Derge Kangyur/Tengyur e-text, Esukhia/Barom edition — public domain (mechanical reproduction)
The Classification of the Different Stances is a technical manual detailing the precise physical configurations of mudrās (hand gestures) and postures used in ritual practice. The text functions as a prescriptive guide, categorizing a variety of stances—including those associated with weapons like the vajra-hammer, sword, and hook, as well as specific ritual actions such as summoning deities or interacting with obstructors. The work is structured as a sequence of instructions, moving from the naming of stances to the detailed physical execution of finger and limb placements. By providing these specifications, the text commits the reader to a rigorous adherence to somatic precision, suggesting that the efficacy of the ritual action depends upon the exact replication of these forms. The inclusion of figures such as Vajravetāla and the World Protectors indicates that these stances are intended for use within a specific tantric framework focused on the subjugation of obstacles and the invocation of protective entities.
Provenance
About this text
A treatise explaining the sequence of ritual stances, the stang stabs kyi bkod pa belongs to the Guhyasamāja and Related Tantras. The work is attributed to the Indian author Buddhaśrījñānapāda. Preserved in the classical Tibetan Tengyur (vol. དི), the text extends over six pages. It enacts a prescriptive guide to somatic precision, detailing the physical configurations of mudrās and postures. The author categorizes seven primary stances—including the earth-touching, the circular, and the tortoise—and provides specific instructions for the execution of gestures associated with ritual implements such as the vajra-hammer, the sword, the hook, and the kīla. These configurations are designed for specific ritual functions, such as summoning deities or striking obstructors. A scholar or serious reader consults this work today to understand the rigorous requirements of ritual embodiment, where the efficacy of the practice depends upon the exact replication of finger and limb placements. By detailing the manner of circling and the binding of the vajra-fist, the treatise serves as a technical manual for the practitioner seeking to master the physical requirements of the tradition.
Cite thisAnuvāda, “Classification of the Different Stances” (Toh 1864), machine draft, 2026.https://naxiai.com/tibetan/works/toh1864
Summary & commentary
Significance
This text is significant for its documentation of the somatic dimension of Indo-Tibetan ritual, illustrating how complex theological concepts are translated into physical gestures. For the modern reader, it provides primary evidence of the technicality involved in tantric performance and the role of the body as a ritual instrument.
Structure
Passages
Section
Description
1-2
Introduction and Listing
Homage to Vajra Hūṃkāra followed by an enumeration of various stances and weapon-based methods.
3-6
Manual of Gestures
Detailed instructions for performing specific mudrās, including those for summoning gods, handling ritual implements, and simulating actions like eating a corpse.
7
Postural Configurations
Descriptions of leg and foot placements, including the lotus and bodhisattva cross-legged postures.
8
Conclusion
Instructions on binding mudrās for servants and World Protectors, ending with a dedicatory aspiration.
Themes
Somatic Ritualism (3-7)
Subjugation of Obstructors (1, 3, 4)
Ritual Weaponry (2, 3, 5)
Summary, significance and provenance note generated by gemma4:31b from the translation and the catalogue record.
The Array of Stances
Homage to the glorious Vajra Hūṃkāra, who strikes terror into all obstructing spirits without exception. Having prostrated with total devotion, I shall explain the sequence of stances.
The seven stances are explained as follows: the left-leg-extended, the earth-touching, the right-leg-extended, the circular, the single-foot, and the tortoise.
Regarding the left-leg-extended: the left thigh and both knees are positioned like a plowshare, while the right calf is pressed against the left thigh and placed directly in front. With the soles of the feet five finger-widths apart, this is renowned as the left-leg-extended.
Regarding the earth-touching: the big toes and the heels are pressed together in perfect alignment. Those who know the reality of the teachings explain this as the earth-touching stance.
Regarding the right-leg-extended: the toes are pointed outward and both kneecaps are extended. With a width of twenty-six finger-widths, this is called the earth-touching stance. The right-leg-extended is understood to be the exact reverse of the left.
