काव्ये विश्वासटिप्पन्यः

[[The Mirror Of Gesture Source: EB]]

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Cornell University Library

[TABLE]

THE MIRROR OF GESTURE

INTRODUCTION

MR. GORDON CRAIG, who understands so well the noble artificiality of Indian dramatic technique, has frequently asked mefor more detailed information than is yet available in this toolong neglected field.

“If there are books of technical instruction,” writes Mr. Gordon Craig,“tell them to me I pray you. The day may come when I could afford tohave one or two translated for my own private study and assistance. Idread (seeing what it has already done in other arts here) the influence ofthe finished article of the East; but Icravetheinstruction of the instructorsof the East. The disastrous effect the Chinese porcelain and the Japaneseprint has had on us in painting we must try to avoid in this theatre art. . . .You know how I reverence and love with all my best the miracles of yourland, but I dread for my men lest they go blind suddenly attempting to seeGod’s face. You know well what I mean, I think. So I want to cautiouslyopen this precious and dangerous (only to us queer folk) book of technicalinstruction before the men go crazy over the lovely dancers of the King ofCambodia, before the ‘quaintness’ tickles them, before they see a shortcut to a sensation. If only you knew how unwilling these men of the theatre(most of all those dissatisfied with the old sloppy order) were to face theodds, and how they long to escape obligations (your phrase in ‘Sati’) youwould almost make a yearly tour of England crying ‘Shun the East and themysteries of the East’.“¹

While we still lack a complete and adequate translation,and even a satisfactory edition, of the “Dramatic Science”(Nāṭya Śāstra) of Bharata, the present version of a shortercompendium known as the “Mirror of Gesture” (AbhinayaDarpaṇa) of Nandikeśvara may be of use as an introductionto Indian method.

The dramatic scriptures of India were framed by Brahmā atthe request of the lesser gods, at the very beginning of the TretaYuga, the last aeon before the present. This event is describedas follows in the first chapter of the “Nāṭya Śāstra” of Bharata:
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1 Extract from a letter written in 1915.

When Brahmā was a Sage in the Kṛta Age, and when Vaiśvata Manu waspreparing for the Treta Age, when popular morality is in the grasp of greedand of desire, and the world is deluded by envy, by resentment, and byweal and woe, when the Devas, Dānavas, Gandharvas, Yakṣas, Rākṣasas,Mahoragas, and the Lokapālas entered upon Jambu-dvīpa, then Indra andthe other Devas said to Brahmā: “We desire a pastime to be seen and heard.This matter of the Four Vedas should not be heard by Śūdras, pray therefore shape another and a fifth Veda for all the castes.”

Saying to them, “So let it be,” and turning away from Indra, he whoknows the essence of every matter, seated in Yoga posture, called to hismind the Four Vedas, thinking, “Let me make a Fifth Veda, to be calledNāṭya (Drama), combined with epic story, tending to virtue, wealth, (pleasure and spiritual freedom), yielding fame—a concise instruction setting forthall the events of the world about to be, containing the significance of everyScripture, and forwarding every art.” Thus, recalling all the Vedas, theBlessed Brahmā framed the Nāṭya Veda from the several parts of the FourVedas, as desired. From the Ṛg Veda he drew forth the words, from theSāma Veda the singing, from the Yajur Veda gesture, and from the AtharvaVeda the flavour.

This science was communicated by Brahmā to Bharata and tohis hundred sons, and it was first used at the Flag Festival ofIndra, to celebrate the victory of the Devas in battle against theDānavas. When, however, the Dānavas found that the dramadepicted their own defeat, they remonstrated with Brahmā,and this afforded occasion for an explanation of the true characterand significance of dramatic art—not to flatter any party, butto represent the true and essential nature of the world. Brahmāexplains to the Dānavas:

“This play is not merely for your pleasure or the pleasure of the Devas,but exhibits mood (bhāva) for all the Three Worlds. I made this playas following the movement of the world (lokaṛt’-anukaraṇam), whetherin work or play, profit, peace, laughter, battle, lust, or slaughter; yieldingthe fruit of righteousness to those who follow the moral law, pleasure to those who follow lust, a restraint for the unruly, a discipline for the followersof a rule, creating vigour in the impotent, zeal in warriors, wisdom in theignorant, learning in scholars, affording sport to kings, endurance to thesorrow-smitten, profit to those who seek advantage, courage to the brokenwilled; replete with the divers moods (bhāvas), informed with the varyingpassions of the soul, linked to the deeds of all mankind, the best, the middling,and the low, affording excellent counsel, pastime, weal and all else.

This drama shall be the source of all counsel in matters of flavour (rasa),mood (bhāva), and every rite; it shall serve as a timely resting-place forthose who are grieved, weary, unhappy, or engaged in an arduous discipline;

bestowing righteousness, renown, long life, fortune, increase of reason; affording counsel to the world. That which is not to be found herein is notknowledge, nor craft, nor wisdom, nor any art, nor deeds, nor Union (yoga).

I made this drama according to the Seven Lands, and so you should notfeel resentment towards the Immortals. The drama is to be understood aswitnessing the deeds of Gods and Titans, kings of the spheres, and Brahmāsages. Drama is that which accords with the order (sva-bhāva) of the world,with its weal and woe, and it consists in movements of the body and otherarts of expression (abhinaya). The theatre is such as to afford a means ofentertainment in the world, and a place of audience for the Vedas, for philosophy, for history, and other matters.”

He adds that no performance should be begun without fulfilling the Office of the Stage (rangapūjaḥ), and that those whoneglect this ritual will be ruined.

In a following chapter Bharata explains, in connection withthe building of the theatre, how it is that the behaviour of theartist must of necessity be studied, and not impulsive; for thehuman actor, who seeks to depict the drama of heaven, is nothimself a god, and only attains to perfect art through consciousdiscipline: “All the activities of the gods, whether in house orgarden, spring from a natural disposition of the mind, but allthe activities of men result from the conscious working of thewill; therefore it is that the details of the actions to be done bymen must be carefully prescribed.”

Indian acting or dancing—the same word, Nāṭya, coversboth ideas—is thus a deliberate art. Nothing is left to chance;the actor no more yields to the impulse of the moment in gesturethan in the spoken word. When the curtain rises, indeed, it istoo late to begin the making of a new work of art.¹Precisely asthe text of the play remains the same whoever the actor may be,precisely as the score of a musical composition is not varied bywhomsoever it may be performed, so there is no reason why anaccepted gesture-language (angikābhinaya) should be variedwith a view to set off advantageously the actor’s personality.It is the action, not the actor, which is essential to dramaticart. Under these conditions, of course, there is no room for anyamateur upon the stage; in fact, the amateur does not exist inOriental art.
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1 This general principle holds good even where an author acts his own play.

Granting, of course, a variety of natural capacity, therenaturally appears to be less difference between the good and badactor than we are accustomed to observe in modern Europe,because the actor who merely exhibits himself is eliminated altogether. The difference, however, exists, and the Indian connoisseur is as sensitive to every shade of it as the western critic tothe wider range of variation on the European stage. The perfectactor has the same complete and calm command of gesture thatthe puppet showman has over the movements of his puppets;the exhibition of his art is altogether independent of his ownemotional condition, and if he is moved by what he represents,he is moved as a spectator, and not as an actor.¹Excellentacting wears the air of perfect spontaneity, but that is the artwhich conceals art. It is exactly the same with painting. TheAjaṇṭā frescoes seem to show unstudied gesture and spontaneouspose, but actually there is hardly a position of the hands or ofthe body which has not a recognized name and a precise significance. The more deeply we penetrate the technique of anytypical Oriental art, the more we find that what appears to beindividual, impulsive, and ’natural’, is actually long-inherited,well-considered, and well-bred. Under these conditions lifeitself becomes a ritual. The Indian actor relies only to a verysmall extent on properties, and still less on scenery. Referringto this, Bābu Dinesh Chandra Sen remarks with justice of theBengālī Yātrās, that these folk-plays” without scenery, withoutthe artistic display of costumes, could rouse emotions whichnowadays we scarcely experience while witnessing semi-European performances given on the stages of the Calcuttatheatres.”²

But it is not merely in connection with folk-plays thataccessories are needless. Let us take a few episodes fromthe “Śakuntalā” of Kālidāsa and see how they are presented.The “Watering of a Tree” is to be acted according to the following direction: First show Nalina-padmakośa hands palmsdownwards, then raise them to the shoulder, incline the head,

1 “Sāhitya Darpaṇa”, 50.
2 “History of Bengali Language and Literature”, 1911, p. 733.

somewhat bending the slender body, and pour out. Nalinapadmakośa hands are as follows: Śukatuṇḍa hands are crossedpalms down, but not touching, turned a little backward, andmade Padmakośa. To move the Nalina-padmakośa hands downwards is said to be ‘pouring out’." The action indicated ispractically that of the extreme left-hand figure in Plate XII ofthe India Society’s “Ajanta Frescoes” (Oxford, 1915), but theactress, of course, only makes believe to lift and pour, she doesnot make use of an actual vessel. “Showing Fear of a Bee” isto be acted as follows: “Move the head quickly to and fro(Vidhutam), the lips quivering, while Patāka hands are heldunsteadily against the face, palms inward.” ‘GatheringFlowers is to be acted as follows: “Hold the left handhorizontally in Arāla, the right hand in Haṃsāsya, extendedforward at the side.” The left hand here represents abasket, and imaginary flowers are picked with the right handand transferred to the left. ’’ Mounting a Car " is to be shownas follows: " The knees are to be raised, the leg being bent andlifted, so that the knee is level with the chest, and there held;and then the same is done with the other foot."¹

It should be noted throughout that the words Nāṭya, etc.,imply both acting and dancing; we have used the word ‘dance’in our translation only for want of any English word combiningthe ideas of dancing and acting. The reader will go far astrayif he understands by dancing anything but rhythmic shewing.Indian acting is a poetic art, an interpretation of life, whilemodern European acting, apart from any question of the words,is prose, or imitation.

It is needless to say that the appeal of the Indian actor’s artcan only be felt by a cultivated audience; it is for this reasonthat it possesses so little interest for the ordinary European

1 Śukatuṇḍa, Padmakośa, Arāla and Haṃsāsya hands, and the Vidhuta headare explained in the text of the “Mirror of Gesture" translated below. The abovestage directions are from Rāghavabhatta’s “Arthadyotanikā”, a commentary onŚakuntala, printed in the “Abhijñāna Śakuntalā” edited by Godabole and Paraba,Bombay, 1886. The immediate source is Sylvain Levi’s well known and valuablework, “Le Théâtre Indien”, which is, however, mainly concerned with the literature,rather than the technique of the Indian drama.

spectator, who remains from beginning to end of the performance—if he remains so long—an outsider. The Indian artist is aprofessional, and he works for an audience of unsparing critics.The fact that dancing or pantomime is a learned art appears inall the literature, and the accomplished actor must be accomplished in many things. In the “Mirror of Gesture”, for example,the various definitions are constantly supported by the remark,“This is the view of those who are learned in the Bharatāgama.”¹It must not be imagined on this account that Indian Nāṭyaserved or serves only for the entertainment of an academicclique. This may have been the case with the old court dramas,but it was not so with Nāṭyain general, which corresponded tothe common and collective need of the folk. Where such a needis felt, there arises a common and collective art, that is to say,an art which is not, indeed, practised by everyone, but is understood by everyone. The Indian actor, despite the apparentcomplexity of the gesture-language, makes no movement ofwhich the meaning is incomprehensible to an Indian audience,while the subject-matter—religious, epic, or erotic—is commonground for all. But the knowledge of technique and theme isnot alone sufficient, without imagination; and according to theIndian view, the power to experience aesthetic emotion is inborn,it cannot be acquired by mere study, being the reward of meritgained in a former life.² Whether or not this be true of the individual, it is certainly true of human communities, where no greatart ever yet sprang into being out of nothing in a single generation. Art, and the general understanding of art, are always theresult of a long, united, and consistently directed effort, andnothing can be done unless the artist and the spectator share acommon inspiration. How far this is assumed to be the case inIndia may be gathered from the remarks of the dramatic criticssuch as Dhanaṃjaya, who pours scorn upon the spectator whoseeks in drama the statement of fact rather than the experience.

