Iconography of Hindus Buddhist and Jains

SR No.: 011008
Original Sutra Author: N/A
Author: R S Gupte
Publisher: D B Taraporewale Sons and Co Pvt Ltd
Publication Year: 1980
Total Pages: 262
Language: English
Classification: Book_English
File Size: 12 MB

Page 25

INTRODUCTION
darts which are flat and the points of which do not touch like those of the Tibetan vajras. The Tibetan variety is round, has four darts and the points are closed. This gives it the appearance of a lotus bud. A fifth dart runs through the centre of the vajra, from end to end, making five darts, which represent the five bodies of Dhyāni Buddhas.
In Vajrayāna Buddhism, the vajra becomes the symbol of linga, the male sex organ.
Vajra means "diamond'. It is indestructible. It cannot bend, it cannot break. Like the Vajrayānist Sunyada it cannot break or bend.
17. Vyāghra-Chamara: The vyāghra-chamara is a tiger-skin. It represents Desire (Trishna).
HAND-POSES (MUDRAS OR HASTAS)
Abhaya: The 'fear not' or protection-assuring posture of the hand. In this hand-pose, the hand is lifted and the palm of the hand with the fingers extended upwards, faces outwards. (Page 5.)
Añjali: This is the hand-pose of salutation. In this hand-gesture, the two hands are folded leaving a hollow between them. The hands thus folded rest on the chest and are kept parallel to the ground. (Page 5.)
Bhuddhasramana: This is the hand-pose of salutation. In this, the hand is held level with the head, with the palm facing up and all fingers fully extended. It is the mudră of Vasudhără and Uşnisavijaya. (Page 5.)
Bhūsparsa or Bhūmisparsa: The attitude of 'touching the earth,' calling her to witness the virtue of Gautama. In this hand-pose, the right hand is placed over the right knee. The hand, with palm inward, all fingers down, touches the lotus seat below. It is the characteristic pose of Gautama and Akşobhya, one of the five Dhyani Buddhas. (Page 5.)
Bhūtadāmara: The hand-pose that inspires awe. In this, the wrists are crossed in front of the chest. It is one of the mudrās of Vajrapāņi. (Page 5.)
Chin-mudră: In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards. This is the hand-pose of teaching or exposition. That is why it is also called Vyåkhyāna-mudră or Sandarśana-mudra.
Danda-hasta or Gaja-hasta: In this band-posc, the arm and hand are thrown across the chest and
held straight like a staff (danda) or the trunk of an elephant (gaja-hasta). (Page 6.)
Dharmachakra: The hand-pose of preaching the Law. It signifies the turning of the Wheel of Law. In this hand-pose, both the hands are held against the chest, the left hand covering the right. It is the mudrā of Gautama, the Dhyāni Buddha Vairocana, and the future Buddha Maitreya. (Page 6.)
Dhyana or Samadhi: The attitude of meditation. In this hand-pose, both hands are placed on the lap, right hand on left, with the fingers fully extended and the palm facing upwards. Also called Yoga-mudra. (Page 6.)
Harina-mudră: In this hand-pose, a ring is formed by joining the thumb with the middle and ring fingers. The index and little fingers are kept straight. (Page 6.)
Jñāna-mudra: In this hand gesture, the tips of the middle or index fingeb and of the thumb are joined together and held near the chest, with the palm turned inward. (Page 6.)
Kartart-hasta: In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers are kept straight up to look like the horns of a deer, in which an emblem may be held. (Page 7.)
Katyavalambita: This is the posture of ease. The arm hangs loose and the hand is placed on the waist. Also called Kati-hasta. (Page 7.)
Kataka-hasta or Simhakarna-mudra: In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the icon every day. (Page 7.)
Keepana: This is the gesture for sprinkling ambrosia. In this hand-pose the hands are joined palm to palm, with the tips of the index fingers touching and turned down towards the vase containing nectar. It is the mudrå of Nämasangiti. (Page 8.)
Namaskāra: This is the attitude of adoration or prayer. The two hands are kept close to the chest, touching palm to palm, in an attitude of prayer. (Page 8.)
Santi: Similar to Abhaya. Siṁhakarna-mudră: See Kataka-hasta.
Sücht-hasta: In this hand-pose, the projected forefinger points to an object below. (Page 8.)
Tarjant: In this hand-pose, the projected forefinger points to an object above. It is also