Mudra

Amudra(/muˈdrɑː/^ⓘ;Sanskrit:मुद्रा,IAST:mudrā,"seal", "mark", or "gesture";Tibetan:ཕྱག་རྒྱ་,THL:chakgya) is a symbolic or ritual gesture or pose inHinduism,JainismandBuddhism.^[1]While some mudras involve the entire body, most are performed with the hands and fingers.^[2]

As well as being spiritual gestures employed in theiconographyandspiritual practiceofIndian religions,mudras have meaning in many forms ofIndian dance,andyoga.The range of mudras used in each field (and religion) differs, but with some overlap. In addition, many of the Buddhist mudras are used outsideSouth Asia,and have developed different local forms elsewhere.

Inhatha yoga,mudras are used in conjunction withpranayama(yogic breathing exercises), generally while in a seated posture, to stimulate different parts of the body involved with breathing and to affect the flow ofprana.It is also associated withbindu,bodhicitta,amrita,or consciousness in the body. Unlike older tantric mudras, hatha yogic mudras are generally internal actions, involving the pelvic floor, diaphragm, throat, eyes, tongue, anus, genitals, abdomen, and other parts of the body. Examples of this diversity of mudras areMula Bandha,Mahamudra,Viparita Karani,Khecarī mudrā,andVajroli mudra.These expanded in number from 3 in theAmritasiddhi,to 25 in theGheranda Samhita,with a classical set of ten arising in theHatha Yoga Pradipika.

Mudra is used in theiconographyofHinduandBuddhist artof theIndian subcontinentand described in the scriptures, such asNātyaśāstra,which lists 24asaṁyuta( "separated", meaning "one-hand" ) and 13saṁyuta( "joined", meaning "two-hand" ) mudras. Mudra positions are usually formed by both the hand and the fingers. Along withāsanas( "seated postures" ), they are employed statically in themeditationand dynamically in theNāṭyapractice of Hinduism.

Hindu and Buddhist iconography share some mudras. In some regions, for examplein Laos and Thailand,these are distinct but share related iconographic conventions.

According toJamgön Kongtrülin his commentary on theHevajra Tantra,the ornaments ofwrathful deitiesand witches made of human bones (Skt:aṣṭhimudrā;Wylie:rus pa'i rgyan phyag rgya) are also known as mudra "seals".^[3]

Etymology and nomenclature

The word mudrā hasSanskritroots. According to scholarSir Monier Monier-Williamsit means "seal" or "any other instrument used for sealing".^[4]

Buddhist Iconography

A Buddha image can have one of several common mudras, combined with different asanas. The main mudras used represent specific moments in the life of theBuddha,and are shorthand depictions of these.

Abhaya Mudrā

TheAbhayamudra"gesture of fearlessness"^[5]represents protection, peace, benevolence and the dispelling of fear. InTheravada Buddhismit is usually made while standing with the right arm bent and raised to shoulder height, the palm facing forward, the fingers closed, pointing upright and the left hand resting by the side. In Thailand and Laos, this mudra is associated with theWalking Buddha,sometime also shown having both hands making a double abhaya mudra that is uniform.

This mudra was probably used before the onset of Buddhism as a symbol of good intentions proposing friendship when approaching strangers. InGandharan art,it is seen when showing the action of preaching. It was also used in China during theWeiandSuieras of the 4th and 7th centuries.

This gesture was used by the Buddha when attacked by an elephant, subduing it as shown in severalfrescoesand scripts.^[6]

InMahayana Buddhism,the deities are often portrayed as pairing the Abhaya Mudrā with another Mudrā using the other hand.

Bhūmisparśa Mudrā

Thebhūmisparśaor "earth witness" mudra ofGautama Buddhais one of the most common iconic images of Buddhism. Other names include "Buddha calling the earth to witness", and "earth-touching". It depicts the story from Buddhist legend of the moment when Buddha attained completeenlightenment,with Buddha sitting in meditation with his left hand, palm upright, in his lap, and his right hand touching the earth. In the legend, Buddha was challenged by the evil one,Mara,who argue for a witness to attest his right to achieve it. In response to Mara, Buddha touched the ground, andPhra Mae Thorani,the earth goddess, appeared to be the witnesses for the Buddha's enlightenment.^[7]^[8]

In East Asia, this mudra (also called theMaravijaya attitude) may show Buddha's fingers not reaching as far as the ground, as is usual in Burmese or Indian depictions.

