Chapter - III

Place of Symbolism and it’s relevance

1. Place of Symbolism and it’s relevance

The term - Symbol signifies a Mudrā, a Seal or a Mark with certain

meaning. In the term “Mudrā” lies concealed, an expression or idea through a
suggestive pose or posture of the body or a limb, depicting an ocean of wisdom
underlying the same. Shri Śankaracharya held the “Bhadra Mudra”, [tip of the
forefinger on the thumb] before disciples to clear their doubts and reveal the
ultimate Truth. He was silent during eloquent speech !

“A mass of ideas are composed into one mark or symbol, and the history of a
nation or the legend of a life, can be read through it. The raising of a forefinger in
anger against another creates fear in his mind, and he attempts to run away to
save his life, unless he is capable of effectively retaliating, in which case the
former would have thought twice before raising his finger against him. A man
makes himself better understood by signs and symbols and, if language fails to
prove his case or cause, he establishes the same through movements of his limbs
or to supplement or emphasize his arguments. This science has developed into
Tantra Śāstra, and the Tāntrics are adepts in this art and achieve their ends
through the practice of Mudrās. In Kerala there is a highly developed folk-dance
called Kathakali, wherein the different characters effectively play their parts and
communicate with each other, only through Mudrās or Symbols and not through
words”[1].

Śankaracharya was a great devotee of Parāsakti-Rajarājeswari- the Mother of

Literature, Fine Arts and Spiritual Wisdom. In his “Soundarya Lahiri” he invokes

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the mother in her various powers and faculties through praises and adulations.
The first sixtyfour verses of Soundarya Lahiri- which means intoxication by
beauty and personal charm –are to be represented by the sixty-four “Cakrās”
starting from “Swastipadma”. The greatest of them is the “Sri Cakrā” in the centre
of which resides Rājarājeswari,the bestower of spiritual light and wisdom. Lalitā
is one of the forms of Durgā represented by the intersection of innumerable
triangles both upright and inverted, and in the middle of which is the “Bindu”, is
her seat of creative power and propagation. Each “Cakrā” is symbolic of the forms
of gods and goddesses and the centre of each crossing triangle is symbolic of the
seat of emanation of light and wisdom. This “Tantra Śāstra”, has to be learnt from
the traditional scholars. The Science of Forms and Figures known as “Yantra
Śāstra”, depicts the forms as geometrical figures, each one with its intense
implications and meanings capable of deeper interpretations. While physical
sciences are with reference to known realities, Mantra, Tantra, and Yantra Śāstras
are dealing with unmanifest realities and the immense potentialities of Nature.
According to Nātya Śāstra principles, The human body is the noumenon of the
Cosmos and the various powers of nature can be developed within this body
through the help of, Asanās and Upāsanās based on, the Mantra, Tantra and
Yantra Śāstras. It is said that the concentration of the mind at a single point is
nuclear in its effect and powers can be developed and invoked either for
constructive purposes or even destructive as is seen sometimes. Kerala, Karnataka
and Bengal have made tremendous studies and progress in these branches of
science. The Chinmudra which Lord Dakshinamurthy holds in his hand teaches
us that our ego which is concentrated on the index finger must bend and that our
individuality must end as represented by the symbol ‘Zero’ which the index
finger produces when it bends and touches the middle of the thumb in the Mudra.
.

2. Lalitā Tripurasundari, the Red Goddess

Vidya means knowledge, specifically female knowledge, or the goddess, and in

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this context relates to her aspect called Śri, Lalitā or Tripurasundari whose
magical diagram is called the Śri Yantra. She is a red flower, so her diagram is a
flower too.

The tāntrik tradition views its symbols as having a gross aspect, a subtle aspect,

and a supreme aspect. In terms of Lalitā, the gross form is the image of the
goddess with her four arms, the subtle form is the yantra, and the supreme form
is her mantra, all three being the goddess in different aspects. The colourful
symbolism indicates deep wisdom coupled with practical methods for realizing
Lalitā who loves pujā. There can be various pujās including daily rites, those
performed at the four twilights, rites done for specific objects, optional rites done
on festival days, auspicious days rites in assemblies, and rites accomplished with
a partner.

Lalitā means She Who Plays. All creation, manifestation and dissolution is
considered to be a play of Devi or the goddess. Mahātripurasundari is her name
as transcendent beauty of the three cities, a description of the goddess as
conqueror of the three cities of the demons. Every aspect of Devi has her own
mantra and yantra. The yantra of Devi Lalitā is Śri Yantra. The divinity of the
yantra always occupies the centre position or apex.

The different parts or petals and lines of the yantra are usually arranged in
concentric circles (mandalās) and contain the rays of the goddess. The Shri Yantra
has nine of these mandals, each filled with various aspects of the Devi which are
totally 111. The Śri Yantra is said to be a geometric form of the human body,
which implies the goddess as Macrocosm being one with human being as
Microcosm.

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3. Formation of the Śri Yantra

The creation of the Śri Yantra is described in the Yogini Hridaya (Heart of the
Yogini Tantra). This is said to be the second part of the Vāmakeshvara Tantrā.

Prayer-
“Dear One, Tripura is the ultimate, primordial Śakti, the light of manifestation.
She, the pile of letters of the alphabet, gave birth to the three worlds. At
dissolution, She is the abode of all tattvās, still remaining Herself –
Vāmakeshvaratantra . “ [2]

“ From the fivefold akti comes creation and from the fourfold Fire dissolution.
The sexual union of five Śaktis and four Fires causes the chakrā to evolve. O
Sinless One! I speak to you of the origin of the chakrā.” [2 a]

"When she, the ultimate Śakti, of her own will (svecchaya) assumed the form of
the universe, then the creation of the chakrā revealed itself as a pulsating essence.
From the void-like vowels with the visarga emerged the bindu, quivering and
fully conscious. From this pulsating stream of supreme light emanated the ocean
of the cosmos, the very self of the three mothers……..
The baindava of the chakrā has a triple form, dharmā, adharmā and ātma, and
mātri, meya and pramā. The chakrā of nine yonis is the great mass of
consciousness bliss and is the ninefold chakrā and the nine divisions of the
mantra…..
The baindava is placed on a dense flowery mass and is the Chitkala. Similarly, the
ambika form of eight lines is the circle of the vowels. The nine triangles quiver
forth the effulgent form of 10 lines. The Śakti, together with her surrounding nine
blossomed forth the 10 trikonās. The second quivering form of 10 lines has
Krodhisha as first of the 10. These four chakrās, of the nature of light, create the
14-fold form, the essence of perception.” [2 b]

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Unless the yantra be decorated with the appropriate bija mantra and other
mantras, it is worthless. It is also dead unless it is installed with life and the
individual doing the puja is initiated into the tradition.

“4. The Mandalās of the Śhri Yantra

The Earth Square or Bhupura

This mandalā represents the walls that enclose the practitioner. The three lines

of the bhupura of Śri Yantra each has a set of sub-limbs of the goddess. On the
outer line are the eight world protectors (lokapālas), the guardian spirits of the
directions and intermediate directions.
On the middle line are eight Siddhi Śaktis identified with the senses. On the inner
line are eight Śaktis ruling Desire, Anger, Envy, Delusion, Greed, Jealousy, Virtue
and Vice. They are the eight Mātrikās. These saktis are collectively known as the
‘Percieved’ ‘ (Prakata Yoginis)’. A form of the Devi known as Tripura rules all
these shaktis in this mandala of the yantra known as 'The Cakrā Ruling the Three
Worlds'. She has four arms, is the colour of crystal, is adorned with pearls and
holds a book, a pot, and a beautiful lotus. her Vidyā is ‘Am Am Sauh’.
Outer line has Indra (East) wears yellow, rides an elephant; Agni (South East)
wears red, rides a ram; Yama (South) wears black, rides a buffalo; Nirriti (South
West) wears dark green; Varuna (West) wears blue, and his vehicle is a crocodile;
Vāyu (North East) wears pale clothes; Soma (North) wears pure white; Ishāna

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(North East) is a form of Mahādeva Śiva, rides a bull.

Middle Line contains the Siddhi Śaktis who are smeared with vermilion, wear red
garlands, carry noose and goad, and are as bright and beautiful as red lotuses.
Inner Line has the nine Narayanayees. Brahmāni wears yellow, has four arms, is
beautiful. One hand dispels fear, one grants boons, and carries a jewelled jar for
purification. The three eyed Māhesvari wears white, holds trident, skull, axe, and
a vessel of curds. Kaumāri wears yellow, holds shakti-the weapon, Javelin, and
makes the gestures of dispelling fear and granting boons. Vaishnavi is dark in
colour, holds conch, discus, lotus and grants boons. Vārāhi wears many
ornaments and gems. She has the head of a wild boar, holding plough, mace,
sword and shield. Aindrani is black and brillian with a thousand eyed crown of
lightning, carrying a bright blue lotus. Shivadooti is terrifying in form. Cāmunda
is black, holds trident and damaru (the drum), holds axe, and skulls as garland.

The gem is topaz. The time is 24 minutes (360 breaths). The Mudrā is the ‘All
Agitating’.

5. Mandala of Sixteen Petals

The Śaktis in this circle are ‘Hidden’.

The whole mandala of 16 petals is called 'Fulfiller of Desire'. The presiding form
of the Lalitā is Tripureshi. Her ‘vidya’ is ‘Aim Klim Sauh’. She is described as
ornamented with all gems, carrying a book and a rosary. The 16 yoginis in this
mandala are associated with the attainment of desires by the cultivation or
strengthening of power over mind, ego, sound, touch, sight, taste, smell, intellect,
and other invigorating qualities. They are described as the ‘Nitya Kālās’. They
hold a noose, a goad, nectar, and gestures of giving. They are bright red in colour.
The gem of the mandalā is sapphire. The time is three hours (2700 breaths). The
Mudrā is the ‘Wettening’ Mudrā.

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6. Mandala of Eight Petals

The Śaktis in this mandalā are called the ‘Secretive’. The whole circle of eight
petals is called the
'All Exciting Chakrā'. Presiding deity is Tripura Sundari. Her ‘vidyā’ is ‘Hrim
Klim Sauh’. She is described as love intoxicated and her eyes are full of bliss.
She smiles and shows the mudrās dispelling fears and granting boons – Abhaya
and Varada Mudrās.
The eight saktis in each of the eight petals of the mandalā potent with Speech,
Holding, Walking, Excreting, Pleasure, Abandoning, Concentration and
Detachment. They are described as sapphire blue, and holding blue lotus. Their
names (Ananga Madana etc) all convey terms of love and sexuality.
The gem is cat's eye. The time is day and night (21600 breaths).

7. Mandala of Fourteen Triangles

This mandalā is called 'The Chakrā Bestowing All Good Fortune'. The Yoginis are
called 'Concealed by Tradition'. The presiding form of the devi is Tripura Vāsini.
Her ‘vidyā’ is ‘Haim Hklim Hsauh’.
She is red and beautiful. Fourteen Śaktis of the triangles are associated with the
chief ‘nadis’ or currents of bioenergy. They are the ‘Akarshanis’ or Attractors.
The gem is coral. The time is weekday. The Mudrā is called ‘All Subjugating’.

