Abhaṅga (अभङ्ग) is a slight flexion (in the standing pose of a figure); see also samabhanga and atibhanga; The plumb line or midline runs from the crown of the head to a point midway between the heels slightly to the… Continue Reading →
hand suggestive of protection (cf. abhaya-mudra and abhaya-hasta)
a gesture granting freedom from fear – finger pointing (cf. abhaya)
hand-pose assuring protection (cf. abhaya); gesture of fearlessness, reassurance and protection offered by deity to devotee, with right hand displayed palm outwards and fingers raised
Ālīḍha (आलीढ), the pose of a warrior, with his right leg bent forward and left drawn back (cf. pratyalidha); Left leg bent at knee, and right leg straight but slanting at an angle to the back.
dance pose; ‘dance of bliss’ – associated with South Indian representations of Shiva Nataraja, especially processional bronze images
a gana with graceful flexion
bodily gryations in a dance pose
hands clasped in adoration
a pose of anjali with the palm of the hands joined together near the chest; ‘two handfuls’ – pose with hands clasped together in respectful greeting and adoration, characteristic of subordinate deities, attendant gods and devotees
hands in crescent moon-like form to hold fire
hand around one bent leg in meditative pose
meditative mode of seat with ardha-yogapatta
Ardhaparyaṅka (अर्धपर्यङ्क), seated with both legs on the seat, one raised up and the other bent (cf. ardhaparyankasana); Sitting with one leg folded and the other raised with the heel on the seat, the arm resting on the knee. Same… Continue Reading →
Ardhaparyaṅkāsana, seated with both legs on the seat, one raised up and the other bent (cf. ardhaparyanka); Sitting with one leg folded and the other raised with the heel on the seat, the arm resting on the knee. Same as… Continue Reading →
standing position with strongly bent knees
Asaṃyukta (असंयुक्त) or Asaṃyuktahasta is the presentation of a single hand in dance gesticulation (cf. samyukta-hasta and nrtta-hasta).
Asaṃyuktahasta (असंयुक्तहस्त) or Asaṃyukta is the presentation of a single hand in dance gesticulation (cf. samyukta-hasta and nrtta-hasta).
Atibhaṅga (अतिभङ्ग) is the form of the tribhaṅga curve, a multi-flexed pose.
Central reliefed or projected part from each side of the body of the vimana or prasada as distinct from the corner projection (karna). Bhadra (भद्र) is an asana; Sitting cross-legged as in Kurmasana and holding the toes with the hands.
Bhadrāsana (भद्रासन), square or rectangular supplemental pedestal to which an image and its padmapitham are attached and which they rest; Bhadrāsana posture, the legs are crossed as in the kurmasana, and the right and the left big toes are caught… Continue Reading →
‘scared by snake’, a dance-pose suggesting movement away from a snake out of fear
(cf. bhusparsa); The attitude of ‘touching the earth’, calling her to witness of virtue of Gautama. In this hand-pose, the right hand is placed over the right knee. The hand, with palm inward, all fingers down, touches the lotus seat… Continue Reading →
(cf. bhumisparsa); The attitude of ‘touching the earth’, calling her to witness of virtue of Gautama. In this hand-pose, the right hand is placed over the right knee. The hand, with palm inward, all fingers down, touches the lotus seat… Continue Reading →
The hand pose that inspires awe. In this, the wrists are crossed in front of the chest. It is one of the mudras of Vajrapani.
This is the hand-pose of salutation. In this, the hand is held level with the head, with the palm facing up and all fingers fully extended. It is the mudra of Vasudhārā and Usnisavijaya.
a dance-pose, with the left foot slightly raised but still touching the ground; lit. clever
hand connoting knowledge; In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards. This is the hand-pose of teaching or exposition…. Continue Reading →
hand held straight like a stick (cf. kari-hasta and gaja-hasta)
The hand-pose of preaching the Law. It signifies the turning of the Wheel of Law. In this hand-pose, both the hands are held against the chest, the left hand covering the right. (cf. dharmachakrapravartana-mudra) It is the mudra of Gautama,… Continue Reading →
hand suggesting the first turning of the wheel of law by Buddha at Sārnāth (cf. dharmachakra)
Dhyāna (Sanskrit: ध्यान) refers to meditation or hands in meditation; Seated in Padmasana in the attitude of meditation. In this sitting position, the legs are crossed, with soles of the feet turned upwards, resting on the thighs; In this hand-pose,… Continue Reading →
In this gesture of the hand, the palm of the right hand is placed in the palm of the left hand. Both hands rest on the crossed legs of the seated image. This is the hand gesture of meditation and… Continue Reading →
Dvibhanga (द्विभङ्ग) a duoflex pose
hand held straight like a stick (see also danda-hasta and kari-hasta)
Garuḍa (Sanskrit: गरुड) or Garuḍamudrā is the name of a hand-pose.
posture of the hand hanging down in the manner of the tail of a cow
In this hand-pose, a ring is formed by joining the thumb with the middle and ring fingers. The indes and little fingers are kept straight.