Regarding the circular: placing both hands at the position where the two knees are set, and arranging them like the wings of a swan, is held to be the circular stance.
Regarding the single-foot: placing the left foot upon the right thigh is called the single-foot. Pressing the toes of the left foot with the right is explained as the tortoise stance.
The first [stance] consists of ten [finger-widths], the second five, the third six, the fourth nine, the fifth likewise six, the sixth two, and the seventh is joined with one. What are these? They are the lion’s stance, the lion’s yawn, the vajra-bind, and so forth.
The vajra hammer, the female illusion, the vajra splitting, the vajra fangs, the sword method, the hook method, the short spear method, the lasso-throwing method, the vajra posture, the vajra brandishing, the vajra vetāla, the pestle method, the banner method, the vajra summoner, the vajra coquettish gesture, the gesture of fearlessness, the fruit method, the supreme-giving method, the gesture of homage, the vajra hurling, the vajra terrifying, the lifting by the Great Vajra Strength, the vajra laughter, the vajra method, the noose method, the club method, the single-pointed weapon method, the small spear method, the vajra dance, the blessing of the four gates, the vajra bracelet, the vajra swirl, the vajra sound, the wheel method, the lotus gesture, the bow method, the way of grasping the arrow, the way of shooting the arrow, the posture of the single foot, the flight of the bee, the vajra lifting, and so forth.
The methods for these shall be explained: facing downward, opening the mouth and tying the wrists of both hands together, placing them near the mouth, is the lion posture. From that same position, looking in all directions while moving the tongue is the lion’s yawn. The vajra fetter is binding the vajra at one’s heart; one should clench the two vajra fists.
"Having bent and bound the index finger, performing the manner of circling is the supreme for summoning the gods," so it is said. Holding the ritual dagger (kīla) with the left vajra-fist and placing it upon the obstructors (vighna), while holding the vajra-hammer with the right vajra-fist and striking it, is the vajra-hammer. Binding the mudrā of Vajralāsyā with dance and slightly bowing the head to the left is the female illusion (strī-māyā). Opening the vajra-bind at the heart is the vajra-tearing. Raising the two little fingers of the vajra-fists, turning them back, and placing them at the corners of the mouth in the manner of fangs is the vajra-fang. Drawing [the sword] from the sheath of the left fist and placing the right fist at the shoulder in the manner of holding a sword is the sword-method. Binding the left index finger and the right little finger, and summoning with the right index finger made like a hook is the hook-method. Acting as if throwing to the left with two vajra-fists is the short spear-method. Resting the left hand on the hip and circling the lasso-spear with the right fist three times in the manner of circling, then throwing it, is the lasso-spear-throwing method. The manner of striking with the vajra is the vajra-stance. Whirling the vajra three times downward with both hands, and likewise whirling it three times upward, is the vajra-whirling.
Grasping a corpse with both hands and acting as if eating it while gazing at it is Vajravetāla. Striking obstructors with a pestle held in the vajra-binding gesture is the method of the pestle. Placing the left vajra-fist at the heart and extending the middle finger of the right vajra-fist, then bending the index finger at the first joint and placing it on the shoulder, is the method of the banner. Resting the left hand on the hip and making the right hand gesture summoning from the heart, placing it at that very heart like Vajrasattva, is Vajrākarṣaṇa. Whirling the hands completely with a majestic bearing in front of the heart is the Vajra-amorous gesture. Resting the left hand on the hip and making the right hand the gesture of fearlessness is the gesture of fearlessness. Keeping the left hand in that same position and making the right palm gesture as if holding fruit, then drawing it forward, is the method of the fruit. From that same position, making the right hand the gesture of supreme generosity is the method of supreme generosity. Placing the palms joined at the heart in the manner of praise is the gesture of homage. Resting the left hand on the hip and making the right hand gesture as if hurling a three-pronged vajra is the Vajra-hurling. Placing both hands palms-up above and below the mouth and acting in a terrifying manner is the Vajra-terrifying.