8. Outer 10 Triangles

This mandalā is called 'The Chakrā Bestowing All Objects’. The Śaktis are called
the ‘Kula Kaulas’.
The presiding deity is Tripura Śri. Here, the goddess is as effulgent as 1000 rising
Suns, adorned with celestial ornaments and holding book.
The 10 Śaktis in the triangles are described as having joyful faces, holding noose

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and goad and adorned with various crystal and heavenly gems.
These are the Yoginis of the 10 vital breaths. The gem is pearl. The time is Lunar
Day (tithi).
The Mudrā is called the ‘All Intoxicating with Love’. Inner 10 Triangles
The mandalā is called 'The Chakrā Protecting All'. The Yoginis are called
-‘Without Origin’. The presiding aspect of Lalitā is Tripura Mālini. Her vidya is
‘Hrim Klim Blem’.
She holds noose and goad, dispels fear, and holds a skull. She is like vermilion in
brightness.
Her Śaktis are the colour of 1000 rising suns, adorned with pearls and gems,
holding noose, chisel, and showing the gestures of knowledge. They are the saktis
of the 10 Vital Fires. The gem is emerald. The time is Lunar Fortnight. The Mudrā
is the ‘Great Goad’.

9. Eight Triangles

This mandala is called 'The Chakra Destroying all Disease'. The yoginis are
known as the ‘Secret’ or ‘Rahasya’. The presiding aspect of the Red Goddess is
Tripura Siddha.

Her vidya mantra is ‘Hrim Shrim Sauh’. She is described as the Destroyer of
Poison.
Her yoginis are the colour of pomegranate flowers, wearing red clothes, smeared
with red scent, each carrying five arrows and a bow. These saktis are the rulers of
Cold, Heat, Happiness, Sorrow, Desire, and the three gunas Sattvas, Rajas, Tamas.
They are also called the eight Vāsinis and rule the eight Sanskrit letter groups.
The gem in this mandala is diamond (Vajra). The time is month. The Mudrā is
Khecari Mudrā.

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10. The Four Weapons

In between the mandalās of eight triangles and the central triangles are the four
weapons of the Red Goddess -- flowery bow, flowery arrows, noose and goad.
Central Triangle
This mandalā is called 'The Chakrā Giving All Success'. The Yoginis are called
‘Very Secret’. Lalita dwells here as Tripura Ambā, her Vidyā being ‘Hsraim
Hsrklim Hsrsauh’.
She is also known as ‘Sampatprada Bhairavi, coppery effulgent, like 1000 suns,
with three eyes, a face like the moon, adorned with white gems, with a beautiful
figure, rising swelling breasts, intoxicated, wanton, young, proud, holding book,
dispelling fear, holding a rosary and granting boons. ‘

Her three Śaktis are called Kāmeshvari, Vajreshi and Bhāgamalini. Kāmeshvari is
called the Rudra Śakti, Vajreshi is the Viṣnu Śakti, Bhagamalini is the Brahma
Śakti.
The gem of the mandala is ‘Gomaya.’ The time is season (two months). The
Mudrā is the ‘Bija ‘Mudrā. Bindu Mandala

This mandalā is called 'Purely Blissful'. The Yogini in this mandalā is the

Queen of Queens, Rājarājeshvari, the Very Red One, her Transcendent Majesty
‘Lalita Māheshvari Mahātripurasundari’.

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Her vidya (Kāmarāja vidyā) is ‘ka e i la hrim ha sa ka ha la hrim sa ka la hrim’,
and another secret 16th syllable. Her description is that given in ‘Vāmakeshvara
Tantra’.
Surrounding her are the Fifteen Nityās. The gem is ruby. The time is year. The
mudrā is Yoni Mudrā.

11. Yantra Mantra Tantra of Lalitā

Lalitā, as primordial devi, rays out her attendants and shaktis as modifications of
moon, sun and fire. In this Śiva has no place, no qualities, is without the ability to
act. Only when united with devi may 'he' act. Without the ‘e’ denoting Śakti, Śiva
is only a Śave – a corpse.
This is based on the subtle and practical idea of Śiva as pure consciousness,
witness of the triple manifestation of his Śakti. This Śakti, the very essence of the
three gunas of Sattvas, Rajas, and Tamas, is the cause of all manifestation in the
universe and as a human being. The three shaktis, by blending and reblending,
create all things.

Śakti is triple as sun, moon and fire – She is everything – all of the sidereal
constellations and planets, and therefore of Time itself. She is triple as Will (Iccha),
Knowledge (Jñāna) and Action (Kriya). She is threefold as intellect, feelings,
physical sensation.
Śakti is triple as wake-dream-deep sleep. She is Omkara Rupini, Anandadayini,
Akāra, Ukāra, Makāra Rupini. What is called the Fourth is the witness, Śiva, who
is said to pervade the whole cosmos just as heat pervades a red hot iron.
The physical body, according to the precepts of Ayurveda, is triple as the
'humours' Vata, Pitta and Sleshma. The varying combinations of these three Śaktis
make up the physical body.

Śakti is also fivefold as aether, air, fire, water and earth. The combination of the

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five elements and three gunas produce Lalitā 's Eternities (Nityās) -- 15 in
number, each identified with a lunar day of the bright fortnight. The moon,
symbolising Śakti, is the mirror or reflection holding together all creation.

A close examination of the details relating to the nine mandalās of Śri Yantra
reveals that the shaktis of the whole circle represent the human being, who, in
potential, is Śakti-Śiva united. The aim is for a person to realise that all powers,
energies and manifestation are shaktis of consciousness, pure awareness.
The yantra may be examined in two ways, either as manifestation or dissolution.
Maintenance is an intermediate state between the two polarities. When she is
worshipped as creator, the order is from centre to perimeter. As dissolver, the
puja is from perimeter to centre.
The Triple Goddess, from her own will to manifest, extends herself in a ninefold
way, as modifications of moon, sun and fire. Various mandalās shows the type of
energy represented.
The island of jewels is the gross human body with its 9 alchemical bases or
dhatus. Each is figuratively described as a gem -- diamond, emerald, sapphire,
ruby &c. The sea of nectar (semen/ova) is the base for the arising of the human
body

There are many prayogās (ritual uses) related to Śri Yantra. Some rites depend on
auspicious times, such as Full moon days or nights in specific solar months Devi
also manifests as the five elements of aether, fire, air, water and earth. The saktis
are purple (air), white (water), red (fire), yellow (earth), blue (ether).

It is important to remember that Śri Vidyā was primarily oral, and are incomplete
unless initiated by a ‘Guru’, so it is necessary to know a host of things before a rite
can be started.

Devi Lalitā may be installed in a disciple, a yantra, or an image. All the methods
essentially follow a similar form, but the right time must be selected. A disciple

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must have the necessary qualifications and potential.
After initiation, she or he is to perform an operation to endue the vidya with
energy or life. This involves the recitation of the root vidya a specified large
number of times, although other valid methods exist for preparation.

There are said to be fifteen lines of mantra, each perceived by a different Rishi
(Seer). The most widespread seems to be that called ‘Kadi’ (beginning with 'Ka'),
which itself has three sections. The other main division is ‘Hadi’, although it is
said that the Kulārnava Tantrā incorporates both in a division called ‘Kahadi’. The
subtle difference being that devotees of the Kadi line worship the Śri Yantra from
the perimeter to the centre, while Hadi devotees worship it from the centre to the
perimeter.
Bharata Muni, in the Nātya Śastra gives his clear insight into various types of
feminine energies with his description of the ‘Ashtanāyikās’. He had received
tremendous vision from the Goddess herself to be blessed to write so clearly on
aspects of ‘Śaktis’ and the application of this knowledge in stagecraft.

12. Lalitā as the Whole Universe

Tāntrik rites often include 'nyāsas', the placing of some principles in a certain
sequence ‘on one's own body’. The idea is that this process purifies and divinises.
Lalitā's Śodha (sixfold) Nyāsa is a highly complex rite in which a practitioner
places on the body the 51 letters of the alphabet, the planets, the 27 naksatrās or
lunar mansions, the 12 sidereal constellations, and the 51 sacred sites (pithās) of
all India.
Placing these different things on the body the practitioner comes to realise
oneness with the whole cosmos. This ritual also illustrates some important
concepts. The Tantrarāja states that there is no difference between the circle of the
letters of the alphabet and the sidereal Zodiac. She is the very essence of sun and
moon.As letters of the alphabet, Lalita is Mātrika Śakti, who deludes by her Māya
– illusory power.

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13. Sixty four Tantrās

These tantras are enumerated in Vāmakeshvara and Kulachudamani Tantrās, and

in other places. A proponent of the orthodox school, Lakshmidhāra, wrote a
commentary on the famous Śri Vidyā hymn, the Saudaryalahari. Unfortunately,
most of the 64 tantras are lost. But their contents may be gauged from
Lakshmidhāra's commentary.
1) “Mahāmaya Sambhāra. Deluding of intellect and senses.
2) Yogini Jala Sambhāra. Involving the agency of Yoginis.
3) Tattva Sambhāra. Causing elements to appear and transform.
4-11) Eight Bhairava Tantrās. The commentator says that these are objectionable
as they belong to the Kapalikas or skull wearers such as Nāths, Aghoris,
and so forth.
12-19) The Bahurupa Astaka. Importance attached to the eight shaktis
or Mātrikās.
20-27) The Eight Yamalās. Of these, only Rudra Yamalā seems to have survived,
although it is doubtful that the text which exists is the same as the
original. Other of the yamalas do exist in part as quotations in later
tantras. The commentator says these relate to Siddhi.
28) Candra Jnāna. Expounds the 16 Nityās, but condemned as 'it smacks
of Kapalika tenets'.
29) Malini Vidyā. Enabling one to cross great oceans. This could be the Mālini
Vijaya Tantrā, a work of the Kashmir Śāivites which includes
magical operations based on the 36 tattvās.
30) Mahā Sammohana. Hypnosis.
31-33) Vāmajusta, Mahādeva and Vatula. These are condemned as they deal
with Vāmachara.
34-35) Vatula Uttara and Kāmika. The latter is still extant, and belongs to the
Kashmir group of Āgamās. The chief guru of this school is the
famous Abhinavagupta.
36) Hridbheda Tantra. Condemned through Vāmachāra.

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37-38) Tantrabheda and Guhyatantrā. Condemned because of retaliatory magic.
39) Kālavada. Digits of the moon, induction of chandrakālas, which are the 108
parts of the moon found in a horoscope.
40) Kālasara. The rules of colour. There is no reason given for its exclusion.
41) Kundika Māta. Attainment of siddhi through elixirs and drugs.
42) Mata Uttara. Deals with 'quicksilver'. See the Mātrikabheda Tantrā.
43) Vinakhya. Power over Yakshinis.
44) Trotala. Magical practices of medicine and clairvoyance.
45) Trotala Uttara. Bringing the 64 crores of yoginis face to face.
46) Pancāmrita. Nectar from the body. The five nectars are mentioned in the
Kaula Jnāna Nirnaya.
47) Rupabheda.
48) Bhuta Uddamara.
49) Kulasāra.
50) Kullaoddisha.
51) Kulacudāmani. 48, 50 and 51 are still available. The commentator says
these tantras are not sanctioned by Veda.
52-56) Sarvajna Tantra, Mahākāli Māta, Arunesi, Modinisa, Vikunthesvara. They
are all declared reprehensible as they belong to the digambaras (naked
sadhus).
57-64) East, West, South, North, Uttara Kaulas, Vimalā, Vimalotta, Devi Māta.
One of these lines still exists.”

14. Planets

The tāntriks knew the seven traditional planets of western astrology, and also had
a greater number of shadowy planets, of which Rāhu and Ketu -- the nodes of the
moon -- are the best known. These constellations were thought of as beyond the
12 sidereal constellations, so remote they were almost beyond time itself. These 27
are employed in Śri Vidyā to determine suitability of partners, constructing Vajrā
Yantrās, and so forth.

