Mudras (Sanskrit, ??????, literally "seal") are religious gestures, normally made with the hands or fingers, used in meditation, iconography, dance, and ritual, which are said to have deeper symbolic meaning and power.
The Abhaya mudra ("mudra of no-fear") represents protection, peace, benevolence, and dispelling of fear. In the most common form of anjali mudra, the hands are held at the heart chakra with thumbs resting lightly against the sternum.
Westerners associate this gesture with prayer, but in Buddhism the anjali mudra represents "suchness" (tathata) -- the true nature of all things, beyond distinction.The term anjali literally means “two handfuls’, and is derived from the cupped hands being pressed edge to edge.
The Varada mudra ("favourable mudra") is customarily used whenever a blessing is being offered. The gesture of generosity is made with the palm and all of the extended fingers held outwards and downwards.
Dharmachakra in Sanskrit means the 'Wheel of Dharma' and this mudra position represents the turning of the wheel of the Dharma and is referred to as the ‘teaching gesture’. The Dharmacakra mudra represents a central moment in the life of Buddha when he preached his first sermon after his Enlightenment, in Deer Park in Sarnath.
Dharmacakra mudra is formed with both hands positioned in front of the heart, having the right palm forward and the left palm upward and inward, facing the chest.
Significantly, in this mudra, the hands are held in front of the heart, symbolizing that these teachings are straight from the Buddha's heart.
The right ‘method’ palm facing outwards represent the transmission of the Buddha’s teaching to others, and the left ‘wisdom’ palm facing inwards represents the inner realization of these teachings within oneself. The dharmachakra mudra is the gesture of Dhyani Buddha Vairocana, the ‘Radiantly Bright’ white Buddha of the center.
There are several variants such as in the frescoes of Ajanta, India where the two hands are separated, and the fingers do not touch. The teaching may also be made with only the right hand held before the heart in dharmachakra mudra, whilst the left hand rest upon the lap in the dhyana mudra.
The Dhyana mudra ("meditation mudra") is the gesture of meditation or concentration (Sanskrit: samadhi mudra). When only the left ‘wisdom’ hand makes this mudra, the right ‘method’ hand may be represented in any mudra, or may hold the specific attribute of the deity. This mudra is extremely popular in Asia used in representations of the Sakyamuni Buddha and Amitabha Buddha. In Japan, this mudra (#6a) is called Zenjo-in (also called Hokkaijo-in) and is associated with Shaka Nyorai, Dainichi Nyorai, and Senju Kannon and rarely used for images of Amida Nyorai (Amitabha). Despite this variation, both mudra are still translated as “meditation mudra.” In addition, Zen artwork frequently portrays Shaka (the Historical Buddha) with the ordinary meditation mudra, but the position of both hands is often reversed (left on top of right, not right on top of left). Literally “knowledge-fist mudra”, the Vajra mudra is formed by by enclosing the erect forefinger of the left hand in the right fist with the tip of the right forefinger touching (or curled around) the tip of the left forefinger.
It is characteristic gesture of Dainichi Nyorai (Vairochana), an important Buddha to adherents of Esoteric Buddhism (Shingon), particularly in his form as Mahavaircana, the ‘Great Resplendent One’, as the white Lord of many of the early yogatantra mandalas. The Vitarka mudra ("mudra of discussion") is the gesture of discussion, intellectual argument and transmission of Buddhist teaching. While the right hand is held at chest level and palm outward, vitarka mudra is done by touching the tips of the thumb and the index together forming a circle, and keeping the other fingers pointing up. This mudra is mainly used for images of the Great Buddhas, and symbolizes one of the phases of the preaching of the Buddha, that of discussion or teaching of the dharma. The Jnana mudra ("mudra of knowledge") is done by touching the tips of the thumb and the index together, forming a circle, and the other fingers are extended straight. The Karana mudra is the mudra which expels demons and removes obstacles such as sickness or negative thoughts. The Uttarabodhi mudra is a gesture that identifies with a supreme enlightenment and symbolizes perfection.


