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Mudra In Pan-Asian Buddhism

Part 1:

Primary Mudras of the Major

Buddhas

John C. Huntington

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Mudraa (mudra)

Mudra:

1) seal or any instrument used for sealing or stamping, a seal-ring, an image, sign, badge,

token (esp. a token or mark of divine attributes impressed upon the body).

2) Positions or intertwinings of the fingers, commonly practiced in religious worship, and

supposed to possess an occult meaning and magical efficacy.

3) The CJK character for “seal” implying a personal distinguishing mark, is also used to

translate mudra in to Chinese.

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Mudra (mudra)

An inventory of mudras in the greater Indic sphere

Part 1: Gandhara 2nd cent. BCE to 5th cent. CE

Part 2: Mathura region 1st cent. to ca 3 cent. CE

Part 3: The Gupta period ca 3 cent. to ca 500 CE Part 4: Mudras of the five Jina Buddhas Beginning

about 500 CE

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Part 1 Gandhara

Dhyanamudra or thegesture of Meditation

A profoundly Commonmudra to the presentday, it is made byShakyamuni, Amitabha,Amitayus, Vairocanaand a number of otherdeities. There are manyvariants.

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Part 1 Gandhara

Dhyanamudra or thegesture of Meditation

Swat valley, NorthernPakistan, ca. 200-100 BCE

One of the earliestBuddha images known,this Gai collection piecefrom Swat Valley showsthe awakened one(Buddha) beingvenerated by Indra,viewer’s left andBrahma, viewer’s right.It depicts the mudrawith the left hand on topand no particularpositioning of thefingers.

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Part 1 Gandhara

Dhyanamudra or thegesture of meditation(variant)

Swat valley, NorthernPakistan, ca. 200-100 BCE

Similar in date andlocation to the previousslide, this image has thedhyana mudra depictedwith left hand on topand the thumbs raisedand pressed together

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Part 1 Gandhara

Anjali Mudra the gesture of respectful greetingSwat valley, Northern Pakistan, ca. 100 BCE

The attendants to theBuddha, Indra to theviewer’s right andBrahma to theviewer’s left,display a greetingthat is still used tothe present day. Inspite of its “prayer-like” appearance, itis simply arespectful,deferential greetingused in all walks oflife in South andSoutheast Asia

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Part 1 Gandhara

Bhumishparsha mudra

A defining moment in Buddhism,

the touching of the earth goddess

(to call her to witness the right of

Siddhartha Gotama to

enlightenment) is the transition in

the life of the Buddha-to -be to

Buddha. It is eternally celebrated

at the Mahåbodhi temple at

Bodhgaya.

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Part 1 Gandhara

Swat valley Northern Pakistan, ca. 200 CE (see next page)

One of the earliestBuddha images known,this Gai collection piecefrom Swat Valley showsthe awakened one(Buddha) beingvenerated by Indra,viewer’s left andbrahma, Viewer’ss right.

The mudra is thedhyana-mudra orgesture of meditation

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Part 1 Gandhara

Peshawar Valley ca. 200-250 CE

This scene of the victory over Mara(Maravijaya) depicts the Buddha-to-beat the moment of overcoming Mara andattaining the right to enlightenment. Hedoes so by calling the Earth goddessPrithivi devi or Bhudevi to witness hispast lives of perfecting himself to thepoint where he no longer has egoisticcravings and delusions. He calls thegoddess by simply touching the earth(Bhumisparsha) with his right hand

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Part 1 Gandhara

Peshawar Valley ca. 200-250 CE

Teaching Gestures:

Dharmachakraparvartana “putting thewheel of the Dharmic methodologiesinto motion”

1) Giving the old wheel a spin!

2) Abhaya mudra (with urna mudra)

3) Dharmachakra-parvartana mudra

[or Bodhyangi mudra ?]

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Part 1 Gandhara

Gandhara ca. 200 CEDharmachakra parvartana: “Setting the wheel of the teachings in motion:” In this version theBuddha seems to be ready to give the wheel a spin.

