or gesture (Ind.: darpana) held ot formed by a performer, dancer or actor. The garuda mudra is a combined (Ind. sarityutta) form, held by both hands. It denotes the garda, the valana of the Lord Vishnu, This Imuira is formed by: palms facing outward, fingers are slightly splayed, thumbs cross, right “hooks” over left (ACG 41, GDe 181, LCS 100) (See: Figure 169) Saruda-paksha mudra ~ (Ind. garuda-paksa-mudra) ("Garuda’s wing") A hand pose, a seal, a dramatic (Ind. ‘ndtya) mura or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The garuda-paksha ‘mudra sa combined (Ind: savnyutta) form, held by both hands. Itdenotes superiority. This mudra is formed by Palms face upwards, fingers extended, together and Pointing outwards, the thumbs extends away from the fingers. Thus formed the bent wrists are held against the hips, elbows bent. (ACG 43) (See: Figure 170) sazing at the bodhi tree muda ~ (Eng.: Thai: pong {moinety; Ind. hastasenstika mura) The English descrip. tive phrase forthe Thai pang tcuinetr. The mudva (Thai Pang) is related to the hustascastta mudra. See: pang {aoainetr; see also; hastascasta mudra I. (DRN 35, JBor Pss) ge baku goko (gassho) mudra ~ (Jap. ge haku goko {gassho mura) ("five-pronged unjra’) A mudra,a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradi. tion and is held or formed by a devotee ot priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and others. It may be accompanied by a mantra. The ge baku goko (gassho) mudna is a combined (Ind.: samnyutta) form, held by both hands, It denotes a five-pronged aajra"" and sanctification, This mudra is formed by: the palms brought together, thumbs extending upwards and together, index fin. Bersextending upwards and separated, middle fingers touching at their tips, ring fingers folded on top and little fingers touching along their length. Thus formed the mudra is generally held at chest level. (GDe 16, LCS169) (See: Figure 171) gebaku ken-in (mudra) I~ (Jap. gebuku ken-in (mudra] aka kengo baku-in,kongo baku-in, shizaige ken-in (mnudra) Chin: wai-fu ch’man-yin; Ind.: granthitam mudray A ‘mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese and Chinese Buddhist (Vajrayana, Mantrayana) tradition and isheld or formed by a devotee or priest. It may be accompanied by a ‘mantra, It denotes the “outer bonds fist” (one of the "Six Types of Fists") and is posed during contempla- tion on the moon disc. The form is composed of both hands: the two hands are brought together, palm to palm, the fingers and thumbs are interlaced, the left thumb over the right and so forth, the fingers resting oon the back of the hand (resembling the clasped hands of one offering a prayer and synonymous with the ‘Christian west). This mudra is held in front of the chest. (EDS 119, GDe 8, LCS 117) (See: Figure 172) gebaku ken-in (mudra) I~ (ap gelaku ken-in muta, aka kongo baku-in {mudra}; Ind. granthitam mudra) A ‘mudra,a ritual hand pose, a sea, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devor tee or priest during the rites of Garbhadhatu Mandala, Vajradhatw Mandala, Homa Rites and other rites. It may beaccompanied by a mantra. The gebaku ken-in'™ (mura) I is a combined (Ind.: sarnyutta) form, held by both hands. It denotes purity and generosity. This mura is formed by: two hands are brought together, palm to palm, the fingers are interlaced and resting on the back of the hand, the thumbs are crossed. (GDe 61, LCS 121) (See: Figure 173) gebaku ken-in (mudra) III -- (Jap.: gebuku ken-in [mudra}; Ind. granthitam mura) A variant mudra, which is common to the Japanese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may bbe accompanied by a mantra. The geboku ker-in (mudra) UL is a combined (Ind.: samnyutta) form, held by both hands. It denotes the summoning of the knowledge of Buddha, This mudra is formed by: the two hands are brought together, palm to palm, the fingers are inter- gebaku ken-in (mudra) II Figure 172 gebaku ken-in (mudra) I (as een by the holder) Figure 173 — gebaku ken-in (mudra) I (as seen bythe holder) Figure 174 — gebaku ken-in (muda) IIT {as seen by the holder) 73ge-in (mudra) I az © Figure 175 ~ ge-in (mudra) T (as seen By another) Figure 176 ~ ge-in (mudra) IL (as seen by the holder) Figure 177 — ge-in (mudray II {a seen bythe holdes) 74 laced, the fingers resting on the back of the hana, the thumbs are folded inside the fist. (GDe 62, LCS 118) (ce: Figure 174) ge-in (mudra) I ~ Gap. ge-in {mudral) ("he teeth”) A ‘mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadatu Mandala, It may be accompanied by a mantra. The ge-in (mudra) isa single (Ind.:asariyutta) form, held by one hand. It denotes the destroying of enemies of religion. This mudra is formed by: palm generally facing forward, thumb folded into the palm, middle and ring fingers folded over the thumb, index and litle fingers curl at their first two knuckles, third phalanges remains erect (upward). (GDe 46) (See: Figure 175) ge-in (mudra) I~ Gap.:ge-in rmudra Ind skrodha mura, ajramusti mutta) A mudra,a ritual hand pose, a sea, a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayaa) tradition and is held or formed by a devotee or priest during various rites It may be accompanied by a mantra. The ge-in (mudra) I] isacombined (Ind. sariyutta) form, held by both hands. This mudrais formed by: palm faces backwards, thumb folded into the palm, middle and ring fingers fold over thumb, index and little fingers first and second phalanges curl tightly, third phalanges remains erect (upward). Thus formed the curled index and little fin- ers "hook" together atthe first and second phalanges. (GDe 75, LCS 62) (See: Figure 176) ein (mudra) I~ Jap.:ge-i [mura sInd.:hrotha mura, Zajramusti mudra) A mudra,a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites It ‘may be accompanied by a mantra. The ge-in(mudra) IIE" isa combined (Ind.; saviyutta) form, held by both hands, This mudra is formed by: palms faces backwards, thumbs folded into the palm, middle and ring fingers fold over thumb, first and second phalanges ofthe index and little fingers curl tightly, third phalanges re- ‘mains erect (upward). Thus formed the two hands are brought together so that the second phalanges of theindex and litle fingers touch. (GDe 37) (See: Figure 477) erin (mudra) IV ~ (lap: ge-in [mudra; Ind.: krodha ‘mudra, vajrarusti mudra) A mudra,a ritual hand pose, ‘seal, a tantric mudra which is common to the Japa- nese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites It may be accompanied by a mantra, The ge-in (mudra) TV" is a combined (Ind.: sarnyutta) form, held by both hands. This mudra is formed by: palms faces outwards, thumbs folded into the palm, middle and ting fingers fold over thumb, first and second phalanges of the index and little fingers curl. Hands cross at the wrist, (GDe 63 & 64) (See: Figure 178) ge kai-in (mudra) ~ Gap.: ge kuin [nmudral) A muctra,a ritual hand pose, a seal, a fantric mura which is com- ‘mon to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. The ge kai-in (mudra)" is a combined (Ind: savyutta) form, held by both hands. It denotes the liberation of the world from the demons. This ‘mura formed by: palm facing forward, thumb folded into the palm, middle and ring fingers folded over the thumb, index extends straight and little fingers curl at their first two knuckles. Thus formed, the hands are crossed at the wrists, left in front of the right and the little fingers "hook." (GDe 85) (See: Figure 179) ghanta mudra ~ (Ind.: ghayta-mudra; Jap: rei-in Lnmudra}) The Indic term for re-in (mudra) See: rein (mudra), (GDe 41) ghanta-vadana mudra ~ (Ind. ghanta-vadana-mnudra) (ringing the bell") A mura, a ritual hand pose, a seal, «a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra ‘The 21 ko-in (mudra) is a combined (Ind.: savityutta) form, held by both hands, It denotes the anointing of deities, a form of worship. This mudra is formed by: ge-in (mudra) IV Figure 178 ~ ge-in (mudra) IV (2s seen by another) Figure 179 = ge karin (mudray (as sony the halen Figure 180 ~ ghanta-vadana mudra (as seen by the holder) 75girika mudra Figure 181 — go buku-in (mudra) (as seen by the holder) Figure 182 — go-san-ze (mudra) (as een by the holder) 76 right palm facing forward, fingers and thumb extending upwards, left hand grasps the right forearm below the wrist fingers curling around the arm.on the outward side, thumb curled on the inward side. (LCS 66) (See: Figure 180) girika mudra ~ (Ind. girka-mudra) A hand pose, a seal, a dramatic (Ind: natya) mudra or gesture (Ind. darpana) held or formed by a performer, dancer or actor. It denotes an animal, in this case a mole (2). The girika mudra'*is a single (Ind.: asariyutta) form, held by one hand. ‘This mudra is identical to the Kiadga-mukula ‘mudra, See: Khadga-mukula mudra, (ACG 49) go buku-in (mudra) -- (Jap. go buku-in [mudra]) A ‘mudra,a ritual hand pose, a seal, a tantric mudya which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and isheld or formed by a devotee or priest during various rites. It may be accompanied by a mantra. The go buku-in (mudra) is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: palms facing midline, thumbs extended upwards and touching along their length, index fingers extend upwards, middle fingers are folded and interlace on top, ring fingers touch at their tips, little fingers fold inward (towards the palms). (GDe 399) (Gee: Figure 181) godhika mudra ~ (Ind.: godhika-mudra) A hand pose, a seal, a dramatic (Ind. natya) mudra or gesture (Ind. ddarpana) held ot formed by a performer, dancer or actor. It denotes an animal, in this ease an iguana, The sgodlika mudra’* is a single (Ind.: asaiyutta) form, held by one hand. This mudra is identical to the tala-pataka amudra. See: tala-patakar mudra, (ACG 49) go-san-ze (mudra) ~ (Jap. go-san-ze |mudra) ('van- ‘quishing the three