1 Phrases of this nature, which are constantly repeated, are generally omittedin our translation.
2 “Knowledge of Ideal Beauty,” says Blake, " is not to be acquired. It is bornwith us.”

of joy,¹ and says that this experience depends upon the spectator’s own capacities, and does not arise from the perfections ofthe hero, or because the work was deliberately designed to createa beautiful effect; it is their own effort by which the audienceis delighted, just as in the case of children playing with clayelephants, whose imagination bestows upon their toys a variedand abundant life.²Those who lack imagination are said to beno better than furniture, walls, or stones.³

The old Indian dramatic art is no longer to be seen in Indiain a complete state.⁴ The art of the modern Parsee theatres,chiefly exhibited in large towns such as Bombay and Calcutta, isonly nominally Indian. The scenery and costume are elaborate,incongruous, and tawdry; the music and the ballet hybrid; andthe acting, though generally clever, is ill-informed and unsensitive.⁵ Authentic Indian acting, however, survives in the’Nautch’, a form of dance which sets forth a given theme bymeans of song and gesture combined. Performances of this kinddo not correspond very closely to modern European conceptionsof the dance, which belong rather to what is called in India mereNṛtta, rhythmic movement without a theme and therefore without “flavour.” The Indian Nācnī (Nautch-girl, bayadère)generally exhibits an alternation of Nṛtta and Nṛtya. The latter,together with the sister art of music, must be regarded as representing the most perfect form of old Indian practical aestheticculture now surviving, and one of the most beautiful and moving arts that maintain a precarious existence in a world that is

1 The essential characteristic of aesthetic emotion (rasāsvādana) is a timelessdelight (ānanda) akin to that of the experience of union with the Brahman (Brahmāsvādana).—‘Sāhitya Darpaņa", 33, 54.

2 “Daśarūpa “, i, 6, and iv, 47-50 and 90. For the general question of aestheticemotion, see also the “Sāhitya Darpaņa” of Viśvanātha Kavirāja, (Calcutta, 1875);Regnaud, “La Rhétorique Sanskrite”, Paris, 1884; and my “Hindu View of Art”,in “The Quest”, 1915, and “That Beauty is a State”, Burlington Magazine, 1915.

3 Dharmadatta, quoted “Sāhitya Darpana”, 39.

4 It survives, perhaps, in Cambodia. Cf. A. Leclère, “Le Théâtre Cambodgien”,Revue d’Ethnographie et de Sociologie, 1910, Nos. 11—12, pp. 257—282—a valuable paper, and well illustrated.

5 It may be remarked that the few attempts that have so far been made to exhibit Indian drama on the English stage have merited similar criticism.

thinking of something else.” There are still innumerableIndian temples where the ritual dancing of Devadāsīs beforethe image is a part of the regular daily office; while inorthodox circles the Nautch is still an indispensable elementin all festivities such as weddings and coronations. The Nautchis a direct survival of the old Indian Nāṭya. But the materialof the classic drama is rarely if ever presented at the present day,the theme of the modern Nautch being most often Vaiṣṇava.The development of Nāṭyais thus analogous to that which hastaken place in painting and poetry.

It may be remarked here that it is very usual for Indian singers,other than dancers, to accompany their singing with gesticulation.This is of two kinds, of which the first, quite distinct from whatis spoken of in the present treatise, is a hand movement reflectingthe musical form; this expression of empathy (sādhāraṇī) issometimes very impressive or graceful, but not less often grotesque. The second, known as bhāv batānā or ‘shewing moods’ isof the type here described as abhinaya, or ‘gesture’ and differsfromNāṭyaonly in the greater relative importance of the musicand the words.

Certain of the dance poses possess not merely a general linguistic, but also a special hieratic significance. These poses,chiefly of the hands, are spoken of as mudrās (seals), and aremore or less familiar to students of Hindū iconography. It is,however, scarcely realised how closely connected are the dancingand the sculpture. Many of the gods are themselves dancers, and,in particular, the everlasting operation of creation, continuance,and destruction—the Eternal Becoming, informed by All-pervading Energy—is marvellously represented in the dance of Śiva.^(1)He also exhibits dances of triumph and of destruction. Kālī, likewise, dances in the burning ground, which we understand tosignify the heart of the devotee made empty by renunciation.Śrī Krishna dances a dance of triumph following the victory over

1 “In this drama of the world He is both the Chief Actor and the Chief ofActresses. This drama commenced in the beginning with the union of Actor andActress, and will conclude, according to His unfailing will, at that night which isthe end of time” (“Tantra Tattva”, trans. Avalon, p. 28).

Kāliya, and another General Dance, with the milkmaids of Brindāban, who are the souls of men.

Most of the dances just mentioned, however, except the RāsaMaṇḍala or General Dance last spoken of, are Tāṇḍava dancesand represent a direct cosmic activity. Those of the Nṛtyaclass, which set forth in narrative fashion the activities of Godsand Titans, or exhibit the relationships of hero and heroine " Soas to reveal an esoteric meaning”, are for the most part Lāsyadances performed by the Apsarās of Indra’s paradise, and by theDevadāsīs and Nācnīs upon earth. It will be seen that in allcases the dance is felt to fulfil a higher end than that of mereentertainment: it is ethically justified upon the ground that itsubserves the Four Ends of life, and this view of Nāṭya is plainlystated in Tiruvenkaṭācāri’s preface translated below. The artsare not for our instruction, but for our delight, and this delightis something more than pleasure, it is the godlike ecstasy ofliberation from the restless activity of the mind and the senses,which are the veils of all reality, transparent only when we areat peace with ourselves. From the love of many things weare led to the experience of Union: and for this reason Tiruvenkaṭācāri does not hesitate to compare the actor’s or dancer’s artwith the practice of Yoga. The secret of all art is self-forgetfulness.

Side by side with this view, however, there has always existedin India a puritanical disparagement of the theatre, based upona hedonistic conception of the nature of aesthetic emotion; andthis party being now in full cry, and the Nautch, on the otherhand, being threatened by that hybridization which affects allthe arts of India that are touched by western influence, the oldIndian Nāṭya is not likely to survive for very much longer.Probably the art of the theatre will now first be revived in Europe,rather than in India.

All that is said in the present volume will serve only as anintroduction to Indian dramatic technique and to Oriental acting in general. But we are encouraged to think that even sobrief an introduction to an extensive science may prove of practical value to the many dramatists who are interested in the future

of the European theatre; and though we have done all in ourpower to serve the ends of scholarship, our main purpose in publishing the “Mirror of Gesture’’ is to interest and assist theliving actor—not that we suppose that it might be profitablefor him to adopt the actual gesture-language of the East, butthat it may inspire him with the enthusiasm and the patienceneedful for the re-creation of the drama in his own environment.

It remains to be said that our translation is based upon aNāgarītranscript of the second Telugu edition of the “AbhinayaDarpaṇa” of Nandikeśvara, published under the editorship of thelate Tiruvenkaṭācāri of Niḍāmangalam. The translation isintended to be literal, but in the latter part, and occasionallyelsewhere, is somewhat compressed by the omission of wordsthat are not absolutely essential, or phrases that are constantlyrepeated, such as ‘in the dance’, ’this hand is called’, or ‘itis stated in the laws of dancing’.

My thanks are due to M. Victor Goloubew for the photographs reproduced on Plates I and III, while the illustrations onPlates IV and V (above) are from photographs by the Archaeological Survey of India.

ANANDA COOMARASWAMY

THE INDIAN EDITOR’S PREFACE

THE BHARATA ŚĀSTRA, which is most dear to the Lord of Śrī,the Creator of every world, and which is the delight of everyconnoisseur in every world, has been brought into being by Śiva,Śambhu, Gauri, Brahmā, Mādhava, Nandikeśvara, Dattila,Kohala, Yājñavalkya, Nārada, Hanuman, Vighrarāja, Subrahmaṇiya, Arjuna, and the daughter of Bāṇa (i. e. Uṣā): theseare the famous authors of our science. Notwithstanding this, itis known to everyone that in these days our people not merelyneglect this lore as though it were of the common sort, but go sofar as to declare it to be an art that is only suited for the entertainment of the vulgar, unworthy of cultivated men, and fit tobe practised only by play-actors. But it is like the Union-science (Yoga-śāstra) which is the means of attaining spiritualfreedom (mokṣa): and the reason why a science such as this hascome to be regarded in such a fashion is that it is by movementsof the body (angikābhinaya) that the lineaments and interplayof hero and heroine, etc., are clearly exhibited, so as to directmen in the way of righteousness, and to reveal an esoteric meaning; obtaining the appreciation of connoisseurs and those whoare learned in the lore of gesture. But if we understand thisscience with finer insight, it will be evident that it has come intobeing to set forth the sport and pastime of Śrī Krishna, who isthe progenitor of every world, and the patron deity of the flavourof love; that by clearly expressing the flavour, and enablingmen to taste thereof, it gives them the wisdom of Brahma,whereby they may understand how every business is unstable;from which understanding arises indifference (vairāgya) to suchbusiness, and therefrom arise the highest virtues of peace andpatience, and thence again may be won the Bliss of Brahma.

It has been declared by Brahmā and others that the mutualrelations of hero and heroine, in their esoteric meaning, partakeof the nature of the relations of master and pupil, mutual service

and mutual understanding; and therefore this Bharata Śāstra,which is a means to the achievement of the Four Aims of HumanLife,—Virtue, Wealth, Pleasure, and Spiritual Freedom,― andthe most exalted science, practised even by the Devas, shouldalso be patronized and practised by ourselves.

So thinking, I resolved to restore the science to its formereminence, which has been day by day obscured. First of all waspublished the “Mirror of Gesture”, composed by one of thefounders of the science, Nandikeśvara, to wit; but as it was notreadily understandable by all, there have been introduced intothis second edition pictures of the “Hands”, with descriptions,and also particulars of the occasion of their origin, race, patrondeities, etc., mentioned in various works; and also combinedhands, hands to indicate famous emperors, sacred rivers, trees;animals, such as the lion; birds, such as the swan; watercreatures, such as the crocodile; and a classification of “Heads.“In this way a total of four hundred and eight new verses havebeen introduced, and therewith a simple translation with easyTelugu words such as women and children can understand.

Besides this we have published another book, the BhārataRasa Prakaraṇa, in which the Nine Flavours are explained,with Telugu translations; and there exists a reference work ofthe nature of a commentary, written by Rāja Mannāru GudiSabhāpataya Gāru, containing full explanations of such technical terms as rāga, tāla, nāyaka, nāyakā, rasa, etc. May those ofthe public who are connoisseurs both patronize and give us theirencouragement.

MAḌĀBHŪSHI TIRUVENKATA, OF NIḌĀMANGALAM,
A.D. 1887.

OṂ
MAY ALL BE WELL!
HAIL TO THE HOLY HAYAGRĪVA!

THE MIRROR OF GESTURE
DECLARED BY NANDIKEŚVARA

The movement of whose body is the world, whose speech the sum of alllanguage,
Whose jewels are the moon and stars—to that pure Śiva I bow!¹

Indra.—I bow to Nandikeśvara, who dwells on Kailāsa’smount, the ocean of the essence of compassion, who revealsthe meaning of the Laws of Dancing.

Nandikeśvara.—Welcome to the King of the Suras! Is it wellwith the dwellers in heaven? What is the cause that bringsyou here before me ?

Indra.—This devotee of thine, this dancer, head of the dancing-hall thy patronage adorns, has come to ask a favour.

Nandikeśvara.—Tell me truly and fully what I can do for you.