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15 . Yoginis

The Yoginis of the bodily centres (dhātus) reveal that as they are associated with
the well known but much misunderstood cakras. These Yoginis are really images
of the ayurvedic or alchemic bases in the body.
They can only be understood in relation to such an alchemy. Kundalini is the
body sakti, the great deluder, the trickster, the cause of sleep. To raise her means
to become conscious of her manifestation. Śakti in the body has her various forms
as Prana (Breath) Sakti, fire Śakti and so forth. When Prāna Śakti becomes
agitated, she zigzags up the body. At this time one starts to experience
dissolution. Various things my be seen and felt.
Dākini, Rākini and others preside over the alchemical physical bases of skin,
blood, flesh, fat, bone, marrow. The last of these yoginis presides over the highest
dhatu, highest as it forms the physical basis for new life -- ova/semen. In this
form she is truly limitless, as she manifests as the Aeon Tree (Kalpadruma). The
Dākinis and Rākinis and others are pictured as terrifying Twelve Rāshis
(Constellations) .

16. The Nādis and the Marmās

Nādi means river, and is extended to include other currents and courses, such as
those of the bioenergy and the pulse. There are said to be seventy two thousand
nādis in the human organism. This number indicates a large but not infinite
number of channels of bioenergy. They are the pathways of Prāna Śakti.

The chief pathways are Suśumna, extending from a point between the anus and
genitals to the top of the head; ida and pingala, which are the solar and lunar
pathways coiled around the central channel. This Suśumna is Śiva and Śakti in
sexual union. The human body is conceived of as a tree -- the root is at the top of

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the head, and it ramifies downwards.

Marmas are 108 in number, well documented points of the human organism
which, if pierced, usually cause death. Many are recognised by western medicine.
On the Śri Yantra, marmas are represented by the confluence of three or more
lines. These are joints in the human frame, knee joint, elbow joint &c. The body is
the temple of the devi. On the Śri Yantra sandhis are represented by the junction
of two lines.

17. Breath is Time

The Nātya Sādhaka attains command over the nerves with the help of the
Mudrās. The breath control, observed in practice, also portrays a command over
time, yet another attribute of ‘Śakti’ dominant in the Sādhaka.
Breath is Time is a fundamental postulate of Śri Vidyā and much of the
symbolism is based on it. The letters of Sanskrit said to represent the embodiment
of Lalitā as mantra are 52 in number: 16 vowels and 36 consonants. These,
multiplied together, total 576. This number, divided by nine yields 64. The Śri
Yantra is said to have 64,000,000 yoginis in the nine sub-mandalas.

Each mandalā has a unit of Time associated with it. The basic unit is a breath. One
nādika is equal to 24 minutes or 1440 seconds, and each breath is one 360th of
this, or four seconds. A human being breathes 21600 times each 24 hours.

A Kali Yuga is 432,000 years of 360 days. A Dvāpara Yuga is 864,000 years. A
Treta Yuga is 1,296,000 years. A Satya Yuga is 1,728,000 years. The circle of the
sidereal zodiac has 12 constellations, each of which has nine parts (navamshas).
These 108 (12 x 9) are called Chandrakālas. (this name to be noted as it has been
adapted to a name of a hasta as well).

Each Chandrakala is, itself, a micro-constellation. The number of degrees in the

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sidereal cakrā is 360. The number of minutes is 21600. A conjunction is 21600', a
square 5400', an opposition 10800'. Each eternity (Nityā) of the root mantra has
1440 breaths. This implies that Lalitā is 21600, as she is the collectivity of the 15
Nityās.

Lalitā's chakrā is the grand synthesis of Time, Space, and humankind. Her 36
tattvas are the whole cosmos

18. Sound

The letters of the vidya are ‘Nāda’, or sound, when charged with consciousness of
these mere letters become mantra. The 16th syllable of the vidya also represents
‘Kāmakāla’. Beyond it is the Ultimate Absolute, beyond any sort of description.

“19. Chakras and the 64 Yoginis

There are many systems of cakrās in the tāntrik tradition .

"The letter ksa is in the Brahmarāndhra, la in the forehead, ha between the eyes,
sa in the mouth, sa in the throat, sha in the heart, va in the navel, and ha in the
genitals.” The origin of these sounds are meditated upon by musicians and
dancers for perfect rendition.
Dear One, listen to the collective meditation in these chakrā places.
"The first of the eight is a celestial eight petal lotus of pure crystal effulgence, a
heavenly fire or flame, completely without stain, free from all duality, from the
fires of cruelty, devoid even of nothingness. One should avoid perturbation and
practise equipoise (Samā) consciousness. One my see even beyond the future, one

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with the endless circle of time, having knowledge of what is spoken at a distance,
able to both grant boons and to paralyse, with the ability to seize and subjugate
pashus, or to destroy or to kill them, mortal, always truthful, and in equipoise,
becoming eloquent, a Siddhā, and able to do anything.
"One should meditate on the second as having eight petals, as bright as a beautiful
pure flame. One conquers death and becomes the cause of great excitation.
Meditating one-pointedly on this multi-fold form one becomes an emperor
amongst kings, doing whatsoever one wills, and may destroy all in the three
worlds, whether animate or inanimate - like Kruddha, the cause of both creation
and dissolution, always engaged in love.
"The third great chakra is the deliverer from the nine tattvas. After meditating on
the Guru in that chakra for six months, one my achieve whatever is wished for,
destroy old age, be able to see at a distance, able to obstruct, even if one hundred
yojanas distant. In a lonely place one should meditate on that multi-fold form.
"The fourth chakra is the cause of peace, increasing happiness and pleasure. By
always meditating on it, afterwards one becomes immortal, eloquent, victorious
over death and disease. Practising it daily, one causes death to flee. By continual
practice for a period of sixteen seasons on this great chakrā, one becomes able to
destroy in a day and a night.

"O Surasundari, the fifth great lotus has eight petals. One should always meditate
on it as being of a smoky colour, then one my shake the three worlds. It causes
eloquence and avoidance of untimely death, and allows one to both enslave and
paralyse.
"If one should meditate devotedly on the sixth royal chakrā, fiery, with a pericarp
of eight petals, as bright as liquid gold, the cause of Iccha Siddhi, it enables one to
see into the future, giving Animā and the other seven siddhis - of this there is no
doubt.
"Dear Mahādevi, the seventh is as bright as the full moon, auspicious, within the
body, bestowing both enjoyment and liberation, destroying fever and death,
enabling one to enter into another's body. what may not be done? One becomes

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the best within a circle of people. "Pretty-Eyed One, the eighth great cakrā,
adorned with eight petals, gives Dharma, Artha, Kāma and Moksha." [3]

20. Important themes and symbols in Hinduism

“Geetedi, Gāyatredi, Gangedi, Gorupini, Govindedi, mahānāmo, Gagāra

panchaka mahat………….The 5 G’s that are a inherent feature of Hindu tradition
and worship.

They are Bhagvad ‘Geetā’, ‘Gāyatri’ Mantra, River ‘Gangā’, The Holy Cow
‘Go’and the Lord ‘Govindā”. [4]

The symbolic representations have specific significance in the temple priest ,or the
Tantri’s worship as well as the dancer’s make-up and attire.

Tilakā is a mark worn on the forehead and other parts of the body for spiritual
reasons.

The shape of the tilaka often represents devotion to a certain deity: a 'U' shape for
Lord Viṣṇu, three horizontal lines for Lord Śiva.

Aum (or Om) is the sacred symbol that represents God (Brahman). It is prefixed
and sometimes suffixed to all Vedic mantras and prayers. It is often said to
represent God in the three aspects of Viṣṇu, (A), Śiva (U) and Brahmā (M). As the
divine primordial vibration, it represents the one ultimate reality, underlying and
encompassing all of nature and all of existence.
Swastika is an Ārya, or noble and auspicious, symbol. It is a symbol of the action
of the Principle of Manifestation. It also stands for purity of soul, satya, truth, and
stability within the power of Brahmā or, alternatively, of Suryā, the sun. Its
rotation in four directions has been used to represent many ideas, but primarily
describes the four directions, the four Vedās and their harmonious whole.

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The symbol of dancing posture of Śiva, known as the Natarāja, is the supreme
statement in dance, the form of cosmos. Natarāja dances the union of Śakti and
Śiva.

Worship of God is often represented symbolically through the aid of icons

(mūrti) which are conduits.
The Bharatanatyam dancers interestingly use the red ‘Alta’ or colour on the feet
and hands too in auspicious shapes and symbols.

“Every name and form in which the lord is worshipped has a special symbolic
significance of its own. The inner meaning of these symbols is often very grand
and poetic, and to enter into and understand it, will certainly be a privilege to
those who are striving to realize for themselves the truths of philosophy; for these
symbols were devised simply as aids to imagination and many men have
employed them with advantage. The meanings of these symbols differ of course
according to the standpoint adopted, and the highest, viz., the Vedāntic will be
the one from which we shall study them”. [5]

21. Our Festive images, Pujās and their significance

In a Hindu Temple, the divine spirit/energy is commonly invoked into the Murtis
at the time of their consecration.

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In India from the month of August starts a continuous period of festive
celebrations throughout the country in every village, town, city, every nook and
corner. Temples host celebrations of the holy months according to the almanac
and corresponding to vedic rites .Special functions ,events of dance ,drama and
music are hosted at the premises like Natyasabhās ,Sabhānganas ,Nātya
Mantapās. Chidambaram temple is saturated with people thronging to see the
festivities .Temples like sun –temple Konark ,Kahjuraho ,Brihadeeshwara ,cave
temple like Ellora-Ajanta are chosen venues for porgrammes of this kind to mark
the festivals. Tāntric rituals are specially held as per the Vedic calendar ,the
Gregorian months being July-August [Bhagwaty Puja] and September-October
[Dassera Puja] which are important for Devi worship .

During Kriṣna Janmāshtami, some rock the adorable baby Kriṣna in cradles, sing
lullabies and songs in His praise, some imitate his pranks [the Leelas] as the
butter thief and climb atop one another to break pots of buter milk while some
simply find ecstasy in singing and dancing His Bhajans with devotion. Lord
Ganesh is brought home amidst pomp and splendour. Every year, the sculptors
kindle their creative spirits and bring out such amazingly lovely images of this
most benevolent Lord.

When he gets immersed, the form ,sometimes even gigantic ,reduces and merges .
This gives a story of how an elegant and revered deity comes to this state. It is
the legend of Ganesh who took to form from dust and is significant of so many
truths of life, even his exit after the festival. This is only a reflection of life cycle,
birth to death, disease and decay being a part of reality. The festival ritual of
bringing home this Murti, embellishing him, preparing his prasad, loving and
worshipping him brings life into the deity just as a temple priest would do.
Immersion is symbolic of man's coming into existence and going back to
dust/soil. Our form is only one of the manifestations of the formless.

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 Dolls play an important role in our lives. Be it during childhood, be it during
adolescence or be it during our later part of life. We have all been making,
collecting and using dolls to keep amused at play, to adorn homes with puppets
or curios, to tell stories and more than anything,to offer our prayers symbolically
as we do to our deities. The variety of dolls assembled aesthetically at Navrātri
includes not only the deities but also men and women engaged in some activities
or other like music, dancing, household chores or playing games. The various
themes significantly represent the divinity in man and spread the message of love
and unity, brotherhood and community development.

The nine days of Navarātri signify worship for three days each for the three
major Goddesses, Lakshmi Devi, Pārvaty Devi and Saraswaty Devi ,being
bestowers of happiness ,prosperity and learning. ThisIt symbolizes the
importance given to the Goddess in our Purānas. The Energy – Parkriti that is
embodied in the universal forms unites with the Spirit-Puruṣa which remains as
the universal Self.

This great truth is represented when we place a nely wedded couple, in the
centre of the dolls-display. That we are ourselves comprised of the five elements is
represented by the “Kalasha”,the copper /wooden pot ,containing water, mango
leaves, fruits, etc and lit brightly by a lamp .