lives") A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japa- nese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra ‘The go-san-ze (mudra) is a combined (Ind. sarityutta) form, held by both hands. It denotes the deity Trailokyavijaya (Jap.: Gosanze). This mudra is identical in both hands and is formed by: palm facing forward,granthitam mudra thumb folded into the palm, middle and ring fingers folded over the thumb, index and litle fingers curl at their first two knuckles, Thus formed, the hands are crossed at the wrists, left in front of the right. (GDe 63) (See: Figure 182) granthitam mudra ~ (Ind: granthitam-mudra; Chin.: waif ch’man-yin; Jap: gebnku ken-in [mudra], shizaige ken-in {mudral) A variant term applied to gebaku ken-in (mudra). A mudra, a ritual hand pose, a seal, a mudra which is common to yogic tradition, particularly the Yoga Tatoa Mudra Vigyan form, and is held by a devotee or practitioner. It is one of the thirty-two Gayatri ‘mudras.” It is utilized for all sickness, especially can- cer, Itis identical in form to the gebuaku ken-in (mudra). (KDe $4. RLM 73) gshegs-gsol phyag-rgya (mudra) -- (Tib.; Indi supratistha mudra) The Tibetan transliteral term for supratishtha mudra, See: supratishtha mucra. (SBe 224) yan muda ~ (Inds gyn-mudra aka jnanam mura) A ‘mudra,a ritual hand pose, a seal, a mudra which is common to yogic tradition, particularly the Yoga Tatoa ‘Mudra Vigyan form, and is held by a devotee or practitioner. The gyan mudraisa single (Ind.:asarnyuta) form, held by one hand. It is utilized for increasing brain activity, It is also one of the eight mudras held after the Gayatri Jap ofthe thirty-two total Gayatri mudras.” This rmudra is formed by: palm facing forward, tips of the thumb and index finger touch, middle, ring and little fingers are relaxed, slightly separated and point upwards, This mudra is similar to the vitarka mudra, (KDe 22) (See: Figure 183) Figure 183 = gyan mudra (as sen by the holder)hachiu-in (mudra) pe Figure 184 ~ haku sho-in (mudray 1 (as seen by the holder) Pe Figure 185 — haku sho-in (mudra) IT (as sen by the holder) 78 & Figure 186 — hamsa mura (as cen by the hor) -H- hhachiu-in (mudra) - Jap. huchiuin [mudral; Inds faonica mudra) The Japanese term for kacacha mudra. See Akaoacha muda. (GDe 72) hhaku sho-in (mudra) I~ (Jap: hak sho-in [mudra}) (elapping") A mudra,a ritual hand pose,a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhalu ‘Mandala, Vajradhatw Mandala, Homa Rites and other rites. Itmay be accompanied by a mantra. The haku sho- in (mudra)' is a combined (Ind.: sanityutta) form, held by both hands, It denotes praise of attendant deities and is also used to frighten away malevolent spirits. ‘This mucra is formed by: palms facing midline, fingers and thumbs extended upwards. Thus formed the two handsare shown close, but not touching. Thisisa mudra of action and the two hands are brought sharply together, clapping. (GDe 7, LCS 72) (See: Figure 184) hhaku sho-in (mudra) I~ (Japs: haku sho-in [mnudral) (Cclapping") A mudra,a ritual hand pose, a seal, tantric rmudra which is common to the Japanese Buddhist (Vajrayana, Mantrayara) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajcadhatu Mandala, Homa Rites and other rites, Irmay be accompanied by a mantra, The haku sho- in (mudra) ITis a combined (Ind. sariyutta) form, held byboth hands. The mudrais identical to the haku sho-in (mudra) 1 except that the thumbs are folded into the palm. (LCS 67) (See: Figure 185) hamsa mudra ~ (Ind.: harisa-mudra) ("the swan) A ‘mmidra, a ritual hand pose, a seal, which is common to the Hindu tradition and is depicted or held by a deity. ‘The hamsa mudra isa single (Ind.; asiyuta) form, held by one hand. It denotes the ceremonial thread of marriage, the rite of initiation, and a drop of water. The hhamsa mudra isa single (Ind.: asartyutta) form, held by ‘one hand. This mudra is formed by: the palm faces for- ‘ward, the first phalanges of the thumb, index and midle finger are brought together and extended, the ring and little finger arch upwards Thus formed, itis said to resemble the head of a goose (Ind. haritsa). This ‘mudra may also be employed in holding a garland. Itis related to the hamisasya mudra. (ACG 36, MJS 53) (See: Figure 186) hamsa-paksha mudra I ~ (Ind. havise-paksi-rmudra aka hharksasya mudra) ("the swan feather) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: arpa) held or formed by a performer, dancer or actor. The hamsa-paksha mudra isa single (Ind: asayiyuta) form, held by one hand. It denotes restraining, gather- ing, ete. This mudra is formed by: palm faces forwards, the index, middle and ring fingers curl towards the palm, the thumb rests along the curled index finger, pointing upward, the little finger is straight and pointing upwards, (ACG 36) (See: Figure 187) hamsa-paksha mudra II— (Ind: havisa-paksa-mudritaka harsasya mudra) ("the swan feather’) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or ac~ tor. The hamrsa-paksha mudra isa single (Ind.: asaneyutta) form, held by one hand. This mudra isa variation and formed by: palm faces forwards, the index, middle and ring fingers curl into the palm, the thumb rests along the curled index finger, pointing upward, the little finger is straight and pointing upwards, This muda resembles the sarpushirsha mudra. (KVa 136 [27]) (See: Figure 188) hhamsasya mudra I~ (Ind.;harisasya-mudra) ("the swan face’) A hand pose, a seal, a dramatic (Inds ndtya) mura or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The hamsasya mudra | isa single (Ind.: asariyutta) form, held by one hand, It denotes ‘marriage, initiation, etc: This muudra is formed by: palm faces forwards, the first phalanges of the thumb and index finger are touching and extended, the middle, ring and little fingers are separated, straight and pointing upwards, (ACG 36, KVa 135 [21)) (See: Figure 189) hamsasya mudra I~ (nd: harsasya-nnudra aka harisa- paksamudra. A variant term applied to htamsa-paksha ‘mura. See: hamsa-paksha mudra (KVa 136 [27)) hamsa-paksha mudra I Figure 187 — hamsa-paksha muda T {assen by the holder Figure 188 — hamsa-paksha muda Il (25 seen by another) Figure 189 — hamsasya mudra T (as sen by the holder)hanjakugoshochaku gassho (mudra) f Figure 190 -- hansi mudra (as seen by the holder) fr Figure 191 ~ haranama gassho (mudra) (@s seen by the holder) Figure 192 ~ harina mudraT {as seen bythe holder) 80 hanjakugoshochaku gassho (mudra) ~ (Jap.: anja ugoshochaku gassho (mudra) aka bihurarieisata gassho {mudra; Ind. viparyasta mudra) A variant term applied to biarareisata assho (maura) See: bikarareisata gassho (rauira), (EDS 213) hhansi mudra ~ (Ind. hanst-mudra) A mudra, a ritual hand pose, a seal, a muira which is common to yogic tradition, particularly the Yoga Tatow Mudra Vigyan form, and is held by a devotee or practitioner. The harsi ‘muara is a single (Ind.: asariyutta) form, held by one hand. It is utilized for peace and restorative needs. This mudra is formed by: palm forward, the tips of the middle, ring and little fingers touch the tip of the thumb, the index finger extends straight upwards. It resembles the tarjani nutri. (KDe 64) See: Figure 190) hharanama gassho (mudra) ~ (Jap.: haranania gassho Imudral; Ind: pranama mudra) A muda, a ritual hand pose, a seal, which is common to the Japanese Bud- hist tradition, Specifically one of the twelve, elemental “hand clasps” (Jap. junigosho or junigassho). The hharanamea gassho (mudra) is a combined (Ind: swhyutta) form, held by both hands. This mudra is formed by: palm to palm, the fingers of the right overlap (inter- Jock) with those of the left at the first phalanges, the thumbs similarly overlap. This is known as the "clasp of refuge." See also korigo-gassho, (EDS 41) (See: Fig- ure 191) harina mudra I~ (Ind.:huarina-mmudra) A moudea, a ritual hand pose, a seal, which is common to the Hindu tradition. Its form, as the name would indicate denotes anantelope or deer. The harina mudra lisa single (Ind.: asariyutta) form, held by one hand. This mudra is formed by: the palm faces forward, the tip of the thumb touches the tips of the middle and ring fingers (forming a circle), the index and the little fingers point up- ‘wards. (RSG 3) (See: Figure 192) hharina mudra I~ (Ind.:harina-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind, darpana) held or formed by a performer, dancer or actor. It denotes an animal, in this case an antelope. The havin mudra’ is a single (Ind.: asartyutta) form, held by cone hand. This mudra is identical to the mriga-shirsha ‘mura, See: mriga-shirsha mudra. (ACG 49)Harishchandra mudra ~ (Ind: Hariscandra-mudra) A hand pose, seal,a dramatic (Ind.:nttya) muda or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The Harishchandra mudra is a single (Ind.: asartyutta) form, held by one hand. It denotes Harishchandra, one of a number of famous rulers or heroes, The mudra employed is identical in form to the shukatunda mudra, See: shukatunda mudra. (ACG 47) hastasvastika mudra I ~ (Ind. hastasoastki-mudra) A ‘mudra, a ritual hand pose, a seal, which is common to the Hindu tradition. It denotes subservience or sur- render to a superior deity as well as the acceptance of the inevitable and involves the arms as well. The hhastasoastika mudra I is a combined (Ind.: sariyutta) form, held by both hands. This mura is formed by: palms the midline, fingers and thumbs extended and resting on the opposite upper arm, the right forearm is crossed over the left forearm. Itis related to the Thai pang taoainetr. (ERJ II 24, MJS 55) (See: Figure 193) hastasvastika mudra Il ~ (Ind. hastasoastika-muctra; ‘Thai: pang tavainetr) This sa descriptive term.