Mudra

A mudra (/muˈdrɑː/ ⓘ; Sanskrit: मुद्रा,

IAST: mudrā, "seal", "mark", or "gesture";
Tibetan: ཕྱག་རྒྱ་, THL: chakgya) is a
symbolic or ritual gesture or pose in
Hinduism, Jainism and Buddhism.[1] While
some mudras involve the entire body, most
are performed with the hands and
fingers.[2]
A 10th century Chola dynasty bronze
sculpture of the Hindu god Nataraja
(Shiva) posing various mudras

Indian Buddha Shakyamuni statue

making the bhūmisparśa or "earth
witness" mudra, c. 850

12th-century Japanese scroll showing

different mudra gestures
As well as being spiritual gestures
employed in the iconography and spiritual
practice of Indian religions, mudras have
meaning in many forms of Indian dance,
and yoga. The range of mudras used in
each field (and religion) differs, but with
some overlap. In addition, many of the
Buddhist mudras are used outside South
Asia, and have developed different local
forms elsewhere.

In hatha yoga, mudras are used in

conjunction with pranayama (yogic
breathing exercises), generally while in a
seated posture, to stimulate different
parts of the body involved with breathing
and to affect the flow of prana. It is also
associated with bindu, 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 are Mula Bandha,
Mahamudra, Viparita Karani, Khecarī
mudrā, and Vajroli mudra. These expanded
in number from 3 in the Amritasiddhi, to 25
in the Gheranda Samhita, with a classical
set of ten arising in the Hatha Yoga
Pradipika.
Mudra is used in the iconography of Hindu
and Buddhist art of the Indian
subcontinent and described in the
scriptures, such as Nātyaśāstra, which
lists 24 asaṁyuta ("separated", meaning
"one-hand") and 13 saṁyuta ("joined",
meaning "two-hand") mudras. Mudra
positions are usually formed by both the
hand and the fingers. Along with āsanas
("seated postures"), they are employed
statically in the meditation and
dynamically in the Nāṭya practice of
Hinduism.

Hindu and Buddhist iconography share

some mudras. In some regions, for
example in Laos and Thailand, these are
distinct but share related iconographic
conventions.

According to Jamgön Kongtrül in his

commentary on the Hevajra Tantra, the
ornaments of wrathful deities and 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 has Sanskrit roots.

According to scholar Sir Monier Monier-
Williams it 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 the Buddha,
and are shorthand depictions of these.

Abhaya Mudrā

The Abhayamudra "gesture of

fearlessness"[5] represents protection,
peace, benevolence and the dispelling of
fear. In Theravada Buddhism it 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 the Walking
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. In Gandharan art, it
is seen when showing the action of
preaching. It was also used in China during
the Wei and Sui eras of the 4th and 7th
centuries.

This gesture was used by the Buddha

when attacked by an elephant, subduing it
as shown in several frescoes and
scripts.[6]

In Mahayana Buddhism, the deities are

often portrayed as pairing the Abhaya
Mudrā with another Mudrā using the other
hand.
Bhūmisparśa Mudrā

The bhūmisparśa or "earth witness" mudra

of Gautama Buddha is 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
complete enlightenment, 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, and Phra Mae Thorani,
the earth goddess, appeared to be the
witnesses for the Buddha's
enlightenment.[7][8]

In East Asia, this mudra (also called the

Maravijaya attitude) may show Buddha's
fingers not reaching as far as the ground,
as is usual in Burmese or Indian
depictions.

Bodhyangi Mudrā

The Bodhyangi 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 the
Vairocana Buddha.

Dharmachakra Pravartana Mudrā

The Buddha preached his first sermon

after his Enlightenment in Deer Park in
Sarnath. The dharmachakra Pravartana or
"turning of the wheel"[10] mudrā represents
that moment. In general, only Gautama
Buddha is shown making this mudrā
except Maitreya as the dispenser of the
Law. Dharmachakra mudrā is two hands
close together in front of the chest in
vitarka with the right palm forward and the
left palm upwards, sometimes facing the
chest. There are several variants such as
in the Ajanta Caves frescoes, where the
two hands are separated and the fingers
do not touch. In the Indo-Greek style of
Gandhara, the clenched fist of the right
hand seemingly overlies the fingers joined
to the thumb on the left hand. In pictorials
of Hōryū-ji in Japan the right hand is
superimposed on the left. Certain figures
of Amitābha are seen using this mudra
before the 9th century in Japan.
Dhyāna Mudrā

The dhyāna mudrā ("meditation mudra") is

the gesture of meditation, of the
concentration of the Good Law and the
sangha. 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 the
Three Jewels. This mudra is used in
representations of Gautama Buddha and
Amitābha. Sometimes the dhyāna mudrā
is used in certain representations of
Bhaiṣajyaguru as the "Medicine Buddha",
with a medicine bowl placed on the hands.
It originated in India most likely in
Gandhāra and in China during the Northern
Wei.