Our prayers, our rituals, our customs, our symbols, our arts and cultural
heritage do have meaning, beauty, significance and positive energy and effects,
but as long as they are followed, practiced and rendered with devotion and faith.

22. Tantra Mudrās

The age- old Mantra –Karāgre vasate Lakshmi ,Kara madhye Saraswaty,
Karamoole Stitha Gowri, Prabhāte Kara Darshanam points out not only to the

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symbolic location of the Goddesses in one’s palm but also indicates the possibility
of one’s possessing the entire cosmic energy of the combined Goddesses within
the miniscule and infinitesimal palm, (perhaps the same principle is followed by
Reiki practitioners).

Hence, in temple worship, the various Mudrās or hand gestures and in arts like
Bharatanātyam, the Hastās bear divine semblance and significance other than just
the beautous appeal. Simple yet highly figurative and meaningful adornment and
embellishment like the red colour application on hands and feet and other
paraphernalia usually associated with the dancer’s attire all add up to the totality
of experience.

Accompanied by a supplication through music and dance, involving

movement of face, limbs and other parts of the body, these gestures can bring one
face to face with an image or idea worshipped. A degree of purity of oneself if
maintained, can be helpful to overcome diversions and distractions. Unless
saturated with devotion, any Sādhana cannot kindle divine essence and spark
with a mere automated, impersonal, soulless or perfunctory movement. Tapping
and tuning in with the spirit and force would help channelise it just as one would
get connected to a radio station with necessary tuning. Call him mystical,
celestial or seraphic in nature, a true artiste becomes ‘hallowed’ due to devoted
practice .

“In all forms of Art, Music, Poetry, Painting, Sculpture, we have a vision- an
experience –and a symbol- an expression. Art is predominantly a sharing in the
experience. Religion is essentially an awakening in the experience; When the man
of vision, the mystic, or the artist has undergone experience, he does not absorb it
all to himself or by himself. He must burst forth into forms of expression. He does
so spontaneously in response to an inner necessity. The excellence of Art is mainly
in the spontaneity of expression. Expression flows from the plenitude of
experience, and in turn kindles experience in kindred souls. The expression

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acquires the status of a symbol, and serves as perennial source of meaning. To the
symbol belongs the meaning. The substance is beyond expression. Controversies
in religion have only a symbolic relevance. “Essentially religious” as an inward
experience reaching down to the depths of one’s own being. In so as any Art falls
short to this, and serves merely as an expression of material quality or a mental
mode, without revealing the spirit that animates and sustain it from within, it fails
to satisfy finally and fully. The superior forms of Indian Art, through the ages,

were ultimately expressions of spiritual experience.”[6]

It’s real purpose is to induce an experience similar to that which inspired it.
Having lit the spark, it must recede, for, if it persists, it would distort.

In this limited sense Art has its own “revelations” even as the essence of religious
experience is believed to be “revealed”.

Mudrās are sacred ritual gestures or hand positions. When used in religious dance
they become an elaborate hand language. The Sanskrit word Mudrā means seal.
In the most antiquated times mudrā was used with mantra and sealed the pattern
of energy. The earliest mudrā was the Sanskrit symbol. Mudrā is a patterned
movement mainly of the fingers that carries an idea or emotion. Mudrās are a
gesture language capable of expressing ideas and suggesting symbols. Mudrās
create an energy field and can be used in healing. The ultimate goal of mudra is a
higher state of consciousness.

23. Tāntric Yoga and Mudrā

In yoga these sacred hand positions relate to the energy flow of a particular
meditation. They enhance the āsana (posture) and sound current (mantra).
Mudrās in yoga are symbolic of mantras and send signals to the glands and to a
specific part of the brain depending on the purpose of the meditation . According
to the science of yoga, the human body is made up of five basic elements - the

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Pancha Tatvās

The five fingers of the hand are regarded as representative symbols of these vital
elements in the body. Any disturbance, disorder or deficiency in these elements
or the consequent disease or imbalance could be rectified and cured by
appropriate practice of suitable mudras. The thumb corresponds to the source of
balancing the flow of agni tatva. The vāyu tatva is controlled by the fourth (or the
index) finger. The role of the middle finger in the mudras is for regulating the
akasha tatva in the body. The keys of regulating the prithvi and the jala tatvās lie
in the ring finger and the little finger respectively.
Naturopathy, Panchakarma, Ayurvedic medication by and Herbal medicines,
Reiki, Prānic Healing, Aroma Therapy, Magnetotherapy, Yagyopathy, Allopathy,
Homeopathy, Biochemistry, etc are all manifestations of this spiritual scientific
acumen of human psyche. The methods of treatment under each of these systems
of healthcare indirectly attempt in correcting the deficiencies or disorders of the
five vital elements, because an imbalance in their natural harmony is the root
cause of bodily and mental ills. The science of healthcare by mudrās is a branch
of “Hathayoga”.

(1) Prāna Mudrā: This is recommended for overall good health. As the name
suggests, this mudra helps optimal flow of the prāna (vital energy) in the
body. Practising this mudrā energizes and activates every cell of the body and
thus helps in regulating the biochemical and physiological processes and
induces youthfulness and alacrity. This mudrā enhances vitality and immune
system of the body. This mudrā is formed by joining the thumb, the little and
the ring fingers so that these three would gently and constantly touch each
other while the middle and the fourth fingers are kept apart in a stretched
position. The hands could be kept in vertical or horizontal position as per
convenience. Instant effect of the prāna mudrā is felt in the form of energetic
vibrations in the closed eyes, while keeping one or both the hands in
thisposture.

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(2) Jñāna Mudrā: This mudrā is useful for enhancing mental capabilities. Its
regular practice over a substantial stretch of time helps in sharpening the
memory, mental concentration and thinking process and in increasing the
grasping/learning capacities. Several types of mental disorders are prevented
and cured by consistent practice of this mudrā. It is beneficial for those suffering
from insomnia. Short-tempered and impatient people can also get soothing
improvement in their nature by practicing this mudrā. The Sanskrit word “jñāna
means pure knowledge. Lord Buddha’s idols and pictures often depict his hands
in this mudrā.
Only two fingers are used in this mudrā; namely, the tip of the index finger and
the top of the thumb are mutually touched. The other three fingers are kept apart
in a straight position.

(3) Dhyāna Mudrā: This mudra, as the word indicates, is helpful in conditioning
the mind for meditation. Keeping the hands stable in this mudrā for sometime
generates a state of peace in the mind. Regular and consistent practice for
increasing the duration gradually releases the tensions, stresses and confusions
that keep the mind in perpetual turmoil. Quietude and relaxation of the mind are
essential for meditation. This mudrā should be practiced while sitting, preferably
in sukhāsana (i.e. sitting with erect spinal cord with legs rolled round). For this,
both the hands are kept on the lap - palm of the right hand is kept open above of
the left. This mudra harmonizes the flow of the panca tatvas.

(4) Varuna Mudrā: This mudrā is quite useful as a remedy for several disorders
of the liver. It is also found effective in removing blood related problems. Varuna
implies the jala tatva. All the health problems caused by the deficiency of water
are controlled and removed by regular practice of this mudra. Water constitutes
about eighty-five percent of our body. Reduction in this level disturbs the body
functions. Stiffness in the body or disorder in blood properties often occur when
there is a deficiency of water (jala tatvā) or an imbalance in its proportion with
agni tatva. Such ailments, including those of the excess of agni tatva, are

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gradually cured by the practice of varuna mudrā. The top ends of the thumb
and the little finger are to be touched while keeping the other three fingers
straight. A balance of agni and jala tatvas is achieved by practicing this mudrā.

(5) Ling Mudrā: Weakness of chest and associated diseases are cured by the the
palm practice of this mudrā over an extended period of time. Keeping the hands
folded in this posture generates an energy current, which warms up the body.
Regular practice of this mudra is an excellent antidote against diseases caused by
cough or other chest ailments. According to the theory of the ancient Indian
system of medicine, the excess of jala tatva or reduction in agni tatvā as compared
to its balanced proportion with jala results in cold, cough, running nose, chest
congestion etc. Balancing the two in natural order is the best cure for such
disorders; it also prevents further complications - e.g. asthma. Both the hands are
used here. First the palms are touched face-to-face then the four fingers of one are
interlocked with those of the other to form a firm support around the palms in
such a way that the thumb of both the hands stand straight and touch each other
completely. This pressure triggers a flow of agni tatvā to establish the desired
balance with the jala tatva; the positioning of the other fingers maintains the
necessary consistency of this process.

(6) Surya Mudrā: Practice of this mudra removes lethargy and dullness and,
instead, induces alacrity and activity. The sun (surya) symbolizes brilliance and
and energy. In its absence there is night when every creature feels tired, fatigued
and sleepy. Sunrise infuses new life, energy and alertness in everyone; tiny insect,
birds and humans, every one becomes active in their daily routines. The rise and
setting of the sun, in a way control the sleep and the awakening of the entire
world. It eliminates all fatigue, heaviness and laziness in few minutes. The experts
of the science of mudras claim that regular and long-term practice of this mudrā
awakens supernormal powers hidden in the human psyche. The ring finger and
the thumb are used in this mudrā. The ring finger is folded down to touch the
root of the thumb and the top portion of the thumb is made to touch its middle

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portion. The other fingers are kept in a comfortably straight position. The agni
and the prithvi tatvas are mutually harmonized in this mudrā.

(7) Vāyu Mudrā: Disorders caused by gases or air pressures in and around the
veins, arteries etc like joint pain, arthritis, rheumatism, etc are common examples
of such disorders. The vayu mudrā helps control and cure the vata ailments. The
optimum time of practicing it at a stretch and the overall duration would depend
upon the stage and type of the ailments. It is also efficacious in recovery from
paralysis attacks. Best results are obtained if this mudrā and the prana mudra are
practiced together, one after the other. This is similar to the surya mudrā except
that the index finger is used in place of the ring finger in this mudrā. The index
finger is folded to touch and gently press the root of the thumb and then the top
portion of the thumb is made to touch the middle part of the finger in such a way
that it also puts some pressure on the latter .This mudrā regulates the mutual
proportion and combination of agni and vayu tatvās.

(8) Prithvi Mudrā: Deficiency of minerals and vitamins causes weakness in the
body. The practice of this mudrā removes the fatigue and strengthens the weak
or tired organs of the body. The body begins to feel energized from inside.
Narrow-mindedness and prejudices are significantly reduced by the practice of
this mudrā. The tip of the ring finger is kept perpendicularly on the tip of the
thumb in this mudrā to induce gentle pressure. It restores mutual balance of the
agni and the prithvi tatvās.

24. Tāntric Buddism and Mudrās

In Buddhist iconography every Buddha is depicted with a characteristic gesture of

the hands that correspond to natural gestures of teaching or protecting and also to
certain aspects of the Buddhist teaching of the particular Buddha depicted. Within
the various schools of Tibetan Buddhism yoga likewise holds a central place .An
example would be "guru yoga," the union with the mind of the spiritual teacher

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which must be done at the beginning of the spiritual path and regularly
throughout.

Here mudrās accompany the performance of rituals and the recitation of mantras.
They also help to actualize certain inner states and assist in bringing about a
connection between the practitioner and the buddha visualized .