* A muda, a ritual hand pose, seal, which is common to the Thai Buddhist tradition, One of forty mudras and asanas com piled by the Prince Patriarch Paramanuijita finorasa and established during the reign of Rama Ill as being acceptable for the depiction of images of The Lord Bud- dha-ie., “gazing at the bodhi tree mudra” the seventh of the forty attitudes noted.” The hastasoustika mura Il isa combined (Ind. sartyutta) form, held by both hands, This mudra is formed by: the right hand crosses over the left at the wrist, both palms face backwards, fingers and thumbs extended downwards. The mudra is thus held in front of the groin and the figure is stand~ ing.” (DRN 35, JBo) (See: Figure 194) hastasvastika mudra III ~ (Indic: hastasoustika-mmudra) Thisisa descriptive term." A miudra, a ritual hand pose, seal, which is common to the Thai Buddhist tradition. One of forty mudras and asanas compiled by the Prince Patriarch ParamanujitaJinorasa and established during the reign of Rama II] as being acceptable for the depiction of images of The Lord Buddha-ie,, “on the jeweled walkway" the eighth of the forty attitudes noted.” The hastascustika mudra IIIs a combined (Indl: Harishchandra mudra > Figure 193 — hastasvastika mudra I (as seen by another) Figure 194 — hastasvastika mudra IT {as seen by another)hastasvastika mudra IV SSS ee Figure 195 ~ hastasvastika mudra Il {as seen by another) Os Figure 196 - hastasvastika mudra IV (as seen by another} 6 Figure 197 ~ hasti-ratna mudra (as seen by another) 82 saityutta) form, held by both hands. This mudra is formed by: the right hand crosses over the left at the wrist, both palms face backwards, fingers and thumbs extended downwards. The mudra is thus held in front of the groin and the figure is standing on right foot with the left is positioned as if striding,” (DRN 35, JBo) (See: Figure 195) hastasvastika mudra IV ~ (Indic: hastaswustii- mud, ‘Thai: pang phyaditthanroy-phrabuddhabutr) This is a descriptive term." A mudra, a ritual hand pose, a seal, which is common to the Thai Buddhist tradition. One of forty mudras and asanas compiled by the Prince Pa- triarch Paramanuijita Jinorasa and established during the reign of Rama Ill as being acceptable for the depiction of images of The Lord Buddha, "stamping, footprint in the ground’ the thirty-first of the forty attitudes noted." The hastasoastiku mudra IV isa combined (Ind: sarnyutta) form, held by both hands, This mudra is formed by: the right hand crosses over the left at the Wrist, both palms face backwards, fingers and thumbs extended downwards. The muda is thus held in front of the groin and the figure is standing on left foot with the right raised as ifstepping," (DRN 37, JBo, PSS, ODD 780) (See: Figure 196) hasti-ratna mudra ~ (Ind.: hasti-ratna-mudra) This is an assigned term.” A niudra, a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, tantric mura. Itdenotes the gift ofa precious elephant (Tib.: glang-po) associated with the saptaraina (Ti. ‘gyal-srid sna-bdun) or seven gems of sovereignty (Tib. nor-bu-chab-bdun), also referred to as the ‘space vast treasury,’ particularly as it is associated with the worship of the powerful Vajrayana goddess, Tara. The hast- ratna mudra is a combined (Ind.: semiyuta) form, held by both hands, This mudrais formed bythe right hand: palm facing downwards, thumb, index, ring and little fingers are ‘cupped,’ the middle finger arches out and downwards; the left hand is slightly below, palm facing left, humb, index, ring and fourth fingers are fisted, the middle finger extends upwards, pointing towards the right cupped palm. The mudra is held: right hand at chin level. The mantra associated with this mudra is: ‘OM Hasti-ratna Praticcha HUM SVAHA."" (SBe 152) (See: Figure 197)Hayagriva mudra I ~(Ind.: Hayagrioa-mudra) A mura, a ritual hand pose, a seal, a tantric mudra which is com- ‘mon to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the Eighteen Rites, Itmay be accompanied by a ‘mantra. The Hayagriew mudra® 1 is a combined (Ind. sainyutta) form, held by both hands. Itdenotes the horse faced deity, This mudra is formed by: palms face midline, index and ring fingers are folded into the palms and they are brought together, middle and little fin- ‘gers extend upwards and the touch their opposites at the tip, thumbs extend upward, side by side. (LCS 63) (See: Figure 198) Hayagriva mudra 1 ~(Ind.: Hayagrtt-nnudra) A mudra, arritual hand pose, a seal, a tantric mudra which is com ‘mon to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites, It may be accompanied by a ‘mantra. The Hayagrica mudra II is a combined (Ind.: sarityutta) form, held by both hands. This mudra is formed by: palms facing midline and touching, thumbs extend upward and touch, middle and little fingers extend and touch at their tips, index fingers curls at first two knuckles and touch along the back of the first phalanges, ring fingers curl inward towards the palm. (Ge 217) (See: Figure 199) hemanta mudra ~ (Ind: hemanta-mudra) ("winter mudra) A mudra, a ritual hand pose, a seal, a tantric ‘mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held o formed by a devotee or priest during various rites. It may be accompanied by a mantra. The hemanta mudra isa com- bbined (Ind: sarryutta) form, held by both hands. It denotes winter. This mudra is formed by: palms face the midline, fingers thumbs and fingers extend upwards, slightly splayed and curled. Thus formed the hands are close, each are slightly rotated inwards and held chest level, (GDe 448) (See: Figure 200) hen hokkai mushofushi-in (mudra) ~ (Jap.: let hokkai rmushofushi-in [mudra] aka mushofushi-in (mudral, Biroshana-in [mudra}, butsubu sotoba-in [ruudral, dai sotoba-in [mudra}, mushofushi to-in {mudral, rito-in Imudra}; Chin.: wu-so-pu-chih-yin; Ind. sta mudra) Hayagriva mudra I fR Figure 198 ~ Hayagriva mudra | (as seen by the holder) fh Figure 199 — Hayagriva mudra IT {as seen by th holder) i Figure 200 — hemanta mudra (as seen by the holden) 83hi ko-in (mudra) Figure 201 ~ hi ko-in (mudray {as seen bythe holder) Figure 202 - HOH mudra (as seen by another) 84 (’muctra which reaches all the essence worlds") A variant term applied to mushofushi-in (mudra). See: ‘mushofushi-in (mudra). (EDS 115) bhi ko-in (mudra) ~ Jap.: hi ko-in [muda] ("putting on the armor’) A mudra,a ritual hand pose, a seal,a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala and other rites, It may be accompanied by a mantra. The hi ko-in (mudra)"' is a combined (Ind. savityutta) form, held by both hands. Itdenotes the don- ning of armor. This mudra is formed by: palms facing midline and are separated, thumbs touch along their outer edges, middle fingers touch at their tips, ring and litte fingers fold in between the palms, index fin- gets are erect but curve slightly. (GDe 5) (See: Figure 201) hintala mudra ~ (Jap. lmtala-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: sdarpana) held or formed by a performer, dancer or actor. It denotes the hintala tree. The mura employed is identical in form to the kertari-mukha mudra. See: Kartari-mukha mudra, (ACG 48) HOH mudra~ (Ind: HOH-mmuira) This is an assigned term A mudra, a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, a tantric mudra. It denotes "to dissolve,” and is the last syllable ofa four syllable invocatory mantra particularly as as sociated with the invocation ceremony attached to the worship of the powerful Vajrayana goddess, Tura. The HOH mudra is a combined (Ind.: sarnyutta) form, held both hands. This mudra is identical to both hands- -the palms face the midline, the tips of the middle and Fing fingers touch the last phalanges of the thumb hich is curled towards the palm, the index and little fingers extend upward, thus formed the left hand is closest to the body and the right hand crosses over the left at the points of the wrists, and the muda is held just below the level of the chin, in front of the chest The mantra associated with this mudra is: "fal Hum Bam HOH: (SBe 102) (See: Figure 202) !hokai sho-in (mudra) ~ ap. hoki sho-in [mara] akakayen sho-in [mudral) A variant term applied to kayert sho-in (mura). See: kayen sho-in (mudra). (GDe 16) honzon bu jo no-in (mudra) ~ (Jap. hionon bu jo mo-in [nudra}) (‘receiving the principle deity") A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatw Mandala, Vajradhatu ‘Mandala, Homa Rites and other rites, It may be accompanied by a mantra. The howtzon bu jo mo-in (mura) is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: palms face each other, fin- ‘gersand thumbs are interlaced with fingers and thumb inside (palm-side) the fist, except the right index fin- ser which is curled gently over the other, enclosed index finger, (GDe 98) (See: Figure 203) hora no-in (mudra) ~ (Jap. ltora no-in (mudral; In Sanikha mura) ("the conch") A mudra, ritual hand pose, seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a muntra The hora no-in (mudra) is a combined (Ind: sayiyutta)* form, held by both hands. It denotes transmission of orders and the calling of the faithful. This mudra is formed by both hands, identically: palms face the mid~ line, thumbs touch along their length, index fingers curl, their tips touching the outside first knuckles of the thumbs, middle, ring and little fingers touch at their tips. (GDe 22) (See: Figure 204) horyuji temborin-in (mudra) ~ (lap: horyajitemborin- in fmudral) A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition and a variation on the femborin-in (mudra). It denotes preach- ing and the ‘tuning of the wheel ofthe law.’ The mura is held in both hands: the right palm faces forwards, the tips of the thumb and the index finger touch, the other three fingers arch upwards; the left palm faces upwards and slightly to the midline, the tips of the thumb and the middle finger touch, the index, ring and litte fingers arch upwards, Thus held, the eft hand is lower that the rightand slightly in front (that is, away honzon bu jo no-in (mudra) Figure 203 — honzon bu jo no-in (mudra) (assem by the holder) Figure 204 - hora no-in (mudra) {as seen by the holder) 85HUM mudra Figure 205 -- horyuji temborin-in (mudray (as seen by another) Figure 206 — HUM mudra (as seen by the holder) 86 from the chest), the tips of the touching thumbs and. fingers of each hand are close together but not touching one another, (EDS 95) (See: Figure 205) HUM mudra~ (Ind.: HUM-mudra) This is an assigned term.