It is heavily used in Southeast Asia in

Theravada Buddhism; however, the thumbs
are placed against the palms. Dhyāna
mudrā is also known as "samādhi mudrā"
or "yoga mudrā", Chinese: 禅定印; pinyin:
[Chán]dìng yìn; Japanese pronunciation:
jōin, jōkai jōin.
The mida no jōin ( 弥陀定印) 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

The Varadamudrā "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 the Northern Wei and Asuka
periods, respectively, the fingers are stiff
and then gradually begin to loosen as it
developed over time, eventually leading to
the Tang dynasty standard where the
fingers are naturally curved.
In India, varada mudra is used by both
seated and standing figures, of Buddha
and boddhisattvas and other figures, and
in Hindu art is especially associated with
Vishnu. It was used in images of
Avalokiteśvara from Gupta art (4th and 5th
centuries) onwards. Varada mudrā is
extensively used in the statues of
Southeast Asia.

Vajra Mudrā

The Vajra mudrā "thunder gesture" is the

gesture of knowledge.[12]
Vitarka Mudrā

The Vitarka 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 in Mahayana
Buddhism. In Tibetan Buddhism, it is the
mystic gesture of Tārās and bodhisattvas
with some differences by the deities in
Yab-Yum. Vitarka mudrā is also known as
Vyākhyāna mudrā ("mudra of explanation").
This is also called as chin-mudra.[13]

Jñāna Mudrā

The Jñāna 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 represents
spiritual enlightenment in the indian-origin
religions. Sometimes sadhus chose to be
buried alive in this samadhi position. A
2700 old skeleton arranged like this was
found at Balathal in Rajasthan, suggesting
that something like yoga may have existed
at that time.[15]

Karana Mudrā

The karana mudrā is 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 as tarjanī mudrā.
Gallery
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Indian classical dance

In Indian classical dance and derived

dances (such as Khmer, Thai or
Balinese),[16] the term "Hasta Mudra" is
used. The Natya Shastra describes 24
mudras, while the Abhinaya Darpana of
Nandikeshvara gives 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 in Bharatanatyam, 24 in Kathakali
and 20 in Odissi. These root mudras are
combined in different ways, like one hand,
two hands, arm movements, body and
facial expressions. In Kathakali, 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

An example of mudras being utilized

as a yogic practice.
 The different yoga mudras
involve different parts of the
body and correspondingly
diverse procedures, generally
to retain the vital energy of
prana. In Viparita Karani, the
body is inverted to allow
gravity to retain the bindu.
Illustrated manuscript of the
Joga Pradipika, 1830

The classical sources for the yogic seals

are the Gheranda Samhita and the Hatha
Yoga Pradipika.[19] The Hatha Yoga
Pradipika states 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
teacher Satyananda Saraswati, founder of
the Bihar School of Yoga, continued to
emphasize the importance of mudras in
his instructional text Asana, Pranayama,
Mudrā, Bandha.[19]

Hand Gestures

There are numerous hand gesture mudras

in 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 in Mula Bandha,[20]
Mahamudra,[21] Viparita Karani,[22] Khecarī
mudrā,[23] and Vajroli mudra.[24]
Mula Bandha

Mode of action of mudras, serving to trap

energy-fluids (breath, prana, bindu, amrita) and
thus help to unblock the central sushumna
channel[25]

Mula Bandha, the Root Lock, consists of

pressing one heel into the anus, generally
in a cross-legged seated asana, and
contracting the perineum, forcing the prana
to enter the central sushumna channel.[20]
Mahamudra

Mahamudra, the Great Seal, similarly has

one heel pressed into the perineum; the
chin is pressed down to the chest in
Jalandhara 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 the
Dattatreyayogashastra to 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 the bindu fluid 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, the
Khecharividya exhorts the yogi to make a
cut a hair's breadth deep in the frenulum of
the tongue once 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 the semen, either by
learning not to release it, or if released by
drawing it up through the urethra from the
vagina of "a woman devoted to the
practice of yoga".[27]

