
Explanation of the Characteristics of Mudrās (मुद्रालक्षणकथनं)
After the previous chapter’s display of mantras, the teaching turns to mudrā-lakṣaṇa: the defining marks and operative forms of ritual hand-gestures that generate sannidhya (divine presence) and related effects. Nārada presents Añjali as the foremost gesture of reverent salutation, held at the heart, establishing devotion as the gateway to technical procedure. The chapter then details precise hand formations—beginning with a left fist and upright thumb and the right thumb’s clasping role—showing exact bodily choreography as part of mantra-vidyā. It distinguishes common (sādhāraṇa) and uncommon (asādhāraṇa) mudrās within a ritual vyūha, and sets an ordered sequence of eight gestures produced by successive releasing/unfolding from the little finger onward. Variant manuscript readings are noted regarding bīja usage and aims such as siddhi, followed by the introduction of Varāha-mudrā and a sequential set of aṅganā-mudrās. The procedure culminates by contracting and mirroring the formation on the right side, affirming that correct configuration yields mudrā-siddhi—successful ritual accomplishment through disciplined form.
Verse 1
इत्य् आदिमहापुराणे आग्नेये मन्त्रप्रदर्शनं नाम पञ्चविंशो ऽध्यायः अथ षड्विंशो ऽध्यायः मुद्रालक्षणकथनं नारद उवाच मुद्राणां लक्षणं वक्ष्ये सान्निध्यादिप्रकारकं अञ्जलिः प्रथमा मुद्रा वन्दनी हृदयानुगा
Thus, in the Ādi-Mahāpurāṇa, the Agni Purāṇa, ends the twenty-fifth chapter entitled “Demonstration of Mantras.” Now begins the twenty-sixth chapter, “Explanation of the Characteristics of Mudrās.” Nārada said: “I shall describe the defining marks of mudrās—those that bring about sānnidhya (ritual presence) and related effects. The first mudrā is Añjali (palms joined): a gesture of reverent salutation, performed in accordance with the heart (or placed at the heart).”
Verse 2
ऊर्ध्वाङ्गुष्ठोवाममुष्टिर्दक्षिणाङ्गुष्ठबन्धनं सव्यस्य तस्य चाङ्गुष्ठो यस्य चोर्ध्वे प्रकीर्तितः
The left hand is to be made into a fist with the thumb held upright; the right thumb is to bind (clasp) the left fist. That hand-position is declared to be the one in which the thumb is set above.
Verse 3
तिस्रः साधरणा व्यूहे अथासाधरणा इमाः कनिष्ठादिविमोकेन अष्टो मुद्रा यथाक्रमं
In the ritual formation (vyūha) there are three common (sādhāraṇa) mudrās; and now these uncommon (asādhāraṇa) ones are taught. By successive releasing/unfolding beginning with the little finger, there are eight mudrās, in due order.
Verse 4
अष्टानां पूर्ववीजानां क्रमशस्त्ववधारयेत् अङ्गुष्ठेन कनिष्टान्तं नमयित्वाङ्गुलित्रयं
One should ascertain, in proper order, the sequence of the first eight seed-syllables (bīja). Bending the tip of the little finger with the thumb, one should then bend the group of three fingers.
Verse 5
ऊर्ध्वं कृत्वा सम्मुखञ्च वीजाय नवमाय वै वामहस्तमथोत्तानं कृत्वार्धं नामयेच्छनैः
Having raised it upward and facing it to the front, one should perform the ninth fanning gesture for the bīja. Then, making the left hand open with the palm up, one should slowly bend it halfway.
Verse 6
सर्वसिद्ध्यै इति ख, ङ, चिह्नितपुस्तकद्वयपाठः वैराजं नागसंयुतमिति ख, चिह्नितपुस्तकपाट्ःअः यौ वीजं चाङ्गसंयुतमिति ङ, चिह्नितपुस्तकपाठः यः सव्येर्धे प्रकीर्तित इति ख, चिह्नितपुस्तकपाठः वराहस्य स्मृता मुद्रा अङ्गनाञ्च क्रमादिमाः एकैकां मोचयेद्बद्ध्वा वाममुष्टो तथागुलीं
“For the attainment of all siddhis”—so read certain marked manuscripts; and some read, “the Vairāja (form), joined with the Nāga (element).” Others read, “the bīja ‘yau’, together with the aṅgas (auxiliary limb-mantras),” and some read, “the syllable ‘yaḥ’ is declared to be on the left half.” Then the Mudrā of Varāha is taught, and likewise the sequence beginning with the aṅganā-mudrās: having formed the left fist and arranged the fingers, one should release them one by one, in due order.
Verse 7
आकुञ्चयेत् पूर्वमुद्रां दक्षिणेप्येवमेव च ऊर्ध्वाङ्गुष्ठो वाममुष्ठिर्मुद्रासिद्धिस्ततो भवेत्
One should first contract (curl in) the earlier, previously taught mudrā; and on the right side as well, in the same manner. With the left hand formed into a fist and the thumb held upright, the successful accomplishment of the mudrā then arises.
Añjali (palms joined) is taught first; it functions as a gesture of reverent salutation and is performed in alignment with the heart, establishing devotional orientation and ritual propriety.
By disciplining bodily action into precise mudrā-forms that invoke sannidhya, the chapter links external ritual correctness (karma/ācāra) with inner devotion and concentration, supporting Dharma and ultimately aiding the pursuit of Mukti while enabling efficacious practice (Bhukti).