® A mudra, a ritual hand. pose, a seal, which is ‘common to the Buddhist (Vajrayana) tradition, a tantric ‘mudra. It denotes "to absorb,” and is the second syllable of a four syllable invocatory mantra particularly as associated with the invocation ceremony attached to the worship of the powerful Vajrayana goddess, Tara ‘The HUM mudra is a combined (Ind.: sariyutta) form, held by both hands, This mudra is identical to both hands~the palms face forwards, the tips of the middle and ring fingers touch the last phalanges of the thumb which is curled towards the palm, the index and little fingers extend upward, thus formed the left hand crosses over (in front of) the right at the points of the ‘wrists, the index and little fingers cross their counterparts~the left little finger first phalanges in front of the right litle finger first phalanges, and the left index finger fist phalanges in front of the right index finger first phalanges. The mudra is held just below the level of the chin, in front of the chest. The mantra associated with this mudrais:"Jah HUM Bam Hol. (SBe 102) See: Figure 206)Ts Indra mudra~ (Ind.: Indra-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor which denotes a specific deity. The Indra mudra isa combined (ind.: sartyutta) form, held by both hands. It denotes the deity Indra. This mudra is formed by: right palm faces forward, index, middle and little fingers and thumb extended, together and pointing upwards, ring finger is bent towards the palm; left palm faces forward, index, middle and little fingers and thumb extended, together and pointing upwards, ring finger is bent towards the palm. Thus formed the hands are crossed at the wrist at chest level. (ACG 45) (See: Fig ure 207) in the Palelayaka forest mudra ~ (Eng.; Indic: aficita- rnidratahasta mudd; Thai: pang patel) The English descriptive phrase for the Thai pang palelai. See: pong palelai. (ORN 36, JBo 205, ODD 680, OF r 28, PSS) ishtaprada mudra ~ (Ind. istaprada-mudra aka varada mudra) A variant term applied to varada mudra. See: ‘odrada mudra (MIS 58) Ishvara mudra ~ (Ind. [Soara-mauctra) A mura, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites. It may be accompanied by a mantra ‘The Iskora nnudra' isa combined (Ind.: sarinyutta) form, held by both hands. This mudra is formed by: palms together, thumbs, index and little fingers extend upward and touch along their length, middle and ring fingers interlace on top of the hands. (GDe 461, LCS 184) (See: Figure 208) issai ho byo do kai go (mudra) ~ (Jap. issai hat byo do Jai go {mural; Engg: ‘great mudra for the conversion of things’) A mudra, a ritual hand pose, a seal, a tantric ‘mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Indra mudra Figure 207 ~ Indra mudra (as seen by another) Figure 208 ~ Ishvara mudra {as seen by the holder) 87issai ho byo do kai go (mudra) (concluded) Figure 209--issai ho byo do kai go (mudra) (as sen by the holder) ‘Mandala, Vajradhatu Mandala, Homa Rites and other rites, It may be accompanied by a mantra, The issai ho bbyo do kai go (mudra) is a combined (Ind: sanyutta) form, held by both hands. It denotes the equality and homogeneity of the Law (Ind.: dharma). This mudra is formed by: palms facing midline and close, thumbs and ring fingers folded into palms, index, middle and little fingers extend upwards and touch along their length. (GDe 31, LCS 155) (See: Figure 209)JAH mudra JAH mudra ~ (Ind.: JAH-mudra) This is an assigned term.! A mudra,a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, a tantric rmudra, It denotes "to summons,” and is the first sylla~ ble of a four syllable invocatory mantra particularly as associated with the invocation ceremony attached to the worship of the powerful Vajrayana goddess, Tara ‘The JAH mudra is a combined (Ind.: saytyutta) form, held by both hands. This mudra is formed bythe right palm faces forwards, the tips of the middle and ring fingers touch the last phalanges of the thumb which is curled towards the palm, the index and little fingers extend upward, thus formed the left palm faces the ‘midline and is in front of the right hand, the tip of the left hand’s little finger touches the first phalanges of the index finger of the right hand. The mura is held just below the level of the chin, in front of the chest. ‘The mantra associated with this mudra is: “JAH Hum ‘Ban: Hoh," (SBe 102) (See: Figure 210) jambu mudra ~ (Ind. jambi-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: sdarpana) held or formed by a performer, dancer or actor. Itdenotes the janibu or rose-apple tree. The mudra employed is identical in form to the ardha-patake mudra, See: ardha-pataka mudra, (ACG 49) jigs-med phyag-raya ~ (Tib.; Ind. abhaya mudra) The Tibetan term for abhiaya mudra. See: abhaya mudra.(BCO 215) ji ketsu-in (mudra) — Gap. ji ketsw-in [mudra; Ind ‘ajra-bandha mudra) The Japanese term for vajra-bandha mudra. See: tnjra-bandha mudra, (GDe 103) jo kongo-in (mudra) ~ (Jap.: jo ko.go-in {rauatra] aka jo renge-in [nuudra]) A variant term applied to jo renge-in (inmudra). See: jo renge-in (mudra). (GDe 67) jo renge-in (mudra) ~ (Jap. j0 renge-in (mudra] aka jo kongo-in [mudra]) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Bud- Figure 210 — JAH mudra {as sen by another) 89jnanam mudra Figure 211 — jo renge-in (muda) (as seen by the holder) 90 Figure 212 - jnana mudra 1 (as seen by another) hist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. The jo kongo-in’ (muda) is a combined (Ind: samyutta) form, held by both hands, This mudra is identical for both hands and is formed by: litte fingers folded into the palms, thumbs folded into the palms and over the little fingers, index, middle and ring fingers extend Thus formed, the left palm faces upwards, the right palm faces downwards, the index, middle and ring fin- ers of the right hand rest on the index, middle and ting fingers of the left hand at right angles. (GDe 67) (See: Figure 211) jnanam mudra~ (Ind.: jaanam-mudra aka gua mudra) A variant term applied to gyait mudra. Also, a variant spelling for jnana mudra. See: gyan muda; see also: nana ‘mudea. (RLM 77) jnana mudra 1 (Ind. jnara-mndra aka jana mudra) A mudra, a ritual hand pase, a seal, which is common to the Hindu tradition. It denotes irrefutable spiritual knowledge of the Absolute One and purity. The jana mudra 1is a single (Ind.: asarnyutta) form, held by one hand. This mudrais formed by the right hand: the palm is turned backwards, the tips of the thumb and the index finger touch, the other fingers are relaxed and extend to the left. Thus formed, the mudra is held against the middle of the chest. This mudra is not to be confused with the vitarka muctra, (HKS271, MIS60, RSG 3, TGR 17) (See: Figure 212) jnana mudra 1 ~ (Ind: jnana-mudra aka wajra mudra, bodhiasrt mudea; Chin: chib-ch’man-yin [mudral; Jap. biroshananyoraidaimyochi-in [mudra]; bodatindo- daiichichi-in [mudra}, chi ken-in [mudra], nometsu- maumyokokuan-in {mudra}) A variant term applied to chi ken-in (mudra). This mudra is, in form, vastly different from the chi ken-in (mudra). See: chi ken-in (mudra). (EDS 102) jnana-avalokite mudra ~ (Ind. jania-avalokite-mucdra; Tib.: ye-shes skar-mda’é phyag-reya) This is an >ssigned term. A mudra, a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, a tantricjnana-jnana mudra I mudra, It is the fifth gesture of six of the ma-mo-mdos ‘mudras. It denotes the ‘comet of knowledge,’ particularly as associated with the white gfor-ma (sacrificial cake) offering and the presentation of the thread cross (Tib.: ma-mo-midos oF ma-mdos) as part of the worship of the powerful Vajrayana goddess, Tara, The form is held with both hands: the right hand assumes the tarjani mudra, palm towards the midline, index finger pointing left;the left hand is below and assumes a form identical to the diyana mudra. Thus formed the mudra isheld above the waist. The mantra associated with this mudraiis:"OM Jnana-avalokite Samanta-spharana-rashmi- bhava-samaya-mahamani Duru Duru Hridaya-joalani HUM." (SBe 347) (See: Figure 213) jnana-jnana mudra I~ (Indic: jtna-jrtna- mura; Eng. performing austerities mudra; Thai: pang tukkarakiriya) This is a descriptive term." See: pang tukkarakiriva, (DRN 35, JBo 204, PSS) jnana-jnana mudra 11 ~ (Indic: jnana-jnana-mnudra ‘Thai: pang rami-pueng) This is a descriptive term See: pang ram-pueng. (ORN 37, [Bo 205, ODD 279, OFr 16, PSs) jnana-lolahasta mudra l~ (Ind. ana-llahasta-mudras, Eng. bathing, mucra; Thai: pang song-nam-phon) This is a descriptive term." See: pang song-nam-phon, (DRN 36, [Bo 205, OF r 30, PSS) jnana-lolahasta mudra I~ (Indic: jnana-lolahasta- ‘mudra; Eng. elephant glance mudra or looking back at the city of Vaisali muda; Thai: pang nakmealok) This is a descriptive term.’ See: pang nakrwalok. (DRN 36, JBo 2015, ODD 680, OF 35, PSS) jnana-mushti mudra ~ (Ind. jlana-musti-mudra aka tathagata-musti mud; Japs chi ken-in (mudra) I, nyorai kenr-in) A variant term applied to chi ken-in (mudra) I. ‘See: hi ken-in (mudra) II. (EDS 40, GDe 139, LCS 61) jnana-nidratahasta mudra~ (Indic: jiana-nidratahasta- ‘mudrii, Eng.: contemplating the approach of his death rmudra; Thai: pang plong-aryu-sangkharn) This is a descriptive term." See: pang plong-aryu-sangkharn, (ORN 36, JBo 204, ODD 279, OFr 34, PSS) Figure 213 ~ jnana-avalokite mudra (asseen by another) 1jnyana mudra Figure 214 ~ jnana-shri mudra (as seen by the bolder) Figure 215 — jnyana mudra (as sen by the holder) Figure 216 — jo fudo-in (mudra) (as seen by the holder) 92 jnana-shri mudra ~ (Ind. jhdna-sr-mudra) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbladhatu Mandala, Vajradhatu ‘Mandala, Homa Rites and other rites, It may be accompanied by a mantra, The jnana-shri mura is a combined (ind. sariyutta) form, held by both hands. This mudra is formed by: right palm facing downwards, index, ring and little fingers extended straight towards the mid line, middle finger and thumb curl and touch at their tips (similar to the karana mudra); left palm facing upwards, index, ring and little fingers extended straight towards the midline, middle finger and thumb curl and touch at their tips. Thus formed the left hand is slightly below the right hand. (GDe 123, LCS 213) (See: Figure 214) jnyana mudra~ (Ind. jtne-mndra aka oajra mura) A mudra,a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition. Its represents "the tunity of all things in the context of ultimate reality." ‘The juyana mudra is a combined (Ind: sartyutta) form, held by both hands, This mudra is formed by; the left hhand assumes the farjani mudra, index finger pointing upwards; the right hand forms a fist over the upward ‘extended index finger. Thus formed the mudra is held chest high. tis identical tothe Japanese Tathagata fist. (MMR 348) (See: Figure 215) jo fudo-in (mudra) ~ (Jap. jo fudo-in {mudral) (to be- come Achala”) A mudra, a ritual hand pose, a seal, a tantric mura which is common to the Japanese Bud- list (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala. 1t may be accompanied by a ‘mantra. The jo fudo-in' (mudra) is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: palms facing the midline, thumbs folded into the palm, middle and little fingers fold over the thumbs, indexand litle fingers extend and cut at their first and second knuckles. So formed the second phalanges of the index and little fingers touch their counterparts. (GDe 37) (See: Figure 216) jo-in (mudra) I~ (Jap. jo-in-mudra; Chin.: ting-yin [ruidra};Ind.: dhyana mudra, dryanahasta mudra, samadhijo-in (mudra) II mura, yoga mudrd; Thai: pang phra-nang; Tid. bsam-gtan phyag-rgya) A maudra, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. The jo-n (mudra) possesses a number of vari- ations: Type A: Variant 1, Variant 2; Type B: Variant 1, Variant2; and Type C: Variant 1, Variant2 and Variant 3." It denotes meditation and related to the dhyana rmudra, The jo-in (rmudra) 1isa combined (Ind.:samnyutta) form, held by both hands. This mura (Type A: Variant 1) is formed by: palms facing upwards, fingers and thumb together, extended and relaxed, thus formed, the right hand rests upon the left hand, and the mura is held in the lap. (EDS 85) (See: Figure 217) jo-in (mudra) 11 ~ (Jap. j0-in-mudra; Chin. ting-yin Imudra}; Ine: dhyana mudea, diyanahasta mura, samadhi ‘mudra, yoga mudra; Thai: pang phra-nang; Tid. bsam-gtant pliyag-rgya) A mdr, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions, Also, a tantrie mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayara) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. A variation of jo-in (mudra) known as Type A: Variant 2, The jo-tt (nudra) II is a combined (Ind.: savityutta) form, held by both hands, This mudra (Type ‘A: Variant 2) is formed by: palms facing upwards, fingers and thumb together, extended and relaxed, thus formed, the right hand rests upon the left hand at approximately 45°, and the mudra is held in the lap. (EDS 86) (See: Figure 218) jo-in (mudra) 111 — (Jap. jo-in-muda; Chin. ting-vin Inudeal; Ind: dhyana mudra, dhyaahasta mudi, samadhi mudra, yoga mudrd; Thai: pang phra-nang; Tib. bsam-gtan phyag-reya) A mudra, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during Figure 217 — jo-in (mudra) I {as sen by another) Figure 218 — jo-in (mudra) Il (as seen by another) 93jo-in (mudra) IV Figure 219 ~ jo-in (mudra) II (as seen by another) Figure 220 -- jo-in (mudra) IV (a seen by another) the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites, It may be accompanied by ‘4 mantra. variation of jo-in (mura) known as Type A: Variant 2. The jo-in (mudra) IIT is a combined (Ind, sarhyutta) form, held by both hands. This mudra (Type A: Variant 2), the opposite to the one immediately above, is formed by: palms facing upwards, fingers and thumb together, extended and relaxed, thus formed, the left hand rests upon the right hand at approxi. mately 45%, and the mudra is held in the lap. (EDS 86) (See: Figure 219) jo-in (mudra) IV ~ (lap. jovin-mudra; Chins ting-yin {nudra; Ind: dhyana muda, dhyanahasta muda, samadhi mura, yoga mudra; Thai: pang phra-nang; Ti. bsam-gtan Phuagergya) A mudra, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites, It may be accompanied by 1 mantra. A variation of jo-in (mura) known as Type B: Variant 1. The jo-in (mudra) IV is a combined (Ind. safzyutta) form, held by both hands. This mudra (Type B: Variant 1) is formed by: palms facing upwards, fin- ‘ger8 together, extended and relaxed, the tips of the thumbs are raised at approximately 45°, and the tips of the thumbs touch forming a triangle with the fingers, thus formed, the right hand rests upon the left hhand, and the mudra is held in the lap. (EDS 86) (See: Figure 220) jo-in (mudra) V ~ (Japs josin-mudra; Chim: ting-yin {mura}; Ind: dhyana mura, dhyanahasta mura, samadhi ‘mudra, yoga nuda; Thai pang phra-nang; Tid; bsam-gtan phyag-rgya) A mudra, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee of priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites, It may be accompanied by mantra, A variation of j-in (mudra) known as Type B: Variant 1." The jo-in (mudn) V is a combined (Ind. sstyutta) form, held by both hands. This muidra (TypeB: Variant 1) is formed by: palms facing upwards, fin- ‘gers together, extended and relaxed, the thumbs are raised at approximately 45°, and the tips of the thumbs touch forming a triangle with the fingers, thus formed, the left hand rests upon the right hand, and the mudra is held in the lap. (EDS 86) (See: Figure 221) join (mudra) VI — (Jap. jo-in-mudra; Chin. ting-yin [nnudra}; Ind: dhyana muda, dhyaaahasta mud, samadhi ‘muda, yoga natn; Thai pang phra-nang; Tb: bsant-gtan plryag-reya) A mura, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by ‘a mantra. A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition. A variation of join (mudra) known as Type C: Variant 1." The jo-in (mudra) VI is a combined (Ind.: samnyutta) form, held by both hands. This mura (Type C: Variant 1) is formed by: the left hand rests on the right, palms facing upwards, the first and second phalanges of the index fingers touch along their back surface (pointing upwards), the tip of the thumbs touch the tip of the respective index fingers, the middle, ring and little fingers are extended, and the maudra is held in the lap. {EDS 86) (See: Figure 222) jo-in (mudra) VII ~ ap. jo-in-mmudrit} Chin. ting-yin [mune Ind: dhyana mudra, dhyanahasta mua, samadhi ‘muda, yoga mudra; Thai: pang phra-nang; Tib: bsam-gtan plyag-rgya) A mudra,a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions, Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayuna) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by mantra, A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition. A variation of jo-in (mudra) known as Type C: Variant 2. The jo-in (mudra) VIL is a combined (Ind. saviayutta) form, held by both hands. This mura (Type C: Variant 2) is formed by: the left hand rests on the right, palms fac- jo-in (mudra) VI Figure 221 ~jo-in (mudra) V (@s seen by another Figure 222— jo-in (mudra) VI {asseen by another) Figure 223 — jo-in (muda) VIL (asseenby another 95jo-in (mudra) VIN Figure 224 ~ jo-in (mudra) VIII (as sen by another) 96 Figure 225 — jo zu ma ko ku-in (mudra) (as seen by another) ing upwards, the first and second phalanges of the middle fingers touch along their back surface (pointing upwards), the tip of the thumbs touch the tip of the respective middle fingers, the index, ring and little fingers are extended, and the muzra is held in the lap. (EDS 86) (See: Figure 223) jo-in (mudra) VIM ~ (Jap. jo-in-mudra; Chins ting-yin Unsudra};Ind.: dhyaria muda, dhyinahasta mudra, samadhi ‘mudra, yoga mudra; Thai: pang phra-nang; Tib; bsam-gtan phyag-reya) A mudra, a ritual hand pose, a seal, which is common to the Japanese and Chinese Buddhist traditions. Also, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. A mudra, a ritual hand pose, a seal, which is common to the Japanese Buddhist tradition. A variation of jo-in (mudra) known as Type C: Variant 3. The jovin (mudra) VII1 is a combined (Ind: sasnystta) form, held by both hands. This mura (Type C: Variant 3) is formed by; the left hand rests on the right, palms facing upwards, the first and second phalanges ofthe ring fingers touch along their back surface (pointing upwards), the tip of the thumbs touch the tip of the respective ring fingers, the index, middle and little fin- {gers are extended, and the mudra is held in the lap. (EDS 86) (See: Figure 224) jo 2u ma ko ku-in (muda) ~ (Jap: jd =u ma ho kusin mudra)) ("the expulsion of the demons and the putifi- cation of impurities’) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held ‘or formed by a devotee or priest during the Eighteen- step Rites, It may be accompanied by a mantra. The jo ‘ma ko ku-in® (mudra) isa single (Ind.:asariyutta) form, held by one hand. It denotes double purification. This ‘mudra is formed by: left palm generally faces forward, thumb and litle figure curl towards the palm and their tips touch, index, middle and ring fingers extend upward and flex at their first knuckles." (GDe 106) (See: Figure 225) i im (mudra) ~ (Jap: ju-ni kushi ji shin-in [muatra); Ind. maa-bana nuded) A miudra,a ritualhand pose, a seal, a tantric mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala, Vajradhatu