L'iconographie bouddhiste comprend différents mudrâ, gestes canoniques symbolisés par une attitude de Bouddha.
Le bhûmisparsa mudrâ
L'abhaya mudrâ
Le dharmacakra mudrâ
Le dhyâna mudrâ
Le varada mudrâ
Le vitarka mudrâ
Supreme Wisdom mudrâ

Vitarabodhi mudrâ

Namaskara mudrâ

Vajrapradama mudrâ

1) Le bhûmisparsa mudrâgo to topBuddha in the Earth-Touching Gesture

Gesture of Subduing Mara.

évoque les assauts de Mâra, dieu de la mort et de l'illusion, menacé par l'Eveil.
Le geste de la prise de la terre comme témoin montre la main droite touchant le sol du bout des doigts, appelant la déesse terre à témoigner de l'absolue impassibilité et du nombre incommensurable des mérites du Bouddha.

LERAB LING Temple, France

( Burmese Lost Wax 7m Sculpture with Bhumisparsa and Dhyana Mudra with bowl )

The Shakyamuni seated on a double lotus base (Dhyanasana)




Buddha Seated in Dhyanasana with hands in Bhumisparsa and Dhyana Mudra.

(Tibet 14th Century)



Buddha Seated

(Sukhothai period from

Wat Praya Krai Bkk


Wat Benchamabophit Bkk)

(BTS Phaya Thai, aller vers l'ouest : Si ayutthaya sur 2km) Map


2) L'abhaya mudrâgo to topre-assurance, Fearlessness, Granting Protection (Spiritual Power)

présente Bouddha la main levée, paume vers l'avant.
Ce geste évoque l'absence de crainte, la protection et la bénédiction.



The image portrays the Sakyamuni seated on a lotus base, clad in classic monastic garb of unstitched garments, the right shoulder and arm only slightly covered. The is held in the Abhaya mudra, the posture of re-assurance, the gesture of dhyani Buddha Amogasidhi. The sitting position is the Dhayanasana, or the classic Meditation posture with legs crossed, and soles of both feet facing up and resting on the thighs. The figure is shown with the five sacred signs characteristic of divinity: Elongated earlobes, tuft of hair between eyebrows, three marks around the front of the neck, curls of hair positioned clockwise, and the Ushnisha, or cranial bump.

3) Le dharmacakra mudrâgo to topTurning the Wheel of Dharma (Teaching)

geste d'enseignement initialement spécifique à l'évocation de sermon de Sârnâth,
présente Bouddha les deux mains rapportées vers la poitrine, pouce et index joints :
la gauche à l'horizontale, la droite à la verticale.
C'est le geste de la mise en mouvement de la Roue de la Loi.


This striking example of a seated Buddha has the broad shoulders, narrow waist, full and slightly pursed lips, and arched eyebrows characteristic of Chinese Buddhist figures made during the later Tang dynasty. The quality of workmanship, furthermore, suggests that it was probably produced in an urban area, possibly the capital city of Chang'an.

This seated figure performs a graceful variation of the dharmachakra mudra or hand gesture indicating teaching (literally, turning or setting in motion the Wheel [of Buddhist law]). Because Shakyamuni spent more than forty years traveling and lecturing after his enlightenment, this figure could be a representation of the Historical Buddha. He also bears other corporeal markings of enlightened beings: the cranial protuberance (ushnisha) indicating wisdom, elongated earlobes referring to Shakyamuni's royal heritage but without the earrings that he put aside when he chose a spiritual path, and the three neck rings signifying auspiciousness. These physical signs, as well as the flowing monastic robes, derive from Indian prototypes but spread throughout the Buddhist world.

4) Le dhyâna mudrâgo to top

est spécifique à l'évocation de la méditation.
Les mains sont posées l'une dans la paume de l'autre.

5) Le varada mudrâgo to topGranting Wishes (Gift Giving), Warding off Evil

ou geste du don, présente Bouddha la paume tournée vers l'avant.

Supreme Accomplishment and Meditation.

6) Le vitarka mudrâgo to topDebate Explaining (Teaching)

est un geste d'argumentation.  Le buddha professeur (main droite ou deux mains)

Bouddha est présenté la main levée, pouce et index joints en cercle, et les autres doigts dressés.

Teaching, Giving Instruction, Reason.

This splendid Buddha is seated on a large double-lotus pedestal in the cross-legged yogic, adamantine posture of vajraparyankasana, the right leg over the left, with the soles of both feet facing upward. His robe is draped to leave the right shoulder bare, and a portion of the garment that covers the left wrist falls behind the figure. The lower hem of the robe comes all the way down so that the undercloth or skirt is completely covered.

The Buddha's raised right hand makes the teaching or expository gesture (vitarka mudra) and his left rests on his right foot, in a gesture that approximates the dhyanamudra, or meditative gesture. This combination is one assigned to Vairochana, a transcendent Buddha that plays an important role in early Esoteric Buddhism and provides the basis for the tentative identification of this figure, which may have been part of a larger three-dimensional assemblage such as a mandala.

7) Supreme Wisdom mudrâgo to top
Sagesse suprême
8) Vitarabodhi mudrâgo to topxxxxxxxx


9) Namaskara mudrâ Greeting and Veneration  /  Anjali mudrâ (Prayer)go to top


10) Vajrapradama mudrâgo to topxxxxxxxx


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