Bodhyangi Mudrā

TheBodhyangi mudrā,the "mudrā of the six elements," or the "fist of wisdom,"^[9]is a gesture entailing the left-hand index finger being grasped with the right hand. It is commonly seen on statues of theVairocanaBuddha.

Dharmachakra Pravartana Mudrā

The Buddha preached his first sermon after his Enlightenment in Deer Park inSarnath.ThedharmachakraPravartana or "turning of the wheel"^[10]mudrā represents that moment. In general, only Gautama Buddha is shown making this mudrā exceptMaitreyaas the dispenser of the Law. Dharmachakra mudrā is two hands close together in front of the chest invitarkawith the right palm forward and the left palm upwards, sometimes facing the chest. There are several variants such as in theAjanta Cavesfrescoes, where the two hands are separated and the fingers do not touch. In theIndo-Greek styleofGandhara,the clenched fist of the right hand seemingly overlies the fingers joined to the thumb on the left hand. In pictorials ofHōryū-jiin Japan the right hand is superimposed on the left. Certain figures ofAmitābhaare seen using this mudra before the 9th century in Japan.

Dhyāna Mudrā

Thedhyānamudrā( "meditation mudra" ) is the gesture of meditation, of the concentration of the Good Law and thesangha.The two hands are placed on the lap, right hand on left with fingers fully stretched (four fingers resting on each other and the thumbs facing upwards towards one another diagonally), palms facing upwards; in this manner, the hands and fingers form the shape of a triangle, which is symbolic of the spiritual fire or theThree Jewels. This mudra is used in representations ofGautama BuddhaandAmitābha.Sometimes the dhyāna mudrā is used in certain representations ofBhaiṣajyaguruas the "Medicine Buddha", with a medicine bowl placed on the hands. It originated in India most likely inGandhāraand in China during theNorthern Wei.

It is heavily used in Southeast Asia inTheravada Buddhism;however, the thumbs are placed against the palms. Dhyāna mudrā is also known as "samādhimudrā "or" yoga mudrā ",Chinese:Thiền định ấn;pinyin:[Chán]dìng yìn;Japanese pronunciation:jōin, jōkai jōin^{[citation needed]}.

Themida no jōin( di đà định ấn ) is the Japanese name of a variation of the dhyāna mudra, where the index fingers are brought together with the thumbs. This was predominantly used in Japan in an effort to distinguish Amitābha (hence "mida" from Amida) from the Vairocana Buddha,^[11]and was rarely used elsewhere.

Varada Mudrā

TheVaradamudrā"generosity gesture" signifies offering, welcome, charity, giving, compassion and sincerity. It is nearly always shown made with the left hand by a revered figure devoted to human salvation from greed, anger and delusion. It can be made with the arm crooked and the palm offered slightly turned up or in the case of the arm facing down the palm presented with the fingers upright or slightly bent. The Varada mudrā is rarely seen without another mudra used by the right hand, typically abhaya mudrā. It is often confused with vitarka mudrā, which it closely resembles. In China and Japan during theNorthern WeiandAsuka periods,respectively, the fingers are stiff and then gradually begin to loosen as it developed over time, eventually leading to theTang dynastystandard where the fingers are naturally curved.

InIndia,varada mudra is used by both seated and standing figures, of Buddha and boddhisattvas and other figures, and in Hindu art is especially associated withVishnu.It was used in images ofAvalokiteśvarafromGupta art(4th and 5th centuries) onwards. Varada mudrā is extensively used in the statues ofSoutheast Asia.

Vajra Mudrā

TheVajramudrā"thunder gesture" is the gesture of knowledge.^[12]

Vitarka Mudrā

TheVitarka mudrā"mudra of discussion" is the gesture of discussion and transmission of Buddhist teaching. It is done by joining the tips of the thumb and the index together, and keeping the other fingers straight very much like the abhaya and varada mudrās but with the thumbs touching the index fingers. This mudra has a great number of variants inMahayana Buddhism.InTibetan Buddhism,it is the mystic gesture ofTārāsandbodhisattvaswith some differences by the deities inYab-Yum.Vitarka mudrā is also known asVyākhyāna mudrā( "mudra of explanation" ). This is also called as chin-mudra.^[13]

Jñāna Mudrā

TheJñāna mudrā( "mudra of wisdom" ) is done by touching the tips of the thumb and the index together, forming a circle, and the hand is held with the palm inward towards the heart.^[14]The mudra representsspiritual enlightenmentin theindian-origin religions.Sometimessadhuschose to be buried alive in thissamadhiposition. A 2700 old skeleton arranged like this was found atBalathalin Rajasthan, suggesting that something like yoga may have existed at that time.^[15]

Karana Mudrā

Thekarana mudrāis the mudra which expels demons and removes obstacles such as sickness or negative thoughts. It is made by raising the index and the little finger, and folding the other fingers. It is nearly the same as the Western "sign of the horns",the difference is that in the Karana mudra the thumb does not hold down the middle and ring finger. This mudra is also known astarjanī mudrā.

