Iconography of Gautama Buddha in Laos and Thailand - Hand Gestures

Hand Gestures

The most important aspect of the iconography of the Buddha is gestures made with the hands, known as mudrā. These gestures have meanings which are known throughout the Buddhist world, and when combined with the postures described above, give a complete representation, usually associated with a particular incident in the life of the Buddha.

The six mudrā associated with the Buddha are:

• Touching the earth (Bhūmiśparṣa mudrā) th:ปางมารวิชัย pang maa-rá-wí-chai: the right arm rests on the right thigh with the fingers pointing downwards, but not always touching the earth (as can be seen in the image at the top of this page). The left hand rests in the dhyāna mudrā position in the Buddha's lap. This mudrā is called in Pāḷi and Sanskrit "calling the earth to witness (to his fulfilment of the perfections, pāramī). In Thai it is known as "Buddha subduing Māra" (the demon who tried to prevent him attaining enlightenment by various means). This is by far the most commonly depicted mudrā.
• Meditation (Dhyāna mudrā) th:ปางสมาธิ pang sà-măa-tí: the hands are shown lying flat in the Buddha's lap, palms upward. This mudrā is associated with a seated Buddha. It shows that the Buddha is disciplining his mind through mental concentration, a necessary step to achieving enlightenment.
• Charity (Varana mudrā) th:ปางประทานพร pang bprà-taan pon: the right arm is shown pendent (extended downwards), with the open palm turned to the front and the fingers extended. This mudrā is usually associated with a standing Buddha. This position can signify either that the Buddha is granting blessings or receiving charitable offerings.
• Fearlessness (Abhāya mudrā) th:ปางประทานอภัย pang bprà-taan à-pai: either one or both arms are shown bent at the elbow and the wrist, with the palm facing outwards and the fingers pointing upwards. It shows the Buddha either displaying fearlessness in the face of adversity, or enjoining others to do so. Right hand raised is also called "calming animals" th:ปางโปรดสัตว์ pang pròht sàt; both hands raised is also called "forbidding the relatives" th:ปางห้ามญาติ pang ham yat. These 'mudrā are usually associated with a standing Buddha, but seated representations are not uncommon.

• Reasoning and exposition (Vitarka mudrā): the arm and hand are positioned in the same manner as in the abhāya mudrā, except that the thumb and forefinger are brought together. The gesture can be made with either the right or left hand (usually the right), but not both. This mudra signifies an appeal to reason, or the giving of instruction. Since the Buddha is appealing to reason, the gesture is often interpreted as an appeal for peace.
• Setting the wheel in motion (Dharmachakrā mudrā): the hands are held in front of the chest, with both hands in the vitarka mudrā position, with the fingers of the left hand resting in the palm of the right hand. This is a less common mudrā since it refers to a particular episode in the Buddha's life: his first sermon, when he "set the wheel (of his life's work) in motion." It can be used for both seated and standing images.

Over the centuries combinations and variations of these six mudrā have evolved. For example the "double abhāya mudrā", with both hands held up in the abhāya mudrā position, became common in Thailand and Laos in the 16th century, and is now one of the most common representations of the Buddha in south-east Asian countries. It is sometimes interpreted as "Buddha teaching on reason." As artists wished to depict more of the specific incidents in the life of the Buddha, new, secondary mudrās evolved, such as "Buddha holding an alms bowl", "Buddha receiving a mango" and Buddha performing various miracles. Many of these originated in Burma and then spread to other parts of the Buddhist world.