TIBETAN, LION'S ROAR, HOP-GAR, LAMA KUNG-FU
總持門金剛獅子吼
MUDRA's
慕捺囉
in Indo-Tibetan
印度藏语
Simhanada Vajramukti
金剛獅子吼門
Lion's Roar! Martial Arts
Om Ah Hum Vajra Simhanada Sangha Hum
Mudra Signs & Seals
Essentially, Mudras are a non-verbal mode of communication and self-expression,
consisting both of hand gestures and finger-postures. They are symbolic sign
based finger patterns taking the place, but retaining the efficacy of, the
spoken word, and are used to invoke in the mind, ideas symbolizing divine powers
or the Tantric/Yiddam deities themselves. The composition of a mudra is based on
certain movements of the fingers; in other words, they constitute a highly
stylized form of gestureal communication. It is an external expression of 'inner
resolve', suggesting that such non-verbal communications are more powerful than
the spoken word.
Many such hand positions were used in the Buddhist sculpture and painting of
India, Tibet, China, Korea and Japan. They indicate to the Buddhist in a simple
way, the nature and function of the deities thus represented.
Mudras are thus gestures which symbolize divine manifestation. They are also
used by monks in their spiritual exercises of ritual meditation and
concentration, and are believed to generate forces that invoke the deity.
They are also of course, used by Senge Ngwa martial artists, and are to be found
throughout the forms, but particularly at the beginning and end salutation
sequences.
However, Mudra's are used not only to illustrate and emphasize the meaning of an
esoteric ritual. It also gives significance to a sculptural image, a dance
movement, meditative pose, i(and in our specific context: martial arts
movement(s) - intensifying their potency.
In its highest form, it is held as a magical art of symbolic gestures, through
which the Transcendent forces may operate in and thru the physical world.
Another meaning is often ascribed to the notion of Mudra. It reveals a
transcendent secret imbibed in the five fingers. In this interpretation, each of
the fingers, starting with the thumb, is identified with one of the five
elements, namely the sky, wind, fire, water, and the earth.
Their contact with each other symbolizes the synthesis of these elements, which
is significant because every physical 'form' in this universe is said to be
composed of a specific combination of these elements.
This contact between the various elements creates conditions favorable for the
presence of the deity at rites performed for securing some desired outcome or
benefit.
i.e Mudras induce the deity to be near the practitioner.
While there are a large number of 'esoteric mudras', over time Buddhist art has
retained only five for the representation of the Buddha himself. Images of the
Buddha which exhibit Mudras other than these are therefore extremely rare. The
significance of these Mudras can be gauged from the fact that each of the five
transcendental (Dhyani) Buddhas is assigned one of these Mudras, and they are
invariably depicted in visual arts with this particular Mudra only.
These five mudras are:
1. Dharmachakra Mudra
Dharmachakra in Sanskrit means the 'Wheel of Dharma'. This Mudra symbolizes one
of the most important moments in the life of Buddha, the occasion when he
preached to his companions the first sermon after his Enlightenment in the Deer
Park at Sarnath. It therefore denotes the setting into motion of the Wheel of
the teaching of the Dharma.
In this mudra the thumb and index finger of both hands touch at their tips to
form a circle. This circle represents the Wheel of Dharma, or in metaphysical
terms, the union of method and wisdom.The three remaining fingers of the two
hands remain extended. These fingers are themselves rich in symbolic
significance: The three extended fingers of the right hand represent the three
vehicles of the Buddha's teachings, namely:·
The middle finger represents the 'hearers' of the teachings ·
The ring finger represents the 'solitary realizers'
·
The Little finger represents the Mahayana or 'Great Vehicle'. The three extended
fingers of the left hand symbolize the Three Jewels of Buddhism, namely, the
Buddha, the Dharma, and the Sangha.
Significantly, in this Mudra, the hands are held in front of the heart,
symbolizing that these teachings are straight from the Buddha's heart.
This Mudra is displayed by the first Dhyani Buddha Vairochana. Each of the five
Dhyani Buddhas is associated with a specific human delusion, and it is believed
that they help mortal beings in overcoming them. Thus, Vairochana is believed to
transform the delusion of ignorance into the wisdom of reality. By displaying
the Dharmachakra mudra, he thus helps adepts in bringing about this transition.
2. Bhumisparsha Mudra
Literally
Bhumisparsha translates into 'touching the earth'. It is more commonly known as
the 'earth witness' mudra. This Mudra, formed with all five fingers of the right
hand extended to touch the ground, symbolizes the Buddha's enlightenment under
the Bodhi Tree, when he summoned the earth goddess, Sthavara, to bear witness to
his attainment of enlightenment. The right hand, placed upon the right knee in
earth-pressing mudra, and complemented by the left hand-which is held flat in
the lap in the Dhyana Mudra of Meditation, symbolizes the union of method and
wisdom, samasara and nirvana, and also the realizations of the conventional and
ultimate truths. It is in this posture that Shakyamuni overcame the obstructions
of Mara while meditating on Truth.The second Dhyani Buddha Akshobhya is depicted
in this Mudra. He is believed to transform the delusion of anger into
mirror-like wisdom. It is this metamorphosis that the Bhumisparsha mudra helps
in bringing about.