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Part 1 Gandhara

Abhaya Mudra

Another very early symbolicgesture is the abhaya mudra,“gesture of granting the absenceof fear. It is one of the majorteaching gestures forShakyamuni Buddha inGandharan imagery.

When displaying it, the righthand is raised to somewhere nearshoulder level and the palmfaces outward. It also figuresprominently in several twohanded gestures.

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Part 1 Gandhara

Gandhara ca. 200 CEDharmachakra parvartana: “Setting the wheel of the teachings in motion:”.

In this version theBuddha makes whatis known asabharymudra, asymbolic gesture offearlessness. It wasone of the firstteaching gesturesand grants theabsence of fear ofdeath (and rebirth)through theteaching of theDharmicmethodologies

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Part 1 Gandhara

Gandhara ca. 200 CE

Vyakarana Mudra: prediction mudra (also visvavyakaran )“universal prediction.”

The combined gestureof the right handdisplaying abhayamudra and the lefthand displaying urna(wool) mudra,grasping the hem ofthe garment, is alsoknown as theprediction ofenlightenment. Thusthis image has anobvious doublemeaning, both the firstsermon and theprediction of theobserver’s ownenlightenment.

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Part 1 Gandhara

Gandhara ca. 75-150 CE

Vyakarana Mudra: prediction mudra(also visvavyalaran )“universal prediction.”

In standing images such as thisone, the prediction aspect is theonly implication of the image. Thecombined gesture of the right handdisplaying abhaya mudra and theleft hand displaying urna (wool)mudra, grasping the hem of thegarment, is the prediction ofenlightenment.

Asian Art Museum, San Francisco©

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Part 1 Gandhara

Gandhara ca. 75-150 CE

“Dharmachakra[Bodhyangi?]” Mudra.”

Universally, among westernscholars, called Dharmachakramudra, there is no actualdocumentation of this term for thecombined gesture in theGandharan sphere. The position ofthe gesture and the shape of theright hand suggest the Bodhyangi(“enlightenment now”) that is stillin use to the present day. (C.f.infra. and the next page.)

Asian Art Museum, San Francisco©

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Part 1 Gandhara

Gandhara ca. 75-150 CE

“Dharmachakra [Bodhyangi?] Mudra.”

As can be seen in these details, unlike any other version of the Dharmachakra mudra, thisgesture depicts the right hand grasping the four fingers of the left hand and is, therefore,much more closely related to early versions of the bodhyangi mudra.

Asian Art Museum, San Francisco©

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Part 2 Mathura

Mathura ca late 2nd- mid 1st cent BCE

This crudely formed Buddhaimages sits on a Mount Meruthrone and is attended by thefour Lokapala who arepresenting him with beggingbowls (which the Buddha willcollapse into a single bowl.

His right hand displays abhayamudra and his left hand positionis undistinguishable

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Part 2 Mathura

Mathura 2nd CE

This 2nd cent CEimage displays thesame basic gesturesas the previouspiece. All known“iconic” images ofthe Buddha in theMathura regionmake this set ofgestures.

Kimball Art Museum ©

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Part 2 Mathura

Mathura 2nd-3rd CENarrative images at Mathura contain the same mudras as we have seen in Gandhara. abhaya & prediction | prediction | bhumisparsha

Death | First Sermon | Descent from Heaven | Enlightenment | Birth

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Part 2 Mathura

Mathura 2nd-3rd CENarrative images at Mathura contain the same mudras as we have seen in Gandhara. dhyana mudra anjali mudra

Visit of Indra to the Buddha meditating in a cave

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Part 3 Gupta period

Sarnath School: Vyakarana Mudra

Standing Buddhas makingthe prediction ofenlightenment (vyakaranamudra) are quite commonin the Sarnath school ofsculpture although veryfew survive with bothhands intact

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Part 3 Gupta period

Sarnath School: Varada Mudra

A gesture closely relatedto abhaya mudra appearsin the 4th or 5th century(it may well have existedearlier, but apparently noton stone images). It isvaradamudra, the gestureof bestowal, or grantingpermission.