Indra.—In the dancing-hall of the Daityas there is a dancer ofthe name of Naṭaśekhara. Indra seeks the Bharatārṇava,composed by thee, that he may gain the victory over him byauthentic knowledge of the skill of dancing.

Nandikeśvara.—Hear, then, with attention the Bharatārṇavalore complete in four thousand verses.

Indra.—O Nandikeśvara, image of compassion, apart from thatimmensity, pray relate to me the authentic and entire Lawsof Dancing in a more concise form.

Nandikeśvara.—O wise of heart, O Deva, I reveal accordinglyan abridgment of the Bharatārṇava. Receive this simple"Mirror” attentively.

1 In this verse Śiva is compared to an actor, whose means of expression *(abhinaya)*are gesture, voice, and costume. He reveals himself through the world, the speechof men, and the starry firmament. The image of Siva as dancer (Naṭarāja, Naṭeśa)and actor is everywhere conspicuous in Śaiva literature (see “The Dance of Śiva”,by A. K. Coomaraswamy,” Siddhānta Dīpika “, Vol. XIII, i).

The sages speak of Nāṭya, Nṛtta, and Nṛtya.¹Nāṭya isdancing used in a drama (nāṭaka) combined with the originalplot. Nṛtta is that form of dance which is void of flavour (rasa)and mood (bhāva). Nṛtya is that form of dance which possesses flavour, mood, and suggestion (rasa, bhāva, vyañjanāetc.), and the like. There is a twofold division of these three,Lāsya and Tāṇḍava. Lāsya dancing is very sweet, Tāṇḍavadancing is violent.

Nāṭyaand Nṛtya should be seen especially at festivals. Nṛtyaat coronations, celebrations, processions of men or gods, marriages, reunion of friends, entry into towns or houses, the birthof children, and all auspicious occasions, by those who desirefortune. Brahmā has derived instrumental music, gesture, song,and flavour respectively from the Ṛg, Yajur, Sāma, and AtharvaVedas, and has made these Laws of Dancing which yield fulfilmentof the Four Ends of Life, and are means to overcome misfortune,hurt, affliction, disappointment, and regret, and yield therewithmore delight than even Brahma-bliss. Nṛtya should be seen bya royal audience in the courts of kings.

The Audience* (sabhā).—The Audience shines like the Wishing-tree, when the Vedas are its branches, scriptures of art and science(śāstras) its flowers, and learned men the bees; where men oftruth are found, shining with good qualities, famous for righteousconduct, honoured by kings, adorned by the Vedas; where theVedānta is expounded; when distinguished by the sound ofvoice and lute (vīṇā); possessing heroes of renown, ornamentedby resplendent princes, shining with royal splendour.

The Seven Limbs of the Audience are men of learning, poets,elders, singers, buffoons, and those who are familiar with historyand mythology.

** 1** Nṛtta and Nṛtya constitute dancing as a separate art. The ordinary performance of a nācnī(nautch-girl, bayadère) consists of alternate Nṛtya and Nṛtta, theformer consisting of set dances with some special subject, and accompanied byvaried gesture, the latter merely moving to and fro, marking time with the feet, andso forth. Nṛtta is here dismissed with a merely negative definition, as the objectof the Abhinaya Darpaṇa is to explain how to express by gesture definite themes.

According to Dhanaṃjaya (“Daśarūpa " I, 14) speaking of Nṛtya and Nṛtta,“the former, gesture-with-meaning is high (mārga), the latter popular (deśi).”

The Chief of the Audience* (sabhā-nāyaka).—He who is Chiefof the Audience should be wealthy, wise, discriminating, full ofgifts, versed in musical lore, omniscient, renowned, of charmingpresence, knowing the moods (bhāvas)¹and their expression(hāva), void of jealousy and like faults, familiar with customaryetiquette, sympathetic, a Dhīrodātta Nāyaka, expert in all thearts, clever in statecraft.
The Ministers* (mantri).—Those who shine as royal ministersare men of their word, discerners of good qualities, wealthy,famed, learned in mood (bhāva), knowing good from evil, fainof the flavour of love, impartial, well-conducted, of good will,learned, devoted servants of the king, and men of culture.

*** The Stage* (ranga).**—The Chief of the Audience, as described,should sit at ease, facing the east, the poets, ministers, and courtiers at his side. The place before him, where dancing is to bedone, is called the stage.

*The danseuse (pātra) should stand in the middle of the stage,and the dancer (naṭa) near her; on the right the cymbalist(tāladhārī); on either side the drummers (mṛdangikaḥ); thechorus (gītakāraḥ) between them; and the drone (śrūtikāra) alittle behind. Each of these, and thus ordered, should be presenton the stage.
The Danseuse, or Actress* (pātra).—It is understood that theDanseuse (nartakī) should be very lovely, young, with full round

1 Bhāva is the first touch of emotion in a mind previously at rest; when theemotion becomes more intense, and finds expression in movements of the eyes, eyebrows, etc., it is called hāva. The ten hāvas or sṛngāra-ceṣṭās are included among thetwenty or twenty-eight ornaments (alankāra) of a heroine, as follows: līlā, theimitation of the lover; vilāsa, a flutter of delight, vicchitti, rearrangement of dressor jewels to enhance loveliness; vibhrama, confusion or flurry; kilakiñcita, a combination of anger, tears, joy, fear, etc.; moṭṭayita, absorption in thoughts of the loverwhen his name is heard; kuṭṭamita, feigned anger; bibboka, feigned indifference;lalita, graceful swaying or lolling; vihṛta, silence imposed by modesty.

These are described in the “Sāhitya Darpaṇa” of Viśvanātha, “Dāśarūpa " ofDhanaṃjaya, “Bhāsa-bhuṣana” of Lāla-candrika, etc. The physical signs expressing the hāvas are detailed in subsequent verses of the “Mirror of Gesture,"(e.g. pp. 20, 25). Strictly speaking, bhāva is mood or feeling unexpressed, hāva isthe emotion which finds expression, ceṣṭāthe gesture that expresses it. Rasa orflavour and vyañjanā or suggestion (transcending the literal meaning) distinguishpoetry from prose.

breasts, self-confident, charming, agreeable, dexterous in handling the critical passages,¹skilled in steps and rhythms, quite athome on the stage, expert in posing hands and body, gracefulin gesture, with wide-open eyes, able to follow song and instruments and rhythm, adorned with costly jewels, with a charminglotus-face, neither very stout nor very thin, nor very tall norvery short.

*** Disqualifications of a Danseuse***.—The Danseuse (veśya) shouldbe rejected, whose eyes are (pale) like a flower, whose hair isscanty, whose lips are thick, or breasts pendant, who is verystout or very thin, or very tall or very short, who is humpbacked, or has not a good voice.

The Bells (*kinkinī). The Bells should be made of bronze orcopper or silver; they should be sweet-toned, well-shaped,dainty, with the asterisms for their presiding deities, tied withan indigo string, with a knot between each pair of bells. At thetime of dancing there should be a hundred or two hundred foreach foot, or a hundred for the right foot and two hundred for theleft.²
The Dancer or Actor (naṭa)*.—Wise men say the Dancer (oractor) should be handsome, of sweet speech, learned, capable,eloquent, of good birth, learned in the scriptures (śāstras) ofart and science, of sweet voice, versed in song, instrumentalmusic, and dancing, self-confident, and of ready wit.

*** Outer Life (bahiḥ prāṇa) of the Danseuse***.—The following accessories are called the Outer Life of the Danseuse: the drum,cymbals of a good tone, the flute, the chorus, the drone, the lute(vīṇā), the bells, and a male singer (gāyaka) of renown.

Inner Life (antaḥ prāṇa) of the Danseuse.—The ten factorsof the Inner Life of the Danseuse are swiftness, composure,

** 1** Kuśala graha-mokṣayoh, lit. expert in grasping and releasing, emphasizing andrelaxing the stress of emotion. The actress is not to be swayed by impulse, butperfectly self-possessed, mistress of a studied art, in accordance with the Telugusaying bommale-vale ādintsuta, “as if pulling the strings of a puppet”, a phrasealso used in speaking of the relation of God to man and the universe.

** 2** No dancer ties the bells upon her ankles before dancing, without first touching her forehead and eyes with them, and repeating a brief prayer. Investiturewith the bells makes the adoption of a professional life inevitable.

symmetry, versatility, glances, ease, intelligence, confidence,speech, and song.

Vulgar Dancing (nīca nāṭya).—Those who are versed in theScience of Dancing say that that dancing is vulgar in which theactress does not begin with prayer, etc.

*** The Fruit of Witnessing Vulgar Dances***.—Those who look uponthe dancing of such a vulgar actress will have no children, andwill be reborn in animal wombs.

**The Course of the Dance (nāṭya-krama).—What is said traditionally by our ancestors must therefore be kept in view.Having made the prayer, etc., the dancing may begin. The songshould be sustained in the throat; its meaning must be shownby the hands; the mood (bhāva) must be shown by the glances;rhythm (tāla) is marked by the feet. For wherever the handmoves, there the glances follow; where the glances go, the mindfollows; where the mind goes, the mood follows; where themood goes, there is the flavour (rasa).

GESTURE (abhinaya)

Gesture is the principal theme of what is here related.

The root ni with the prefix abhi implies exposition, and theword abhinaya is used in this sense. According to another book(granthāntare), abhinaya is so called because it evokes flavour(rasa) in the audience. There are three kinds of gesture:¹bodily,vocal, and ornamental (āngika, vācika, āhārya), besides the pure,passionate, and dark (sāttvika, etc.). Here we are only concerned with angikābhinaya, “Exposition by means of the gestures of the body and limbs.”

The three elements of bodily gesture are the limbs, parts ofthe body, and features (anga, pratyanga, upānga).

In Angābhinaya the head, hands, arm-pits, sides, waist, andfeet, these six, and some say also the neck, are called the limbs.

1 Observe that abhinaya strictly speaking meansexpression” whether bygesture, singing, or costume. In the present work it is expression by gesture whichis considered, and on this account the term abhinaya has been rendered by “gesture “throughout.

In Pratyangābhinaya the shoulders, shoulder-blades, arms,back, stomach, thighs and calves, some say also three others,the wrists, knees, and elbows, are the parts of the body.

In Upāngābhinaya the eyes, eyelids, pupils, cheeks, nose, jaw,the lips, teeth, tongue, chin, face, these eleven are the features.Beside these are the accessories, such as the heel, ankle, fingersand toes, and palms, which I mention according to the old books.

Only such as are useful in dancing will be described. Theclassification of Heads will be given first, then that of the Glances,Neck, Hands, and Actions, and from these five will appear theresulting movements.

*** Nine Movements of the Head***.—The following nine Heads arenamed by those who are versed in the Science of Dancing: Sama,Udvāhita, Adhomukha, Ālolita, Dhuta, Kampita, Parāvṛtta,Utkṣipta, Parivāhita.

*** Sama* (level**): not moving, not bent, nor raised. Usage: atthe beginning of dancing, prayer,¹authoritative speech,
satisfaction, anger, indifference, or inaction.

*** Udvāhita* (raised)**: raising the head and keeping it still. Usage:flag, moon, firmament, mountain, flying things in the air, anything tall.

Adhomukha (face inclined): the head is bent. Usage: modesty,sorrow, bowing, regarding anything vile, fainting, things onthe ground, bathing.

Ālolita* (rolling): the head is moved in a circle. Usage: sleepiness, obsession, intoxication, faintness, dizziness, hesitation,laughter, etc.

*** Dhuta (shaken)***: the head is turned to and fro from right toleft and left to right. Usage: denial, looking repeatedy atthings, condolence with others, astonishment, dismay, indifference, cold, fire, fear, first moment of drinking liquor, preparing for battle, rejection, impatience, glancing at one’s ownlimbs, summoning from both sides.

