This article is about the various Hasta-Mudras or the hand gestures of the ancient Indian idols.
Mudra means gesture, attitude or currency. In the context of Hasta-mudra it refers to gesture. The hand gestures of a deity conveys the mood or the character or the attitude of the deity. Its an emblem created by fingers and palm.
Hasta-Mudras are non-verbal mode of communication and gives more meanings to the external expressions of the inner resolve of the deities. These gestures help devotees in making a stronger connections with their ishta and generate forces that invoke the deity.
The two most common Hasta-Mudras we can observe in the carvings of the idols are – Abhaya Mudra and Varada Mudra.
Abhaya Mudra or No Fear Gesture
In this gesture, the hand of the deity rises to shoulder, fingers point upwards and the palm faces the devotee. This mudra is as if the deity is enquiring about the well-being of the devotee.
Abhaya mudra is the gesture of assurance, protection and pacification. It dispels fear and evokes a sense of openness. It assures the devotee that he/she is under the protection of the deity and there is nothing to fear.
Varada Mudra or Boon-giving Gesture
In this gesture the hand of the deity is generally hanging down with fingers pointing downwards and the palm facing the viewer. It is the gesture of deity ready to give boon to the devotee. It is also a gesture of assurance.
Gyan Mudra or Knowledge Gesture
In this hand gesture, the thumb and the index finger of the deity meet each other and touches the heart. The hand faces inwards and the significance of this inward facing palm is that the knowledge comes from within.
Vyakhyana Mudra or the Sermon Gesture
The Vyakhyana Mudra and the Gyan mudra are quite similar to each other in the sense that in both these gestures the thumb and the index fingers join. The difference is that in Gyan Mudra the hand faces inwards while in Vyakhyana Mudra the palm faces the devotee.
I guess that the two gestures are similar to each other as they are two sides of the same coin. The attainment of knowledge is followed by the discourse on the truth. This gesture signifies that the deity is ready to share the spiritual knowledge with the devotees. This gesture is also known as ‘China Mudra‘.
Dharmachakra Mudra or Wheel of the Teaching of Dharma Gesture
In this gesture, the tips of the thumb and index fingers of both the hands touch to form a circle; the other three fingers remain stretched. In this mudra the left palm is towards the heart and the right palm is outwards and both the hands are at the level of the heart. Generally, we notice Buddha statues carved in this gesture.
Bhagwan Buddha gave his first sermon at Sarnath to His disciples with his hands in this position. He conveyed to his followers that reason and discernment is key to enlightenment. This sermon thus set the motion of the Wheel of the teaching of the Dharma.
In Mahayana Buddhism and also in Vajrayana Sect of Buddhism, five “self-born” Buddhas existed from the beginning of the time. These five Buddhas are the five forms of Dhyani Buddha. They are identified as Vairochana, Aksobhya, Ratnasambhava, Amitabha and Amoghsiddhi.
All five forms of Dhyani Buddha are identically represented in arts. They are dressed in monastic garments; carved seated with folded legs, with the same hairdress and long-lobed ears. They are distinguished by characteristic colours, symbols, poses of hands, and the directions they face.
The first Dhyani Buddha Vairochana uses Dharmachakra gesture. Vairochana transforms the delusion of ignorance into the wisdom of reality. By displaying the Dharmachakra mudra, he thus helps adepts in bringing about this transition.
Katyavalambita or Katihasta or Hip-hand Gesture
In this gesture, the hand of the deity remains a little bent at the elbow and is on the upper part of the waist. This posture represents ease and confidence.
Namaskar Mudra or the Greeting Gesture
In this gesture, the palms face and join each other and are at the level of chest. The devotees in attendance to their ishts carry this posture.
This gesture signifies salutation, adoration and deep reverence. It is a polite greeting that signifies that I greet you and bow my head in respect to the God in you. It shows friendship, respect, supplication, devotion and non-violence.
Gajahasta Mudra
In this gesture, the hand stretches like a shaft or an elephant trunk. In this pose the hand is upto the level of chest and the palms faces downwards.
This gesture is quite common in Nataraja Murtis. It represents Shiva’s power as Nataraja to pacify enemies and also removes obstacles that hinders realization of absolute truth. This mudra is also known as Lola Hasta or Danda-Hasta Mudra.
Dhyana Mudra
This is a yoga posture of meditation or Samadhi. In this pose the idol is in Padmasana with the palms of the hands over one another. The sitting Jain Tirthankaras are in this posture.
This is a position of contemplation. This position exemplifies the stillness and also the symmetry of the idol. This mudra also conveys transition from attachment to discernment. This mudra is also known as Yoga-mudra.
Harina Mudra
In this pose, the hand is in a position that it forms the head of a stag. In this gesture thumb touches the ring finger forming a ring or circle. The little and index fingers are straight and point upwards.
Kartari Mudra
In this pose also the thumb and ring fingers touch each other forming a ring. However, the index and the middle finger form V. Generally these two fingers hold an emblem.