Man- dala, Homa Rites and other rites. It may be accompanied by a mantra. The juni kus jéshin-in (mudra) is a combined (Ind.: saviyutta) form, held by both hands. It denotes purification of the whole body. This mudra is formed by: palms oriented downwards, tips of the thumbs and litle fingers touch, index and middle fingers rest on the backs of the opposite hands, middle fingers point downward flexing at their second knuck- Jes and touching along the first and second phalanges of both, (GDe 17, LCS 126) (See: Figure 226) jyeshta-bhratri mudra ~ (Ind. jyesta-bhratr-mudra) A hand pose, a seal, a dramatic (Ind.: nafya) mudra or gesture (Ind.: darpara) held or formed by a performer, dancer or actor. The jyeshta-blatri mudraisa combined (ind.:sarnyutta) form, held by both hands. One of eleven mudras representing “relationships” and one which denotes older brother. This mudra is formed by: right palm facing outwards, tips of the thumb and ring finger touch and extend outwards, the index and middle fingers are straight and slightly separated, the little fingers is slightly bent; left palm facing the midline, tips ‘ofthe thumb and ring finger touch and extend inwards, the index and middle fingers are straight and slightly separated, the litle fingers is slightly bent. (ACG 45) (See: Figure 227) jyeshta-bhratri mudra Figure 226 —ju-ni Kushi ji shirein (muda) {asseenby the holder Figure 227 - jyeshta-bhratri mudra (as seen by the holder) 97kacchapa mudra Figure 228 — kadali mudra {assen bythe older) 98 Figure 229 — Kat monn (mudray {as seen by the holder) -K-- kacchapa mudra ~ (Ind.: kaccapa-mudra aka kasyapa mudra) A variant (spelling) of kashyapa mudra. See: asltyapa mudra. (GLi, MJS 62) kadali mudra ~ (Ind: kudal-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind. ddarpana) held or formed by a performer, dancer or actor. Itdenotes the kadali tree. The kadali muira is a combined (Ind.: saniyutta) form, held by both hands. This ‘mudra is formed by: palms face forwards, the tips of the fingers and thumbs are brought together, but not necessarily touching, pointing forwards. Thus formed, the hands cross at the wrist, extended in front of chest and fingers move.' See: mukula mudra (ACG 48) (See: Figure 228) kai mon-in (mudra) ~ (lap: ai mon-in (mudra}) opening the gate’) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Bud- alist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatw Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra ‘The kai mon-in (mudra) is a.combined (Ind.: sartyutta) form, held by both hands. It denotes the opening of the "gates" of the maridala, This mudra is identical for both hand and is formed by: folding the middle and ring fingers into the palms, folding the thumbs over the middle and ring fingers, index finger extends, lit tle finger extends and forms a "hook" by flexing the first two phalanges. Thus formed the palms face the midline, the tips of the index fingers touch and the little fingers’ hook.” (GDe 75, LCS 59) (See: Figure 229) a-in (mudra) ~ (lap. ka-in [mudra]) ("the wall of flames’) A mudra, a ritual hand pose, a seal, a tantric ‘mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and isheld ot formed by a devotee or priest during the Eighteen-step Rites. It may be accompanied by a mantra. The ka-in (mudra) is a combined (Ind.: sarnyutta) form, held by both hands. Itdenotes the expulsion and frightening of the malevo-(mudra) lent spirits from the sacred precincts. This mudra is formed by: palms facing generally the midline, fingers and thumbs extending upward, hands are slightly cupped. Thus formed the right hand rests in the left at approximately a 30° angle.? (GDe 106) (See: Figure 230) kai shin-in (mudra) ~ Jap.: kai shin-in [mudral) "opening the spirit") A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayaa) tradition and is held or formed by a devotee or priest during the rites of Gorbhadhatu Mandala, Vajradhatu Mandala, Homa Rites and other rites. It may be accompanied by a mantra. ‘The kai shin-in? (niudra) is a. combined (Ind.: saiyutta) form, held by both hands. It denotes the opening of the spirit ofthe devotee, This mudra is formed by: palms face downward, fingers are slightly separated and point towards the midline, the tips of the thumbs and fingers ofboth hands interlace. (GDe 62) (See: Figure 231) kkaji ko sui-in (mudra) ~ (Jap: kaji ko suiin [nnudra) (Cconsecrating the perfumed water") A mudra,a ritual hand pose, a seal, a tantric muda which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during the rites of Garbhadhatu Mandala and Vajradhatu ‘Mandala Rites, Itmay be accompanied by a mantra. The Kaji ko sui-in (mudray* isa single (Ind: asavityutta) form, held by one hand. It denotes the sanctification of perfumed libation, This mudea is structured by: the right hand forming a lotus fist (Ind. padma must; Jap; renge ken-in) and holding in that fist a single-pronged vara (ap. do ko), (GDe 6) (See: Figure 232) kaka mudra ~ (Ind.: kaka-mudra) A hand pose, a seal, a dramatic (Ind. nafya) mucra or gesture (Ind. darpana) held or formed by a performer, dancer or actot. It denotes a bird, in this case a crow. The kaka mudra* is a combined (Ind.: sariyutta) form, held by both hands. This mudra is identical in form to the samuamsa-mukila tmudra, See: samdamtsa-mukula mudra. (ACG 50) Kalkiavatara mudra ~ (Ind.: Kalkiavatara-mudra) A hand pose, a seal, a dramatic (Ind: nuttya) mudra or ‘gesture (Ind.: darpayia) held or formed by a performer, Figure 230 — ka-in (mudra) {as sen by the holder Figure 231 ~ kai shin-in (mudra) {as sen by the holder) Figure 232 ~ kaji ko sulin (mudra) (asseen by the holder 99Kalkiavatara mudra Figure 233 — Kalkiavatara mudra (as sen by another) Figure 234 ~ kamjayi mudra {asseen by another) 100 Figure 235 ~ kanaka-matsya mudra (as sen by another) dancer or actor. The Kafkiavatara mudra is a combined (ind.: samyutta) form, held by both hands. It denotes ‘Kalki, one of the ten avatars (Ind.: dasaettra) of the Lord Vislonw This mudra is formed by: right palm facing forward, fingers and thumb extended, together and pointing upwards, relaxed, slightly cupped; left palm facing, forward, index, middle and little fingers and thumb extended, together and pointing upwards, ring finger is bent towards the palm. (ACG 46) (See: Figure 233) kkamala mudra~ (Ind: kala mura; Jap.: humana _gassho [muzira) The Indic term for kuruma(}ra gassho (mudra), See: kunma(n)ra gassho (mudra). (EDS 40) Kamjayi mudra ~ (Ind: kamjayt-nuudra) A mudra, a ritual hand pose, a seal, a mudr which is common to yogic tradition, particularly the Yoga Tatow Mudra Vigyan form, and is held by a devotee or practitioner. The kanjayi mura is a single (Ind: asaviyutta) form, held by one hand. It is utilized for repressing sexual urges. This mudra is formed by: right palm faces the midline, index finger curls behind and rests on the knuckle below the nail of the thumb, the middle fin- xger curls behind and rests behind the second knuckle of the index finger, the ring finger curls behind and rests behind the second knuckle of the middle finger, the little finger curls behind and rests behind the sec- cond knuckle ofthe ring finger. So formed, the muudra is held chest high. (KDe 100) (See: Figure 234) kanaka-matsya mudra ~ (Ind: kanaka-matsya-maudra) This is an assigned term.* A mura, a ritual hand pose, a seal, which is common to the Buddhist (Vajrayana) tradition, a tantric mudra. It denotes the golden fish (Tib.: gser-gyi mya), one of eight signs of good fortune (Indic: asta-miarigala, Tib. bkra-shis rlags-breyad), an ‘outer offering’~the other seven being: the knot, wheel, lotus, victory banner, umbrella, treasure vase and conch shell-which is proffered to a divine guest during worship, particularly as associated with the cer- emonies of the powerful Vajrayana goddess, Tara. The form is held by both hands in mirror-pose: the palms face downwards, the hand is loosely fisted, the middle finger extends forward and touches the tip of the other middle finger so posed. The mudra is held at chin level, The mantra associated with this maura is: "kandanjali mudra ‘Kanaka-matsya Praticcha SVAHA." (SBe 155) (See: Fig- ture 235) Kandanjali mudra ~ (Ind.: kandonjal-mudra) A hand pose, seal, a dramatic (Ind.:natya) mudra or gesture (ind. darpara) held or formed by a performer, dancer ‘or actor. The kandanjali mudra represents a camel and fsa combined (Ind.:sarinyutta) form, held by both hands. This mudra is formed by: both hands brought close together, palm to palm, fingers extended upwards, slightly cupped, the thumbs together and move up and down. (ACG 50) (See: Figure 236) Kanishtha-bheatri: mudra ~ (Ind: kanistha-bhratr- mudra) A hand pose, a seal, a dramatic (Ind.: natya) ‘muira or gesture (Ind: darpana) held or formed by a Performer, dancer or actor. The kanishtha:blalri mudra sa combined (Ind-:sariyutta) form, held by both hands. ‘One of eleven mudras representing "relationships" and ‘one which denotes young brother. This mudra is formed by: right palm facing inwards, tips of the thumb and ring finger touch and extend forwards, the index and idle fingers are straight and slightly separated, the little fingers is slightly bent; left palm faces the ‘outward, tips of the thumb and ring finger touch and extend inwards, the index and middle fingers are straight and slightly separated, the little fingers is slightly bent. (ACG 45) (See: Figure 237) kanjo-in (mudra) ~ (ap.:kanjo-in [mura]; Chin.: kuan- ting-yin; Inds abhiseka{na] muudnt) A mudra,a ritual hand pose, a seal, which is common to the Buddhist Mahayana and Vajrayana Japanese and Chinese Bud- hist traditions. Also, a tantric mudra which is common to the Japanese and Chinese Buddhist (Vajrayana, ‘Mantrayana) tradition and is held or formed by a devotee or priest. It may be accompanied by a mantra. It denotes the ceremony of