3. Varada Mudra
This
Mudra symbolizes charity, compassion and boon-granting. It is the Mudra of the
accomplishment of the wish to devote oneself to human salvation. It is nearly
always made with the left hand, and can be made with the arm hanging naturally
at the side of the body, the palm of the open hand facing forward, and the
fingers extended.
The five extended fingers in this mudra symbolize the following five
perfections:·
Generosity ·
Morality ·
Patience ·
Effort ·
Meditative concentration.
This Mudra is rarely used alone, but usually in combination with another made
with the right hand, often the Abhaya Mudra (see below).
This combination of Abhaya and Varada mudras is called Segan Semui-in or Yogan
Semui-in in Japan.
Ratnasambhava, the third Dhyani Buddha displays this Mudra. Under his spiritual
guidance, the delusion of pride becomes the wisdom of sameness. The Varada mudra
is the key to this transformation.
4. Dhyana Mudra
The
Dhyana Mudra may be made with one or both hands. When made with a single hand
the left one is placed in the lap, while the right may be engaged elsewhere. The
left hand making the Dhyana Mudra in such cases symbolizes the female left-hand
principle of wisdom. Ritual objects such as a text, or more commonly an alms
bowl symbolizing renunciation, may be placed in the open palm of this left hand.
When made with both hands, the hands are generally held at the level of the
stomach (Navel) or on the thighs. The right hand is placed above the left, with
the palms facing upwards, and the fingers extended. In some cases the thumbs of
the two hands may touch at the tips, thus forming a mystic triangle.
This triangle is said to represent the Three Jewels of Buddhism, mentioned
above, namely the Buddha himself, the Good Law and the Sangha.
The Dhyana Mudra is the Mudra of Meditation, of concentration on the Good law,
(Dharma) and of the attainment of spiritual perfection. According to tradition,
this Mudra derives from the one assumed by the Buddha when meditating under the
tree before his Enlightenment.
This gesture was also adopted since time immemorial, by yogis during their
meditation and concentration exercises. It indicates the perfect balance of
thought, rest of the senses, and tranquillity. This Mudra is displayed by the
fourth Dhyani Buddha Amitabha, also known as Amitayus. By meditating on him, the
delusion of attachment becomes the wisdom of discernment. The Dhyana Mudra helps
us to achieve this transformation.
5. Abhaya Mudra
Abhaya
in Sanskrit means fearlessness. Thus this Mudra symbolizes protection, peace,
and the dispelling of fear. It is made with the right hand raised to shoulder
height, the arm crooked, the palm of the hand facing outward, and the fingers
upright and joined. The left hand hangs down at the side of the body. In
Thailand, and especially in Laos, this mudra is associated with the movement of
the walking Buddha (also called 'the Buddha placing his footprint'). It is
nearly always used in images showing the Buddha upright, either immobile with
the feet joined, or walking.
This Mudra, which initially appears to be a natural gesture, was probably used
from prehistoric times as a sign of good intentions - the hand raised and
unarmed proposes friendship, or at least peace; since antiquity, it was also a
gesture asserting power, as with the Magna Manus of the Roman Emperors who
legislated and gave peace at the same time.
Buddhist tradition has an interesting legend behind this mudra
evadatta, a cousin of the Buddha, through jealousy caused a schism to be caused
among the disciples of Buddha. As Devadatta's pride and inflation increased, he
attempted to murder the Buddha. One of his schemes involved loosing a rampaging
elephant into the Buddha's path. But as the elephant approached him, Buddha
displayed the Abhaya Mudra, which immediately calmed the animal. Accordingly, it
indicates not only the appeasement of the senses, but also the absence of fear.
In Gandhara art, this Mudra was sometimes used to indicate the action of
preaching. This is also the case in China where it is very commonly found in
images of the Buddha, mainly in the Wei and Sui eras (fourth to seventh
centuries).
The Abhaya Mudra is displayed by the fifth Dhyani Buddha, Amoghasiddhi. He is
also the Lord of Karma in the Buddhist pantheon. Amoghasiddhi helps in
overcoming the delusion of jealousy. By meditating on him, the delusion of
jealousy is transformed into the wisdom of accomplishment. This transformation
is hence the primary function of the Abhaya Mudra.