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Part 3 Gupta period

Sarnath School: Varada Mudra

A nearly identical type ofBuddha image displayingvarada mudra and grasping thehem of his robe with hisupraised left hand. Althoughnot inscribed, such isolatedimages are usually MaitreyaBuddha predicting enlighten-ment to practitioners at thetime of Ketumati

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Part 3 Gupta period

Sarnath School: Dharmachakra mudra

fore finger middle finger little finger

There are more that a dozen variants of Dharmachakra mudra. One cluster thatseems significant is the variation of which finger of the left hand points to theright hand. If we consider them as markers of the three assemblies ofShakyamuni Buddha, or, since the ring finger gesture does exist albeit very rare,a unknown version of four assemblies, it would make perfect sense.The 1st assembly = the Avatamsaka sutra in AkanisthaThe 2nd assembly = the “first sermon” at the MrigadavaThe 3rd assembly = the esoteric teacings

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Part 3 Gupta period

Sarnath School: Dharmachakra mudra

Fore finger= 1st Assembly

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Part 3 Gupta period

Sarnath School: Dharmachakra mudra

Fore finger= 1st Assembly

Although clearly markedby the presence of thefive ascetics at the baseof the sculpture as the“first sermon” atMrigadava , the presenceof the two bodhisattvasalso clearly indicate thatthe teaching is takingplace in AkanishtaParadise. Thus, thisisprobably a “dual”imagereferenceing both theAvatamsaka in Akanishtaand the “first sermon.”

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Part 3 Gupta period

Sarnath School: Dharmachakra mudra

Middle finger= 2nd Assembly

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Part 3 Gupta period

Sarnath School: Dharmachakra mudra

Middle finger= 2nd Assembly

In spite of the damage tothe forefinger, it is stillvery clear that it is themiddle finger that pointsto the circle formed bythe thumb and forefingerof the right hand

Thus, this is the obvious“first sermon” at theMrigadava according tothe Avatamsaka scheme

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Part 3 Gupta period

Ajanta cave 4 Shrine: Dharmachakra mudra

Little finger= 3rd Assembly

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Part 3 Gupta period

Ajanta, Cave 4 Shrine late 5th cent.: Dharmachakra mudra

Little finger= 3rd Assembly

The two attendingBodhisattvas,Avalokiteshvara andVajrapani, prove that theplace is againAkanishta. The triad isfrom theMahavairocanaAbhisambodhi tantrademonstrating that thisis indeed an esotericteaching.

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Mudra(s) of the Panca Jina Buddhas”.

The mudras of the five Buddhas who manifest the enlightenment of all Samyak SambodhiBuddhas are very stable through out Buddhist Asia from about the fifth century on.

Dharmachakra mudra

(many variants)

Bhumisparsha Varada Dhyana Abhaya

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Mudra(s) of the Panca Jina Buddhas, Individual Jina Buddhas and their variations.

Although the Jina Buddhas have no direct independent existence from each other, a limitedamount of variation exists (From the Circle of Bliss Didactics)

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Mudra(s) of the Panca Jina Buddhas, Individual Jina Buddhas and their variations.

Although the Jina Buddhas have no direct independent existence from each other, a limitedamount of variation exists (From the Circle of Bliss Didactics)

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Mudra(s) of the Panca Jina Buddhas, Individual Jina Buddhas and their variations.

Although the Jina Buddhas have no direct independent existence from each other, a limitedamount of variation exists (From the Circle of Bliss Didactics)

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Mudra(s) of the Panca Jina Buddhas, Individual Jina Buddhas and their variations.

Although the Jina Buddhas have no direct independent existence from each other, a limitedamount of variation exists (From the Circle of Bliss Didactics)

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Mudra(s) of the Panca Jina Buddhas, Individual Jina Buddhas and their variations.

Although the Jina Buddhas have no direct independent existence from each other, a limitedamount of variation exists (From the Circle of Bliss Didactics)

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The Panca Jina Buddhas”.

