Mudra in Asian Buddhism
Transcript of Mudra in Asian Buddhism
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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)