The most important mudras are:

1) Dhyāni Mudrā..............................(gesture of meditation)

2) Vitarka Mudrā..............................(teaching gesture)
3) Dharmachakra Mudrā.................(gesture of turning the wheel of the teaching)
4) Bhumisparsha Mudrā.................(gesture of touching the earth)
5) Abhaya Mudrā.............................(gesture of fearlessness and granting protection)
6) Varada Mudrā..............................(gesture of granting wishes)
7) Uttarabodhi Mudrā.....................(gesture of supreme enlightenment)
8) Mudrā........................................... (of Supreme Wisdom
9) Anjali Mudrā................................(gesture of greeting and veneration)
10) Vajrapradama Mudrā...............(gesture of unshakable confidence)

1)Dhyāni The back of the right hand rests on the palm of the
Mudrā....... other in such a way that the tips of the thumbs
.......... lightly touch one another. The hands rest in the lap.
The right hand, resting on top, symbolizes the state
of enlightenment; the other hand, resting below, the
world of appearance. This gesture expresses
overcoming the world of appearance through
enlightenment, as well as the enlightened state of
mind for which samsara and nirvana are one. In a
special form of this mudra, the middle, ring, and
little fingers of both hands lie on top one another
and the thumbs and index finger of each hand,
touching each other, form a circle, which here also

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 symbolizes the world of appearance and the true
nature of reality.
2)Vitarka The right hand points upward, the left downward; both
Mudrā
palms are tuned outward. The thumb and index finger of
each hand form a circle. The right hand is at shoulder
level, the left at the level of the hips. In a variant of this
teaching gesture, the left hand rests palm upward in the
lap, and the right hand is raised to shoulder level with its
thumb and index finger forming a circle. In a further form
of this mudra, the index finger and little fingers of both
hands are fully extended, the middle and ring fingers
somewhat curved inward. The left hand points upward,
the right downward.
3)Dharmacakra The left palm is tuned inward (toward the
Mudrā body), the right outward, and the circles
formed by the thumbs and index fingers of
each hand touch one another.
4)Bhumisparsha The left hand rests palm upward in the lap; the
Mudrā right hand, hanging over the knee, palm inward,
points to the earth. Sometimes the left hand holds a
begging bowl. This is the gesture with which the
Buddha summoned the Earth as witness to his
realization of buddhahood. It is considered a
gesture of unshakability; thus Akshobhya (the
Unshakable) is usually depicted with this mudra.
5)Abhaya Here the right hand is raised to shoulder height with
Mudrā fingers extended and palm turned outward. This is the
gesture of the Buddha Shakyamuni immediately after
attaining enlightenment.

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6)Varada The right hand, palm facing out, is directed downward.
Mudrā When Shakyamuni is depicted , it symbolizes summoning
Heaven as witness to his buddhahood. This is also seen in
representations of Ratnasambhava. The thumb and index
finger of the downward extended hand touch one
another. Frequently the abhaya and varada mudrās are
combined: the right hand makes the gesture of
fearlessness, the left that of wish granting.
7)Uttarabodhi Both hands are held at the level of the chest, the
Mudrā two raised index fingers touch one another, the
remaining fingers are crossed and folded down.;
the thumbs touch each other at the tips or are also
crossed and folded. This is frequently seen in
images of Vairochana.
8)Mudrā of The right index finger is grasped by the five fingers of the
Supreme left hand. This characteristic of Vairochana, is the subject
Wisdom of many interpretations in esoteric Buddhism, most
which have to do with the relationship between the
empirical world of manifoldness and the principle that is
its basis-the unified world principle, the realization of
unity in the manifold as embodied in Buddha.
9) Anjali The palms are held together at the level of the chest. This
Mudrā is the customary gesture of greeting in India. Used as a
mudrā, it expresses "suchness" (tahata).

10)Vajrapradama The fingertips of the hands are crossed. This is

Mudrā gesture of unshakable confidence.

With the onset of Buddhism, many mudrā practices were absorbed into the

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culture. Common hand gestures are to be seen in both Hindu and Buddhist
iconography.

Abhaya Mudrā

The Abhaya "No-fear" Mudrā represents protection, peace, benevolence, and

dispelling of fear. In the Theravāda it is usually made with the right hand raised
to the shoulder's height, the arm bent and the palm facing outward with the
fingers upright and joined and the left hand hanging down on the right side of the
body while standing. The mudrā was probably used before the onset of
Buddhism as a symbol of good intentions proposing friendship when
approaching strangers. The gesture was used by the Buddha when attacked by an
elephant, subduing it as shown in several frescoes and scripts. In Mahāyāna the
northern schools deities often used it with another mudrā paired with the other
hand.

Bhūmisparśa Mudrā

The Bhūmisparśa "Earth-touching" Mudrā literally represents the Buddha as

taking the earth as witness. It represents the moment when Buddha took the earth
as testimony when he had resolved the problem of cessation of suffering while he
was under the papal tree at Bodh-Gaya. The right hand touches the ground with
the fingertips near the right knee extended or with only the index pointing down
touching the ground with the left hand commonly resting on the lap with the
palm facing up.

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Dharmacakra Mudrā

The Dharmacakra Mudrā represents a central moment in the life of Buddha when
he preached his first sermon after his Enlightenment, in Deer Park in Sarnath.
Gautama Buddha is generally only shown making this Mudrā, save Maitreya as
the dispenser of the Law. This Mudrā position represents the turning of the wheel
of the Dharma. Dharmacakra Mudrā is formed when two hands close together in
front of the chest in Vitarka having the right palm forward and the left palm
upward, sometimes facing the chest.

Dhyāna Mudrā

Hands of Amitābha statue at Kotokuin

The Dhyāna Mudrā 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 and the palms facing upwards, forming a triangle, symbolic
of the spiritual fire or the Triratna, the three jewels. This Mudrā is used in
representations of the Buddha Śākyamuni and the Buddha Amitābha.This mudrā
was used long before the Buddha as yogins have used it during their
concentration, healing, and meditation exercises. It is heavily used in Southeast
Asia in Therāvāda Buddhism with the thumbs placed against the palms.

Varada Mudrā

The Varada Mudrā signifies offering, welcome, charity, giving, compassion and

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sincerity. It is nearly always used with the left hand for those whom devote
oneself to human salvation. It can be made with the arm crooked, 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 using another mudra used by the right hand, typically with the
Abhaya Mudrā. It is often confused with the Vitarka Mudrā, which it closely
resembles. In India the mudrā is used in images of Avalokitesvara from the
Gupta Period of the 4th and 5th centuries. The Varada mudrā is extensively used
in the statues of Southeast Asia.

Vajra Mudrā

The Vajra Mudrā is the gesture of knowledge. It is made making a fist with the
right hand, index extending upward, and the left hand also making a fist and
enclosing the index.

Vitarka Mudrā

The Vitarka Mudrā 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 Abhaya and Varada Mudrās but
with the thumbs touching the index fingers. This mudrā has a great number of

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variants in Mahāyāna Buddhism in East Asia. In Tibet it is the mystic gesture of
Tārās and Bodhisattvās .

The vital core of Buddhism, it is said is contained in the Dhyāna Mudrā. Even as
early as Buddha himself, communication by sign language had become an
accepted practice for the wise and was included in the 64 arts [Kālās]. It can be
averred that in everyday living too, one can observe several eloquent gestures in
our country of India. The orthodox Brahmins were habituated to only use sign
language while engaged in religious practice. The Nambudiris of Kerala had 16
gestures to denote the vedic texts. These Mudrās are especially subtle and
sensitive as they follow also a musical notation or sound -Śabda Nāda. The really
educated in ancient India were accomplished in the 64 Kālās.
The Mudrās even gave special natural powers as they were coherent with Mantra,
the magical formula. The deep inward consciousness gets manifested, pupils once
learnt Vedas, only to the accompaniment of Mudrās.

25. Tāntric YONI MUDRA

It is used during esoteric worship of the Goddess. Ādi Śakti, the Primal
Power Mudrā. This is the mudra from which we all emerged. It connects us to the
mother.

26. Nātya Yoga and Nātya Hastàbhinaya (Hand Gestures)

The first full description of the principles and goals of yoga are found in the
Upanisads, thought to have been composed between the eighth and fourth
centuries BC. The Upanisads are also called Vedānta since they constitute the end
or conclusion of the Vedas. The word "yoga" derives from the Sanskrit root yuj
("to yoke"); which is cognate to modern English "yoke" meaning "to join" or "

97
unite".

It is generally translated as "union of the individual ātma with Paramātma, the

universal soul." This may be understood as union with the Divine by integration
of body, mind, and spirit.
The earliest written accounts of yoga appear in the Rig Veda, which began to be
codified between 1500 and 1200 BCE.

Yoga means union and is generally interpreted as union with the Divine, or
integration of body, mind, and spirit.

Yoga may include love and devotion (as in Bhakti Yoga), selfless work (as in
Karma Yoga), knowledge and discernment (as in Jñāna Yoga), or an eight-limbed
system of disciplines emphasizing meditation (as in Rāja Yoga).

Going by the defenition ofYoga , Nātya easily falls into a category of Yoga.

The guide to Nātya (Dance) Yoga the Nātya Śāstra, was written by Bharata Muni.
Sage Nārada along with Gandharvas were the first to pracise Nātya Yoga, which
comprise all the four main yogas.

Hastās were derived from the Mudrās .The 1st Hastā–patāka was supposed to
have been used when Lord Brahma hailed Parabrahma with the cry of victory.
Mushti hastā was used by Lord Mahavisnu to destroy the demon Madhu. The
Ardhacandra originated when Śiva embellised himself with the half moon. Hence
the mystic language of gods became that of the learned. Hand gestures are used
for a variety of reasons, they may be used to mime the meaning of the song, or
they may be simple aestetic ornamentation. Some have very limited meanings,
and some are used as catch-alls for miming a variety of ideas. While in the
dilieantaion of Nritta or pure dance, firm and absolutely neatly held hāstās are a
must in Bharathanātyam ,in Abhinaya or expression, the hastās cannot be rigid
and have to be smoothly flexible too. Besides the Sampradāya or traditional
hastās,many others have been developed, whose histories are harder to trace eg:
Gajamukha Hastā, Vrishbha Hastā, etc. In the cases where an idea is being

98
conveyed, it is more important to communicate clearly with hand gestures -
adapting them if necessary - than it is to perform them with rigid correctness. A
rhythmic use of hand gestures help in creation of aesthetic joy in spectators. It is
sometimes felt that what is intimately felt, implied and conceived cannot at all
times be justifiably represented or expressed by the word alone, totally bereft of
gesticulations.

Gestures, both natural and conventional werte studied and elaborated later for
dance. Some of these employed in daily life are often used on stage but by
incorporating rhythm, stylized meaning, suggestive import and significant co-
relation to presentation. Hence other than the Sampradaya Hastās, several others
have been added from tome to time to enhance appropriateness to the dance,
interpret the expressive elements and uplift the aesthetic experienceof the
spectators

The Nrtyavinoda of Mānasollasa was composed in - Karnataka. It is a section of a

medieval encyclopedic text called the Mānasollasa or Abhilasitarthacintāmani,
ascribed ot King Somesvara III. The treastise has been dated to 1131 AD. It covers
all aspects of dance - dance movements, poses, and expressive gestures (abhinaya)
of the hand, face and head. It's particularly interesting in the fact that the
movements noted here are significantly different from the Natya Śāstra, although
the abhinaya information shows a great similarity.