Frequently, this mudra is seen in image of Shakyamuni Buddha as liberator of the Nagas and in images of Vairochana. Jangama dhyana, and check out Jangama dhyana on Wikipedia, Youtube, Google News, Google Books, and Twitter on Digplanet.
Jangama dhyana is a meditation technique, which has been practiced by various Sages over the centuries. Jangama dhyana is an ancient meditation technique which involves concentrating the mind and sight between the eyebrows. When the mind has been trained to remain fixed on a certain internal or external location, there comes to it the power of flowing in an unbroken current, as it were, towards that point. The point between the eyebrows is referred to as the bhrikuti and symbolically as the ajna chakra, which means 'commanding circle.' When the mind becomes totally concentrated at this point, one becomes the commander of one's mind. In modern times, the 19th century Yogi, Shri Ramakrishna Paramahamsa, practiced meditating between the eyebrows in order to achieve Nirvikalpa Samadhi (bringing the mind to a complete standstill, beyond imagination). Today, the technique is associated with Shri Shivabalayogi Maharaj and his direct disciple Shri Shivarudra Balayogi Maharaj. The name for the technique was coined by Shri Shivabalayogi while walking around the Dehradun ashram one night with his direct disciple, Seenu, who was later to become the Enlightened Yogi, Shri Shivarudra Balayogi.
Perhaps it would be nice to name the meditation technique we are teaching worldwide as Jangama dhyana. Swayamvara Parvathi Mantra 54 Chants by KrishnaSwayamvara Parvathi Mantra removes the obstacles in the happening of Marriage and speed up the process of finding Girl or Boy ( vathu or varan). Mudras are an important part of Hinduism and Buddhism and they are frequently utilized in Indian meditation, yoga, and devotional practice. This gesture calls upon the earth to witness Shakyamuni Buddha's enlightenment at Bodh Gaya. The gesture may also be performed at the brow chakra with thumb tips resting against the "third eye" or at the crown chakra (above the head). The thumb and index finger of both hands touch at their tips to form a circle representing the Wheel of Dharma. When made with both hands, the hands are generally held at the level of the stomach or on the lap with the palms facing upwards, and the fingers extended.
The left hand making the Dhyana mudra in such cases symbolizes the female left-hand principle of wisdom.
Sometimes the Dhyana mudra is used in certain representations of Bhaisajyaguru as the Medicine Buddha, with a medicine bowl placed on the hands. Instead, Amida is portrayed almost exclusively with the Mida-no-Join Mediation Mudra (#6b) and this helps to differentiate between Dainichi and Amida. This is also known as the six elements mudra, the fist of wisdom mudra or by its Japanese name of Chi Ken-in.
The mudra stresses the importance of Knowledge in the spiritual world and is also known as the Mudra of Supreme Wisdom. Sometimes the left hand is held with fingers pointing downward, at hip level, also with palm outward and with the thumb and index finger forming a circle.
The circle formed by the thumb and the index, a complete form, having neither beginning nor end, is that of perfection; it resembles the Law of the Buddha, which is perfect and eternal.
In Tibet it is the mystic gesture of Taras and Bodhisattvas with some differences by the deities in Yab-yum. Gerald Cantor Center for Visual Arts on the Stanford University campus in Stanford, California. In modern times, it has been used by Shri Shivabalayogi Maharaj and his direct disciple Shri Shivarudra Balayogi Maharaj to achieve Self Realization. Though he was able to withdraw his mind from all external sensations and objects, he initially could not go beyond the vision of goddess Kali, which his mind had become totally concentrated upon during his long period of devotional tapas.


There are numerous types of mudras and they are said to have specific qualities that can be imparted to practitioners.
A seated figure's right hand with palm inward, hanging over the knee, reaches toward the ground. In Mahayana, the northern schools' deities often paired it with another mudra using the other hand. In some yoga postures, the hands are placed in anjali mudra position to one side of the body or behind the back.
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.
It originated in India most likely long before the Buddha as yogis have used it during their concentration, healing, and meditation exercises.
It symbolizes the unity of the five worldly elements (earth, water, fire, air, and metal) with spiritual consciousness. An alternative form of Vairocana’s bodhyangi mudra is made by enclosing the raised thumb of the left fist in the four clenched fingers of the right fist.
Another interpretation claims that the erect forefinger represents Knowledge, which is hidden by the world of appearances (the right fist).
This mudra is also a universal sign outside of its Buddhist context, especially as witnessed by its frequent appearance in Christian iconography. It is nearly the same as the gesture known as corna in many western countries, the difference is that in the Karana mudra the thumb does not hold down the middle and ring finger. In deeper practice of the Jangama dhyana technique, the mind concentrated between the eyebrows begins to automatically lose all location and focus on the watching itself. On 7 August 1949, he experienced a vision of a tall Jangama Sage (ancient order of ascetics) with matted hair, who told him to sit in padmasana (lotus posture), and close his eyes. After being totally cleansed through meditation, the mind becomes pure consciousness capable of realizing through deeper meditation (Samadhi) its existence beyond imagination as the eternal Self. In Japan, when the Abhaya mudra is used with the middle finger slightly projected forward, it is a symbol of the Shingon sect.
These fingers are themselves rich in symbolic significance representing the various Buddhist trinities.
In Tibet, this mudra represents the perfect union between the deity and his feminine power. Eventually, the meditator experiences only the consciousness of existence and achieves Self Realization.
The Sage then touched the young boy between the eyebrows and instructed, 'Watch here.' Thus, Shri Shivabalayogi Maharaj sat in tapas (deep, prolonged meditation) for twelve years, meditating for 23 hours a day for eight years and around 12 hours a day for the remaining four years.
In the same way, when the mind is going through the purification, then thoughts and visions occur. After this period, he initiated tens of thousands of people into the meditation technique he had used to achieve Self Realization. In 1994, Shri Shivabalayogi initiated his direct disciple, Seenu, into tapas using the Jangama dhyana technique. That is why we need to be so careful in this regard, because if you are watching, then the mind can very easily get involved in the thought, and if it gets involved it can further acquire new imprints. He achieved Self Realization in November 1999 and was given the name Shri Shivarudra Balayogi Maharaj, after meditating for around 20 hours a day over five years.




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