Mudras
Mudras
Mudras
SECTION TWO
INDIA
edited by
J. Bronkhorst
A. Malinar
VOLUME 22/5
Brills Encyclopedia of Hinduism
Volume V:
Religious Symbols
Hinduism and Migration:
Contemporary Communities outside South Asia
Some Modern Religious Groups and Teachers
Edited by
Knut A. Jacobsen
(Editor-in-Chief )
Associate Editors
Helene Basu
Angelika Malinar
Vasudha Narayanan
Leiden boston
2013
Library of Congress Cataloging-in-Publication Data
Brills encyclopedia of Hinduism / edited by Knut A. Jacobsen (editor-in-chief); associate editors, Helene Basu,
Angelika Malinar, Vasudha Narayanan.
p. cm. (Handbook of oriental studies. Section three, India, ISSN 0169-9377; v. 22/5)
ISBN 978-90-04-17896-0 (hardback : alk. paper)
1. HinduismEncyclopedias. I. Jacobsen, Knut A., 1956- II. Basu, Helene. III. Malinar, Angelika.
IV. Narayanan, Vasudha.
BL1105.B75 2009
294.503dc22
2009023320
ISSN 0169-9377
ISBN 978 90 04 17896 0
Copyright 2013 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints
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Prelims
Preface ................................................................................................................................................ xvii
List of Contributors .......................................................................................................................... xviii
Notes for Users . ................................................................................................................................ xxxiii
Primary Sources ................................................................................................................................ xxxv
Primary Source Abbreviations . ...................................................................................................... lxviii
Journals and Series ........................................................................................................................... lxxvii
General Abbreviations ..................................................................................................................... xc
Religious Symbols
Cakra . ..................................................................................................................................................... 3
Symbolic Meanings of the Cakra ..................................................................................................... 3
History ............................................................................................................................................ 4
Worship of Sudarana ..................................................................................................................... 5
Cakra in New Age Movements ........................................................................................................ 6
Conclusion ...................................................................................................................................... 6
Colors ..................................................................................................................................................... 7
Color in Medicine, Magic, Metaphysics, and Ritual . ....................................................................... 7
Elements, Experience, and the Cosmos ........................................................................................... 9
Colorlessness, Purity, and Transcendence ....................................................................................... 10
Deities, Devotion, and Iconography ................................................................................................ 11
Red, Gold, and Shining: Vitality, Agni, Rudra, and the Goddess .................................................. 11
Blue, Black, and Dark: Krsn a, iva, and Kl ................................................................................. 12
White and Ash Gray: Soma and iva ............................................................................................... 12
Perspectives on Color ...................................................................................................................... 13
Conch ..................................................................................................................................................... 14
Mythology ....................................................................................................................................... 14
Iconography .................................................................................................................................... 14
The Conch as a Sign of Visnu . ......................................................................................................... 14
The Presence of Visnus Conch on Earth ...................................................................................... 15
Use in Ritual .................................................................................................................................... 15
Divine Attributes and Emblems . ........................................................................................................ 16
The Term Emblem in the Present Context . .................................................................................. 17
Ornaments ...................................................................................................................................... 18
Aksaml (String of Seeds or Beads Used for a Contemplative Practice) ......................................... 18
Animal Skin (Carman) .................................................................................................................... 18
Arrow (Bn a, ara) ......................................................................................................................... 19
Axe or Hatchet (Parau, Kuthra) ................................................................................................... 19
Banner, Flag (Dhvaja, Ketu) ............................................................................................................ 20
Begging Bowl (Bhiksptra) ............................................................................................................ 20
Bell (Ghan t ) ................................................................................................................................... 20
Book, Palm-Leaf Manuscript (Pustaka) . ......................................................................................... 20
Bottle, Waterpot, or Ewer (Kaman dalu, Kun dik, Kalaa, or Bhrngra) ......................................... 20
Bow (Cpa, Dhanus, or rnga) . ..................................................................................................... 21
Chisel or Related Implement (T anka) ............................................................................................. 21
Cloth (Vastra) ................................................................................................................................. 22
Club (Gad, Lakuta; Musala [Pestle]) ............................................................................................. 22
Cobra (See Serpent) ......................................................................................................................... 23
Appendix
Devadss/Courtesans .......................................................................................................................... 715
Courtesans between Power, Shame, and Fame ................................................................................ 715
Power: The Eye of the Beholder ....................................................................................................... 716
Power: A Logic of Practice ............................................................................................................... 717
Between Shame and Fame: Shame ................................................................................................... 720
Between Shame and Fame: Fame . ................................................................................................... 722
Power Revisited ............................................................................................................................... 723
Hinduism and Dravidian Identity ...................................................................................................... 725
The First Key Moment: The Separation of Brahmans and Non-Brahmans ...................................... 726
The Second Key Moment: Linking Dravidian Ideology with Tamil aivism and aiva Siddhnta ... 728
The Indigenization of Dravidian Ideology ....................................................................................... 728
P. Sundaram Pillay (18551897) . .................................................................................................... 729
J.M. Nallaswami Pillai (18641920) . ............................................................................................... 730
Maraimalai Adigal (18761950) ...................................................................................................... 731
Feminism ............................................................................................................................................... 734
The Woman Question ..................................................................................................................... 734
Catalyst by Elite Men ....................................................................................................................... 734
Womens Voices . ............................................................................................................................ 737
Post-Independence and Post-colonial Feminisms: Methods and Issues .......................................... 741
Nature and Praxis of Feminism ....................................................................................................... 742
Interventions ................................................................................................................................... 743
Nationalism ........................................................................................................................................... 750
Early Developments ........................................................................................................................ 750
Who Is a Hindu? . ............................................................................................................................ 753
The Sangh Parivar . .......................................................................................................................... 755
Conclusion ...................................................................................................................................... 758
Politics and Media . ............................................................................................................................... 760
Media and Religion in Colonial India .............................................................................................. 760
Media Theory and Practice in the Era of National Independence .................................................... 761
A New Phase of Hinduism? ............................................................................................................. 764
Mediatic Differences and Linguistic Divisions . ............................................................................... 766
Conclusion ...................................................................................................................................... 767
Mudr in different texts and contexts might his Abhinavabhrati (Nagar & Joshi, 1988), also
mean not only coin (money), fingerring or ear- used hasta instead of mudr when referring to a
ring, mark, and sign of recognition but also a hand gesture.