Gallery

Korea's National Treasure 119. The right hand showsabhayamudrawhile the left is in thevaradamudra.
The Buddha sitting in bhūmisparśa mudrā. Birmany. White marble with traces of polychromy.Gallo-Roman Museum of Lyon-Fourvière
Bodhyangi Mudrā
A statue of the Buddha fromSarnath,Uttar Pradesh,India, 4th century CE. The Buddha is depicted teaching, while making the Dharmacakra Pravartana mudrā.
Reproduction of theAmitābhastatue ofPhật Tích Temple,Hanoi,demonstrating thedhyānamudrā
Vajra Mudrā
Vitarka mudrā,Tarim Basin,9th century
Joseonfigure displays the karana mudrā.

Indian classical dance

InIndian classical danceand derived dances (such asKhmer,ThaiorBalinese),^[16]the term "Hasta Mudra" is used (although, there are terms used for mudras in derived dances). TheNatya Shastradescribes 24 mudras, while theAbhinaya DarpanaofNandikeshvaragives 28.^[17]In all their forms of Indian classical dance, the mudras are similar, though the names and uses vary. There are 28 (or 32) root mudras inBharatanatyam,24 inKathakaliand 20 inOdissi.These root mudras are combined in different ways, like one hand, two hands, arm movements, body and facial expressions. InKathakali,which has the greatest number of combinations, the vocabulary adds up to c. 900. Sanyukta mudras use both hands and asanyukta mudras use one hand.^[18]In Thai dances, there are 9 mudras.

Yoga

The classical sources for the yogic seals are theGheranda Samhitaand theHatha Yoga Pradipika.^[19]TheHatha Yoga Pradipikastates the importance of mudras in yoga practice: "Therefore the [Kundalini] goddess sleeping at the entrance of Brahma's door [at the base of the spine] should be constantly aroused with all effort, by performing mudra thoroughly. "In the 20th and 21st centuries, the yoga teacherSatyananda Saraswati,founder of theBihar School of Yoga,continued to emphasize the importance of mudras in his instructional textAsana, Pranayama, Mudrā, Bandha.^[19]

Hand Gestures

There are numerous hand gesturemudrasin yoga. Each of the hand gestures is based on the concept of the five elements as they relate to one's fingers.

Hatha Yoga

The yoga mudras are diverse in the parts of the body involved and in the procedures required, as inMula Bandha,^[20]Mahamudra,^[21]Viparita Karani,^[22]Khecarī mudrā,^[23]andVajroli mudra.^[24]

Mula Bandha

Mula Bandha, the Root Lock, consists of pressing one heel into the anus, generally in a cross-legged seated asana, and contracting theperineum,forcing the prana to enter the centralsushumnachannel.^[20]

Mahamudra

Mahamudra, the Great Seal, similarly has one heel pressed into the perineum; the chin is pressed down to the chest inJalandhara Bandha,the Throat Lock, and the breath is held with the body's upper and lower openings both sealed, again to force the prana into the sushumna channel.^[21]

Viparita Karani

Viparita Karani, the Inverter, is a posture with the head down and the feet up, using gravity to retain the prana. Gradually the time spent in the posture is increased until it can be held for "three hours". The practice is claimed by theDattatreyayogashastrato destroy all diseases and to banish grey hair and wrinkles.^[22]

Khechari mudra

Khecarī mudrā, the Khechari Seal, consists of turning back the tongue "into the hollow of the skull",^[23]sealing in thebindufluid so that it stops dripping down from the head and being lost, even when the yogi "embraces a passionate woman".^[23]To make the tongue long and flexible enough to be folded back in this way, theKhecharividyaexhorts the yogi to make a cut a hair's breadth deep in thefrenulum of the tongueonce a week. Six months of this treatment destroys the frenulum, leaving the tongue able to fold back; then the yogi is advised to practise stretching the tongue out, holding it with a cloth, to lengthen it, and to learn to touch each ear in turn, and the base of the chin. After six years of practice, which cannot be hurried, the tongue is said to become able to close the top end of the sushumna channel.^[26]