** Kampita (nodded)**: shaking the head up and down. Usage:indignation, saying “Halt!”, enquiry, summoning, threatening, etc.

1 Cf. usage in “Bhagavad Gitā “, VI, 13.

*** Parāvṛtta* (turned round)**: the head is turned aside. Usage:saying “Do this”, aversion, modesty, quiver, relaxing thefeatures, slighting, hair, etc.

Utkṣipta* (tossed): turning the head aside and upwards.Usage: saying “Take this”,etc.,indication, cherishing, assent.
Parivāhita* (wagging): the head is moved from side to side likea fan. Usage: being in love, yearning for the beloved, pleasure,gratification, reflection (vicāra).

The twenty-four Heads following are mentioned elsewhere, byBharatācārya and others: Dhuta, Vidhuta, Ādhuta, Avadhuta,Kampita, Akampita, Udvāhita, Parivāhita, Añcita, Nihañcita,Parāvṛtta, Utkṣipta, Adhomukha, Lolita, Tiryonnatānnata,Skandhānata, Ārātrika, Sama, Pārśvābhimukha, Saumya,Ālolita, Tirascīna, Prakampita, Saundarya.

*** Dhuta*:** moving the head slowly and regularly to and fro. Usage:an empty place, looking to one side, failing to find sympathy,astonishment, dismay, indifference, rejection.

*** Vidhuta*:** the same head, moved quickly. Usage: cold, heat,fear, the first moment of drinking liquor.

*** Ādhuta*:** slightly raising and turning the head sharply. Usage:everything, looking at one’s own body, looking at the sides withan upward glance, ability to perform an action, dignity.

*** Avadhuta*:** inclining the head sharply. Usage: saying “Stay”,pointing out a place, asking a question, summoning, conversation.

Kampita:* raising the head high and shaking it. Usage: recognition, indignation, consideration (vitarka), threatening, hastening, questioning.
Akampita:* the same movement slowly. Usage: something infront, enquiry, instruction (upadeśa), one’s own opinion, narration.
Udvāhita:* raising the head sharply. Usage: saying “I can “,dignity.
Parivāhita:* turning the head in a circle. Usage: shamelessness,misapprehension, keeping silence, recalling (the appearance

etc. of) the beloved, astonishment, smiling, joy, horripilation,giving pleasure, reflection.

*** Añcita* (bent):** the neck is slightly bent to one side. Usage:regarding anything vile, being in love, fainting, etc., gazing atthe middle of the lower lip.

*** Nihañcita:*** raising the shoulder, and touching it with the head.Usage: pleasure at seeing the beloved (vilāsa), graceful posing(lalita), affected indifference (bibboka), hysterics (kilakiñcita),rapture at being reminded of an absent lover (moṭṭayita),feigned anger (kuṭṭamita), modest silence (mauna), affectationof being unmoved (stambha).

*** Parāvṛtta:*** the head is averted. Usage: saying “Do this”,aversion, modesty, etc., relaxing the features, following onewho has gone aside, looking back.

*** Utkṣipta:*** the face is uplifted. Usage: things moving in thesky.

Adhomukha:* the head is bent. Usage: modesty, sorrow, bowing.
Lolita:* the head unsteady, the eyes languid as if from excess ofpride. Usage: sleepiness, obsession, intoxication, faintness.

*** Tiryonnatānnata:*** the head is moved up and down. Usage:affected indifference.

*** Skandhānata:*** the head is rested on the shoulder. Usage: sleep,intoxication, fainting, anxiety (cintā).

Ārātrika:* turning the head to both sides, just touching theshoulders. Usage: astonishment, inferring the opinions ofothers.
Sama:* natural pose of the head. Usage: expressing normalcircumstances.
Pārśvābhimukha:* the head is turned aside in looking at personson one side.

*** Saumya:*** motionless. Usage: when the dance (nṛtya) is to bebegun.

Ālolita:* the head is moved about freely. Usage: when flowersare offered in the hands, in Cārī-naṭana, charm (lavana).

*** Tirascīna:*** looking up on both sides. Usage: in dances showingmodesty, and that called Mukhacārī, and such suitable occasions.

Prakampita* (waving about): repeatedly moving the head forward and to both sides. Usage: the marvellous (adbhuta rasa), song, composition (prabandha), bee, the enemy’s modeof fighting.
Saundarya* (elegance): looking up and down, the trunk alsobent. Usage: expressing a cause (kāraṇa), in dances showingthe “bee “hand, yoga-practice.

*** The Eight Glances* (aṣṭa dṛṣṭi).**—In Bharataśāstra the following eight sorts of Eye or Glance (dṛṣṭi) are mentioned: Sama,Ālokita, Sāci, Pralokita, Nimīlita, Ullokita, Anuvṛtta, Avalokita.

Sama (level): gazing without winking, like a woman of thegods. Usage: beginning a dance, scales, thinking of someother matter, surprise, the image of a god.

Ālokita* (inspecting): swiftly turning with keen glances. Usage:potter’s wheel turning, showing “all sorts of things”, desires.
Sāci* (sidelong): looking out of the corners of the eyes, withoutmoving the head. Usage: secret purpose (ingita), twirlingthe moustache (self-confidence), aiming an arrow, hinting, andin Kulaṭa nāṭya.
Pralokita:* turning from side to side. Usage: looking at thingson both sides, making signs, moving, disordered mind.
Nimīlita* (closed): the eyes half-closed, half-open. Usage:appearance of a sage (ṛṣi), subjection to another’s will, prayer(japa), meditation (dhyāna), greeting (namaskṛta), madness,keen insight (sukṣma dṛṣṭi).
Ullokita* (looking up): directing the glance keenly up andaside. Usage: the point of a flag, tower (gopura), temple (devamandapa), previous lives, height, moonlight.
Anuvṛtta* (following): glancing quickly up and down. Usage:angry looks, friendly invitation.
Avalokita* (looking down): looking down. Usage: looking at ashadow, reflection (vicāra), bed, study, looking at one’s ownbody.
The following Glances are mentioned elsewhere: Sama, Pralokita, Snigdha, Srngara, Ullokita, Adbhuta, Karuṇa, Viṣmaya,

Tṛpta, Viṣanna, Bhayānaka, Sāci, Dṛta, Vīra, Raudra, Dūra,Ingita, Vilokita, Vitarkita, Śankita, Abhitapta, Avalokita,Śūnya, Hṛṣṭa, Ugra, Vibhrānta, Śānta, Mīlita, Sūcana, Lajjita,Malina, Trasta, Mlāna, Mukula, Kuñcita, Ākāśa, Ardhamukula,Anuvṛtta, Vipluta, Jihma, Vikośa, Madira, Hṛdaya, Lalita.

*** Sama***: looks like those of the women of the gods (not winking,etc.). Usage: normal circumstances.

*** Pralokita***: casting glances on both sides. Usage: looking onboth sides.

*** Snigdha* (tender):** the look that is associated with joy, pleasant anticipation, things after one’s own heart, having an innerradiance, expressing the surge of love passion. Usage: inaffection.

*** Sṛngāra* (love):** born of great joy, in the toils of love-raising the eyebrows and looking out of the corners of the eyes.Usage: mutual glances of those who are fast bound by amorous desires.

Ullokita: looking upwards. Usage: tall things, previous births.

Adbhuta: the ends of the eyelids slightly curved, the eyebrowsraised in wonder, the eyes shining. Usage: the marvellous.

Karuṇa: a downcast glance, half-vouchsafed, with tears, benevolent, the black pupil slowly moving, regarding the tip of thenose. Usage: the pathetic.

Viṣmaya (astonishment): quickly raised, straight-staring.Usage: astonishment.

Tṛpta (satisfaction): steady, wide-opened, the pupil motionless,keeping its place. Usage: resolution (utsāha).

Viṣaṇṇa: the eyelids wide apart, eyelashes recurved, the pupilfixed. Usage: dismay, anxiety.

Bhayānaka (inspiring fear): the eyelids raised and fixed, thepupil bright and fluttering. Usage: great fear, the terrible.

*** Sāci:*** looking persistently out of the corners of the eye. Usage:secret purpose.

** Dṛta (fish?)** both pupils moving. Usage: excitement.

** Vīra (heroic):** radiant, direct, open, rather majestic, self-controlled, the pupils at rest. Usage: the heroic.

*** Raudra* (cruel):** unfriendly, red, cruel, the pupils fixed and thelids not moved, the brows contracted and raised. Usage:the cruel.

Dūra (far): slightly raised. Usage: things at a distance.

Ingita: sidelong glances expressing joy. Usage: secret thought.

Vilokita: looking back. Usage: things or places behind.

Vitarkita (deliberation): direct, wide-opened, the eyelids separated, the pupils fixed as if in fear. Usage: consideration(ūhā).

Śankita* (apprehensive): a little moved, a little at rest, slightlyraised and moved to and fro, the pupils partly hidden.Usage: hesitation.

Abhitapta (burnt): the eyelids moving, the pupils gazing languidly. Usage: indifference (i. e. regarding a thing, but without interest).

Avalokita: looking down. Usage: study (paṭhanā), reflection(vicāra).

Śūnya (vacant): eyelids level, pupils visible, motionless, gazevacant. Usage: misunderstanding (bāhyārtha grahaņa).

Hṛṣṭa (merry): fluttering, pleasant, twinkling. Usage:laughter.

Ugra (fierce): very wide open, a little red at the corners.Usage: ferocity.

*** Vibhrānta* (wandering):** the pupils moving, rolling, unconstrained, between tears and laughter; the wandering glance ofexcitement.

** Śānta (peace):** gradually closing the lids, the eyes slightlymoving, the pupils moving to the corners; the peaceful glanceof dispassion.

Mīlita: nearly closed. Usage: conditions such as subjection toanother’s will.

Sūcana: the eyes partly closed, following the movement of the(sūci) hand. Usage: pointing out.

Lajjita: the upper eyelid dropped, the pupil also lowered bashfully, the lashes meeting; this modest glance is used modestly.

*** Malina:*** the lashes partly closed as if by rheum, the pupilssunken; this unclean eye denotes women (i. e. dissipation).

Trasta (frightened): inwardly expanded, the pupil raised.Usage: fear and intoxication.

Mlāna (dull): the pupils moving languidly and slowly,squinting, the lashes seeming to touch; this dull eye indicatesinsipid matters.

Mukula: the lashes trembling and touching, the expression ofthe pupils mild, the upper lids lowered; this ‘bud’ eye indicates bliss (ānanda).

Kuñcita (curved): the lashes a little recurved, the eyeballs alittle sunk; dislike, or jealousy

Ākāśa (sky): directed towards the sky, the pupil turned farback; indicating things moving above.

Ardhamukula: smiling, the pupils just visible under the lids;this ‘half-bud’ eye indicates bliss and rejoicing.

Anuvṛtta (following): repeated glancing; it is used in hurry.

Vipluta: the lids trembling, expanded, and then dropped; this’disordered’ eye indicates beauty in things of all sorts.

Jihma (oblique): bent back, a slow and hidden glance; used toconvey secret meanings, and in envy.

Vikośa: without winking, the pupils moving, the lids wide apart;it is used in joy.

Madira: indirect, ranging, centred, unsteady, crooked; it isused to indicate the early stage of intoxication.

Hṛdaya: unsteady, flurried, the pupils moving somewhat (anaglulita), the lids recurved; it is used for mediocre things.Lalita (graceful): the corners of the eyes closed by the movement of the brows, smiling because of the working of Love,direct; it is used in graceful posing (lalita), etc.

According to another book there are named the following sixmovements of the Brows: Sahaja, Patita, Utkṣipta, Catura, Recita, Kuñcita.

Sahaja: the natural brow in a smooth face. It expresses thenatural state.

*** Patita:*** the brows being at rest, are made to frown. Usage: distaste, astonishment, jealousy.

*** Utkṣipta:*** either one or both of the brows is raised. Usage:woman’s anger, telling the truth, feelings of love (sṛngārabhāva), dalliance (līlā).

