Статья-исследование о значении слова mudrā (англ)
http://journals.ub.uni-heidelberg.de/index.php/jiabs/article/view/10606/4458
The Samāyoga, as preserved in Tibetan translation, does contain such a teaching. The ninth kalpa of this text contains the following passage: With song, cymbals, and dance, with gestures and with the sentiments - namely eroticism, heroism, compassion, humor, ferocity, terror, disgust, wonder, and tranquillity - one’s aim will be achieved. By being endowed with the sentiments of eroticism, etc., dancing with the various gestures, and by uniting oneself with all, one will achieve all states of possession (āveśa). Eroticism (śṛṅgāra) corresponds to Vajrasattva, heroism (vīra) to the Hero Tathāgata, compassion (karuṇa) to Vajradhara, humor (hāsya) to the supreme Lokeśvara, ferocity (raudra) to Vajrasūrya, terror (bhayānaka) to Vajrarudra, disgust (bībhatsa) to Śākyamuni, wonder (adbhuta) to Ārali, and tranquillity (śānta) always corresponds to the Buddha, since it pacifies all suffering.
This is a fascinating text on several points. Its evocation of the nine sentiments is clearly associated with dance and the elements that would normally accompany it in the South Asian context, namely music and also symbolic gestures or mudrā. The association of the mudrā with Tantric deities points to the ritual nature of this dance practice, which apparently had the aim of invoking trance-like āveśa states. Here it refers to the employment of dance to invoke the deities, with the implication that different styles of dance, employing one of the nine sentiments, could invoke the deity cor-related to that sentiment. The text is following what is evidently an ancient pattern in India. As Dale Saunders and others have pointed out, the use of gestures in dance probably derive from their usein ancient Indian religious ritual. Their deployment in Tantric ritual seems to be a reappearance of what Renou termed “immemorial magical ritual language.”I believe that Saunders and Renou are correct in this assessment. Most likely, the deployment in tantric ritual of song, dance, and mudrā for the purpose of invoking deities follows a venerable pattern in the history of Indian religions.
The Samāyoga, as preserved in Tibetan translation, does contain such a teaching. The ninth kalpa of this text contains the following passage: With song, cymbals, and dance, with gestures and with the sentiments - namely eroticism, heroism, compassion, humor, ferocity, terror, disgust, wonder, and tranquillity - one’s aim will be achieved. By being endowed with the sentiments of eroticism, etc., dancing with the various gestures, and by uniting oneself with all, one will achieve all states of possession (āveśa). Eroticism (śṛṅgāra) corresponds to Vajrasattva, heroism (vīra) to the Hero Tathāgata, compassion (karuṇa) to Vajradhara, humor (hāsya) to the supreme Lokeśvara, ferocity (raudra) to Vajrasūrya, terror (bhayānaka) to Vajrarudra, disgust (bībhatsa) to Śākyamuni, wonder (adbhuta) to Ārali, and tranquillity (śānta) always corresponds to the Buddha, since it pacifies all suffering.
This is a fascinating text on several points. Its evocation of the nine sentiments is clearly associated with dance and the elements that would normally accompany it in the South Asian context, namely music and also symbolic gestures or mudrā. The association of the mudrā with Tantric deities points to the ritual nature of this dance practice, which apparently had the aim of invoking trance-like āveśa states. Here it refers to the employment of dance to invoke the deities, with the implication that different styles of dance, employing one of the nine sentiments, could invoke the deity cor-related to that sentiment. The text is following what is evidently an ancient pattern in India. As Dale Saunders and others have pointed out, the use of gestures in dance probably derive from their usein ancient Indian religious ritual. Their deployment in Tantric ritual seems to be a reappearance of what Renou termed “immemorial magical ritual language.”I believe that Saunders and Renou are correct in this assessment. Most likely, the deployment in tantric ritual of song, dance, and mudrā for the purpose of invoking deities follows a venerable pattern in the history of Indian religions.