However it is not just the Buddha who is credited with making Mudras. Every
position assumed, and every gesture performed by our physical body is said to
imprint its seal and send forth a continuous stream of vibrations that impress
the atmosphere.
But to be really effective there must be a deliberate and intended arrangement
of the body or parts of the body. Such an arrangement is the Yoga of Mudra - and
intend, the 'Form' in martial arts.
It is interpreted as being able to bring the physiological system in harmony
with transcendent forces and so create microcosm through which the macrocosm can
be represented, channelled, and utilized.
The Mudra in all its variations is, therefore, a traditional body pattern; an
archetypal posture of performed occult significance. We perform Mudras in every
action, every moment of the day. Each action is a symbol of our underlying
mental and physical condition and results because of the various energy patterns
forming within our being. These patterns determine (in Buddhism) our
personality, character mannerism and expressions. So, our every moment is an
expression of our inner-nature. Consciously performing Mudras is held to allow
us to become more aware of inner energy and to control it so that we make the
most of each moment. The effect is holistic: at once subtle but powerful. In
this way, we learn to integrate our dissipated thoughts and actions, so that
life becomes a graceful flow of energy and understanding.
Our whole being can then become a Mudra, a gesture of life within, reflecting
into our external life.
There are Mudra's that are used in medicine as well as meditation, which, we
should expect in an integrated ethnic/cultural/spiritual discipline like Tibetan
Buddhism.
Mudra's in Tibetan Lion's Roar Senge-Ngwa Martial Arts Forms:
In the Senge Ngwa Lion's Roar Sangha, the transmission of the art is
progressive, in that the Form, sequence etc of a 'Set' will change according to
where the teacher feels that the student is, in relation to their understanding.
With the esoteric side of the art, this is very important, as some people have a
great inner resistance or inertia to 'transcendent' aspects of training. This is
respected and no one is under pressure to practice transcendentlaly/esoterically.
The first thing to remember is that the forms are practical hands, even the
salutation sequence has applications, and that includes all (except one) of the
Mudra's. This exclusion is applied to the first and last Mudra - the Dhyana
Mudra (meditation Mudra) which, is both the beginning and end of the physical 'Yana'
(vehicle) of the form as a Tantric practice.
It is the proper introduction to the form as the embodiment of Tantrism, and
also the end point after which the art itself in physical form is to be
transcended.
The L-R sets should, when the student is ready, ALL start and finish with this
Mudra.
The second Mudra in Salutation, is the (in Han - "Tong-Ji-Bai-Faht") -
the 'Child Salutation to/Worships The Buddha'. This recogniseable 'prayer'
posture: Namaskara, is never seen in images of the Buddha himself, as,
technically it is given from someone of inferior status to someone of superior
status (in terms of their spiritual achievement).
As it is at the beginning of the salutation (following the first meditative
Mudra) it is appropriate, signifying the beginning of the journey and a
recognition of self-humility.
This Mudra develops (matures) into the next aspect of salutation (in Han -
"Lo-Han Bai-Faht") which symbolizes a Bodhisattva's salutation/worship
of the Buddha and most importantly: The Bodhisattva's Vow. Bodhisattva's in Buddhism are beings who are fully enlightened,
yet who delay their transcendence from the world of Samsara in order to free all
other sentient beings from illusion and ignorance. They are in effect 'Buddhist
Saints'. This Mudra, shows the progression of the student, and, the choice of
path, thru the vehicle (Yana) of the Lion's Roar Tantric Martial art.
The next Mudra is "Dharma-Chakra" - 'The Wheel of the Law/Wheel of
Life, Teaching'. This is the return step and arm posture following the
Bodhisattva salutation. The arms crossover the Heart Chakra of the performer,
with the thumb and index finger of both hands touching - symbolizing the
teachings of the Buddha and the "Three Jewels": Buddha, Dharma and
Sangha. It comes from the heart (Chakra) to signify the teaching has come from
the heart of the Buddha. In Han terms, it is a "Jin-Sau" or scissor
hand action.
The Padmahasta Kinetic Mudra, closes the form and follows a return to the Namaskara (Child
Prayer Mudra). It is a dymamic movement, that opens as a Lotus Jewel from the
Heart (the highest Chakra), before returning back again to the Dhyana Meditation
Mudra.
This last sequence - Padmahasta Kinetic Mudra, has a number of practical applications (of
course) but it shows in the follwing Mudra - the return to Dhyana, that the
cycle of the Wheel of Life continues until we (if we take the Bodhisattva Vow)
have helped all sentient beings to achieve enlightenment. See Link:
The Lotus Palms
There will be therefore, a final 'Form' after which if we truly follow the
Bodhisattva path, all beings will have become enlightened and we can at last
transcend this world ourselves.
As students develop their relationship to the transcendent, further Mudra's will
reveal themselves both in form and applied function.
Om Mane Padme Hum
-v