Catura: the brows meeting and faintly quivering. It is used intouching one another’s face, heart’s bliss, and excitement.

Recita: one brow is contracted with charm and sweetness.Usage: listening to a secret, saying “Sādhu”, looking at anyplace.

Kuñcita: one or both brows arched. Usage: rapture at beingreminded of an absent lover (moṭṭayita), feigned anger (kuṭṭamita), pleasure at seeing the beloved (vilāsa), hysterics (kilakiñcita).

Knowers of mood (bhāva) have declared that there are fourNecks: Sundari, Tirascīna, Parivartita, Prakampita.

Sundari:* moving to and fro horizontally (tiryak pracalita).¹Usage: the beginning of affection, making trial, saying “Welldone!”, recollection, badinage, sympathetic pleasure.
Tirascīna:* an upward movement on both sides, like the glidingof a snake. Usage: brandishing a sword, serpentine progression.
Parivartita:* moving to right and left, like a half-moon. Usage:Sṛṇgara naṭana (erotic dances), when kissing the cheeks.Prakampita: moving the head backwards and forwards like apigeon. Usage: saying “You and I”, especially in Deśīyanaṭa (folk-dances), swings, counting.
Lives of the Hands* (hasta prāṇa). The Lives (i. e. movements) of the Hands are twelve, as follows: Prasāraṇa, Kuñcita,Recita, Punkhita, Apaveṣṭita, Prerita, Udveṣṭita, Vyāvṛtta,Parivṛtta, Sanketa, Cihna, Padārtha-ṭīka.²
⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻⁻

1. This is one of the most characteristic, and at the same time most peculiar,movements of Indian dancing.

2. The above-mentioned technical terms are used in the subsequent detaileddescription of the hands and in more detailed texts such as those quoted on p. 12of the Preface. Nos. 5 and 7 are produced by turning the forearm on its own axis,so that the palm of the hand faces downwards (No. 5) or upwards (No. 7). InNo. 8 the fingers point vertically upwards: in No. 9 the fingers point across thebody.

Prasāraṇa* (outspread): extending the fingers (e.g. Plate X A).

*** Kuñcita* (bent, inclined):** bending the fingers (e.g. Plate XI A).

Recita* (separated): separating the fingers (e.g. Plate XI C, E).
Punkhita* (feathered, or fluttering): the hand (directed) forward,(the fingers being) extended, bent, or separated (e.g. PlateXII B). This movement is used in Patāka and other hands.
A paveṣṭita* (twisted down): the hand directed downwards(e.g. Plate I, foremost hand and Plate XIII c, l.h.).
Prerita* (directed): the hand turned back, (the fingers being)extended, bent, or separated (e.g. Plate VII D, XII A).
Udveṣṭita* (twisted upwards): the hand directed (palm) upwards (e.g. Plates XI E, XII C, XIII D.)

*** Vyāvṛtta* (turned back):** the hand pointing upwards sideways(e.g. Plate VIII).

Parivṛtta* (turned round): the hand directed forwards, sideways.
Sanketa* (intimation): communicating an idea without words.¹
Cihna* (mark): the various Cihnas are the marks of thosethings which are evident, and of those unseen, their state ofmovement or rest, and eight others, viz. their form, face,situation, banner, weapons, virtues, range, and habits, as setforth in dance.
Padārtha-ṭīka* (word-meaning commentary): the meaning ofwords is conveyed.
The Classification of Hands* (hasta bheda). The characteristics of the Hands will be set forth in order. There are two kinds,the Single (asamyutta) and the combined (samyutta). There aretwenty-eight Single Hands as follows: Patāka, Tripatāka,Ardha-patāka, Kartarī-mukha, Mayura, Ardha-candra, Arāla,Śuka-tuṇḍaka, Muṣṭi, Śikhara, Kapittha, Kaṭaka-mukha, Sūci,Candra-kalā, (Padma-) Kośa, Sarpa-śīrṣa, Mṛga-śīrṣa, Simhamukha, Lāngula, Sola-padma, Catura, Bhramara, Haṃsāsya,Hamsa-pakṣa, Saṃdaṃsa, Mukula, Tāmracūḍa, Triśūla.

*** Patāka* (flag):** the thumb bent to touch the fingers, and thefingers extended. Usage: beginning a dance, cloud, forest,forbidding things, bosom, night, river, world of the gods, horse,

1 Akṣara-muṣṭikā, communicating letters or ideas by the disposition of thefingers, is one of the ’ sixty-four arts.’

cutting, wind, reclining, walking, prowess, graciousness, moonlight, strong sunlight, knocking, meaning of the seven cases,wave, entering a street, equality, applying sandal paste, one’sself, taking an oath, silence, benediction, a good king, palmyraleaf, slap, touching, saying “Such and such”,the sea,the wayof good deeds, addressing (a person some distance away), goingin front, the form of a sword, month, year, rainy season, day,sprinkling water.

According to another book, the thumb is bent against the baseof the forefinger and the palm and fingers extended. WhenBrahmā, the Shaper, went to Parabrahmā, as he saluted himwith the cry of “Victory!” he held his hand like a flag, sincewhen it has been called the “flag hand”. It is the first of allhands, it originates from Brahmā, its colour is white, its sageŚiva, its race Brāhmaṇa, its patron deity Parabrahmā. Usage:saying “Victory, victory!”, clouds, forbidding things, forest,night, saying “Go!”, going, conveyance, wind, chest, front,merit (puṇya), preëminence, flow, abode of the wise, crying"Ha! ha!”, moonlight, sunlight, abode of the gods, removalof hindrance, wall, cutting, pleasing others, cheek, applyingsandal paste, mustering an army, boundary, removing fear,¹having no refuge, decrease, covering, reclining, the earth, flame,pouring rain, wave, wings of a bird, petitioning a king, saying"Thus”, eye, saying “Like what?” and “Like that”, slap,touching, lake, massage, closing a dispute, strong wind, end ofthe robe (añcala), cold, heat, radiance, shadow, ear, season,half-year, day, fortnight, month, purity, high birth, approach,saying “Protect”, or “Caress”, Brāhmaṇa caste, pure colour.(Plate X A.).

Tripatāka (three parts of the flag): the third finger of thePatāka hand is bent. Usage: a crown, tree, vajra weapon,the bearer of the vajra (Indra), screw-pine flower, light, risingflames, cheek, patterns drawn on the face or body (patralekhā), arrow, turning round, union of woman and man.

** 1** The Patāka hand is commonly seen in the abhaya mudrā of images, but is sometimes replaced by ardha-candra.

According to another book: same definition. It is so calledsince Śakra (Indra) and others held the vajra weapon with threeparts of the “flag”, leaving out the third finger. Its colour is red,it is of Kṣattriya race, its sage is Guha, its patron deity Śiva.Usage: invocation, descent (avataraṇa), lifting or bending downthe face, touching auspicious things, hook, site (khala), disrespect, doubt, crown, tree, Vāsava (Indra), vajra, stroking the hair,lamp, marking the brow-spot, tying a turban, applying strongscents, closing the nose or ears, rubbing-down a horse, arrow,screw-pine flower, patterns drawn on the face or body, the flightof certain birds, tongues of flame, Kṣattriya caste, red colour.¹(Plates VII B, XII A.)

*** Ardha-patāka* (half-flag):** the little finger of the Tripatāka handis also bent. Usage: tender shoots (pallava), panel for writing or drawing (phalaka), bank of a river, dagger (krakaca),knife, flag, tower (gopura), horn (sṛnga), saying “Both.”

** Kartarī-mukha (arrow shaft face):** in the same hand, the forefinger and little finger are outspread.²Usage: separation ofwoman and man, opposition or overturning, stealing, the corner of the eye, death, disagreement, lightning, sleeping alone,falling, a creeper.

According to another book: the forefinger of the Tripatākahand is out(-spread). Once upon a time, the sages say, Śaśānkaśekhara (Śiva), set out to slay Jaḍandhara; he drew a circleround the centre of the earth with his forefinger, and that is theorigin of the Kartarī-mukha hand. It originates from Śiva, itssage is Parjaniya, its race Kṣattriya, its colour coppery, its patrondeity Cakrapāṇi (Vishnu). Usage: red paint for the feet (padā-

1 According to Dhanamjaya (“Daśarūpa “, I, 126) the Tripatāka hand is used instage whispers (janāntika) to shut out the others when only one person is addressedout of several present on the stage, e. g.“Śakuntalā “, vi, 24.

2 A fuller description of the Kartarī-mukha hand is quoted by T. A. GopinathaRao, from an unnamed source, in “Hindu Iconography,” 1914, p. xxxi, where itis stated that it is used for holding attributes (cf. on Plate XI c) such as the conchand discus; and also that the thumb and third finger should meet near the middleof the palms. The hands of images conform to this rule in most cases, but not invariably. Most likely there exists some confusion of Kartarī-mukha and Mayurahands. Our figure shows the Kartarī-mukha hand according to the text description.

laktaka), drawing patterns on the body, yearning of separatedhusband and wife, overturning or opposition, Mādhava, lightning, sleeping alone, buffalo, deer, fly-whisk, hill-top, elephant,bull, cow, thick coil of hair, Kṣattriya caste, copper colour,scissors, tower. (Plates VII D, XI c.)

Mayura* (peacock): the third finger of the Kartarī-mukha handis joined to the thumb, the other fingers extended. Usage: thepeacock’s beak, a creeper, bird of omen (śakuna), vomiting,forehead, stroking the hair, forehead, brow-spot, wiping awaytears, argument according to law (śāstra), renown.
Ardha-candra* (half-moon):¹the thumb of the Patāka hand isstretched out. Usage: the moon on the eighth day of the darkfortnight, a hand seizing the throat, a spear, consecrating animage, a platter, origin, waist, anxiety, one’s self, meditation,prayer, touching the limbs, greeting common people.

According to another book: same definition. This hand originates from the desire of Śiva for ornaments, of which the moonis one.Its sage is Atri, its race Vaiṣya, its colour smoky, itspatron deity Mahādeva. Usage: bangle, wrist, mirror, astonishment, effort, intemperance, entirety, beating time, tying up thehair, supporting the cheek in grief, the ear of an elephant, expelling evil-doers, wiping sweat from the brow, adolescence,ability, moon, greeting common people, consecration, eyebrow,cloth, bow, preëminence, tightening the girdle, making a vessel,the body, movement of the feet, carrying a child, the back, whitecolour, Vaiṣya caste. (Plate X B.)

** Arāla (bent):** the first finger of the Patāka hand is curved.Usage: drinking poison, nectar, etc., or sharp acid.

According to another book: the thumb and forefinger of thePatāka hand are curved. It was first used by Agastya in drinking (āpośanam kṛte) the seven seas. Its colour is red, its racemixed, its patron deity Vāsudeva—such is its history accordingto Bharata and others. Usage: the sipping of water (āpoŝana)
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1 This hand often replaces the Patāka, e. g., in the Abhaya mudrā of Plates I,

by Brāhmaṇas, benediction, the aversion of a parasite (viṭā) forhis friend, dressing the hair, saying “Come soon!”, circumambulation at morning and evening prayer, wiping sweat from thebrow, putting collyrium on the eyes, etc.

** Śukatuṇḍaka (parrot’s beak):** the third finger of the Arāla handis also bent. Usage: shooting an arrow, throwing a spear*(kunta)*, mystery (marma), ferocity.

According to another book: same definition. It originatesfrom Pārvatī, who used it in a lover’s quarrel with Sadāśiva. Itssage is Dhruvasa, its race Brāhmaṇa, its colour red, its patrondeity Mārici. Usage: Brahmā-weapon, nose (mukhāgra), curve,turning round, javelin, proceeding, fighting, crossing, disrespect,lovers’ quarrel, opinion, abandonment, dice, throwing a spear,ferocity, secrecy, copper colour, Brāhmaṇa caste. (Plate X F.)