In this

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The Panca Jina Buddhas”

Vairocana’s Mudras

One of the most technically difficult Buddha concepts to deal with is Vairocana andMahavairocana. (“Intensely Luminescent” and “Great Intensely Luminescent”)

In short, he is:

1) Shakyamuni “in his Vairochana robes” from the Avatamsaka sutra

2) Mahavairochana from the Mahavairocana Abhisambodhi Tantra

3) Mahavairocana from the Vajrasekhara tantra

4) Sarvavid Vairocana from the Sarvadurgati Parishodana tantra (in which he has tenpersona)

5a) Dharmadhatu Vagishvara Manjughoshha based on the Manjusri Namasangiti

5b) Manjusri Namasangiti based on the Manjusri Namasangiti

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The Panca Jina Buddhas”

Vairocana’s Mudras

1) Although a late painting thisimage of Vairochana isidentifiable as Vairochana onlyby inscription. Is also clearly areference the teaching form ofShakyamuni as seen in the Guptaperiod.

Asian Art Museum ©

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The Panca Jina Buddhas”

Vairocana’s Mudras

Dharmachakra

1) Although a late painting thisimage of Vairochana isidentifiable as Vairochana onlyby inscription. Is also clearly areference the teaching form ofShakyamuni as seen in theGupta period.

Detail of previous

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The Panca Jina Buddhas”

Vairocana’s Mudras

Dhyanamudra

2) Mahavairochana fromthe MahavairocanaAbhisambodhi Tantra

Detail of the center of theGarbhadhatu mandala Toji

Monastery ©

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The Panca Jina Buddhas”

Vairocana’s MudrasBodhyangi (Vajramusti)3) Mahavairocana from the

Vajrasekhara tantra

Bodhyangi as displayed by

Mahavairocana in the

Karma mandala of the

Vajradhatu cycle according

to the tendai shu ca 17th

century

US Private Collection©

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The Panca Jina Buddhas”

Vairocana’s Mudras

Bodhyangi etc

4) SarvavidVairocana from theSarvadurgatiParishodana tantra (inwhich he has tenpersona)

Alchi, late 11th centurySecond floor of the Sum

brtsegs in situ

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The Panca Jina Buddhas”

Vairocana’s Mudras

Bodhyangi etc

4) SarvavidVairocana from theSarvadurgatiParishodana tantra

as Vajrini

Alchi, late 11th centurySecond floor of the Sum

brtsegs in situ

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The Panca Jina Buddhas”

Vairocana’s Mudras

Bodhyangi etc

4) SarvavidVairocana from theSarvadurgatiParishodana tantra

as Vajrasattva

Alchi, late 11th centurySecond floor of the Sum

brtsegs in situ

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The Panca Jina Buddhas”

Vairocana’s Mudras

Bodhyangi etc

4) SarvavidVairocana from theSarvadurgatiParishodana tantra

as Prajnaparamita

Alchi, late 11th centuryThird level of the Sum

brtsegs in situ

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The Panca Jina Buddhas”

Vairocana’s Mudras

Bodhyangi etc

4) SarvavidVairocana from theSarvadurgatiParishodana tantra

asDharmadhatuVagisvaraManjughosa

Alchi, late 11th centuryThird level of the Sum

brtsegs in situ

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The Panca Jina Buddhas”

Vairocana’s Mudras

Dharmachakra (again)

5a) Dharmadhatu VagishvaraManjughoshha based on theManjusri Namasangiti

The vidhi to the ritual practicedeclare that Manjusri is theatman (self) of Vairocana

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The Panca Jina Buddhas”

Vairocana’s Mudras

Symbols of all the Jinas plusVajrasattva

5b) Manjusri Namasangiti basedon the Manjusri Namasangiti.Each pair of hands demonstratesone of the SambhogakayaBuddhas:

Vairocana

Aksobhya

Ratnasambhava

Amitabha

AmoghasiddhiAnd Vajrasattva

Unfortunately we have lost the“key” to which is which

Sigh! (it is 80 hours of videotape)