27. Difference between:

Hastās Mudrās

1.Dance and drama gestures are

called Hastās. Mudrās performed only
in rituals are called
Mudras. (religious, vedic
and tāntric)

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2. To communicate the story to the rasikās To communicate with Gods
3. Have many meanings Have limited meaning
4. Requires corresponding facial expression No expression is necessary
6. It can be to convey pure joy eg- Nritta Hastās. It always has specific meaning
7. Hastās are exotic Mudrās are esoteric

28. Symbolism of Deities represented in dance

The Adi Devta, the first Lord to be propitiated is Ganesha, the remover of
obstacles. Elephant –faced, he is the Lord of the Mooladhara chakra and has
symbolically, tied a serpent around himself.
Ranganātha and Natarāja mean the very same thing, differently expressed.
Natarāja is the lord of the stage, so also Ranganātha (Ranga means stage). The
stage is the stage of the world, of the cosmos, or better still of the body and the
senses. There is a verse in Śivānanda Lahari describing this dance of bliss. In that
verse, Neelkanta is used for Śiva. Neelkanta is Sanskrit also means a peacock.
Peacock, as we know, is a dancing bird. This allegory is employed both in Sāhitya
Ratnākara and in Śivānanda Lahari. In the former, the dance of the peacock is
described with reference to Śiva, and in the latter, the dance of Śiva is described
with a reference to the peacock. Symbolically, the peacock is a dancer.A dancer
controls the serpent element here also may mean the power over the Kundalini
Śakti through dance. Each art has its own vocabulary and parlance able to convey
the most intimate vibrations of the human soul .
“Subrahmanya or Kārthikeya -This suggestion lies in the peacock clutching
serpent with its claws. The peacock is the greatest enemy of the serpent. It can
destroy the serpent if it wishes to, but the serpent is held here in captivity without
being destroyed. The serpent represents the ego, the fleshy, carnal personality of
man which tempts him to use his material equipments for seeking the fleeting
pleasures of the pluralistic world. Like the serpent, the ego crawls in darkness
created by man’s ignorance of the Supreme light. The serpent carries poison in its

100
fangs but it is interesting to observe that the poison is for its own protection.
Similarly, the ego carries with it the poisonous mind, which, when focused on
one’s material vestures, assumes the vanity of ‘I-ness’ and ‘mine-ness’. The same
mind can be intelligently used for evolving oneself by changing its focus of
concentration from body, mind and intellect to the Supreme self. By this process
one unfolds and recognises one’s Real Nature. It is important, therefore to note
that the ego is not destroyed. The same ego which lures man to the enchantments
of the pluralistic world can be channelised to discover the Supreme Self. This idea
is symbolized in the serpent being held firmly by the peacock”. [7]
Kriṣna , the favourite of many poet saints is one Lord with whom every person
could easily identify with.
Every aspect of Kriṣna and His deeds is replete with highest mystical symbolism,
indicating the highest Truth. The incarnation of Kriṣna represents the descent of
the Infinite Brahman to the material world.
Although there is no mention of him in the Nātya Śastrā, he is another charming
dancer while he is involved in Rāsleela and becomes a forceful subjugator of
Kāliya during the Kāliya Mardhanam. Point to be noted is that serpent could
mean senses and Krishna overpowers them. In Kundalini Yoga, the serpent rises
to the head, Śiva and Śakti unite in the thousand petalled Lotus and Lord Kriṣna,
Himself a Parabrahmaswaroopa, places himself comfortably atop the serpent.
There cannot be a better symbolic representation of a supreme Yogi. His flute
resonates eternally and penetrates the innermost recesses of hearts of maidens.
His various Leelās are a poet’s delight and words flow and tears well up in the
eyes when devotees talk of his omniscience, revealed in the Bhagavadgeeta, his
magnum opus and the Gospel of the Hindus. Kriṣna offers solutions to improve
the way of life ,for everyone ,using this practical guide.The relationship between
Radha and Kriṣna is that of Jeevātma and paramātma.
“One must have the subtle-sensitivity of a poet, the ruthless intellect of a scientist,
and soft heart of the beloved in order to enter into enchanted realm of mysticism”.
[8]

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When we see the eyes of Natarāja we are reminded of the Śambhavi Mudra of
Yoga in which the eyes are open but the vision is turned inward.
Natarāja means the Lord of the Stage. The idea is that the world is s stage, a
puppet-show which presents the vision of life and activity through the power of
the all-pervading Ātman or God, the unseen Lord of the Stage. Who will not
dance when he is caused to dance, and who will not sing when he is caused to
sing by divine energy. But for the inner Ātman all the world is Jadā (inert ).

The Ātman or Self being the real teacher of the human mind, Natarāja is meant to
represent the Teacher or Guru. There are two kinds of Gurus-the apparent and the
real, the seen and the unseen. The former is the teacher who instructs the disciple
and takes him along the path-this is what we usually mean by the word Guru; but
all teaching really comes from inside, not merely in the sense that the outward
apparent teacher is but the instrument employed by Ātman or God, but also in the
sense that all growth is from within. The plant, for example, grows from within;
the manure, water, etc., are simply aids to its growth. In the same way, the mind
grow only from within, assimilating of course the teachings from outside.
Natarāja, then, is the real Guru, concretely represented. One of the functions of
the Guru, perhaps the most important, is to be what he teaches to enforce his
teachings by example. It is this idea that is the keynote to the Natarāja symbol.

The little drum in one of the right hands is meant to express the idea that God or
Guru holds the cause of all the world, i.e., sound (Śabda Nishtam Jagad –through
sound the world stands) in his hand. In other words, all the world is in His hand,
to be folded or unfolded at His own will. To the Jnāni or wise man the world
exists only if he chooses and not otherwise. The deer on one side is the mind
because the latter leaps and jumps from one thing to another as wildly as that
animal. The Ātman is far beyond the reach of the deer-like mind; and so the deer
in the picture is placed near the legs. Natarāja wears the skin of a tiger which He
Himself slew. Ahankara or the skin of egoism is that tiger; it is beastly and
ferocious and fiercely fights when attacked, but it has to be killed and Natarāja or

102
Guru alone can kill it. On His head He wears the Ganges, i.e., Chit Śakti or
wisdom which is most cool refreshing and the moon which represents the
ethereal light and bliss-fulness of the Ātman. One foot is planted over and crushes
the giant Mayalaka,i.e., Mahā Māya, the endless illusion which is the cause of
birth and death, while the other foot is raised upward and represents the “Turiya”
state, which is beyond and above the three states of waking, dream and dreamless
sleep, and leaves behind, the mind, Māya and the world. The second right hand
representing the idea of peace indicates the blessed calmness, which is the
glorious privilege of wisdom. In one of the left hands, is held Agni (fire), i.e., the
Guru brings in the Jyotis of the Ātman itself to attest the truth of His teaching. The
idea is that the truth of the Guru’s teaching can only be fully understood on
practical realization in experience (Anubhāva). The place of the dance, the theatre,
is Thillaivanam, i.e., the body (of the individual as well as of the Cosmos) spoken
of as vanam or forest on account of the multitude of its components. The platform
in that theatre is the cremation ground, i.e., the place where all passions and the
names and forms that constitute the vision of the world have been burnt away;
pure consciousness devoid of attachment to anything outside and devoid of
illusion.

“Another conception of Śiva is that of ‘Ardhanāreeswara’-half male and half

female. The latest researches in psychology reveal that every man has a woman in
his mind and each woman has a man inherent in her constitution. This is known
as the principle of Animus and Anima.
To speak in the language of the ancient symbolism each individual is Brahma i.e
Prajāpati or the creator unto himself and creates for himself a mind-born daughter
who functions as his energy for all creativity. She typifies the principles of
intelligence (Buddhi) by which the individual obtains his extension that may be
termed as the “Mandalā” of his life. This female energy or the principle of
intelligence and intellection is the element that makes up the Ardhanāreeswara
form of each individual”. [9]

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29. Non-combined and Combined gestures of Nātya
Hastās are divided into two categories:
1) Asumyuta and 2) Samyuta
Asumyuta hastās are shown by single hand.
Samyuta are those in which both hands are used jointly in depicting an idea. The
same classification is also applicable to mudrā. An idea is expressed either by
single hands or both hands. The communication by hastās has resulted in the
dictionary of hastas. Hastās are further classified as Nritta and Nrityā according
to function and meaning. Nritta hastās are purely decorative and can have no
specific meaning, whereas Nritya hastās narrate and interpret text of drama and
poetry for depiction of moods. Some of the hastās have three functions e.g. the
patāka hastā is held in a particular way to symbolize and analyze i.e the Kartā
(subject), the Karmā (activity) , kriyā (subsequent movements).
Hastās differ according to persons, movement, expression and nature of
movement or guna. Each hastā stands for manifold concepts. The accompanying
movements of the body and face also differ according to the meanings.

In āngika abhinaya the hand movement is called Sākha ,like the branches of the
tree, the hand spreads out in every direction. The fingers move like tender leaves
or open out like petals. The hastās are the most characteristic feature of āngika
abhinaya. With the energence of dance and dance drama, everything had to be
represented in terms of gestures. The Natya Śāstra allows new hastās to be
incorporated to convey emotions.
The Nātya Śāstra lists the following hastas, along with their meanings
Asamyuta = "non-combined", single hand gestures

These are single hand gestures as they can be used by one hand independantly
from the other.

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Name Picture
Patāka . Flag, Striking, prowess, benediction, a
This is common basic driving, joy, graciousness, good king,
position, arms are often pride, etc. moonlight, palmyra leaf,
held to the side in rain, shower of strong sunlight, slap, touching,
patāka. When finger flowers, knocking, saying "such
are upheld in patāka beginning of meaning of the and such", the
while depicting gods, dance, cloud, seven cases, sea, the way of
they represent forest, wave, entering a good deads,
protecting gestures of forbidding street, equality, addressing (a
(Abhaya) and when things, bosom, applying sandal person some
held downwards,the night, river, paste, one's self, distance away),
same patāka would world of the taking an oath, going in front,
mean granting of boons gods, horse, silence, the form of a
(Varadha) cutting, wind, sword, month
reclining, year, season,
walking, day, sprinking
water
Tripatāka King’s Crown, three parts of a drawn on the
beckoning, flag crown, face or body,
sending away, tree, the bearer turning round,
saluting on of the vajra union of
forehead - or (Indra), screw- woman and
touching pine flower, man
auspicious light, rising
objects wiping flames, cheek,
tears crossed patterns
over chest -
saluting elders

105
Ardhapatāka half-flag
tender shoots,
panel for
writing or
drawing, bank
of a river,
dagger, knife,
flag, saying
"Both"
Kartarimukha mountian opposition or
summit, arrow overturning,
shaft face, the stealing, the
forefinger and corner of the
little finger are eye, death,
out spread, forgetting,
vomiting,
disagreement,
lightning,
sleeping alone,
weeper
Mayura peacock stroking the
the peacock's hair, forehead,
beak bird of brow-spot,
omen,
vomiting,

106
Ardhachandra crescent moon, one's self,
small trees, meditation,
pot, woman's prayer, touching
girdle or waist the limbs,
,half moon greeting
the moon on common people
the eigth day sweeping,
of the dark clasping the
fortnight, a waist,
hand seizing elephant’s ears
the throat, a
spear,
consecrating
an image, a
platter, waist,
anxiety,
Arāla - dignity of men and self-admiration by women, drinking

poison, blessing, describing,

holding an umbrella or a goad,

Śukatunda-
lover's anger, jealousy, parrot's beak shooting an arrow,
throwing a spear, mystery, expressing contempt and rebuking

107
Muśti holding of , holding a
weapon, striking sword or
fist things fingers
steadiness, on top of
grasping the thumb -
hair, wrestling wrestling,
thumb on top of beating the
fingers - sides
running, beating
Śikhara- who is it - , intimate
questioning , suggestion,
pointing lips and untying the
legs, spire of girdle,
the God of Love, embrace, lover,
bow, pillar, sound of a bell,
silence, husband, ringing of
tooth, bells, pressing
recollection or rubbing the
body,
throwing a
spike or a
javelin,

108
 holding a rope
Kapittha suggests offering
weapons incense or
elephant apple lights, etc.
Lakshmi, body, affirmation,
Sarasvati, releasing a disc
winding, (wheel),
holding cymbals, discharging
milking cows, weapons after
collyrium, meditating (by
holding flowers placing on
at the time of forehead),
dalliance, some birds and
grasping the end their flight.
of the robe,
veiling the head,
Katakāmukha