method of calculation and a decoration of poetry. The Abhinayadarpan a of Nandikevara (post-
Such meanings as seal and sign of recognition 5th cent. ce) is considered to be later than the
can be found in Kaut ilyas Arthastra (13.4.41; Ntyastra (Ghosh, 1957, 3334). The descrip-
2nd3rd cents. ce; Olivelle, 2013, 29, 31). Mudr tion of the hastas and their meanings occupy
as the gesture sign will be discussed on the basis of half of this relatively short text. It follows the
three different kinds of sources: Ntyastra classification of gestures (asam yuta,
1. texts on dance and performance (see also sam yuta, and nrtta, which are, respectively, dis-
drama and theatre); joined, or single-hand gestures, joined, or done
2. texts on iconography (see images and ico- with both hands, and dance gestures), but their
nography); and numbers and applications differ. Nandikevara
3. tantric texts (Tantras). uses the word mudr only once (AbhiD. 162) but
in the meaning of coin, that is, describing a ges-
ture in which the fingers are displayed as if hold-
Mudrs in Theatre ing a coin (mudr). This gesture is again called
hasta. Thus, all hand gestures without exception
According to secondary literature hand gestures are called hastas and not mudrs. Additionally,
play an important role in the performance tra- the Abhinayadarpan a includes yudhas hand
ditions and in the corresponding manuals (e.g. gestures that symbolize the weapons (yudhas)
Satkunaratnam, 2010, 603; Pati, 2010, 610), but wielded by various deities, such as sword, trident,
when it comes to tracing the word mudr in these conch, or disk and hand gestures representing
manuals, it can be surmised that it did not mean the incarnations (avatras) of Visnu.
gesture. Mudr in the sense of gesture sign cannot be
In the Ntyastra, a text ascribed to Bharata- found in either of these two texts. It is only later
muni (c.3rd cent. ce; Bansat-Boudon, 1992, that the term mudr instead of hasta is used for
2538), hand gestures serve as an aesthetic hand gesture in theatrical performance. One of the
enhancer and as a nonverbal means of commu- first texts to do so is the Visn udharmottarapurn a,
nication, displayed by the precise position of which was written before the 10th11th centu-
the fingers in conjunction with the whole body ries, with some parts as old as the 5th century ce
posture, the movement, and the gaze. Chapter (Rocher, 1986, 103, 250ff.). This text, as if trying to
9 of the Ntyastra, the Hastbhinaya, deals update the material of the non-extant Ntyastra
with the 67 meaningful gestures (hastas; Unni, that it cites, introduces in the middle of the text on
2003). These hastas constitute but one part of the theatrical performance two chapters on ritual
ngikbhinaya, or expression by various parts of mudrs (ViDhP. 3.3233), both of which are
the body (anga). The other three aspects of abhi tinted by tantric influence.
naya (acting in theatre) include speech (vcika), The anonymous Hastalaksan adpik (or Hasta
costume or decor (harya), and demeanor mudrdpik; 10th15th century ce; Sudha, 2001,
(sttvikbhinaya; Malinar, 2010, 7f.), the latter 202208; Venu, 2000, 38) seems to not only com-
often identified with emotions transmitted by the bine the classical hand gestures of the earlier texts
actors through actions of physical nature, such but also include the hand gestures used in the
as goose bumps or fainting. tantric traditions of Kerala. This text uses both
The word mudr in the Ntyastra does not of the terms and calls one of the hastas mudr
mean gesture but rather earring or ring (Nt. (mudrkhya). It presents the dancer with a vocab-
21.17, 25, 3536). Noteworthy is that Abhina ulary of almost one thousand signs to be displayed
vagupta, who commented on the Ntyastra in by means of dynamic hand gestures.
92 Mudrs