Vajroli mudra

Vajroli mudra, the Vajroli Seal, requires the yogi to preserve thesemen,either by learning not to release it, or if released by drawing it up through theurethrafrom thevaginaof "a woman devoted to the practice of yoga".^[27]

Martial arts

SomeAsian martial artsforms contain positions (Japanese:in) identical to these mudras.^[28]TendaiandShingon Buddhismderived the supposedly powerful gestures from Mikkyo Buddhism, still to be found in manyKo-ryū( "old" ) martial artsRyū(schools) founded before the 17th century. For example the "knife hand" orshutogesture is subtly concealed in some Koryu kata, and in Buddhist statues, representing the sword of enlightenment.^[29]

Notes

^Encyclopædia Britannica.(2010)."mudra (symbolic gestures)".Retrieved October 11, 2010.
^"Wordmudrāon Monier-William Sanskrit-English on-line dictionary: "N. of partic. positions or intertwinings of the fingers (24 in number, commonly practised in religious worship, and supposed to possess an occult meaning and magical efficacyDaś(Daśakumāra-carita).Sarvad.Kāraṇḍ.RTL. 204; 406) "".Archived fromthe originalon 2012-12-03.Retrieved2012-05-13.
^Kongtrul, Jamgön(author); (English translators: Guarisco, Elio; McLeod, Ingrid) (2005).The Treasury of Knowledge (shes bya kun la khyab pa’i mdzod). Book Six, Part Four: Systems of Buddhist Tantra, The Indestructibe Way of Secret Mantra.Bolder, Colorado, USA: Snow Lion Publications.ISBN 1-55939-210-X(alk.paper) p.493
^Monier-Williams, Monier(1872). "Mudra".A Sanskrit-English Dictionary.Clarendon.
^Buswell, Robert Jr.,ed. (2013).Princeton Dictionary of Buddhism.Princeton, NJ: Princeton University Press. p. 2.ISBN 9780691157863.
^"Abhaya Mudra Gesture of Dispelling Fear".Retrieved2019-02-03.One day the Buddha walked through a village. Devadatta fed alcohol to a particularly furious elephant named Nalagiri and had him attack the Buddha. The raging bull stormed towards the Buddha, who reached out his hand to touch the animal's trunk. The elephant sensed the metta, the loving kindness of the Buddha, which calmed him down immediately. The animal stopped in front of the Buddha and bowed on his knees in submission.
^Shaw, Miranda Eberle (2006).Buddhist Goddesses of India.Princeton University Press. pp.17–27.ISBN 978-0-691-12758-3.
^Vessantara,Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities,pp. 74-76, 1993, Windhorse Publications,ISBN 0904766535,9780904766530,google books
^T.W. Rhys Davids Ph.D. LLD.; Victoria Charles (24 November 2014).1000 Buddhas of Genius.Parkstone International. p. 515.ISBN 978-1-78310-463-5.
^explanation of Buddhist Mudras
^Japanese Architecture and Art Net Users System."JAANUS / mida-no-jouin di đà định ấn".Retrieved 2 July 2016.
^written; Beer, illustrated by Robert (2003).The handbook of tibetan buddhist symbols(1st ed.). Chicago (Ill.): Serindia. p. 228.ISBN 978-1932476033.
^https:// google.co.in/books/edition/Mudras_of_Yoga/NacaAwAAQBAJ?hl=en&gbpv=1&dq=chin+mudra&printsec=frontcover
^For translation ofjñānamudrāas "gesture of knowledge" see:Stutley 2003,p. 60.
^Shearer, Alistair (2020).The Story of Yoga:From Ancient India to the Modern West.London: Hurst Publishers. p. 19.ISBN 978-1-78738-192-6.
^"Thai Classical Dance | Asian Traditional Theatre & Dance".2 October 2017.
^Devi, Ragini.Dance dialects of India.Motilal Banarsidass Publ., 1990.ISBN 81-208-0674-3.Pp. 43.
^Barba & Savarese 1991,pp. 136
^^a ^bSaraswati, Satyananda (1997).Asana Pranayama Mudrā Bandha.Munger, Bihar India: Bihar Yoga Bharti. p. 422.ISBN 81-86336-04-4.
^^a ^bMallinson & Singleton 2017,pp. 242.
^^a ^bMallinson & Singleton 2017,pp. 237–238, 241.
^^a ^bMallinson & Singleton 2017,pp. 242, 245.
^^a ^b ^cMallinson & Singleton 2017,pp. 241, 244–245.
^Mallinson & Singleton 2017,pp. 242, 250–252.
^Mallinson & Singleton 2017,pp. Chapter 6, especially pages 228–229.
^Mallinson & Singleton 2017,pp. 247–249.
^Mallinson & Singleton 2017,pp. 242–243, 250–252.
^Johnson 2000,p. 48.
^Muromoto, Wayne (2003)Mudra in the Martial Arts Archived2007-12-15 at theWayback Machine..Retrieved December 20, 2007.