- pulling reins, wearing garments, holding the hem of

garments, threading a pearl necklace, picking flowers, a garland of flowers,
drawing a bow slowly, distributing folded betel leaves, applying such things as
musk or scent, glancing, holding an umbrella, grasping the hair and the noose

109
Sūchi turned around - circle,
suggests explanation,
(Chakra) or a evening -
crowd, one, using
Parabrahma, one weapons,
hundred, sun, forbidding
city, world, directing,
saying "This" or threatening
"What?", "He", earring,
threatening, the turning of a
body, wheel, good
astonishment, words, and
braid of hair, swinging
umbrella,
Chandrakalā Used above to indicate the
Shiva and crescent moon
Ganesha’s head

Padmakoes worship of a the shape of a

god, showering bell, the hole of
of flowers, some a snake, a
fruits and a water-lily, an
woman's breasts egg ,taking the
lotus bud kapittha or
fruit, wood- bilva fruit, a
apple, curve, ball downcast face

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 of flowers,
mango, rain of
flowers, cluster
of flowers, the
japa flower,
Sarpasirśa movement of pouring,
snake's head, drinking or
snake head offering of
sandal-paste, holy water
slowness, facing
sprinkling, downwards -
cherishing, etc., waving
giving water to movement,
gods and sages, dwarves
facingupwards
-

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Mrigasirśa the concepts of brow, patterns
"here", "now", on the ground,
wiping massage of the
perspiration, feet,
deer head, (combining the
women, cheek, hands) house,
traditional placing the
manners, fear, feet, calling the
discussion, beloved,
costume of an roaming facing
actor, place of downwards -
residence, tete-a- wiping off
tete, drawing sweat,
three lines on the beckoning,
shading eyes
from the sun
facing
upwards -
colouring the
face, throwing
the dice

Simhamukha lion face, hare, elephant,

coral, pearl, kusa grass,
fragrance, lotus garland,
stroking the hair, testing the
a drop of water, preparation of
salvation when medicine
placed on the
heart, homa,

112
Kāngula sense of little, or different types
child's face held of fruits, small
up by chin, tail, quantities, and
breast of a young
girl, white water-
lily, areca-nut,
Ālapadma prohibiting or enquirin 'who
asking 'who are are you?',
you?' ,full-blown beautiful
lotus, elephant- vessel, hair-
apple, turning, knot, moon-
breast, yearning pavilion, town,
for the beloved, village, height,
mirror, full- anger, lake,
moon, apraising car,
oneself, maintain murmering
sound, praise
Chatura grace, hope, , breaking
affection, youth to peices, seat,
musk, a little oil or ghi, etc.
gold, copper etc., chanting
wet, sorrow, prayers, a
aesthetic small quantity,
emotion, eyes, doubt, Vedic
difference of discourse
caste, oath,
playful converse,
slow-stepping

113
Bhramara picking flowers, holding
removing thorns flowers with
bee , parrot, long stalks,
crane, cuckoo, u palm leaves,

Hamsāsya- small,
tying the marraige little, delicate
thread, initiation, swan-face
certainty, horripilation, smoothness,
painting, drop of water, softness kept
raising the wick of a steady - act of
lamp, examining, smelling flowers
drawing lines, carrying
garlands, singifying
"That am I",
accomplishment of a
task, Hands of deities
meditation (Dhyanam)

Hamsapaksha- offering water to bridge, making

the dead, feeding marks with the
of Brahmins in nails, arranging’
suggest sorrow, applying color
holding the chin to the face, tying
the number six, up the hair,
constructing a accepting,
friend (Sakhi)

114
Sandamsa taking out a grasping removing
thorn or picking generosity, thorns,
delicate flowers in movement sacrificial plucking
brushing [open and close] offerings, small
collyrium to the tumour, insect, flowers,
eyes when pearls apprehension, rebuking
are pierced, worship, the rudely,
powdering number five rubbing
things like sacred
camphor, taking thread,
betel leaf
painting,
drawing the
eyebrows,
stringing beads,
decorating the
eyelashes
Mukūla worship to gods, obliquely and
kissing lovers, facing upwards,
touching breasts, counting gold
bud, water- coins facing
lily, eating, the downwards -
God of Love,
holding a seal,
navel, plantain
flower

115
Palli and Vyāgraha Weapons of .
Gods, the vehicle
of goddess - lion
and tiger claws

Tāmarachuda to beckon inspiring

children, rebuke, confidence in
etc. red-crest, children, in war,
cock, crane, yawning and
camel, calf, kings
writing or
drawing

Triśula and Ardhasūchi trident ,

bilva, leaf, three
together and a
little bit of
something

Samyuta = "combined", double hand gestures

116
Name Picture
Anjali used to greet salutation saluting
friends - held in Deities, Elders (gurus) or
front of the Brahmans - hands held
chest used to on the head for Deities,
receive presents before the face for
- held near the Elders, and on the chest
face used to for Brahmans
make obeisance
to deities held
on the head
Kapota ferocious indicates having ideas,
approach with expressing possibilities, or
inimical showing anxiety dove,
intention, taking oath, coversation
bowing down with elders, humble
and talking to a acquiescence
venerable man,
held on breast
by women to
represent cold
and fear -
Karkata Bee's wax, crab , hands may be
massaging the turned inwards or outwards
limbs, yawning group, stoutness, blowing
after getting up the conch, stretching the
from sleep, a limbs, bending the bough
huge body, of a tree
supporting the
chin, holding
arm of friend or

117
 consort
Svastika "Svastika crocodile, timid speech,
literally, means dispute, praising
crossed, many
hand-positions
represents
directions of
clouds, the
firmament,
jungles, oceans,
the earth and
other vast
things as well.
Katakāvardhama kataka name of .
naka single hand
mudra is
crossed here
with both hands
holding
katakamukha,
wooing a lady,
or bowing
down to a
venerable
person,
coronation,
ritual, marriage
blessing
Kartarisvastika arrow-shafts
trees, the
boughs of tress,

118
 the summit of a
hill
Utsanga feeling of touch embrace, modesty, armlet,
Both hands held also for education of children ,
mriga sirsa and anything with enslaved, servant
crossed excessive effort,
acts of anger
and indignation,
women's
envious acts
and squeezing
of something.

Dola haste, sadness, swing , beginning an

Both hands hang loss of sense, expressive dance-story,
on sides holding swooning, describes the position
patakas drunkeness, as "hands in pataka on
excitement, thighs"
ilness, and
weapon-
inflicted
wounds,
walking gait of
lady
Puṣpapūta Usually used as flower-casket offering
In sarpasirsas join an offering, lights, twilight
the side of the indicates water-offering,
palms receiving, flower-spells, children
carrying, etc. receiving fruits, etc.
holding rice,

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 fruits, flowers,
different kinds
of foodstuffs as
well as water
Śakata Held near mouth to
indicate frightful teeth
of the gestures of the
Raksasas (demons)
Śankha conch . The gesture is
described as the thumb of
the left hand held by right
in Shikara and joined with
the right thumb closing in
on middle fingeer of the left.

Chakra Ardhachandra discus

hands one
above another
(vertical &
horizontal)
Samputa Clasp hands casket concealing things,
with

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 ardhachandras
Pāśa Index fingers noose enmity, noose,
clasped manacles, battle, Yama’s
(God of Death) hands

Kilaka bond , affection, the

conversation of lovers

Matsya shark, fish, and

flesh eating
animals.

Kurma One hand (palm tortoise

down) on the
other (palm
upward)
Varāha One hand on boar
another (both
palms down)
Garuda Ardachandra Garuda is an eagle,
Swastika hands, Vishnu's mount -
thumbs clasped
means to show

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 flight of birds
Nāgabhanda carrying of serpent-tie, pairs of snakes,
bride and bower, Atharva Veda spells
groom,
excessive
weight, clasping
a pillar and the
extermination of
a hilll or a
boulder
Khatva Touching tips of bed
ring and middle
fingers held in
Gajamukha
hastas

Berunda Kapittas in pair of Birds, lovebirds

swastika

Śivalinga Right hand Śiva’s formless phallic

shikara hasta on symbol
left hand in
pataka

30. Nritta hastās :

The nritya hastās are used only for decorative purpose and are not intended to
represent either in emotion or character or situation. In Nritta item either these
hastās are moved in different directions, upward, downward, to the right, to the

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left, in front etc

“Name of the Mudrā Deity Caste Colour

1. Patāka The Supreme Brāhmin White

2. Tripatāka Śiva Ksatriya Red

3. Kartarimukha Visnu wielding Ksatriya Copper

discuss

4. Ardhachandra Mahādeva Vaisya Smoky

5. Ārāla Vāsudeva Mixed Red

6. Śukatunda Mārici Brahmin Red

7. Muśti Moon Śudra Blue

8. Śikhāra Kāmadeva Gandharva Dusty

9. Kapittha Padma Garbha Sage White

Visnu
10. Katakāmukha Raghurāma Deva Copper

11. Suchi Visvakarman Deva White

12. Padmakosa Bhārgava Yaksakinnara White

13. Sarpa Sirśa Śiva Deva Yellow

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14. Mriga Sirśa Mahesvara Rsi White
Śiva
15. Kāngula Padma Siddha Golden

16. Alapadma Sun Gandharva Dusty

17. Chatura Sun Mixed Dusty

18. Bhramara Garuda Mixed Cloudy

black
19. Hamsāsya Brahma Mixed White

20. Hamsapaksa Kāmadeva Apsaras Blue

21. Sandamsa Valmiki Vidyādhara White

22. Mukula Candra Sankirna White

23. Urnanābha Indra Deva White

24. Tāmara Chuda Incarnation as Ksatriya Red

tortoise” [10]

The following purānas and anecdotes indicate the practical use of mudrās and we
can understand evolution of the hastās from them.

1. Patāka -Brahma made use of this Mudrā while making obeisance to Visnu.
Patāka has reference to flags and banners.

2. Tripatāka – While holding the thunderbolt, Indra kept three fingers separate.

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3. Kartari Mukha– Śivā is the sponsor of this Mudrā before slaying
Andhakāsura.

4. Ardha Candra – Śivā in the form of Natarāja embellished his matted hair
with Crescent moon.

5. Arāla – Sage Agastya made use of this Mudrā before drinking up the ocean

6. Śukatunda – Gauri was in the state of feigned anger with Śiva. She made use
of this Mudrā
7. Muśti – Lord Visnu was in the state of feigned anger with Śiva. She made use
of this Mudrā at the time of slaying Madhu.

8. Śikhara – At the time of churning of the milk ocean the moon-crested Lord
wanted to uproot Sumeru mountain when he made use of this Mudrā.

9. Kapittha – At the time of churning of the mild ocean Lord Visnu pulled out
the celestial tree Mandāra and made use of this Mudrā.

10. Katakāmukha– While learning the science of archery from Lord Sivā,
Kārtikeya made use of this Mudrā.

11. Suchimukha – Brahma made use of this hand gesture in order to reveal the
principle “Ekoham” (I am one)

12. Padmakosa – In order to receive the discuss Sudarsana from Lord Śiva, Lord
Vishnu made use of this Mudrā instead of floral offering.

13. Sarpa Sirśā – When the demon king Bālu was found the divine incarnation
Vamana assuaged the grief of the Devas by using this hand gesture.

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14. Mriga Sirśā– Pārvati performed penance to gain the hand of Lord Śiva. She
applied sandal paste over her forehead making use of this Mudrā.

15. Kāngula – Before swallowing the Kalakuta poison Lord Śiva made use of this
Mudrā.
16. Alapallava – While stealing butter from the huts of the cowherdesses Lord
Krishna made use of this Mudra.
17. Chatura – When Garuda went in search of Amrta Sage Kasyapa gave him
guidance making use of this Mudrā.