anointing. The kinjo-in (mura) isacombined (Ind. samnyutta) form, held by both hands, This mudra is formed in mirror image: middle, ring and little fingers are folded into the palm, the index finger is extencled and the thumb lays against the index finger. So formed the two hands are brought together, thumbs touching along their length, the upper Phalanges ofthe index fingers are pressed together and the micldle, ring and litte fingers are intermeshed in- Figure 236 ~ kandanjali mudra {asseen by another) Figure 237 -- kanishtha-bhratri mudra (as seen by another) Figure 238 ~ kanjo-in (muda) (or een by the older 101kanshukuden-in (mudra) DAG Figure 239 — kanshukuden-in (mudra) {as seen by the holder) ? Figure 240 —- kapittha mudra I {as seen by another) g Figure 241 — kapittha mudra IT (as seen by the holder) 102 side, The index fingers point upward. This mura is held chest high. (EDS 111, LCS 154) (See: Figure 238) kanshukuden-in (mudra) - (lap. kanshukuden-in [mudra}) A mudra, a ritual hand pose, a seal, a. tantric ‘mudra which is common to the Japanese Buddhist (Vajrayana, Mantrayana) tradition and isheld or formed by a devotee or priest. It may be accompanied by a mantra. The kanshuckuden-in (mura) isa combined (Ind. sariyutta) form, held by both hands. It denotes the Shadakshara-sutra, This mudra is formed by: palms facing midline, left thumb-tip touches tip of curled middle finger, index and little fingers extend upward, ring finger is curled; right thumb, index, middle and little fingers extend upwards, ring finger curls. Thus formed, the right thumb is placed behind the outside edge of the left palm, the right index finger is inserted through the circle formed by the left thumb and middle finger, the tip of the right middle finger crosses the tip of the left index finger and the tips of both little fingers cross. (GDe 209) (See: Figure 239) kapittha mudra 1 ~ (Ind: kapittha-mudra) ("elephant apple’) A mudra, a ritual hand pose, a seal, which is ‘common to the Hindu tradition and is depicted or held by adeity. The kapittha mudra isa single (Ind. asarytta) form, held by one hand. It represents the offering of incense, a wood-apple ("elephant apple”) and sexual union. The kapittha mudra lisa single (Ind. asarinyutta) form, held by one hand. This mudra is formed usually by the left: the hand is fisted, the thumb is inserted between the index and middle fingers so formed. It is similar in form to the kashyapa mudra and represents the female sexual organ. Itis the feminine counterpart of the shikhara mudra, (GLi 127, MJS 68) (See: Figure 240) kapittha mudra Il ~ (Ind.: kapittha-mudra) ("elephant apple") A hand pose, a seal, a dramatic (Ind.: natya) ‘mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The kapittha mudra Il is a single (Ind.: asartyutia) form, held by one hand. It denotes milking cows, offering incense, etc* This mura is a variation formed by: first assuming the mushti mudra (palm faces the midline, the fingers are fisted, the thumb lies over the first phalanges of the fingers)kapittha mudra IIT except the index finger curls over the top of the thumb. (ACG 31, KVa 135 {13 & 14}) (See: Figure 241) kkapittha mudra III ~ (Ind.: kapittha-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (nd.: darpana) held or formed by a performer, dancer or actor. It denotes the kapittha or elephant-apple tree. ‘The hupittha mudra TI is a combined (Ind: savicyutta) form, held by both hands. This mura is formed by: palms turned upwards, thumbs and fingers are stretched far apart, stiff; so formed, the litle fingers areat 90° to the palms and the ring fingers are at 45° to the palms. Thus formed, the hands cross at the wrists (ACG 49) (See: Figure 242) kkapota mudra I = (Ind. kapotasmudra) ("the dove’) A Tage 242 Mepis side hand pose, a seal, a dramatic (Ind: natya) mudra or gesture (Ind. darpana) held or formed by a performer, dancer or actor. The kapota mudra is a combined (Ind sarnyutta) form, held by both hands. t denotes taking an oath and acquiescence. This mudra is formed by: palms facing the midline fingers and thumbs extended "upwards. Thus formed the hands are brought together along the outer edge ofthe pals and litle fingers and rotated "open somewhat soasto form a hollow space. Ns similar in form although not in orientation to the patra mudra, (ACG 38) (See: Figure 243) kapota mudra Il ~(Ind.:kapota-mudra) A hand pose, a seal, a dramatic (Ind.: ndfya) mudra or gesture (Ind. darpana) held or formed by a performer, dancer or ac Figure 243 — kapota mudra | tor. It denotes a bird, in this case a pigeon with a speck- (as seen by the holder) led neck, The kapota mudra" is a combined (Ind.: samyutta) form, held by both hands. This mudra is formed by the kapota niudra I, fluttered, mimicking the flight of a bird (Ind: punkhita). (ACG 50) karana mudra 1 (Ind.:karana-mudra) A mudra,a ritual hand pose, a seal, which is common to both the Bud- dhist and Hindu traditions. It is employed in dance" and also seen as casting out demons." The dance form {sheld in one hand: the palm faces outward, index and. litle fingers are erect and parallel to the ground, middle and ring fingers folded into the palm, the thumb is placed over the middle and ring fingers, This mudra is held to the side, generally extended outwards, how- ‘ever, it may be held with the fingers pointing upward.” Fiput it~ Kae dill as sen by aa 103karana mudra IL Figure 245 -- karana mudra Il (as seen by anther) Figure 246 — karkata mudra (as-seen by another) Figure 247 Karma-Akashagarbha mudra (os seen by the holder 104 Itis to be noted that the karana mudra is similar in form, tothe damarulusta (mudra).(AKG20, BBh 193, BCO 154, MIS 68, RSG 7) (See: Figure 244) karana mudra If ~ (Ind.: karaa-mudra) A muudra, a ritual hand pose, a seal, which is common to the Bud~ hist (Vajrayana) tradition, a tantric mura. Itis a single hand pose, a seal which denotes awe and /or amaze- ment. The krana mudra IL i a single (Ind. asarcyutta) form, held by one hand. This muda is formed by: the middle and ring fingers curl towards the palm, the pad of the thumb touches the tip of the middle finger, the index and little fingers extend upwards, palm faces outwards, so formed the hand is held chest high." (RSG 7) (See: Figure 245) karihasta (mudra) ~ (Ind.:karsta [ynudral) A mudra, a ritual hand. pose, a seal, which is common to the Hindu tradition. A variant term applied to gujahasta raudra. Se: gajahasta mudra. Do, BNS, MIS 69) kkarkata mudra ~ (Ind: karkata-mudra) ("the crab) A hhand pose, a seal, a dramatic (Ind: ntya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The karkata mudra isa combined (Ind.: saviyutta) form, held by both hands. Itdenotesa group, amorous feelings, bending.a tree limb, etc." This mudra is formed by: palms together, forming a fist by inter- lacing the fingers similar to the granthitam mudra, the elbows are extended outwards and the interlaced hands are rotates so the that palms face outward, fin- sets on the inward side. (ACG 39) (See: Figure 246) Karma-Akashagarbha mudra == (Ind.; Karma- Akasagarbha-mudra) A mudra, a ritual hand pose, a seal, a tantric mudra which is common to the Japanese Bud- hist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest during various rites in which a deity is acknowledged. It is a mudea which is associated with the deity Karma-Akashagarbha, It may be accompanied by a mantra. The Karma-Akashagarbha mudra" is a combined (Ind. sariyutta) form, held by both hands. This mudra is formed by: palms facing midline and close, thumbs crossed, right over left,index, middle and ring fingers interlace at their tips, little fingers interlace and fold over the back of the hands, (LCS 248) (See: Figure 247)kartari (hasta) mudra kkartari (hasta) mudra ~ (Ind. kartari(/tosta)-muara) A ‘mudra, a ritual hand pose, a seal, which is common to both the Buddhist and Hindu traditions and is depicted or held by a deity. The kartari(hasta) mudra is a single (ind.: asamyutta) form, held by one hand. It denotes antagonism and death. This mudra is formed by: the palm faces forward the index and middle fingers are ‘erect and separated slightly, the little finger is bent, the ring fingers bends towards the palm and the tip of the thumb touches the tip ofthe ring finger. The mudra thus held is often employed in displaying iconic de- Vices. Its similar to the kartari-mukha mudra except the tips of the thumb and ring fingers in the latter do not touch. (ER] II 25, MIS 69, RSG 3) (See: Figure 248) kartari-danda mudra ~ (Ind: karlartdanda-mudra) A hand pose, a seal, a dramatic (Ind.: natya) mudra or gesture (Ind.: darpxma) held or formed by a performer, dancer or actor. It denotes a dundupha (Ind.). The kartari- ddanda mudra is a combined (Ind. sarryutta) form, held by both hands. This mudra is formed by: the right palm faces upwards, the index and middle fingers are extended outwards and separated slightly, the little finger is bent, the ring fingers bends towards the palm and the tip of the thumb touches the tip of the ring finger, and is placed on the left forearm; the left palm. faces the midline, the fingers curve in towards the palm and the tip of the thumb touches the tip of the index finger. (ACG 51) (See: Figure 249) kartari-mukha mudra I~ (Ind.: kartark-mukla-mudra) (arrow shaft face’) A hand pose, a seal, a dramatic (ind. natua) mudra or gesture (Ind: darpona) held or formed by a performer, dancer or actor. The kartari- ‘muklia-mudra isa single (Ind. asavryutta) form, held by one hand. It denotes: opposition, disagreement, death, ete.” This mudra is formed by: the hand raised, index, middle fingers and thumb extended, pointing upwards, the index and middle fingers are slightly separated, ring and little fingers bent towards the palm, palm facing outward and generally ona line level with the chest." Itis similar to the kartari(hasta) mudra ex cept the tips ofthe thumb and ring fingers do not touch, {ACG 28-29, GDe 379, KVa 134 [4 & 5)) (See: Figure 250) Figure 248 ~ kartari (hasta) mudra {as seen by another) Figure 249 — kartari-danda mudra {asseen by the holder) Figure 250 — kartari-mukha mudra 1 (asseen by another) 105kartari-mukha mudra II Figure 251 — kartari-mukha muda IL (Go seen by another) == Figure 252 ~ kartari-mukha mudra III {as seen by another) Figure 253 ~ kartari-svastika mudra (as seen by the holier) 106 kartari-mukha mudra Il ~ (Ind. kartar?