References

Barba, Eugenio; Savarese, Nicola (1991).A dictionary of theatre anthropology: the secret art of the performer.London, United Kingdom: Routledge. p. 136.ISBN 0-415-05308-0.
Draeger, Donn (1980). "Esoteric Buddhism in Japanese Warriorship", in: No. 3. 'Zen and the Japanese Warrior' of theInternational Hoplological Society Donn F. Draeger Monograph Series.The DFD monographs are transcriptions of lectures presented by Donn Draeger in the late 1970s and early 1980s at the University of Hawaii and at seminars in Malaysia.
Johnson, Nathan J. (2000).Barefoot Zen: The Shaolin Roots of Kung Fu and Karate.York Beach, USA: Weiser.ISBN 1-57863-142-4.
Mallinson, James;Singleton, Mark(2017).Roots of Yoga.Penguin Books.ISBN 978-0-241-25304-5.OCLC 928480104.
Stutley, Margaret (2003) [1985].The Illustrated Dictionary of Hindu Iconography(First Indian ed.). New Delhi: Munshiram Manoharlal Publishers.ISBN 81-215-1087-2.

External links

[1] Encyclopædia Britannica.(2010)."mudra (symbolic gestures)".Retrieved October 11, 2010.

[2] "Wordmudrāon Monier-William Sanskrit-English on-line dictionary: "N. of partic. positions or intertwinings of the fingers (24 in number, commonly practised in religious worship, and supposed to possess an occult meaning and magical efficacyDaś(Daśakumāra-carita).Sarvad.Kāraṇḍ.RTL. 204; 406) "".Archived fromthe originalon 2012-12-03.Retrieved2012-05-13.

[3] Kongtrul, Jamgön(author); (English translators: Guarisco, Elio; McLeod, Ingrid) (2005).The Treasury of Knowledge (shes bya kun la khyab pa’i mdzod). Book Six, Part Four: Systems of Buddhist Tantra, The Indestructibe Way of Secret Mantra.Bolder, Colorado, USA: Snow Lion Publications.ISBN 1-55939-210-X(alk.paper) p.493

[Monier-Williams1872-4] Monier-Williams, Monier(1872). "Mudra".A Sanskrit-English Dictionary.Clarendon.

[5] Buswell, Robert Jr.,ed. (2013).Princeton Dictionary of Buddhism.Princeton, NJ: Princeton University Press. p. 2.ISBN 9780691157863.

[6] "Abhaya Mudra Gesture of Dispelling Fear".Retrieved2019-02-03.One day the Buddha walked through a village. Devadatta fed alcohol to a particularly furious elephant named Nalagiri and had him attack the Buddha. The raging bull stormed towards the Buddha, who reached out his hand to touch the animal's trunk. The elephant sensed the metta, the loving kindness of the Buddha, which calmed him down immediately. The animal stopped in front of the Buddha and bowed on his knees in submission.

[7] Shaw, Miranda Eberle (2006).Buddhist Goddesses of India.Princeton University Press. pp.17–27.ISBN 978-0-691-12758-3.

[8] Vessantara,Meeting the Buddhas: A Guide to Buddhas, Bodhisattvas, and Tantric Deities,pp. 74-76, 1993, Windhorse Publications,ISBN 0904766535,9780904766530,google books

[LLD.Charles2014-9] T.W. Rhys Davids Ph.D. LLD.; Victoria Charles (24 November 2014).1000 Buddhas of Genius.Parkstone International. p. 515.ISBN 978-1-78310-463-5.

[10] xplanation of Buddhist Mudras

[11] Japanese Architecture and Art Net Users System."JAANUS / mida-no-jouin di đà định ấn".Retrieved 2 July 2016.

