The Development of Hindu Iconography c14.22.2

c14.22.2

The cinmudrā is described by Rao thus,—‘ the tips of the thumb and the forefinger are made to touch each other, so as to form a circle, the other fingers being kept open. The palm of the hand is made to face the front.’ The hand in this pose is usually raised upwards near the breast and it appears that this is the exact counterpart of jñāna-mudrā. Rao remarks about it that it is the ‘ mudrā adopted when an explanation or exposition is being given; hence it is also called vyākhyāna-mudrā and sandarśana-mudrā ’ (Pl. III, Fig. 3). The extreme right section of a large panel in the Cave temple of Rāmeśvara at Ellora depicts Subrahmanya teaching his father Śiva the significance of Om; the right hand of the polycephalous god is shown in the vyākhyāna pose, a rosary being shown in the palm.² The two-armed figure of Nara in the Deogarh relief just referred to shows his right hand in the same pose, a rosary being also placed in the hand. One of the earliest representations of a teacher expounding his lessons or doctrines is to be found at Bharhut where the sage Dīrghatapasvī is shown in the attitude of instructing his pupils; he is sitting at ease on a raised seat facing his four disciples seated below in a reverential attitude; his left hand rests on his knee while his right hand is raised towards his breast with the thumb and index fingers projecting outwards, the other fingers being bent inwards.