Hasta (हस्त) or Hastamudrā refers gestures and movements of hands (cf. mudra) and is one of the three subdivisions of pratimalakshana (postures of icons); hand poses; mode of hand suggestive in dance, single asamyukta or double samyukta; The three kinds… Continue Reading →
hands crossed
In this hand gesture, the tips of the middle or index finger and of the thumb are joined together and held near the chest, with the palm turned inward.
dance pose; classified and codified dance movements
hand held straight like a stick (see also danda-hasta and gaja-hasta)
a holding gesture; In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers are kept straight up to look like the horn of a… Continue Reading →
In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers are kept straight up to look like the horn of a deer, in which… Continue Reading →
the gesture of kartari; In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers are kept straight up to look like the horn of… Continue Reading →
fingers of the hand held like a pair of scissors to hold an object; In this hand-pose the hand is kept level with the shoulder. The thumb and the ring finger form a ring and the index and middle fingers… Continue Reading →
a pose of holding between the closed fingers; In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand… Continue Reading →
the pose of hand in kataka; In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the… Continue Reading →
hand in an attitude of holding a lily; In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand… Continue Reading →
This is the pose of ease. The arm hangs loose and the hand is placed on the waist. Also called Katyavalambita.
pose in which the hand is held straight below the hip; This is the pose of ease. The arm hangs loose and the hand is placed on the waist. Also called Kati-hasta.
Kayotsarga (कयोत्सर्ग) means to give up one’s physical comfort and body movements, thus staying steady, either in a standing or other posture, and concentrating upon the true nature of the soul (cf. kayotsarga-sthanaka and sthanaka).
Kayotsargasthānaka (कयोत्सर्गस्थानक) or Kayotsarga refers to the ‘erect posture’; In kayotsarga posture, the feet are placed together with the body erect and the arms hanging close to the body.
This is the gesture for sprinkling ambrosia. In this hand-pose are joined palm to palm, with the tips of the index fingers touching and turned down towards the vase containing nectar. It is the mudra of Nāmasangīti.
Kūrma (Sanskrit: कूर्म) it means tortoise; a standing posture with the outer part of the leg, heel and knee of the right side are placed on the ground and the left foot is kept in the normal position; sitting cross-legged… Continue Reading →
Kūrmāsana (कूर्मासन) refers to the ‘seat of the turtle’; Oval in shape and is made of wood; it has the face and the feet of a tortoise; is the name of an asana (cf. kurma)
Lalita (ललित), dance pose; graceful form; Sitting on a high pedestal as on a stool, with one leg hanging down and the other folded and resting on a cushion or a pedestal (also called Savya-lalita or Sukhasana). If the left… Continue Reading →
Lalitāsana (ललितासन), relaxed sitting posture with one leg pendant, the other bent at the knee
a royal pose of sitting at ease; seated pose of ease like a king, with the right hand resting on the knee of the bent right leg; sitting at ease (cf. ardhaparyanka, ardhaparyankasana and rajalilasana)
Mahārājalīlāsana (महाराजलीलासन) or Rājalīlāsana is a sitting posture with one leg folded at the hip, touching the thigh of the other, which hangs with the heels slightly raised above the pedestal which is touched only by the toe or a… Continue Reading →
Makarāsana (Sanskrit: मकरासन), Standing posture on a pedestal, contrived in form of a Makara, a seamonster.
halo (cf. bha-mandala); Maṇḍala (मण्डल), in it the feet are four Tala’s apart and they are obliquely placed and turned sideways, the waist and the knee are in the natural position. Relates to Indra.
gesture of the hand; hand poses (cf. hasta)
This is the attitude of adoration or prayer. The two hands are kept close to the chest, touching palm to palm, in an attitude of prayer.
Nṛttahasta (नृत्तहस्त) refers to hand in dance gesticulation (cf. asamyukta-hasta and samyukta-hasta).
crossed legs
Padmāsana (पद्मासन) is the lotus pose: a seated pose of ease with the legs crossed and feet resting on the thighs with the soles turned up; alternativly, the lotus shaped seat or pedestal and is generally used for worship (also… Continue Reading →
Paryaṅka (पर्यङ्क) sitting cross-legged (cf. padmasana and paryankasana)
legs bound in a strap for so they stay easily kept in a yogic meditation pose (cf. yoga-patta)
Paryaṅkāsana (पर्यङ्कासन), seated pose with legs locked over seat (cf. paryanka)
Pralambapāda or Pralambapadasana is the European position; Sitting on a seat with both legs pendant in the Western manner.
