Dhyanamudra, Dhyana-mudra, Dhyānamudrā: 9 definitions
Introduction:
Dhyanamudra means something in Buddhism, Pali, Hinduism, Sanskrit, Marathi. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
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In Hinduism
Shilpashastra (iconography)
Source: Wisdom Library: Śilpa-śāstraDhyānamudrā (ध्यानमुद्रा) is a Sanskrit word referring to “the gesture of meditation”. The term mudrā translates to “hand seal”.
Source: Google Books: The Book of Hindu Imagery: Gods, Manifestations and Their MeaningDhyana(-mudra)—The god sits in a position meditation and places the right hand inside the left hand in the lap with the palms turned up. This position, also known as yogamudra, indicates a condition of deep meditation.
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
Pancaratra (worship of Nārāyaṇa)
Source: archive.org: Catalogue of Pancaratra Agama Texts1) Dhyānamudrā (ध्यानमुद्रा) is the name of a Mudrā (“ritual hand-gestures”) mentioned in in chapter 13 of the Viśvāmitrasaṃhitā: a Pāñcarātra text comprising some 2600 Sanskrit verses covering topics such as initiation (dīkṣā) and the construction, decoration and consecration of temples and icons, as well as routines of regular and special worship cycles.—Description of the chapter [mudrā-adhyāya]: Kāśyapa asks what are the various types of mudrā-gestures, and Viśvāmitra complies by first defining mudrā as that by seeing which one derives pleasure (“mu-”) and then by counseling that whoever practices these mudrās must do so in secrecy (1-6). Thereupon he names and briefly describes how to perform a number of mudrās [e.g., dhyānamudrā]
2) Dhyānamudrā (ध्यानमुद्रा) is the name of a Mudrā mentioned in chapter 4 of the Viṣṇutilakasaṃhitā: a Pāñcarātra text comprising 3500 Sanskrit verses covering the typically “agamic” subjects which are being narrated by Brahmā to a number of sages.—Description of the chapter [yoga-adhyāya]: [...] The namatraya-mantra (Acyuta, Ananta and Govinda) is then mentioned, as is the agniprākāra-mantra. This is followed by brief descriptions of mudrās [e.g., dhyāna-mudrā]—which “please” Him (649-680).
Pancaratra (पाञ्चरात्र, pāñcarātra) represents a tradition of Hinduism where Narayana is revered and worshipped. Closeley related to Vaishnavism, the Pancaratra literature includes various Agamas and tantras incorporating many Vaishnava philosophies.
General definition (in Hinduism)
Source: Srimatham: Hindu IconologyDhyana Mudra — the gesture of meditation, this takes two forms: palms placed one over the other in the lap or arms stretched out, hands on the knees with the palms outward displaying the chin mudra. The former indicates meditation using an abstract or formless focus, and the later expresses the idea of meditation upon a more tangible object.
In Buddhism
General definition (in Buddhism)
Source: Exotic India: Mudras of the Great BuddhaThe Dhyana mudra may be made with one or both hands. When made with a single hand the left one is placed in the lap, while the right may be engaged elsewhere. The left hand making the Dhyana mudra in such cases symbolizes the female left-hand principle of wisdom. 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.
When made with both hands, the hands are generally held at the level of the stomach or on the thighs. The right hand is placed above the left, with the palms facing upwards, and the fingers extended. In some cases the thumbs of the two hands may touch at the tips, thus forming a mystic triangle. The esoteric sects obviously attribute to this triangle a multitude of meanings, the most important being the identification with the mystic fire that consumes all impurities. This triangle is also said to represent the Three Jewels of Buddhism, mentioned above, namely the Buddha himself, the Good Law and the Sangha.
The Dhyana mudra is the mudra of meditation, of concentration on the Good law, and of the attainment of spiritual perfection. According to tradition, this mudra derives from the one assumed by the Buddha when meditating under the pipal tree before his Enlightenment. This gesture was also adopted since time immemorial, by yogis during their meditation and concentration exercises. It indicates the perfect balance of thought, rest of the senses, and tranquillity.
This mudra is displayed by the fourth Dhyani Buddha Amitabha, also known as Amitayus. By meditating on him, the delusion of attachment becomes the wisdom of discernment. The Dhyana mudra helps mortals achieve this transformation.
Languages of India and abroad
Marathi-English dictionary
Source: DDSA: The Molesworth Marathi and English Dictionarydhyānamudrā (ध्यानमुद्रा).—f (S) The prescribed attitude in which to meditate upon the deity. Hence 2 The look or air of abstraction.
Source: DDSA: The Aryabhusan school dictionary, Marathi-Englishdhyānamudrā (ध्यानमुद्रा).—f The prescribed attitude in which to meditate upon the deity. The look or air of abstraction.
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.
Sanskrit dictionary
Source: DDSA: The practical Sanskrit-English dictionaryDhyānamudrā (ध्यानमुद्रा).—a prescribed attitude in which to meditate on a deity.
Dhyānamudrā is a Sanskrit compound consisting of the terms dhyāna and mudrā (मुद्रा).
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English DictionaryDhyānamudrā (ध्यानमुद्रा):—[=dhyāna-mudrā] [from dhyāna > dhyai] f. a prescribed attitude in which to meditate on a deity, [ib.]
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
See also (Relevant definitions)
Partial matches: Mudra, Dhyana.
Full-text: Dhyana, Adinarayana, Mudra, Bhumisparshamudra, Shaivacintamani, Vajradhatu, Vairocana.
Relevant text
Search found 26 books and stories containing Dhyanamudra, Dhyana-mudra, Dhyāna-mudrā, Dhyānamudrā; (plurals include: Dhyanamudras, mudras, mudrās, Dhyānamudrās). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Jainism in Odisha (Orissa) (by Ashis Ranjan Sahoo)
Jaina Sculptures at Achutrajpur < [Chapter 3: Survey of Jaina Antiquities in Odisha]
Jaina images of Jamunda at Jeypore District Museum < [Chapter 3: Survey of Jaina Antiquities in Odisha]
Jaina images of Bhairava Singhpur at Jeypore District Museum < [Chapter 3: Survey of Jaina Antiquities in Odisha]
Jain Remains of Ancient Bengal (by Shubha Majumder)
Jain Tutelary Couple or Parents of the Tīrthaṅkaras < [Chapter 6 - Iconographic Study of Jaina Sculptural Remains]
Single depiction of Candraprabha sculptures < [Chapter 6 - Iconographic Study of Jaina Sculptural Remains]
Single depiction of Pārśvanātha sculptures < [Chapter 6 - Iconographic Study of Jaina Sculptural Remains]
The Indian Buddhist Iconography (by Benoytosh Bhattachacharyya)
Buddhist iconography in and outside India (Study) (by Purabi Gangopadhyay)
Amitabha Mandala < [Chapter 3: Influence of Indian Buddhist Art on China and Korea]
Buddha Amitabha and the attendant < [Chapter 3: Influence of Indian Buddhist Art on China and Korea]
The Sanjusangendo temple (in Kyoto) < [Chapter 4: Japanese Buddhist Iconography (a Comparative Study)]
Amaravati Art in the Context of Andhra Archaeology (by Sreyashi Ray chowdhuri)
The offering of milk-rice < [Chapter 3 - Amarāvatī and the Formative Stage of the Buddhist Art]
The Sculptures of Madan-Kamdev (Study) (by Kamal Nayan Patowary)
Part 2.10 - Popular Aesthetic Explanation of Buddhism < [Chapter 5 - Sculpture: The true reflector of the Society]