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THE FORMING OF AND MEANINGS BEHIND THE EIGHT PRINCIPLE GESTURES by Janice Pyatt |
| Buddhist artwork and sculpture is laden with Buddhas and Bodhisattvas sitting or standing, and making what appears to be a sign language with their hands. This so-called sign language is more commonly referred to with the term “mudra,” a Sanskrit term which E. Dale Saunders defines as “that of a hand pose which serves as a 'seal' either to identify the various divinities or to seal, in the Esoteric sense, the spoken formulas of the rite” (5). Before the start of Esotericism, many gestures had little or no established symbolic meaning (Saunders 15). One of the first intentions for use of the mudra were to indicate different stages in the life of the Buddha. Later they came to be representative of mystical or spiritual qualities in the person or icon displaying the gesture(Saunders 10). |
| The concept of the Three Mysteries, or three ways of honoring the ONE, was the foundation of Esoteric Buddhism; thought, word, and act are the three equivalent forms of worship (Saunders 19). This provided vast opportunity for reverence through symbolism, meditation, and ceremony, but it wasn’t that simple. In order to achieve mental union with the Universal Spirit, the goal of Esoteric Buddhism, meditation or the performance of symbolic acts must be accompanied by the appropriate mudra (Saunders 25). The gestures complete the act by providing a visible expression of the meditation and concentration within. As quoted by Saunders in his book, Mudra: A Study of Symbolic Gestures in Japanese Buddhist Sculpture, this combination of gesture with word or action “is the sign of a pact, of a most solemn contract, for it is one that binds the worshipper to the world of the divinity, and integrates him into that world” (26). As time passed, the combination of mudra and ceremonial rituals grew more frequent, as rites, rather than meditation, were believed to promote a stronger sense of oneness during worship by making use of all five senses (Saunders 28). |
 There
are eight key mudra found in Buddhist images and worship; the first
is the “mudra of fulfilling the vow.” In standing figures
the arm is extended forward slightly. In seated figures, the hand
is usually at chest level. In both cases, the hand will be held palm
up, with fingers slightly cupped and/or pointing downward (Saunders 51).
It is oft considered in Buddhist texts that this mudra be made with one’s
right hand, but over time, images displaying this gesture with the left
hand have become more dominant. This mudra is often portrayed simultaneously
with the “mudra which grants the absence of fear,” seen as a raised right
hand. The word “vow” refers to the Buddha’s promise to work toward
the salvation of the faithful. This gesture embodies the generosity
of the Buddha, who will fulfill the desires of the devotee who expresses
this mudra; what the person desires, it is assumed, is “the ‘Gift of Truth’
made by the Buddha, Truth of the Doctrine, Truth of the means to salvation”
(Saunders 53). This gesture in most notably embodied by the divinity
Kannon (Saunders 54). |
 The
second main gesture is the “mudra which grants the absence of fear,” described
briefly before. It is depicted as a raised right hand, with palm
facing outward. A devotee who displays this gesture is said to be
protected from evil, thus, making the person without fear (Saunders 55).
This gesture stands for the Buddha’s gift of allowing the faithful to live
void of fear, and free of worldly troubles (Saunders 59). Specifically,
this mudra calls for assurance, a feeling which strips fear, and leaves
one calm and peaceful when confronted with adversity (Saunders 61).
This symbol is highly representative of the divinity Dipamkara Buddha,
though many other divinities have been portrayed using this expression
(Saunders 62). |
 The
third primary gesture is the “mudra of appeasement.” To produce this
mudra, one raises his/her hand (usually the right) and touches the thumb
to the index or middle finger, while all other fingers are straight (Saunders
67). Some similar alternatives to this gesture include forming the
sign with both hands: at chest height with palms facing each other, with
one hand raised and one palm up in one’s lap, or having one hand pointing
downward and the other raised (Saunders 70). The “mudra of good fortune”
is another variant, displayed by linking the thumb to the ring finger (Saunders
71). The circle formed by the thumb and one of three fingers represents
perfection, which is in reference to the Law of the Buddha. More
specifically, it is a symbol for the Buddha’s displays of perfect wisdom
and his fulfilling of vows (Saunders 72-73). This gesture is not
particularly indicative of any one divinity, but is representative of many
(Saunders 75). |
 The
fourth main gesture is known as “the diamond handclasp.” This mudra
is formed by uniting the hands in the way commonly done while praying (hands
palm to palm at chest level), but includes a subtle interlacing of the
fingertips, and placing one’s right thumb atop the left. Although,
traditionally, interlaced fingers were distinctive of this gesture, a simple
overlapping of the thumbs is considered equivalent and can be substituted
(Saunders 76). This mudra is a means of adoration and is typically
used to praise the Law, the Buddha, or both. In order to praise the
Law, or words of the Buddha, the hands are raised closer to the mouth while
speaking of that which is being praised (Saunders 77). As Saunders
states, this gesture “symbolizes the world of ideas…which, like the diamond,
is indestructible, eternal” (77). The joining of the hands is a metaphor
for the joining of two worlds – the world of the Buddha and the world of
Beings; the former is represented by one’s right hand, and the left represents
the latter. It’s an image meant to illuminate the principle of “duality-non-duality.”