[12] written; Beer, illustrated by Robert (2003).The handbook of tibetan buddhist symbols(1st ed.). Chicago (Ill.): Serindia. p. 228.ISBN 978-1932476033.

[13] ttps:// google.co.in/books/edition/Mudras_of_Yoga/NacaAwAAQBAJ?hl=en&gbpv=1&dq=chin+mudra&printsec=frontcover

[14] For translation ofjñānamudrāas "gesture of knowledge" see:Stutley 2003,p. 60.

[Shearer_2020-15] Shearer, Alistair (2020).The Story of Yoga:From Ancient India to the Modern West.London: Hurst Publishers. p. 19.ISBN 978-1-78738-192-6.

[16] "Thai Classical Dance | Asian Traditional Theatre & Dance".2 October 2017.

[17] Devi, Ragini.Dance dialects of India.Motilal Banarsidass Publ., 1990.ISBN 81-208-0674-3.Pp. 43.

[18] Barba & Savarese 1991,pp. 136

[APMB1997-19] Saraswati, Satyananda (1997).Asana Pranayama Mudrā Bandha.Munger, Bihar India: Bihar Yoga Bharti. p. 422.ISBN 81-86336-04-4.

[FOOTNOTEMallinsonSingleton2017242-20] Mallinson & Singleton 2017,pp. 242.

[FOOTNOTEMallinsonSingleton2017237–238,_241-21] Mallinson & Singleton 2017,pp. 237–238, 241.

[FOOTNOTEMallinsonSingleton2017242,_245-22] Mallinson & Singleton 2017,pp. 242, 245.

[FOOTNOTEMallinsonSingleton2017241,_244–245-23] Mallinson & Singleton 2017,pp. 241, 244–245.

[FOOTNOTEMallinsonSingleton2017242,_250–252-24] Mallinson & Singleton 2017,pp. 242, 250–252.

[FOOTNOTEMallinsonSingleton2017Chapter_6,_especially_pages_228–229-25] Mallinson & Singleton 2017,pp. Chapter 6, especially pages 228–229.

[FOOTNOTEMallinsonSingleton2017247–249-26] Mallinson & Singleton 2017,pp. 247–249.

[FOOTNOTEMallinsonSingleton2017242–243,_250–252-27] Mallinson & Singleton 2017,pp. 242–243, 250–252.

[28] Johnson 2000,p. 48.

[Muromoto,_Wayne_2007-29] Muromoto, Wayne (2003)Mudra in the Martial Arts Archived2007-12-15 at theWayback Machine..Retrieved December 20, 2007.

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v t e Gestures
Friendly gestures	Aegyo Air kiss Applause Cheek kiss Dap Elbow bump Eskimo kiss Finger heart Fist bump Forehead kiss Hand heart Handshake Hand wave High five Hongi ILY sign Kiss Liberian snap handshake Lip kiss Namaste OK Pinky swear Pound hug Shaka Thumb signal
Gestures of respect	Adab Añjali Mudrā Bow Canonical digits Curtsy Fist-and-palm Gadaw Genuflection Hand-kiss Hat tip Kowtow Kuji-in Mano Mudra Namaste Ojigi Orans Pranāma Prostration Sampeah Sembah Schwurhand Wai Zolgokh
Salutes	Bellamy salute Nazi salute Raised fist Roman salute Scout sign and salute Three-finger salute (Serbian) Three-finger salute (pro-democracy) Two-finger salute Vulcan salute Wolf salute Zogist salute
Celebratory gestures	Applause Crossed hands Fist pump High five Low five Victory clasp V sign
Finger-counting	Chinese number gestures Chisanbop Finger binary
Obscene gestures	Anasyrma Bras d'honneur Fig sign Middle finger Mooning Mountza Nazi salute Reversed V sign Shocker Sign of the horns Thumb/index-finger ring Wanker
Taunts	Akanbe Loser Talk to the hand
Head motions	Head bobble Head shake Nod
Other gestures	Air quotes Allergic salute Aussie salute Awkward turtle Che vuoi? Crossed fingers Distress signal Duterte fist Eyelid pull Facepalm Finger gun Gang signal Hand-in-waistcoat Hand rubbing Jazz hands Laban sign Merkel-Raute Pointing Pollice verso Shrug Sign of the cross
Related	List of gestures Articulatory gestures Hand signals Manual communication Mudras Nonverbal communication Sign language