Pralambapādasana or Pralambapada is the European position; Sitting on a seat with both legs pendant in the Western manner.
Pratyālīḍha (प्रत्यालीढ), warrior’s pose, the opposite of the alidha posture; Right leg bent at the knee and the left leg stretched behind and kept straight at an angle.
Rājalīlāsana (राजलीलासन) or Mahārājalīlāsana is a sitting posture with one leg folded at the hip, touching the thigh of the other, which hangs with the heels slightly raised above the pedestal which is touched only by the toe or a… Continue Reading →
Samabhaṅga (समभङ्ग) a posture in which the figure is shown without flexions of the body (see also abhanga, tribhanga and atibhanga); The plumb line runs through the navel from the crown of the head to a point midway between the… Continue Reading →
The attitude of meditation. In this hand-pose, both hands are placed on the lap, right hand on left, with the fingers fully extended and the palm facing upwards. Also called yoga-mudra or dhyana.
Samapāda (समपाद) or Samapādasthānaka refers to the ‘erect posture’; In samapada posture, the head and body are held erect with legs and arms close together. There is no flexion in the body. The gaze is direct. Samapada-sthanaka is of two… Continue Reading →
Samapādasthānaka (समपादस्थानक) or Samapada refers to the ‘erect posture’; In samapada posture, the head and body are held erect with legs and arms close together. There is no flexion in the body. The gaze is direct. Samapāda-sthānaka is of two… Continue Reading →
Sampāda (सम्पाद), straight pose with feet together; standing with the feet together or even
Saṃyukta (संयुक्त) or Saṃyuktahasta is the presentation of a double hand in dance gesticulation (cf. asamyukta-hasta and nrtta-hasta).
Saṃyuktahasta (संयुक्तहस्त) or Saṃyukta is the presentation of a double hand in dance gesticulation (cf. asamyukta-hasta and nrtta-hasta).
hand-pose in the attitude of teaching or exposition; In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards.
similar to abhaya
a pose like a hooded serpent
The Sauṣṭhava (सौष्ठव) of limbs is to be presented by being still, unbent, at ease, not very upright and not much bent. When the waist and the ears as well as the elbow, the shoulder and the head are in… Continue Reading →
Savya-lalita or Savya-lalitasana; Sitting on a high platform like a stool, with one leg hanging down and the other bent with the sole of the foot facing upwards resting on the leg (also called Lalita or Sukhasana).
Savya-lalitasana or Savya-lalita; Sitting on a high platform like a stool, with one leg hanging down and the other bent with the sole of the foot facing upwards resting on the leg (also called Lalita or Sukhasana).
In this hand-pose, the tips of the fingers are loosely joined to the thumb to form a ring. This is done with a view to inserting a fresh flower in the hand of the icon every day. (cf. Kataka, Kataka-hasta… Continue Reading →
Siṃhāsana (सिंहासन), a seating with a lion’s face; four-legged and is rectangular or circular in shape; its four legs are made up of four small lions; Sitting cross-legged as in Kurmasana. The palms of the hands are kept on the… Continue Reading →
Sopāśraya (सोपाश्रय) or Sopasrayasana, Sitting with legs loosely locked, the soles of the feet resting in the front.
Sopāśrayāsana (सोपाश्रयासन) or Sopasraya, Sitting with legs loosely locked, the soles of the feet resting in the front.
Sthāna (स्थान) refers to ‘standing posture’ (cf. Sthanaka). The six different kinds of sthānas are as follows: Vaisnava, Sampada, Vaisakha, Mandala, Alidha, Pratyalidha.
Sthānaka (स्थानक) refers to ‘standing posture’ (cf. sthana). The sthānaka in iconography has two typs: samapada-sthanaka and kayotsarga-sthanaka.
Sthānāsana (स्थानासन) refers to the posture dependent on the sthana, and represents one of the five types of asana.
hand with pointing finger in terrifying attitude; In this hand-pose, the projected forefinger points to an object below.
Sukha (सुख), Sitting in any comfortable position.
Sukhāsana (Sanskrit: सुखासन) seated at comfortable posture; Sitting on a high pedestal as on a stool, with one leg hanging down and the other folded and resting on a cushion or a pedestal (cf. Savya-lalita or Lalita).