Muṣṭi (fist): the four fingers are bent into the palm, and thethumb set on them. Usage: steadiness, grasping the hair,holding things, wrestling.

According to another book: the thumb placed on the middlefinger, and the fingers closed. It originates from Vishnu, whoused this hand when he fought with Madhu. Its sage is Indra,colour indigo, race Śūdra, patron deity the moon. Usage: grasping, waist, fruit, agreement, saying “Very well”, sacrificial offerings, greeting common people, carrying away, strong hold,holding a book, running, lightness, wrestling, holding a shield,holding the hair, fisticuffs, grasping a mace or spear, indigocolour, Śūdra caste. (Plate X c.)

Śikhara* (spire) in the same hand, the thumb is raised. Usage:the God of Love (Madan), bow, pillar, silence, husband, tooth,entering, questioning, the body, saying “No!”, recollection,intimate suggestion (abhinayāntara), untying the girdle, embrace, lover, letting fly śakti and tomara weapons, sound of abell, pounding.

According to another book: same definition. It originatesfrom Candraśekhara (Śiva), when he held Mt. Meru as his bow.

It originates from that Meru-bow, its sage is Jihna, its raceGandharva, its colour dusky, the God of Love (Rati vallabha) itspatron deity. Usage: gratifying the ancestors, steadiness,establishing a family, hero, spire, friend, cleaning the teeth withto and fro movement, plying a palmyra fan, difference, saying"What?”, drinking water from a spouted vessel (bhṛngāra), thenumber four, letting fly śakti or tomara weapons, enjoying consequences, demure attitude of an amorous girl, bashfulness,bow, the God of Love (Smara), saying “No!”, charity, permanent mood (sthayi bhāva), Vināyaka, Mahiṣa-mardinī, heroism,galloping of a horse, half-moon, brow-spot, etc., making the signof the hair-knot, sapphire, intensity. (Plates X D, XII D, XV c.)

Kapittha (elephant-apple): the forefinger of the Śikhara handis bent over the top of the thumb. Usage: Lakṣmī, Sarasvatī,winding, holding cymbals, milking cows, collyrium, holdingflowers at the time of dalliance, grasping the end of the robe*(celāñcala)*, veiling the head with the añcala, offering incenseor lights, etc.

According to another book: same definition. Long ago whenthe Churning of the Ocean was done, Vishnu used this hand topull upon Mt. Mandara. Its sage is Nārada, its race Ṛṣi, itscolour white, its patron deity Padmagarbha (Vishnu). Usage:churning, Lakṣmī, offering incense or lights, etc., spreading cowries, holding elephant goad or vajra, or a sling, or cymbals, showing a dance (nāṭya), holding a lotus of dalliance (lilābja dhāraṇa),counting Sarasvatī’s rosary, pounding barley etc., seizing theend of the robe (celāñcala), Ṛṣi caste, white colour.

Kaṭaka-mukha (opening in a link): the forefinger and middlefinger are applied to the thumb.¹Usage: picking flowers,

1 The tip of the forefinger and the side of the middle finger are applied to the tipof the thumb, the third finger is bent beside the middle finger, and the little fingeris also hent, but to a less degree. According to T. A. Gopinatha Rao, “HinduIconography,” Vol. I, pt. 1, description of terms, p. 16, this hand (syn. Siṃhakarṇa) in images is generally intended to receive the daily offering of a freshflower, and this is supported by the Ajaṇṭā usage.

This hand is also used in teaching and is known to some iconographers, perhapsincorrectly, as Vitarka mudrā.

holding a pearl necklace or garland of flowers, drawing a bowslowly, distributing folded betel leaves, applying such thingsas musk or scent, speech, glancing.

According to another book: the thumb of the Kapittha handis thrown forward. This hand originated when Guha receivedinstruction in archery from Śiva. Its sage is Bhārgava, itscolour coppery, its race Deva, its presiding deity Raghurāma.Usage: holding a pearl or flower garland or a fly-whisk, drawingout an arrow, holding out a mirror, reins, conveyance, breakinga twig, cleaning the teeth, picking flowers, distributing foldedbetel leaves, applying musk, embrace of harlots, drawing thebow, holding the discus, holding a fan, gold colour, Deva caste.(Plate XI A.)

Sūci* (needle): the forefinger of the Kaṭaka-mukha hand isupraised. Usage: one, Parabrahmā, demonstration, one hundred, sun, city, world, saying “Thus”, or “What?”, “He”,fan, threatening, pining away, rod, the body, astonishment,braid of hair, umbrella, capability, down (roma), beating thedrum, turning the potter’s wheel, wheel, circle, explanation,evening.

According to another book: same definition. It originatesfrom Brahmā, when he said “I am unique.” Its sage is the sun,its race Deva, its colour white, its patron deity Viśvakarmā.Usage: boastings, truth-telling, pointing to a distant country,life, going in front, one, the twilights, solitude, lotus stalk, saying"Sādhu”, looking at things, saying “Thus”, world, Parabrahmā,unity, rod, turning a wheel, sun, sunrise and sunset, arrow, secret,hero (nāyaka), silī-mukha arrow, saying “What?”, saying"He”, metal, handle, threatening, addressing inferiors, listening,yearning for the beloved, recollection, nose, beak, white colour,vision. (Plate XIII A.)

*** Candra-kalā*** (digit of the moon): the thumb of the Sūci hand isreleased. Usage: to indicate the crescent moon (PlateXIV A).

Padmakośa (lotus bud): the fingers separated and a little bent,the palm a little hollowed. Usage: fruit, wood-apple, elephant-

apple, etc., breast, curve, ball of flowers, light food, bud, mango,rain of flowers, cluster of flowers, the japā-flower, the shape ofa bell, the hole of a snake, a water-lily, an egg.

According to another book: the hand is like a perfect whitelotus. Nārāyaṇa used this hand when worshipping Śiva withlotus flowers to obtain the discus. Its sage is Padmadhara, itsrace Yakṣa, and it also partakes of the Kinnara kind, its presiding deity is Bhārgava. Usage: trunk of an elephant, brilliance,vessel of gold or silver, coil of hair, moderation,charm, saying"Sādhu”, bell, ball of flowers, lotus, hole of a snake, etc., curve,breast, coconut, mango, karṇīkāra, mirror, bending a bough, rainof flowers, pot, egg, opening (of a flower), wood-apple, elephant-apple. (Plate XI D.)

Sarpa-śīrṣa* (snake-head): the middle of the Patāka hand ishollowed. Usage: sandal-paste, snake, slowness, sprinkling,cherishing, etc., giving water to gods and sages, the flappingof elephants’ ears, massage of wrestlers.

According to another book: same definition. This hand isderived from Vishnu, who showed it when he offered to protectthe Devas against Bali, and promised to put him down. Itssage is Vāsava (Indra), its colour turmeric, its race Deva, itspatron deity Śiva. Usage: rouge (kunkuma), mud, prāṇāyama,^(1)washing the face, occasion of charity, sandal paste, elephant, ashort man, massage of wrestler’s shoulders, fondling, milk, water,saffron, bashfulness, concealing a child, image, drinking water,clinging (līna), saying “Very true”, Brāhmaṇa caste, turmericcolour, saying “It is proper”, answering, sprinkling sandalpowder, applying sandal paste, etc., holding the breasts, etc. ofwomen.

- Mṛga-śīrṣa (deer-head): in the above hand, the thumb andlittle finger are extended. Usage: women, cheek, traditionalmanners (krama-maryāda), fear, discussion, costume of anactor (naipathya), place of residence, tête-à-tête, drawing

1 To indicate prāṇāyama the sarpa śīṛşa hand is held upon the bridge of the nose,precisely as in the daily ritual of regulated breathing.

three lines on the brow, patterns on the ground, massage of thefeet, combining, house, holding an umbrella, stair, placingthe feet, calling the beloved, roaming.

According to another book: the thumb and little finger areraised. It springs from Gaurī, who used the Mṛga-śīrsa hand todraw three lines on her forehead when practising tapas for thesake of Śiva. Its race is Ṛṣi, its sage is Mārkaṇḍeya, its colourwhite, its presiding deity Maheśvara. Usage: wall, deliberation,opportunity, place of residence, Padminī, Śankhinīor Hastinīwoman, slowness, applying sandal paste etc., gestures *(abhinaya)*of women, screen, stair, self-manifestation, order, having threelines drawn on the brow, consideration (vitarka), deer-face, indicating one’s self, the body, Ṛṣi caste, white colour.

Siṃha-mukha* (lion-face): the tips of the middle and third fingers are applied to the thumb, the rest extended. Usage:coral, pearl, fragrance, stroking the hair, a drop of water, salvation (mokṣa) when placed on the heart, homa, hare, elephant,waving kuśa grass, lotus garland, lion-face, testing the preparation of medicine. (Plates XII B, XIII A.)

** Lāngula (tail):** the third finger of the Padmakośa hand isbent. Usage: lakuca-fruit, breast of a young girl, white waterlily (kalhāra), partridge, areca-nut, little bells, pill, cātaka.

According to another book: the thumb, middle and forefingerheld like the eye of a coconut, the third finger bent, and the littlefinger erect. It is derived from Śiva when he made a pellet ofthe poison that sprang from the sea of milk. Its sage is Krauñca,its race Siddha, its colour golden, its patron deity Padma. Usage:grapes, rudrākṣa seeds, holding the chin, breast-bud (kucapraroha), areca-nut, bells, blue lotus, fruit, coral, a mouthful,asterism (nakṣatra), jujube fruit, circle, partridge, cātaka, anything small, hailstone, Siddha caste, myrobalan fruit, gold.

Sola-padma (full-blown lotus) (= Ala-padma):** all the fingersseparated, turned about the little finger. Usage: full-blownlotus, elephant-apple etc., turning, breast, yearning for thebeloved, mirror, full-moon, a beautiful vessel, hair-knot, moon-

pavilion (candra-śālā), village, height, anger, lake, car, cakravāka (bird), murmuring sound, praise.

According to another book: it is the Ala-pallava hand whenthere is turning. It originates from Śrī Krishna, when he wasstealing butter and milk. Its sage is Vasanta, its race Gandharva,its colour dusky, its patron deity the Sun. Usage: fresh ghī,yearning for the beloved, head, sweetmeat, full-blown lotus,cluster of flowers, crown, ball, praises, beauty of form, dancing(naṛṭana), fort, palace, braided hair, moon-pavilion, sweetness,saying “Sādhu”, palmyra fruit. (Plate XII c.)

*** Catura:*** the thumb is bent to touch the base of the third finger,the first and adjoining fingers outstretched together, andthe little finger extended (separately). Usage: musk, a little,gold, copper etc., wet, sorrow, aesthetic emotion (rasāsvāda),eyes, difference of caste, oath, playful converse (sarasa), slow-stepping, breaking to pieces, seat (āsana), oil or ghī, etc.

According to another book: in the Patāka hand, the thumbis made to touch the middle line of the third finger, and the littlefinger is stretched out. It originates from Kaśyapa, who usedthis hand to show the way to Garuḍa when he wished to steal thenectar. Its sage is Valakhilya, its colour variegated, its racemixed, its patron deity Vainateya. Usage: gorocana, dust, playful converse, red paint (laktaka), concentration of mind (orattention), camphor, eye, chin, earring, face, brow, side glance,beloved, policy, musk, sugar, honey, oil, ghī, cleverness, mirror,gold, diamond, emerald, sufficiency, a little, a moderate quantityof anything, indigo, white colour, mixed caste, sword, cheek,tip of the ear.

*** Bhramara*** (bee): the second finger and thumb touching, theforefinger bent, the rest extended. Usage: bee, parrot, crane*(sārasa)*, cuckoo (kokila), union (yoga).