v t e Topics inBuddhism
Outline Glossary Index
Foundations	Four Noble Truths Three Jewels Buddha Dharma Sangha Noble Eightfold Path Nirvana Middle Way
The Buddha	Tathāgata Birthday Four sights Eight Great Events Great Renunciation Physical characteristics Life of Buddha in art Footprint Relics Iconography in Laos and Thailand Films Miracles Family Suddhodāna(father) Māyā(mother) Mahapajapati Gotamī(aunt, adoptive mother) Yaśodharā(wife) Rāhula(son) Ānanda(cousin) Devadatta(cousin) Places where the Buddha stayed Buddha in world religions
Bodhisattvas	Avalokiteśvara Guanyin Mañjuśrī Mahāsthāmaprāpta Ākāśagarbha Kṣitigarbha Samantabhadra Vajrapāṇi Skanda Tārā Metteyya/Maitreya
Disciples	Kaundinya Assaji Sāriputta Mahamoggallāna Ānanda Mahākassapa Aṅgulimāla Anuruddha Mahākaccana Nanda Subhūti Puṇṇa Mantānīputta Upāli Mahapajapati Gotamī Khema Uppalavanna Asita Channa Yasa
Key concepts	Avidyā (Ignorance) Bardo Bodhicitta Buddha-nature Dhamma theory Dharma Enlightenment Five hindrances Indriya Karma Kleshas Mental factors Mindstream Parinirvana Pratītyasamutpāda Rebirth Saṃsāra Saṅkhāra Skandha Śūnyatā Taṇhā (Craving) Tathātā Ten Fetters Three marks of existence Anicca Dukkha Anattā Two truths doctrine
Cosmology	Ten spiritual realms Six Paths Deva realm Human realm Asura realm Hungry Ghost realm Animal realm Naraka Three planes of existence
Branches	Mahayana Zen Chinese Chan Japanese Zen Korean Seon Vietnamese Thiền Pure Land Tiantai Huayan Risshū Nichiren Madhyamaka Yogachara Vajrayana Tibetan Buddhism Chinese Esoteric Buddhism Shingon Dzogchen Theravada Navayana Early Buddhist schools Pre-sectarian Buddhism Basic points unifying Theravāda and Mahāyāna
Practices	Bhavana Bodhipakkhiyādhammā Brahmavihara Mettā Karuṇā Mudita Upekkha Buddhābhiṣeka Dāna Devotion Deity yoga Dhyāna Faith Five Strengths Iddhipada Meditation Mantras Kammaṭṭhāna Recollection Smarana Anapanasati Samatha-vipassanā(Vipassana movement) Shikantaza Zazen Tukdam Koan Ganana Mandala Tonglen Tantra Tertön Terma Merit Mindfulness Mindful Yoga Satipatthana Nekkhamma Nianfo Pāramitā Paritta Puja Offerings Prostration Music Refuge Sādhu Satya Sacca Seven Factors of Enlightenment Sati Dhamma vicaya Pīti Passaddhi Śīla Five precepts Eight precepts Bodhisattva vow Pratimokṣa Threefold Training Śīla Samadhi Prajñā Vīrya Four Right Exertions Twenty-two vows of Ambedkar
Nirvana	Bodhi Bodhisattva Buddhahood Pratyekabuddhayāna Four stages of awakening Sotāpanna Sakadagami Anāgāmi Arhat
Monasticism	Bhikkhu Bhikkhunī Śrāmaṇera Śrāmaṇerī Anagārika Ajahn Sayadaw Zen master Rōshi Lama Rinpoche Geshe Tulku Western tulku Kappiya Donchee Householder Upāsaka and Upāsikā Achar Śrāvaka Ten principal disciples Shaolin Monastery
Major figures	The Buddha Nagasena Aśvaghoṣa Nagarjuna Asanga Vasubandhu Kumārajīva Buddhaghosa Buddhapālita Dignāga Bodhidharma Zhiyi Emperor Wen of Sui Songtsen Gampo Xuanzang Shandao Padmasambhava Saraha Atiśa Naropa Karmapa Hōnen Shinran Dōgen Nichiren Shamarpa Dalai Lama Panchen Lama Ajahn Mun B. R. Ambedkar Ajahn Chah Thích Nhất Hạnh
Texts	Early Buddhist texts Tripiṭaka Mahayana sutras Pali Canon Chinese Buddhist canon Tibetan Buddhist canon Dhammapada Sutra Vinaya Madhyamakālaṃkāra Abhidharmadīpa
Countries	Afghanistan Bangladesh Bhutan Cambodia China India Indonesia Japan Korea Laos Malaysia Maldives Mongolia Myanmar Nepal Pakistan Philippines Russia Buryatia Kalmykia Tuva(ru) Singapore Sri Lanka Taiwan Thailand Tibet Vietnam Africa Senegal South Africa Central Asia Uzbekistan Middle East Iran Saudi Arabia Western countries Argentina Australia Brazil Canada Costa Rica Czech Republic France Germany Italy Mexico New Zealand Norway Poland Sweden Switzerland Ukraine United Kingdom United States Venezuela
History	Timeline Ashoka Kanishka Buddhist councils History of Buddhism in India Decline of Buddhism in India Huichang persecution of Buddhism Greco-Buddhism Menander I Buddhism and the Roman world Buddhism in the West Silk Road transmission of Buddhism Persecution of Buddhists Banishment of Buddhist monks from Nepal Buddhist crisis Sinhalese Buddhist nationalism Buddhist modernism Vipassana movement 969 Movement Women in Buddhism
Philosophy	Abhidharma Atomism Buddhology Creator Buddhism and democracy Economics Eight Consciousnesses Engaged Buddhism Eschatology Ethics Evolution Humanism Logic Reality Secular Buddhism Socialism The unanswerable questions
Culture	Architecture Temple Vihāra Kyaung Wat Ordination hall Stupa Pagoda Burmese pagoda Candi Dzong architecture List of Buddhist architecture in China Japanese Buddhist architecture Buddhist temples in Korea Thai temple art and architecture Tibetan Buddhist architecture Art Greco-Buddhist Bodhi Tree Budai Buddha in art Calendar Cuisine Funeral Holidays Vesak Uposatha Māgha Pūjā Asalha Puja Vassa Jaya Sri Maha Bodhi Kasaya Mahabodhi Temple Mantra Om mani padme hum Mudra Music Pilgrimage Lumbini Maya Devi Temple Bodh Gaya Sarnath Kushinagar Poetry Prayer beads Hama yumi Prayer wheel Symbolism Dharmachakra Flag Bhavacakra Swastika Thangka Temple of the Tooth Vegetarianism
Miscellaneous	Abhijñā Amitābha Brahmā Dharma talk Hinayana Iddhi Kalpa Koliya Lineage Māra Siddhi Sacred languages Pāḷi Sanskrit
Comparison	Baháʼí Faith Christianity Influences Comparison East Asian religions Gnosticism Hinduism Jainism Judaism Psychology Science Theosophy Violence Western philosophy
Lists	Bodhisattvas Buddhas Buddhists Suttas Sutras Temples Festivals
Category Religion portal