At the heart, form the left hand like a three-pronged vajra and strike with the right vajra-fist as if wielding a club to form a trident; placing it thus is the "lifting by Vajramahābala." Placing both vajra-fists palms-upward in the mouth and uttering the syllables "ha ha" four times in the manner of laughing is the "vajra laughter." From the left wrathful fist, extend the index finger to the heart and form a three-pointed banner with the right hand to perform the manner of brandishing a vajra; this is the "vajra method." Tying the two wrists together is the "lasso method." Resting the left hand on the hip and extending the thumb from within the right fist is the "club method." From that same position, using the right hand to perform the manner of hurling a single-pointed spear is the "single-pointed method." From that same position, performing the manner of thrusting a spear and slaying obstructors is the "vajra spear method." Extending the left hand and releasing it from the right little finger at its base to form a three-pointed banner is the "vajra dance." In the directions of the east and so forth, possessing the mudrās such as the earth-pressing gesture and meditating on the four doors of liberation, such as emptiness, is the "blessing of the four doors." Resting the left hand on the hip and extending the right hand in the threatening gesture is the "vajra swirl." Placing the right vajra at the heart and ringing a bell near the left ear is the "vajra sound."
At the heart, forming a vajra-fist with the little and index fingers joined in a vajra-knot and rotating them like a wheel is the mudrā of the wheel. At the heart, making the gesture of opening a lotus is the manner of the lotus. Placing the left hand in the manner of holding a bow is the method of the bow. Drawing that very [hand] back to the ear together with an arrow is the method of grasping the arrow. Making the gesture of shooting that very [arrow] is the manner of shooting the arrow. Placing the sole of the right foot upon the thigh of the left leg and resting both hands at the hips is the stance of a single leg. Rotating both hands to the right and left in that same position is the flight of a bee. Resting the left hand at the hip and placing the right hand at the heart with a vajra is the lifting of the vajra.
Then the master, endowed with wisdom, having sat in the center of the maṇḍala ground, shall arrange the sequence and distinctions of the postures to the best of his ability. The vajra-paryañka, the lotus posture, the sattva-paryañka, the vīra posture, the bhadra posture, and likewise the squatting posture, and the playful stance—these are explained as the seven postures. Having placed the left foot between the right calf and the thigh, and then placing the right foot upon it, this is explained as the vajra-paryañka. Pressing the left calf with the right calf and bringing both knees down, the body is held in a state of perfect tranquility.
The wise have explained that this is the lotus posture. Placing the right foot slightly upon the left thigh and setting the left foot beneath it is renowned as the bodhisattva cross-legged posture. Forming a cross-legged posture with the left foot and placing the right foot straight beside it is held to be the hero’s posture. Extending both legs straight down upon the seat and placing them firmly is renowned as the excellent posture. Placing both feet on the seat about a span apart and sitting in a squatting position is explained as the squatting posture. Firmly assuming the half-bodhisattva cross-legged posture with the right leg and extending the left leg with a graceful air is known as the playful posture. Remaining in the vajra cross-legged posture, one should form the mudrās of Vairocana and the others. With the lotus posture, one should form the mudrās of Lāsyā and the others. Remaining in the bodhisattva cross-legged posture, one should form the mudrās of Vajrasattva and the others. Remaining in the hero’s posture, one should form the mudrās of the Vajra Wrathful Deities. The activities of the excellent posture involve forming the mudrās of Maitreya and the others. With the squatting posture, one should [form the mudrās] of the messengers and...
One should bind the mudrās of male and female servants and so forth; whatever actions are performed through the methods of the playful abiding, one should bind the mudrās of the World Protectors. By whatever virtue has arisen from this concise summary, may all wandering beings always flow toward and be absorbed into that which is the Buddha-wisdom together with its Protector. This concludes the arrangement of postures composed by the great master Buddhajñānapāda.
Translation status: Not among 84000's published translations, and not in progress there. Translations published elsewhere have not been searched for, so one may exist. (source: 84000 catalogue + registry; checked 2026-11-10).
Set in Newsreader and EB Garamond; Tibetan in Noto Serif Tibetan; Chinese in Noto Serif SC.