Kataka Mudra or Siṃhakarṇa Mudra
In this mudra the tips of the fingers joins the thumb to create a ring or appears like Lion’s Ear. This gesture has a practical utility. In this gesture the ring formed, holds a fresh flower offered and put there daily by the devotees.
Vitarka Mudra
In this pose, the thumb and the index finger join to form a ring. The remaining fingers twist and face upwards. This gesture associates with arguments but may also depict a discourse or discussion. This pose also associates with God conveying scholarly insights. Shiva Statues where He explains the benefits of Yoga to Devi Parvati carry Vitarka Mudra.
Vismaya Mudra
In this posture the hands are raised till the shoulder, and the palms and the fingers are spread in a circular fashion. This posture signifies astonishment, wonder and sometimes also a sort of enquiry. This expression is used when a God realizes supremacy of another God.
Tarjani Mudra
In this pose, the forefinger is held out straight while the other fingers are closed. The idea conveyed is to scold, admonish or warn to behave. This is a gesture of warding off evil or sign of expelling demons or evil personalities and even the illusions. In Vajrayana tradition of Buddhism, the wrathful deities carry this posture.
Suci Mudra
This pose is like Tarjani mudra only. The difference is that in this the raised Tarjani or forefinger points to an object.
Tarpana Mudra
In this mudra, the hands raises till shoulder and the palm opens with joined fingers facing downwards. The idea conveyed is of paying homage.
Ksepana Mudra
In this pose the palms join, the forefingers touch and stretch down while the other fingers are in locked position.
This posture shows the pot of nectar is taken to achieve immortality. The hands point downwards towards the vase of the nectar. It is also a posture of pouring out and letting go. This pose drains out negative energy and attracts positive energy or Chi.
Uttarabodhi Mudra
This pose is same as Ksepan ca Mudra with the only difference of hands stretching upwards and not downwards. As the hands are pointing in opposite direction so in this pose the thumbs are visible to the viewer. This posture shows perfection and goes with Lord Buddha.
Buddha-Shramana Mudra
In this pose the hand rises upto the level of head with palms facing up and fingers joined and extended. This is an ascetic’s Gesture of Renunciation. This pose usually associates with the wandering Buddhist monks.
Bhumisparsha Mudra
In this pose, the hand of the sitting deity dangles in front of His crossed legs and touches the earth with palms open and facing inwards. Lord Buddha is usually carved in this posture.
It refers to an incidence in Buddha’s life when Buddha was meditating under the Bodhi tree. The wicked Mara, a malignant celestial king, and his three beautiful daughters – Trishna (lust), Rati (desire) and Raga (delight) tried to disturb Buddha’s resolve.
In the incidence mentioned, Mara and his three daughters represents the inner temptation. Buddha was able to remain unmoved and unperturbed from these temptations obstructing His path to enlightenment by touching and making Mother Earth witness to His virtues.
Mara’s three daughters are also mentioned as death, rebirth and desire. In both the cases, these are personification of the forces antagonistic to enlightenment.
Bhutadamara Mudra or Spirit Subdue Posture
In this pose the two hands of the deity cross each other at wrist at the level of chest. The palm opens outwards with fingers twisted at different angles. In this pose the two hands resembles the wings of Garuda. Vajrapani is often carved in this mudra. This mudra creates awe and fear in the mind of viewers.
Anjali Mudra
In this mudra the two hands join at the level of palms; with open fingers facing the viewer. This is the pose of offering flowers, grains (Bheeksha) to the deity or mendicant. Generally the attendants of the deity are carved in this mudra.
Vajrahumkara Mudra
In this pose the deity holds Vajra (or thunderbolt) in one hand and a bell in the other hand to sound it loudly. The wrists of the two hands cross each other at the level of chest and the palms face inwards. in Buddhism several wrathful deities like Vajrahiumkara that emanates from Akshobhya display this mudra.
The God Vajrahumkara originated from the syllable Hum and is terrible in appearance. He tramples on Bhairava and inspires awe. He represents the supreme perfection. This gesture is a show of power and strength. It is the stance of a warrior sounding the syllable Hum of Akshobhya.
In this pose there is symbolic dominance of Vajra hand over the Bell hand as the right hand holding Vajra is in front while the left hand holding the bell is in back. It represents the outward manifestation of power and strength over the inner left hand of wisdom.
Karana Mudra or Gesture of Banishing
In karana Mudra, the thumb presses against middle finger. Bhagwan Buddha meditated in Karana Mudra. It is a way to ward-off evil, negativity, diseases, anxieties, fear and depression. It enhances the feeling of happiness and contentment. In this mudra hands are bring at the level of Heart and the palm faces the viewer.
Ps: All line drawing pix of mudras are from Elements of Indian Art by S.P Gupta and Shashi Prabha Asthana
References
Elements of Indian Art – S.P Gupta and Shashi Prabha Asthana
Elements of Hindu Iconography Vol 1 part 1 by T A Gopinath Rao
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