v t e Meditation
Main topics	Brain activity and meditation History of meditation Meditation in popular culture Mind–body interventions Research on meditation
Traditions	Anapanasati (Buddhist breathing meditation) Buddhist meditation Christian meditation Taoist meditation Dancemeditation Dhyāna (Buddhist meditation) Dhyāna (Hindu meditation) Henosis (Neoplatonic meditation) Islamic meditation Jain meditation Jewish meditation Muraqabah (Sufi meditation) New Age meditation Naam Japo (Sikism meditation) Neigong Pranayama (yoga breathing practice) Qigong Shikantaza (Zen Buddhist seated meditation) Silva Method Tantra Transcendental meditation (TM) Vipassanā (Silent meditation) Yoga Zazen (Zen Buddhist seated meditation) Zhan zhuang(tai chi standing meditation) 5Rhythms
Techniques	Biofeedback Brainwave entrainment Breathing Chanting Concentration Conscious breathing Counting Emptiness Guided meditation Higher consciousness Mantra Mindfulness Mindful Yoga Mudra Music Oneness Poetry Postures Prayer Relaxation Samyama Tantric sex Silence Sound Trance Visualization
Leaders	Focused attention Thich Nhat Hanh Open awareness Jon Kabat-Zinn Sam Harris Multiple methods Pema Chödrön Susan Piver S. N. Goenka Joseph Goldstein Yuval Harari 14th Dalai Lama Matthieu Ricard Sharon Salzberg Daniel Goleman Thubten Chodron Martine Batchelor Stephen Batchelor
Works	The Varieties of the Meditative Experience
Related	Meditation and pain
Category