Svastika (स्वस्तिक) or Svastikasana, Sitting cross-legged with the toes of the feet touching the opposite knees.
Svastikāsana (स्वस्तिकासन) or Svastika, Sitting cross-legged with the toes of the feet touching the opposite knees.
the storeys (cf. bhumi) of the vimana or gopura; a unit of measurement for images (Tāla, Hindi: ताल, Tamil: தாலா); In Indian iconometry, the Tāla system of measurement is used for sculpture or casting icons in metal. The face, from… Continue Reading →
dance poses
hand in attitude of threatening; In this hand-pose, the projected forefinger points to an object above. It is also used for warning or scolding someone.
The hand-pose of homage. The arm is kept level with the shoulder. The palm is turned in, and the fingers slightly bent and point towards the shoulders. This is the mudra of Namasangīti.
Tribhaṅga (त्रिभङ्ग), literally ‘triple-bent’; triflex (in the standing pose of a figure); consisting of three bows (neck, hips and knees) existing posture of a figure in the form of an ‘S’, she is considered graceful and sensual; exaggerated contrapposto
Utkuṭikā or Utkutikasana is a peculiar posture in which the person sits with his heels kept close to the bottom and with the back slightly curved; a pose of the leg tucked up on the seat
Utkuṭikāsana (उत्कुटिकासन) or Utkutika is a peculiar posture in which the person sits with his heels kept close to the bottom and with the back slightly curved; seated with a bent leg raised on the seat itself and the other… Continue Reading →
This is the hand-pose of perfection. In this all the fingers are locked, palms together, with the thumbs and the index fingers touching at the tips, with the fingers extended upwards. It is the mudra of Gautama and Namasangīti.
Vaiśākha (वैशाख), The two feet three Tala’s and a half apart and the thighs without motion. The two feet to be obliquely placed pointing sideways. Relates to Skanda (Kārtikeya).
Vaiṣṇava (वैष्णव), The feet two Tala’s and a half apart, one for the natural posture and another obliquely placed with toes pointing sideways and the shank bent and limbs with sausthava. Vishṇu is the presiding deity of this Sthana.
standing posture with slightly bent knees
This is symbolic of the Supreme and Eternal Buddha. The wrists are crossed at the chest and hold the vajra and ghanta (thunderbolt and bell).
Vajrāsana (वज्रासन), Sitting cross-legged with the soles of the feet turned upwards, the two hands resting on the knees.
The left leg is folded and the right kept dangling below.
The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand can reach.; see varada, varada-hasta and varada-mudra
a hand lowered; palm forward, fingers pointing downwards; The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand… Continue Reading →
hand-pose conferring a boon; The hand-pose which confers grace or boon. In this gesture of the hand, the palm of the hand with fingers extended downward, is held below the waist, as far as the hand can reach.; see vara
Vimalāsana (विमलासन), Hexagonal in shape and is used when offerings are to be made; used as a pitha
Vīrā (Sanskrit: वीर) means ‘heroic’; Sitting in heroic posture with the left leg resting upon the right thigh (cf. virasana).
Vīrāsana (वीरासन) is the heroic seated posture with one leg on the other (cf. vira)
also viśva-padmasana; double-petalled lotus pedestal; used as a pitha
This hand-pose is indicative of astonishment and wonder. In the hand-gesture, the fore-arm is lifted and the palm turned inward with the fingers spread out in a circular manner to denote inquiry.
The mudra of argument. In this hand-pose, the thumb and index finger are joined to make a ring. All the other fingers are extended upwards.
hand gesture of explanation, especially associated with Shiva and his followers
hand-pose in the attitude of teaching or exposition; In this hand-pose, the tips of the thumb and the forefinger touch each other to form a circle, while the other fingers are kept open. The palm faces outwards.
Yoga (Sanskrit: योग) is a meditative pose; Seated cross-legged, with soles of the feet turned upwards, with two hands on the lap, one upon the other, in an attitude of meditation.
Yogamudrā (Sanskrit: योगमुद्रा), In this gesture of the hand, the palm of the right hand is placed in the palm of the left hand. Both hands rest on the crossed legs of the seated image. This is the hand gesture… Continue Reading →
Yogapaṭṭa (योगपट्ट), a band-strip for binding the legs in a meditation pose (cf. paryanka-bandha); cloth worn during meditation; a cloth thrown over the back and knees of an ascetic during meditation
Yogāsana (योगासन) is a meditative pose; Seated cross-legged, with soles of the feet turned upwards, with two hands on the lap, one upon the other, in an attitude of meditation. Alternativly, the octagonal shaped seat or pedestal; it is used… Continue Reading →
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