Martial arts

Some Asian martial arts forms contain

positions (Japanese: in) identical to these
mudras.[28] Tendai and Shingon Buddhism
derived the supposedly powerful gestures
from Mikkyo Buddhism, still to be found in
many Ko-ryū ("old") martial arts Ryū
(schools) founded before the 17th century.
For example the "knife hand" or shuto
gesture is subtly concealed in some Koryu
kata, and in Buddhist statues, representing
the sword of enlightenment.[29]

See also

Reflexology
Chironomia
Gesticulation in Italian
List of mudras (yoga)
List of mudras (dance)
Iconography of Gautama Buddha in
Laos and Thailand
 Mahamudra
Naga Prok attitude
Tea ceremony
Pranāma
Yogamudrasana, a variant of lotus pose
that is both an asana and a mudra
Kuji-in
Kuji-kiri
Pranahuti

Notes

1. Encyclopædia Britannica. (2010). "mudra

(symbolic gestures)" (https://www.britannic
 a.com/EBchecked/topic/396017/mudra) .
Retrieved October 11, 2010.
2. "Word mudrā on 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 efficacy Daś
(Daśakumāra-carita). Sarvad. Kāraṇḍ. RTL.
204; 406)" " (https://web.archive.org/web/2
0121203191432/http://faculty.washington.
edu/prem/mw/m.html) . Archived from the
original (http://faculty.washington.edu/pre
m/mw/m.html) on 2012-12-03. Retrieved
2012-05-13.
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
4. Monier-Williams, Monier (1872). "Mudra". A
Sanskrit-English Dictionary (https://books.g
oogle.com/books?id=_3NWAAAAcAAJ) .
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"
(https://www.renown-travel.com/mudras/a
bhaya.html) . Retrieved 2019-02-03. "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 (https://archive.org/det
ails/buddhistgoddesse00shaw) . Princeton
University Press. pp. 17 (https://archive.or
g/details/buddhistgoddesse00shaw/page/
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 (https://bo
oks.google.com/books?id=-O3Khal6UMcC
&pg=PA77)
 9. T.W. Rhys Davids Ph.D. LLD.; Victoria
Charles (24 November 2014). 1000
Buddhas of Genius (https://books.google.c
om/books?id=jV3vBgAAQBAJ&pg=PA51
5) . Parkstone International. p. 515.
ISBN 978-1-78310-463-5.
10. explanation of Buddhist Mudras (http://ww
w.buddhas-online.com/mudras.html)
11. Japanese Architecture and Art Net Users
System. "JAANUS / mida-no-jouin 弥陀定
印" (http://www.aisf.or.jp/~jaanus/deta/m/
midanojouin.htm) . 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. https://www.google.co.in/books/edition/M
udras_of_Yoga/NacaAwAAQBAJ?
hl=en&gbpv=1&dq=chin+mudra&printsec=f
rontcover
14. For translation of jñānamudrā as "gesture
of knowledge" see: Stutley 2003, p. 60.
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" (https://disco.teak.fi/asi
a/thai-classical-dance/) . 2 October 2017.
17. Devi, Ragini. Dance dialects of India (http
s://archive.org/details/dancedialectsofi000
0ragi) . Motilal Banarsidass Publ., 1990.
ISBN 81-208-0674-3. Pp. 43.
18. Barba & Savarese 1991, pp. 136
19. Saraswati, Satyananda (1997). Asana
Pranayama Mudrā Bandha. Munger, Bihar
India: Bihar Yoga Bharti. p. 422. ISBN 81-
86336-04-4.
20. Mallinson & Singleton 2017, pp. 242.
21. Mallinson & Singleton 2017, pp. 237–238,
241.
22. Mallinson & Singleton 2017, pp. 242, 245.
23. Mallinson & Singleton 2017, pp. 241, 244–
245.
24. Mallinson & Singleton 2017, pp. 242, 250–
252.
25. Mallinson & Singleton 2017, pp. Chapter 6,
especially pages 228–229.
26. Mallinson & Singleton 2017, pp. 247–249.
27. Mallinson & Singleton 2017, pp. 242–243,
250–252.
28. Johnson 2000, p. 48.
29. Muromoto, Wayne (2003) Mudra in the
Martial Arts (http://www.furyu.com/onlinea
rticles/mudra.html) Archived (https://web.
archive.org/web/20071215031615/http://
www.furyu.com/onlinearticles/mudra.htm
l) 2007-12-15 at the Wayback Machine. .
Retrieved December 20, 2007.

References

Barba, Eugenio; Savarese, Nicola (1991).