18. Bhramara – Sage Kasyapa made use of this Mudrā when he wanted to make
the earings for Aditi.

19. Hamsāsya – Lord Śiva in Daksināmurti form was instructing the sages in
the principles of Absolute Philosophy beneath the Vatā tree. Then he made
use of this Mudrā.

20. Hamsapaksa – Tāndu who expounded the dance form Tāndava made use of
this Mudrā.

21. Sandamsa – This is also known as Jnana Mudrā. At the outset this was made
use of by the goodness of speech and musicology goddess Sarasvati.

22. Mukula – The monkey god Hanuman attempted to gulp the rising sun. He
made use of this Mudrā.

23. Urnanabha – The divine incarnation of man-lion made use of this Mudrā
before slaying Hiranyakasipu.

24. Tāmara Chuda – The three Vedas after being spelt out by Brahma made use
of this Mudrā in making obeisance to him.

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In Bharatanātyam and Kathakali, the Hasta Mudrās are more definite and firm
while in forms as Kathak and Manipuri, the Hasta Mudrās are held softly and
lightly.

With reference to the special practices in Bengal,

“Mudrās which are the sources of Hastas please the Devatas and destroy burdens
of sins. The popular hand poses during Puja are Ankusha , Avagunthana ,
Avahanyadi pancha mudras(Samsthapani, Sannidhapani, Sannirodhani,
Sammukheekarani), Kurma, Galine, Goyoni, Grasa, Cakrā, Jvālini, Tatva, Dhenu,
Nāracha, Parameekarana, Prānādi pancha mudra(Prāna, Apāna, Vyāna, Udāna
and Samāna), Matsya, Mriga, Yoni, Lelihana and Samhāra mudrā”. [11]

31. The Supreme dancer Śiva:

“How many various dances of Śiva are known to His worshippers I cannot say.
No doubt the root idea behind all these dances is more or less one and the same,
the manifestation of primal rhythmic energy. Śiva is the Eros Protogonos of
Lucian, when he wrote:
“It would seem that dancing came into being at the beginning of all things, and
was brought to light together with Eros, that ancient one, for we see this primeval
dancing clearly set forth in the choral dance of the constellations, and in the
planets and fixed stars, their interweaving and interchange and orderly
harmony”.
The second well-known dance of Śiva is called Tāndava and belongs to His
tamasic aspect as Bhairava or Virabhadra.
Thirdly, we have the Nādanta dance of Natarāja before the assembly (sabha) in
the golden hall of Chidambaram or Tillai.
Then ādi-Seshan worshipped Śiva, and prayed above all things for the boon, once
more to behold this mystic dance; Śiva promised that he should behold the dance
again in sacred Tillai, the center of the Universe”. [12]

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The dance, in fact, represents His five activities (Panchakritya), viz: Sriṣti
(overlooking, creation, evolution), Sthiti (preservation, support), Samhāra
(destruction, evolution), Tirobhāva (veiling, embodiment, illusion and also giving
rest), Anugraha (release, salvation, grace). These, separately considered, are the
activities of the deities Brahma, Vishnu, Rudra, Maheshwara and Sadā Śiva.
Creation arises from the hand clap .IT all started with sound drum: protection
proceeds from the hand of hope, (abhaya) from fire comes destruction: the foot
held aloft gives release from bondage. It will be observed that the fourth hand
points to this lifted foot, the refuge of the soul. I shall protect you and so remain
steadfast in devotion to the sef. I shall show your self in me if you surrender your
ego – Nātya proclaims.

32. The Sanskrit theatre form

The Chaturashrikarana or square or was a basic structure of the Indian temple, as

in the theatre. Identifying the Yajurveda as the source of ritual and body-language
with gestures., Vedic yajna as a performance act is considered as a base.

Brahma is constantly referred to as the principle of the central (focus) dimensions

in the concepts of brahmamandala (on the stage), brahmasthana, brahmasutra,
etc. on stage. So also is the case of Viṣnu where he is considered as the principle
of the triangle in vaisnavasthana, vaisnavakarana, etc. on stage.
The shape of the four sides is especially chosen because….
“Whereas the earth, as the surface of this world which supports the movements
and weight of our bodies, is found, the earth held in the embrace of the sky and
subject to its laws, is represented as fixed fourfold”. [13]

33. The relevance of these Symbolizing art forms

Nandikeshwara describes the dance of Śiva as being depicted in seven forms

called the Tāndavas which are the vigorous, masculine, eternal dance which

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depicts the creation, maintenance and dissolution of the universe. In this
background, It can be observed that the artistes rarely gave their signature or
copyrights as they were simple enough to admit the divine hand in the works of
art including poetry, music, dance, sculptures, temples, architecture, painting etc.
Folk tradition on one hand continuously portrayed the linguistic and ethnic
specialties, costumes with themes as nature and festivals and dance movements
akin to trade occupations. On the other hand, the classical era saw the
emergence of various styles, Bāni, Gharānas, schools and the wonderful Guru-
Śiṣya paramparas or lineage. One has to keep in mind one basic difference
between the ancient approach of the east and the modern outlook of west in the
world in the sense that the common perception of the orient,is that man is a soul
clothed by the body as against the body with a soul, being the occident. Hence,
we notice that corporeality, spatial movements, gymnastics, geography, aerobatic
skills, kinematics are terms more common in western dances while although we
have terms as spiritualize, geometry in movement and kinetics the predominant
principle is treating the body itself as the yogic macaroon with the five elements
the various koshās, doshās etc. The entire universe itself is within the nucleus of
man himself. Of course, these days inter-cultural movement has brought about a
rare path and a massive change in this scenario. The celebration of life through
music and dance is an example of achieving the goals of life –Dharma, Artha,
Kāma, Moksha – the 4 puruṣārthās. It can be also compared to the festivities
when people commemorate important legendary events with new clothes,
preparing and exchanging special dishes, sweetmeats, propitiating the Gods and
Goddess or the saints and giving alms to the needy .

Loftiest philosophies get translated through the media of both our arts and
festivals into simple ,comprehensive and enjoyable experiences. Man rises above
narrow dogma and prejudice and unite in a spirit of brotherhood. Every little
symbol attached to dance programme venues and during festivals like Rangoli
designs, painting on the courtyard, lamps lit, lanterns hung, flags hoisted, the
paraphernelia adorning the stagehouse all signify the message of life filled with

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love and joy. There is a metamorphosis of monism and dualism.

Siva dancing as Natarāja is a symbolic representation of his creative Movement;

this universe is a product of his tāndava of which are seven varieties: Anada
Tāndava (blissful); Sandhya (evening dance); Uma (dance with Uma); Gouri
(dance with Gouri); Kālika (dance with Kāli); Triputa (dance of the destruction of
three cities); Samhara (dance of destruction). Drawing attention to the close
correspondence between the postures of the various limbs of Natarāja and the
authentic movements in yoga, he writes: “The left leg has been raised in a graceful
dancing posture. It is the effect of the upward movement of the Apāna which is its
master impulse. The Apāna has moved towards the Muladhara Chakra and has
passed beyond it. The very face that the left leg is in a state of poise indicates the
emergence of the Mulabandha in the Diety. That is followed by the next Bandha,
namely the Udyana Bandha above the Manipura at the navel, indicated by the
flowing hand. The effect of both the Bandhas is to keep the Apāna in its upward
course and prevent it from coming down. Consequently Apāna has moved
towards the namely prana the unification of Prāna and Apana is indicative of the
emergence of the state of yoga. It is a thing that takes place in the yogi’s heart and
when it does, it brings about the complete cessation of all the activities of the
mind. Natarāja indicates silently the mystery of transcendence of that harmonious
state by the left arm which passes in front of his heart in a most graceful dancing
posture”. [14]

Drawing examples from the world over ,during the middle ages, the science of

numbers were considered the common denominator binding artistic practices in

an organic and unchanging manner.

Spatial proportions of geometry, latitudes and longitudes of forerunners with

utopian creativity combined with laterally thinking minds surpassed the realm of

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physical sight and sound. Semiotics utilized in musical writings also

communicated a sense of fullness and concordance with laws of nature and the

very same proportions ruled the repository of many a repertoire. This gave rise to

the concept of mathematical metaphysics ,synchronous and symmetrical. The

arena of arts became so replete with effulgence that the acme remained boundless.

The harmony in the orbital movement of heavenly bodies and spheres, the

felicitious luminescence of the sun’s rays, potent during it’s pinnacle and as it

plummets on our earth, the succession of the seasons are a simulacrum of dance

and music and all intergral interdisciplinary marvels. The cyclic movement of

time as manifested in the twelve zodiac signs is a common symbol in painting and

dance.

The science of tantrā serves spiritual elevation of mankind. It offers a yardstick to

spiritually grasp and measure the properties of cosmos. As one collates the texts
and manuscripts available on tantrā, one is awestruck by an inevitable web,
neatly interwoven with varied components. This also includes bizarre elements.
The grotesque images like skulls are not only associated with Tantrayāna or Vajra
yāna Buddhism, but also western music and painting. The art of music had to
contribute to the intersection of life and death.

“Often the indentification of music with death takes the shape of a skeleton
playing violin, in Peter Bruegal’s – the elder’s triumph of death. According to the
symbolism of alchemy, however, the skeleton does not imply a static death”. [15]

A realted study into the schools and branches of Tantra and Natya would reveal
how the science and the art are embedded within the streams.

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Notes and References

[1] Symbolism in Hindu Mythology by Dr.S.R.D.Sastry, Symbolism in

Hinduism, compiled by Swami Nityanand, Pub. By CCMT, 1993.…….Pg
No.54 to 59
[2] Yogini Hridaya, I 6-16. http://www.shivashakti.com/tripura.htm
[2a] Yogini Hridaya, I 6-16. http://www.shivashakti.com/tripura.htm

[2b] Yogini Hridaya, I 6-16. http://www.shivashakti.com/tripura.htm

[3] One of the most ancient plan appears in chapter nine, Page 16, Kularnava
Tantra,of the Kaulajnana Nirnaya, attributed to Siddha Matsyendranath, the
progenitor of the Kaula school of tantra. This chakra system is eightfold. Each of
the lotuses has eight petals and these represent the 64 yoginis, extolled in
Kamarupa. http://www.shivashakti.com/matsya.htm

[4] Composed by Sri.Chakyar Rajan [2001],a well-known exponent of the Kerala

temple art form, Chakyar Koothu.

[5] Nataraja By B.R.Rajam Iyer, Symbolism in Hinduism compiled by Swami

Nityanand, CCMT, 1993.……. Pg No. 171/172/173
[6] The symbol in Art and Religion ,Prof.K.Seshadri ,T.P.-Jan 1971,
Ibid….Pages 66,67
[7] Subramanya-Karthikeya by A.Parthasarathy ……IbidPg No.150/151

[8] Radha and Krishna ,Swami Chinmayananda ,……..Ibid…….. pg 165

[9] Lord Shiva-The master of life and death by Anjani KR.Srivastava,

Ibid……. pages 176/178

[10] Natya Shastra-Translation into English by a board of scholars, Sri Sathguru

Publications…. Page 152 to 154.
[11] Worship of Sri Ramakrishna by Sri Hitananda Swami,
Sri Rama Krishna Math , Chennai.

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[12] The Dance of Shiva : Ananda K. Coomaraswamy, Vivekananda Kendra
Patrika Volume X. no2 August 1981.. Page 1,2,3

[13] Understanding Bharatanatyam-Mrinalaini Sarabhai Darpana

Publications-1996……….page 16

[14] The Divine Dancer : By Dr. S.V. Chamu, Ashtanga Yoga of Vijnana Mandira,
Mysore………. Page No.142/143

[15] Music – Passion for the art. by Jean-yves Bosseur,

Rizzoli intl pblications, INC, 1991. … page 70

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