-mubla-mudra) (arrow shaft face") A hand pose, a seal, a dramatic (ind. natya) mudra oF gesture (Ind: darpena) held or formed by a performer, dancer or actor. The kartari- mmuka-muadra isa single (Ind. asarnyutta) form, held by fone hand, This mudra isa variation and formed by: the hand raised, index, middle fingers and thumb extended, pointing upwards, the index and middle fin- xgersare slightly separated and the index finger crosses behind the middle finger, but does not touch it, ring and litte fingers bent towards the palm, palm facing ‘outward and generally on a line level with the chest (KVa 134 [5)) Gee: Figure 251) kartari-mukha mudra III ~ (Ind. kartart-mubha-mudra) Carrow shaft face") A hand pose, a seal, a dramatic (ind. nitya) mudra or gesture (Ind: darpana) held or formed by a performer, dancer or actor. The kartari- ‘mukha-mudra isa single (Ind. asahtyutta) form, held by fone hand. This mudra is a variation" formed by: the hand raised, index, middle and little fingers extended, pointing upwards, ring finger folded into the palm, the thumb bends slightly inwards, the index and mid dle fingers are slightly separated, palm facing outward and generally on a line level with the chest. (ACG 28- 29 & Plate XI-C) (See: Figure 252) kartari-svastika mudra ~ (Ind.:kartari-soastika-mudra) (crossed arrow shafts”) A hand pose, a seal, a dramatic (Ind.:natya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The kartari- seastika mudraisa.combined (Ind: sarityutta) form, held by both hands, It denotes trees or the summit ofa ill. This muéra is formed by: hand raised, index, middle and little fingers extended, pointing upwards, ring fin- xet folded into the palm, the thumb bends slightly inwards, the index and middle fingers are slightly separated, palm facing outward. Thus formed by each hand, they are crossed at the wrists. (ACG 40) (See: Figure 253) Karttivirya mudra ~ (Ind. Karttiorya-mudra) A hand pose, a seal, a dramatic (Ind.: nitya) mudra or gesture (ind.: darpana) held or formed by a performer, dancer or actor. The Karttivirya mudra is a combined (Ind.kashyapa mudra sarhyutta) form, held by both hands. It denotes Karttivirya, one of a number of famous rulers or he- oes, The mudras employed are two patak mucdnts held level with the shoulder. See: pataka mudras. (ACG 47) (See: Figure 254) kkashyapa mura ~ (Ind. knsyapa-mudra aka kncchapa mudra) A mudra, a ritual hand pose, a seal, which is common to the Hindu tradition. It denotes the linga with the yon and is referred to as the ‘turtle mura.’ ‘The kashyapa mudra is a single (Ind. asarnyutta) form, held by one hand. This mudra is formed usually by the left: the hand is fisted, the thumb is inserted between the middle and ring fingers so formed. Itis similar in form to the kapittha mudra. (GLi, MIS 70) (See: Figure 255) kataka mudra I ~ (Inds kataka-mudra aka svihackarna rmudra) A mudra, a ritual hand pose, a seal, which is common to the Hindu tradition, but less common in the Buddhist practice and is viewed as one of the ‘mudras which are purely aesthetic—i.e., having no iconic meaning.” The kataka mudra I is a single (Ind.: asariyutta) form, held by one hand. This mudra is formed by:the palm faces the midline, the fingers curve in towards the palm and the tip of the thumb touches the tip of the index finger.” The mudra so formed is frequently utilized by feminine deities to hold flower offerings proffered by devotees. (HKS272, RSG3, TGR 14) (See: Figure 256) kataka mudra Il ~ (Ind. katak-mmdra aka sirtha-karna mudra) A mudra, a ritual hand pose, a seal, which is ‘common to the Hindu tradition, but less common in the Buddhist practice and is depicted or held by a deity. The kataka mudra Iisa single (Ind.:asanyutta) form, held by one hand. This mudra, a variation, is formed by: the palm faces the midline, the fingers curve in towards the paim and the tips of the fingers touch the thumb. The muzra so formed is frequently utilized by feminine deities to hold flower offerings proffered by devotees. (TGR 15) (See: Figure 257) kkataka mudra IIT ~ (Ind. kataka-mudra aka siria-karna mudra) A hand pose, a seal, a dramatic (Ind.: ndtya) rmudra or gesture (Ind: darpana) held or formed by a performer, dancer or actor. The kataka mudra Il is a VY Figure 254 ~ Karttivirya mudra {asseen hy anther) Figure 255 — kashyapa mudra {as seen by another) Figure 256 ~ kataka mudra I (as seen by the holder) 107kataka mudra IV Figure 257 ~ kataka mudra Il {as seen by the holler) Figure 258 — kataka mudra Ill (as seen by the holder) Figure 259 — kataka mudra IV (as seen by the holder) 108 single (Ind.: asariqyutta) form, held by one hand. This ‘muda, a variation, is formed by: palm faces midline, the index and middle fingers curve and their tips touch the thumb, the ring and the litte fingers also curve towards the palm, (ACG 31-22) (See: Figure 258) Kataka mudra IV - (Ind: kataka-mudra aka katake- mukha) opening in a link") A hand pose,a seal, a dra- ‘matic (Ind.: natya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The kataka mura IV isa single (Ind.: asavtyutta) form, held by one hand. This mudra, a variation, is formed by: the palm faces outwards, the tip of the index finger touches the thumb, the middle, ring and little fingers also curve towards the palm progressively. (ACG 31-32 Plate XI- A, RSG 3 &7 [right)) (See: Figure 259) kataka mudra V—~ (Ind: kataka-mudra aka kutaka- mukiia) opening ina link") A hand pose, a seal, a dramatic (Ind.:nttya) mudra or gesture (Ind.: darpana) held or formed by a performer, dancer or actor. The kataka ‘mura V isa single (Ind. asariyutta) form, held by one hand. This mudra, a variation, is formed by: the palm faces outwards, the index finger curls over the tip of the thumb and the middle finger folds into the palm, the ring and little fingers curve slightly towards the palm progressively. (ACG 31-32, KVa 134 {6, 15, 16)) (See: Figure 260) kataka mudra VI ~ (Ind.: kataka-mudra aka katake- mmukla) opening in a link") A mudra, a ritual hand Pose, a seal, a tantric mudra which is common to the Japanese and Chinese Buddhist (Vajrayana, Mantrayana) tradition and is held or formed by a devotee or priest. Ttmay be accompanied by a mantra, ‘The kataka mudra a single (Ind.: asarnyutta) form, held by one hand. mudra, a variation, is formed by: the palm faces outwards, the index and middle fingers curl towards the palm, the thumb curls toward the palm and its tip touches the tips of the index and middle fingers, the Fing and litle fingers extend upwards. (GDE281, ACG 31) (See: Figure 261) kkataka-mukha mudra ~ (Ind.:katakt-mukhua-mudra aka kataka mudra) A variant term applied to kataka niudra, See: kataka mudra. (ACG 31)kati mudra kataka-vardhana mudra -- (Ind: kataka-vardhana- ‘mudra) ("increasing link") A hand pose, a seal, a dramatic (Ind. natya) mudra or gesture (Ind.:darpana) held or formed by a performer, dancer or actor. The kntaka- ‘vardhana mudra is a combined (Ind: sariryutta) form, held by both hands. It denotes coronation, marriage, religious ritual, ete.” This mudrais formed by: the palm faces outwards, the index finger curls over the tip of the thumb and the middie finger folds into the palm, the ring and little fingers curve slightly towards the palm progressively. Thus formed by each hand, they are crossed at the wrists. (ACG 40) (See: Figure 262) kati mudra ~ (Ind. kati-mura) A mudra, a ritual hand ‘pose, a seal, which is quite common to the Hindu tra~ dition. It denotes relaxation or informality. The kati rmudra is a single (Ind.: asariyutta) form, held by one hand. This mudra is formed usually by the left: the arm is relaxed, hangs loosely at the side, the hand rests on the hip (just below the waist), fingers to the front, thumb to the back, the thumb may also rest along side of the fingers.” It is similar, but not identical to the Aatyacalambita mudra, (MJS70, RSG 3) (See: Figure 263) katiga mudra ~ (Ind: katiga-maudra) A mudra, a ritual hand pose, a seal, which is quite common to the Hind tradition. Itdenotes relaxation or informality. The katiga mudra is a single (Ind: asarinyutta) form, held by one hand. This mudra is formed by left hand: the arm is relaxed, the hand rests on the waist, fingers to the front, thumb to the back, the thumb may also rest along side the fingers. It is related to the kati, katisamsthita, -katyavalambita mudras, (HKS 272) (See: Figure 264) katisamsthita mudra ~ (Ind. katisarnsthita-muéra aka katyavalambita mudra) A variant term applied to katyacalambita mudra. See: katyaoulambita mudra. (M}S 70) katyavalambita mudra ~ (Ind.: katyicalambita-mudra aka katisarsthita muda) A mudra, a ritual hand pose, a seal, which is quite common to the Hindu tradition. It denotes relaxation or informality. The katyrowlambita ‘mudra is a single (Ind.: asariyutta) form, held by one hand. This mudra is formed frequently by the left hand: the arm is relaxed, hangs down at the side, the hand Figure 260 - kataka mudra V (as seen by the holder) Figure 261 ~ kataka muda VI (osseen bythe holder) Figure 262 -- kataka-vardhana mudra {as seen by the holder)

Mudras in Buddhist and Hindu Practices

Caricato da

Informazioni sul documento

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

Mudras in Buddhist and Hindu Practices

Caricato da

Copyright:

Formati disponibili

Potrebbero piacerti anche