According to another book: the forefinger of the Hamsāsyahand is bent. It originates from Kaśyapa when he was makingearrings for the mother of the Devas. Its sage is Kapila, its

colour dark, its race Khacara, its patron deity the King of FlyingCreatures (Garuḍa). Usage: union (yoga), vow of silence, horn,tusk of an elephant, picking flowers with long stalks, bee, uttering the karṇa-mantra, taking out a thorn, untying the girdle,adverbs of two letters, flying creatures, dark colour. (Plate X E.)

** Haṃsāsya (swan-face): the middle and following fingers areseparated and extended, the forefinger and thumb are joined.Usage: tying the marriage thread, initiation, certainty, horripilation, painting (citra-samlekhana), gad-fly, drop of water,raising the wick of a lamp, rubbing (metal on a touchstone),examining things, drawing lines, carrying garlands, signifying"Soham " (That am I), metaphor (rūpaka), saying “No!",indicating things to be examined by rubbing, accomplishmentof a task.

According to another book: the tips of the forefinger, middlefinger and thumb are joined, the rest extended. This hand isderived from Dakṣiṇa-mūrti (Śiva), when he was teaching theTattva system to the sages at the foot of the Nyagrodha tree.Its sageis Śukha, its colour white, its race mixed, its presidingdeity Caturānana (Brahmā). Usage: instructing in wisdom,ritual (pūjā), demonstration of a thesis (nirṇaya), offering sesamum, speaking, reading, singing, meditation (dhyāna), demonstrating bhāva, applying wax, horripilation, pearl, gem, sound ofthe flute, gathering together (samyutta), smell, own self, dropof water, taking aim, seal-ring, kissing, Brāhmaṇa caste, whitecolour. (Plate VII c.)

*** Haṃsa-pakṣa* (swan-feather):** the little finger of the Sarpa-śīrşahand is extended. Usage: the number six, constructing abridge, making marks with the nails, arranging.

According to another book: same definition. It is said to beassociated with tāṇḍava dancing, and springs from Tāṇḍi. Itssage is Bharata, its colour indigo, its race Apsara, its patrondeity the God of Love (Pañcasāyaka). Usage: constructing abridge, restraining, gathering, feathers of a bird, completion,drawing a portrait (rūpa-lekhana), dusky colour, Apsara caste,and in Śubha-nāṭya.

Saṃdaṃsa* (grasping): the fingers of the Padmakośa hand arerepeatedly opened and closed. Usage: generosity, sacrificialofferings, tumour, insect, apprehension, worship (arcana), thenumber five.

According to another book: the middle finger of the Haṃsāsyahand is outstretched.¹This hand originates from the Goddessof Speech, when she bestowed a rosary. Its sage is Viśvavāsu,its race Vidhyādhara, its colour white, its patron deity Vālmīki.Usage: tooth, small bud, singing (saṃgīta), gentle dances (lāsyanaṭana), exegesis (ṭīka), jñāna-mudrā, scales, flaw in a tooth,sacred thread (yajñoрavīta), line, examining, painting pictures*(citra lekhana)*, truth, saying “No!”, saying “A little “, moment,listening, testing metals etc. on the touchstone (nikaṣa), shiningwhite, taking aim, nail, sprout, gunja seed, the number eight,fire-fly, poison, blades of grass, red ants, mosquito, eclipse, collecting pearls, bug, fly, garland, down, pointing (sūcana), solitude,touching, Veda, snow, speaking, slipping, cutting off, a wound,brow-spot, collyrium, Vidyādhara caste, white colour, slowness.

Mukula (bud): the thumb and fingers are brought togetherso as to show their tips. Usage: water-lily (kumuda), eating,the God of Love (Pañcabāṇa), holding a seal, navel, plaintainflower.

According to another book: the fingers of the Padmakośahand are brought together. It originates from the Scion of theWind (Hanuman) when he attempted to seize the sun, mistakingit for a ripe bimba fruit. Its sage is Viśākhila, its race Sankīrṇa,its colour tawny, its patron deity the Moon. Usage: charity(dāna), prayer (japa), humble speech, eating, lotus bud, self(atman), life (prāṇa), the number five, behaviour of an amorouswoman, kissing children, worshipping the gods, umbrella etc.,bud, accepting fruits, mixed race, brown colour.

1 In this case, exceptionally, the definition quoted “from other books” differsmarkedly from that of Nandikeśvara: this form of Saṃdaṃsa hand is identicalwith Nandikeśvara’s Haṃsāsya hand, and is quite distinct in form and significancefrom his Saṃdaṃsa.

Tāmra-cuḍa* (red-crest, i. e. cock): the forefinger of the Mukulahand is bent. Usage: cock etc., crane (baka), camel, calf,writing or drawing.

According to another text: the thumb and little finger of thePatāka hand are pressed together. Of old, when the Three Vedasassumed a visible form, and stood before Brahmā to make exposition of themselves, they used this hand. Its sage is Vajrāyudha(Indra), its colour mother of pearl, its race Deva, its patron deityBṛhaspati. Usage: the Three Worlds, trident, the numberthree, wiping away tears, the Three Vedas, wood-apple leaf,rubbing down a horse, leaf, panel (phalaka), cock, Deva race,white colour.

Triśūla* (trident): the thumb and little finger are bent. Usage: wood-apple leaf, three together.

Thus the Twenty-eight Hands are set forth. But it is saidthat there are as many hands as meanings.

According to another text (three others are mentioned, asfollows):

Urṇa-nābha* (spider): the fingers of the Padmakośa hand arebent. It originates from Narasiṃha when he was tearing thebody of the Daitya (Hiraṇyakaśipu). Its sage is Sārdulaka,its race Kṣattriya, its colour blood-red, its patron deity thePrimal Tortoise (Kurmāvatāra of Vishnu). Usage: scratching the head, theft, Narasiṃha, face of a deer, lion, monkey,tortoise, karṇikara, breast, fear, Kṣattṛiya caste, blood-redcolour.
Bāṇa* (arrow): the three fingers joined just touch the thumb,and the little finger is extended. Usage: the number six,Nāla-nṛtya.
Ardha-sūcika* (half-needle): the forefinger of the Kapittha handis raised. Usage: sprout, young bird, etc., large insect.
Combined* Hands (samyutta hastāni):

Twenty-four combined Hands are exhibited as follows: Añjali,Kapota, Karkaṭa, Svastika, Ḍola, Puṣpapuṭa, Utsanga, Śiva-

linga, Kaṭaka-vardhana, Kartarī-svastika, Śakaṭa, Śankha,Cakra, Sampuṭa, Pāśa, Kīlaka, Matsya, Kūrma, Varāha, Garuḍa,Nāga-bandha, Khaṭvā, Bheruṇḍa, Avahittha.

According to another book: when two Single Hands are combined, that is a Combined Hand. Even though the origin andmeaning remain the same, the patron deity always differs.

Añjali (salutation): two Patāka hands are joined palm to palm.Usage: saluting Deities, Elders (guru) or Brāhmaṇas—thehands being held on the head for Deities, before the face forElders, and on the chest for Brāhmaṇas.

According to another text: same definition. The patrondeity is Kṣetrapāla. Usage: bowing, obedience, clapping time,indicating the form of Śiva, saying “What am I to do ?”, meditation. (Plate VIII.)

Kapota (dove):** the hands are joined at the side, base and top.Usage: taking oath, conversation with elders etc., humbleacquiescence.

According to another book: the Añjali hands are separated.The patron deity is Citrasena. Usage: acquiescence, trees suchas the coconut, areca-nut, etc., plantain flower, cold, nectar,receiving things, casket, citron.

Karkaṭa* (crab): the fingers of the hands are interlocked, andthe hands turned inwards or outwards**.¹**Usage: group, stoutness, blowing the conch, stretching the limbs, bending thebough of a tree.

According to another book: in the Urṇa-nābha hand, thefingers of one hand are introduced into the interspaces of thoseof the other hand. Its patron deity is Vishnu. Usage: lamentation, yawning, breathing hard, crab, blowing the conch, crackingthe fingers by women. (Plates IV A, extreme left, and XII E.)

** 1** i. e. clasped hands’; but the hands may also be flattened by extending theelbows, the fingers remaining interlocked, and this is used in stretching the armsover the head, a sign of amorous feeling frequently mentioned in literature anddepicted in painting and sculpture (Plate IV A, extreme left).

*** Svastika* (crossed):** two Patāka hands held together at the wrists.Usage: crocodile, timid speech, dispute, praising.

Ḍola (swing)¹: two Patāka hands placed on the thighs. Usage:beginning a Nāṭya.

According to another book: Patāka hands at the sides. Thepatron deity is Bharatī. Usage: infatuation, fainting, drunkenindolence, welcoming the beloved (vilāsa), etc.

Puṣpapuṭa (flower-casket): Sarpa-śīrṣa hands are pressedtogether. Usage: offering lights (ārati), twilight water-offering (sandhya argha dāna), flower-spells (mantra-puṣpa),children receiving fruits, etc.

According to another book: one Sarpa-śirṣa hand by the sideof the other. The patron deity is Kinnareśvara. Usage: offering and receiving flowers, corn, fruits, or water.

*Utsanga (embrace): Mṛga-śīrṣa hands held upon opposite armpits. Usage: embrace, modesty, armlet, education of children.

According to another book: Arāla hands held crosswise onthe shoulders. The patron deity is Gautama. Usage: modesty,embrace, assent, cold, saying " Sādhu “, hiding the breasts, etc.

Śiva-linga* (do.): Ardha-candra with the left hand, Śikhara withthe right. Usage: Śiva-linga.
Kaṭaka-vardhana* (link of increase): Kaṭaka-mukha hands withcrossed wrists. Usage: coronation, ritual (pūja), marriageblessing.

According to another book: Kaṭaka hands are crossed. Thepatron deity is Yakṣa-rāja. Usage: deliberation (vicāra), theerotic flavour (śṛngara rasa), pacification, (the dances known as)Jakkiṇī naṭana and Daṇḍa lāsya, certainty.

*** Kartarī-svastika* (crossed arrow-shafts):** Kartarī-mukha handsare crossed. Usage: trees, the boughs of trees, the summit ofa hill.

*** Śakaṭa* (car):** Bhramara hands with the thumb and middlefinger extended. Usage: the gestures of Rākṣasas.

** 1** Apparently identical with the Kaṭyavalambita hand of T. A. Gopinatha Rao,Hindu Iconography,” Vol. I, pt. i, p. 16, and ibid., Pl. V, fig. 11.

*** Śankha* (conch):** the thumbs of Śikhara hands are joined, andthe forefinger extended. Usage: conch.

Cakra* (discus): Ardha-candra hands askew, the palms in contact. Usage:discus.
Sampuṭa* (casket): the fingers of the Cakra hand are bentUsage: concealing things, casket.
Pāśa* (noose): the forefingers of the Sūci hand are bent and interlocked. Usage: enmity, noose, manacles. (Plate XII F.)
Kīlaka* (bond): the little fingers of the Mṛga-śīrṣa hand areinterlocked. Usage: affection, the conversation of lovers.
Matsya* (fish): Patāka hands face downwards, the thumbs andlittle fingers extended.¹Usage: fish. (Plate XIV c.)
Kūrma* (tortoise): the ends of the fingers of the Cakra hand arebent, except the thumbs and little fingers. Usage: tortoise.(Plate XIV D.)
Varāha* (boar): Mṛga-śīrṣa hands one upon the other (back toback), the thumbs and little fingers linked. Usage: boar.

Garuḍa: Ardha-candra hands are held with palms askew, andthe thumbs interlocked. Usage: Garuda. (Plate XIV E.)

*** Nāga-bandha* (serpent-tie)**: Sarpa-śīrṣa hands are crossed.Usage: nāga-bandha, pairs of snakes, bower, Atharva Vedaspells.