As Saunders explains, “The hands are in fact two; but they are joined to
form only one unit, a unity, moreover, parallel to that which exists between
the Buddha and Beings” (78). Since this gesture is one of homage
to those of higher spirituality, it is expressed by Bodhisattvas and other
religious persons, but never by the Buddha. |
 The
fifth gesture is the “mudra of touching the ground,” and is found in seated
statues and images. One’s left hand is at chest level, lies palm
up in one’s lap, or is placed on the left knee. The right hand is
placed on or in front of the right knee, with fingers together and aimed
at or touching the ground; an equivalent gesture is made by pointing one’s
index finger at the ground. A standing version, which has essentially
the same meaning, can be visualized as follows: the sign is made by either
hand, the arm is parallel to the side and the palm is turned toward the
ground – to which it is held at a corresponding angle; the opposite hand
is held at waist level, palm up (Saunders, 80). It is believed that
the following legend led to the establishment this gesture: “At the moment
when the historical Buddha was on the point of proving his Buddha perfection,
the gods of the earth warned him that he would be attacked by demons.
But the Buddha calmed them, saying that he would suppress these evil-doing
gods by his power alone; that is, by his bodhi knowledge. At this
point the demon king appeared and challenged him to put his words into
action. The Buddha, pointing to the ground with his fingers, called
upon the gods of the earth, who rose up and killed the demons” (Saunders,
81). This symbol also represents the Buddha’s hard work and dedication
(as a Bodhisattva) to following the path of enlightenment; with this gesture
he contends he is deserving of the scant piece of ground which he touches.
There are two divinities which commonly demonstrate this mudra; they are
Shakamuni and Ashuku Nyorai (Saunders 82-83). |
 The
sixth primary gesture is the “mudra of concentration.” This sign
is commonly seen in seated, meditating figures. Those in a sitting
position typically have their legs crossed, with the tops of each foot
resting on the thigh of the opposite leg (Saunders 85). The portion
of this sign pertaining to one’s hands can be broken down into three variations.
The first and simplest can be described as follows: hands are held level
with the navel, and the straight hands are placed right on top of left,
with both of them palm up. Of this primary variation, there are secondary
alternates. One is a similar image, different in that the left hand
rests in the right, and the palms face the body. Another is nonspecific
as to which hand is on the top or bottom, but the hands are turned at 45
degree angles of each other, forming an “X” (Saunders 86). The second,
and probably the oldest, includes placing one hand on another, with both
palms up; the difference is that the thumbs touch to form a triangle, with
the fingers as its base (Saunders 86-87). The third and most recent
is recognizable by the circles which are formed by raising the indexes,
middle fingers, or ring fingers, and positioning them back to back; to
complete the circle, the chosen fingers are capped by the thumbs.
The fingers one raises are determined by his/her hierarchical rank (Saunders
87). This gesture is described as symbolizing “ecstatic thought…for
it is the gesture which indicates the suppression of all spiritual disquiet
in order to arrive finally at the complete concentration on the truth”
(Saunders 88). This mudra is very much characteristic of the divinity
Amida (Saunders 91). |
 The
seventh main gesture is the “mudra of turning the wheel of the Law.”
Through the course of history, this gesture has taken on several variations.
The most general representation can be described as follows: one’s right
hand is held at chest height, with thumb and index finger touching to form
a circle, and the palm facing outward; the left hand, facing the body,
touches the circle with one of the fingers (Saunders 94). The meaning
behind this sign is based on the Buddhist’s symbolism of the wheel.
The wheel represents the movement of the sun, and consequently, the endings
and beginnings of years, or the course of the seasons (Saunders 96).
The wheel embodies the Law because it is endlessly in motion, “being transmitted
to all Beings” (Saunders 100). This gesture was initially displayed
only by the Buddha and Maitreya, but with the onset of Esotericism, it
has become characteristic of the Buddha Amida (Saunders 100). |
 The
eighth key gesture is the “mudra of the knowledge fist”. Images which
display this mudra are seated, legs crossed, with the tops of each foot
resting on the thigh of the opposite leg. The right hand makes a
fist with the thumb enclosed by the fingers. The left is turned so
the palm faces the right fist, the index finger is extended, and is enclosed
with the thumb in the fist of the right hand. The left hand should
be level with one’s navel (Saunders 102). The index finger of the
left hand is said to represent the World of Beings, being sheltered by
the World of the Buddha(s), or the right hand (Saunders 104). Quite
obviously, this gesture can also represent the union of the masculine and
feminine principles (Saunders 105). The emphasis of this gesture,
however, is on knowledge, and is foremost connected to Vairocana, the supreme
divinity (Saunders 104). |
| These eight gestures can be traced throughout the history of buddhist art; they are simple enough to be greatly elaborated upon, and complex enough to stand alone and imbue any artwork with rich, deep meaning... as old as Buddhism itself. |
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Works Cited |