Comparative Study of Mantrashastra

Author(s): Mohanlal Bhagwandas Jhaveri
Publisher: Sarabhai Manilal Nawab

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Mandalas also are varied according to the objects sought to be achieved.
MUDRA
In Tantrik Sadhana the body as well as the mind has to do its part the former being made to follow the latter. This can be seen in bowing, genuflection, Nyasas, Mudras, etc. As all else, gesture is here much elaborated.
INTRODUCTION
"Nyasa, Asana and other ritual are necessary for the production of the desired state of mind and its purification (Chittashuddhi). The whole aim and end of ritual is Chittashuddhi. Transformation of thought is transformation of being, for particular existence is a projection of thought, and thought is a projection from the Consciousness which is the Root of all."
THREE MEANINGS OF MUDRA
The word Mudra has three meanings. (1) In ordinary worship it means ritual manual gestures, (2) in secret worship it means various kinds of parched cereals, taken with wine and other ingredients, (3) in Yoga it means postures or poses in which not only the hands but the whole body takes part. According to Tantraraja the Mudra of Upasana is so called because it pleases the Devatās, it being derived from the root 'Mud', to please. "It is the outward bodily expression of inner resolve which it at the same time intensifies. Use of gestures to emphasize or illustrate while speaking is known to all. So in invoking (Ávāhana) the deity an appropriate gesture is made. The Mudras are numerous. Nirvanakalikā, the Jain work already referred to, has a chapter by itself on Mudras; so also has Vidhiprapa of Sri Jinaprabhasuri which deals with such as are commonly used in Jain rituals. Sir John Woodroffe says from Shabda kalpadruma and Nirvanatantra chap. 11 that the Mudras are 108-possibly more, of which fiftyfive are in common use.* The Mudras also vary according to the object
* A work dealing with Mudras entitled 'Mudränighantu' is published in Tantrik Texts series together with "Tantrabhidhana' and 'Bijanighantu' as vol. I with an Introduction by Arthur Avalon.
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