A dictionary of theatre anthropology: the
secret art of the performer (https://book
s.google.com/books?id=31WqQLGeXRI
C) . 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
the International 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 (https://books.google.com/book
 s?id=CtzgSZrTv64C) . 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 (https://www.worldca
t.org/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.

Further reading

Saunders, Ernest Dale (1985). Mudra: A Study

of Symbolic Gestures in Japanese Buddhist
Sculpture. Princeton University Press.
ISBN 978-0-691-01866-9.
Hirschi, Gertrud. Mudras: Yoga in Your Hands
(https://web.archive.org/web/201401200951
58/http://www.scribd.com/doc/17928000/Mu
dras-Yoga-in-Your-Hands) .
Taisen Miyata: A study of the ritual mudras in
the Shingon tradition: A phenomenological
study on the eighteen ways of esoteric
recitation in the Koyasan tradition. Publisher
s.n.
Acharya Keshav Dev: Mudras for Healing;
Mudra Vigyan: A Way of Life. Acharya Shri
Enterprises, 1995. ISBN 9788190095402 .
Gauri Devi: Esoteric Mudras of Japan.
International. Academy of Indian Culture &
Aditya Prakashan, 1999.
ISBN 9788186471562.
Lokesh Chandra & Sharada Rani: Mudras in
Japan. Vedams Books, 2001.
ISBN 9788179360002.
Emma I. Gonikman: Taoist Healing Gestures.
YBK Publishers, Inc., 2003.
ISBN 9780970392343.
Fredrick W. Bunce: Mudras in Buddhist and
Hindu Practices: An Iconographic
Consideration. DK Printworld, 2005.
ISBN 9788124603123.
A. S. Umar Sharif: Unlocking the Healing
Powers in Your Hands: The 18 Mudra System
of Qigong. Scholary, Inc, 2006. ISBN 978-
0963703637.
Dhiren Gala: Health at Your Fingertips: Mudra
Therapy, a Part of Ayurveda Is Very Effective
Yet Costs Nothing. Navneet, 2007.
ISBN 9788124603123.
K. Rangaraja Iyengar: The World of
Mudras/Health Related and other Mudras.
Sapna Book house, 2007.
ISBN 9788128006975.
Suman K Chiplunkar: Mudras & Health
Perspectives: An Indian Approach. Abhijit
Prakashana, 2008. ISBN 9788190587440.
Acharya Keshav Dev: Healing Hands (Science
of Yoga Mudras). Acharya Shri Enterprises,
2008. ISBN 9788187949121.
Cain Carroll and Revital Carroll: Mudras of
India: A Comprehensive Guide to the Hand
Gestures of Yoga and Indian Dance. Singing
Dragon, 2012. ISBN 9781848190849.
Joseph and Lilian Le Page: Mudras for
Healing and Transformation. Integratieve
Yoga Therapy, 2013. ISBN 978-0-9744303-4-
8.
Toki, Hôryû; Kawamura, Seiichi, tr. (1899). "Si-
do-in-dzou; gestes de l'officiant dans les
cérémonies mystiques des sectes Tendaï et
Singon" (https://archive.org/details/sidoindzo
ugeste00millgoog) , Paris, E. Leroux.
 Adams, Autumn: The Little Book of Mudra
Meditations. Rockridge Press, 2020.
ISBN 9781646114900.

External links

10 Buddha Mudras, Wikimedia

Commons
Hand Gestures With
has media
Meaning (https://stone related to
Mudras.
martindia.com/10-bud
dha-mudras-hand-gest Look up
mudra in
ures-with-meaning) Wiktionary,
the free
Mudras of the Great dictionary.
Buddha: Symbolic
Gestures and Postures (https://web.arch
ive.org/web/20180818184425/https://w
ww.exoticindiaart.com/article/mudra
s/)
Mudras in Indian Dance (http://www.web
india123.com/dances/abhinaya/angik
a%20bhinaya/asamyukta.htm)
Meaning of Mudras (https://www.thesto
nestudio.in/meaning-of-mudras/)
Mudras photo gallery (http://healing.abo
ut.com/od/east/ig/Mudra-Gallery/index.
htm) Archived (https://web.archive.org/
web/20080517062029/http://healing.ab
out.com/od/east/ig/Mudra-Gallery/inde
x.htm) 2008-05-17 at the Wayback
Machine
 Mudras in the Buddhist tradition (http://
www.buddhas-online.com/mudras.htm
l)
About mudras (https://web.archive.org/
web/20081007063351/http://www.buzzl
e.com/articles/about-mudras.html)

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