*** Khaṭvā* (bed)** the thumbs and forefingers of two Catura handsare left free. Usage: bed, etc. (Cf. Plate XIV B).

Bheruṇḍa:* the wrists of Kapittha hands are joined. Usage:pair of Bheruṇḍas.
Avahittha* (dissimulation): two Alapadma hands are held on thechest. Usage: erotic dances (sṛngāra naṭana), holding a playball, the breasts (Plates XI E, XIII D).

Such are the twenty-four Combined Hands in order.

According to another book the combined hands are as follows:

Avahittha:* Sukatuṇḍa hands held against the heart. The patrondeity is Mārkaṇḍeya. Usage: debility, wasting of the body,eager interest, thinness.

** 1** The palm of one hand on the back of the other, the fingers along the fingers,and the two little fingers and thumbs moved to and fro.

*** Gajadanta* (elephant’s tusk):¹**Sarpa-śīrṣa hands, the middles ofthe armsboldly crossed. Patron deity Paramātmā. Usage:grasping a pillar, pulling up a stone, lifting anything heavy.

*** Caturaśra* (square):** Kaṭaka-mukha hands are held before thechest. Patron deity Varāhi. Usage: churning, Jakkiṇī naṭana, holding, milking, covering with cloths, wearing pearls, draggingropes, tying the girdle, tying the bodice, holding flowers, etc.,plying the fly-whisk.

*** Tala-mukha* (palms facing):** two hands raised face to face before the chest,(not touching). Patron deity Vijñarāja. Usage:embrace, stout things, a thick pillar, a sweet-sounding drum.

Svastika* (crossed): Tripatāka hands crossed on the left side.Patron deity Guha. Usage: Wishing-tree, mountains.

*** Āviddha-vakra* (swinging curve):** vyāvṛtta Patāka hands areshown with grace and with (movement of) the elbows. Patrondeity Tumburu. Usage: tying the girdle, difference, slenderness of waist, folk dances (deṣya naṭana).

Recita:* Haṃsa-pakṣa hands face upwards, held apart. Patrondeity Yakṣarāja. Usage: holding children, showing a paintedpanel (citra-phalaka).
Nitamba* (buttock): Patāka hands face upwards, turned over,(extended from) the shoulder to the buttocks. Patron deityAgastya. Usage: weariness, descent or entry (avataraṇa),astonishment, ecstasy, etc.
Latā* (creeper): Patāka hands held like a swing. Patron deityŚakti. Usage:being heavy with drink, beginning (the dancecalled) svabhāva națana, lines, state of union (yoga-condition),etc.

*** Pakṣa-vañcita* (bent wing):** Tripatāka hands are placed uponthe hips. Patron deity Arjuna. Usage: movement of thethighs, difference.

*** Pakṣa-pradyota* (shining wing):**Pakṣa-vañcita hands face upwards. Patron deity Siddha.Usage: despondence, lossof wits, strangeness, magic boar, pot gesture (kumbhābhinaya).

** 1** Quite distinct from the Gaja or Daṇḍa hand of T. A. Gopinatha Rao,“HinduIconography”, Vol. I, pt. i, p. 16, and ibid., Pl. V, fig. 12, illustrated here on PlatesI and III.

Garuḍa-pakṣa* (Garuḍa wing): Ardha-candra hands held at thesides of the hips, extended upwards. Patron deity Sanandana. Usage: waist string, superiority.
Niṣedha* (defence): the Mukula hand enclosed by the Kapitthahand. Patron deity Tumburu. Usage: establishing the conclusion of an argument, truth, saying “Verily”, holding thenipples, anga-pūja.
Makara:* Ardha-candra hands, one enclosing the other, palmsdownwards, the thumbs moving. Patron deity Mahendra.Usage: the sea, overflowing of a river, deer-face, prosperity,solidity, platform, crocodile.
Vardhamāna* (increase): Haṃsa-pakṣa hands palms down,turned together face upwards. Patron deity Vāsuki. Usage:Narasiṃha, his glory, tearing the rākṣasa’s chest.

*** Udvṛtta* (asunder):** one Haṃsa-pakṣa hand held face downwards and one face upwards. Patron deity Vāsiṣṭha. Usage:modesty, simile, torment, thorns etc., difference, consideration.

Viprakīrna* (loosed): Svastika hands quickly separated. Patrondeity Dakṣina-mūrti. Usage: drawing away the end of therobe (celāñcala), releasing.
Arāla-kaṭaka-mukha:* Arāla and Kaṭaka-mukha hands heldcrossed. Patron deity Vāmana. Usage: giving pieces of betelleaf, anxiety, dismay.
Sūcyāsya* (needle-face): Sūci hands are moved aside from thefront simultaneously. Patron deity Nārada. Usage: saying"What am I to do?”, yearning for the beloved, saying’Everything”, or “Look here.”

*** Ardha-recita:*** of two Recita hands one is held palm downwards.Patron deity Nandikeśvara. Usage: invitation, givingpresents, concealing actions.

*** Keśa-bandha* (tying the hair):** Patāka hands binding the hair.Patron deity Durgā. Usage: gem-pillar, binding the hair,cheek, etc.

Muṣṭi-svastika* (crossed fists): Muzṣṭi hands are crossed on thestomach. Patron deity Kiṃpuruṣa. Usage: playing ball,boxing, great bashfulness, tying the girdle.

*** Nalinī-padmakośa:*** Padmakośa hands are outward-turned andcrossed. Patron deity Śeṣa. Usage: nāga-bandha, buds,making equal distribution, cluster of flowers, the number ten,Gaṇḍa-bheruṇḍa. (Identical with Nalina-padmakośa; Introduction, pp. 4, 5.)

Udveṣṭitāla padma:* Alapadma hands are held on the chest andtwisted upwards. Patron deity Śakti. Usage: husband,humble words, the breasts, full-blown lotus, saying “I ambeloved”, conversation, indicating desires. (Plates XI E.XIII D.)
Ulbaṇa* (abundance): the same hands held close to the eyes.Patron deity Vijñeśa. Usage: large clusters of flowers, eyes.
Lālita:* the same hands crossed near the head. Patron deityVaiṣṇavī. Usage: sāl-tree, mountain.

According to a different book the Combined Hands are asfollows:

Twenty-seven hands are described as follows: Viprakīrṇa,Tala-mukha, Gajadanta, Sūcividdha, Pallava, Nitamba, Keśabandha, Latā, Dvirada, Uddhṛta, Samyama, Mudrā, Ajamukha,Ardha-mukula, Recita, Kuśala, Pakṣa-vañcita, Tilaka, Utthānavañcita, Vardhamāna, Jñāna, Rekhā, Vaiṣṇava, Brahmoktaśukatuṇḍa, Khaṇḍa-catura, Ardha-catura, Līna-mudrā. [Thedescriptions in many cases correspond with what has alreadybeen given.]

Eleven Hands denoting Relationships:

Dampati* (husband and wife): left hand Śikhara, right handMṛga-śīrsa, indicating female and male.

*** Mātṛ* (mother):** left hand Ardha-candra, right hand Saṃdaṃsa,the left hand then placed on the stomach, showing the Strīhand;¹ indicating mother or daughter.

Pitṛ(father):* following the last hand, the right hand is held asŚikhara; indicating father or son-in-law.

Śvaśṛ (mother-in-law): the right hand is held as Haṃsāsyaand Saṃdaṃsa at the throat, the left hand then placed on thestomach showing the Strī hand.

** 1** The Strī(woman) hand is not separately described, but it will be seen that itconsists in placing either hand on the stomach, indicating the womb.

*** Śvaśura* (father-in-law):** following the last hand, the right handis shown as Śikhara.

Bhartr-bhrātṛ* (brother-in-law): the left hand Śikhara, the righthand Kartarī-mukha at the side.
Nananda* (sister-in-law): following the Bhartṛ-bhrātṛ hand theStrī hand is shown with the left.
Jyeṣṭa kaniṣṭha bhrātṛ* (elder or younger brother): the Mayurahand shown forwards and backwards.
Snuṣa* (daughter-in-law): following the last, the Strī hand isshown with the right.
Bhartṛ* (husband): Haṃsāsya and Śikhara hands are held atthe throat.
Sapatni* (co-wife): the Pāśa hand is shown first, and then Strī with both hands.

Thus are described in order the eleven hands denoting relationships. Those not mentioned are to be inferred according tocircumstances.

Hands that indicate the forms which accord with the characterand actions of Brahmāand other Devas*:¹
**Brahmā:***I. h. Catura, r. h. Haṃsāsya.

*** Śambhu:*** I. h. Mṛga-śīrṣa, r. h. Tripatāka.

Vishnu:* Tripatāka with both hands.

*** Sarasvatī:***I. h. Ardha-candra, r. h. Sūci.

Pārvatī:* Ardha-candra with both hands, the left upward, the rightdownward, making Abhaya and Varada (Fear not, andCharity).
Lakṣmī:* two Kapittha hands held at the shoulders.²

*** Vijñeśvara:*** two Kapittha hands held forward.

Śanmukha:* I. h. Triśūla, r. h. Śikhara, held upwards.

*** Manmatha:***I. h. Śikhara, r. h. Kaṭaka.

Indra:* Tripatāka hands crossed.

** Yama:** I. h. Pāśa, r. h. Sūci.

Nairṛti: Khaṭvā and Śakaṭa hands.

** 1** Showing Deva hands is referred to in a subsequent section as `deva-vibhāvana.’

** 2** ‘Held at the shoulders’ is to be understood in the case of all the Deva handsunless otherwise indicated.

Varuṇa: I. h. Śikhara, r. h. Patāka.

Vayu: I. h. Ardha-patāka, r. h. Arāla.

Kuvera: I. h. Padma, r. h. Gada.

Hands that indicate the Nine Planets* (nava graha).

Sūrya: Solapadma and Kapittha hands held on the shoulders.

*Candra:*I. h. Solapadma, r. h. Patāka.

*Angārakha:*I. h. Sūci, r. h. Muṣṭi.

***Budha:***I. h. Muṣṭiaskew, r. h. Patāka.

Bṛhaspati: Śikhara with both hands, as if holding the sacredthread.

Śukra: Muṣṭiwith both hands, the left raised, the right downwards.

***Śanaiscara:***I. h. Sarpa-śīrṣa, r. h. Triśūla.

***Rahu:***I. h. Sarpa-śīrṣa, r. h. Sūci.

Ketu: I. h. Sūci, r. h. Ardha-patāka.

Hands of the Ten Avatārs of Vishnu.*
Matsya:* the Matsya hand is shown, then both hands Tripatākalevel at the shoulders.

Kūrma: the Kūrma hand is shown, then both hands Tripatākalevel at the shoulders.

***Narasimha:***I. h. Siṃha-mukha, r. h. Tripatāka.

Vāmana: Muṣṭi with both hands, one upwards and the otherdownwards, and towards the right side.

Paraśurāma: the left hand on the hip and Ardha-patāka withthe right.

Raghurāma: r. h. Kapittha, I. h. Śikhara, held respectively nearand far.

***Balarāma:***I. h. Muṣṭi, r. h. Patāka.

Krishna: Mṛga-śīrṣa hands facing one another on the shoulders.

***Kalki:***I. h. Tripatāka, r. h. Patāka.

(Buddha is omitted.)
The Rākṣasa Hand: Both hands Śakaṭa, held on the face.

Hands denoting the Four Castes:

Brāhmaṇa: Śikhara with both hands, as if holding the sacredthread, the right hand moved to and fro.

Kṣattriya: Śikhara with the left hand moved to and fro, Patākawith the right.

Vaiṣya: I. h. Haṃsāsya, r. h. Kaṭaka.

Śūdra: I. h. Śikhara, r. h. Sūci.

The Hands of the Eighteen other Castes are shown accordingto their work. In the same way the hands are to be inferredwhich indicate the people of different countries.

There are as many hands as meanings. Their usage is to beregulated by their literal meaning, category, gender, and suitability. So much is told in an abridged form, following carefulresearch; those who are acquainted with the moods of the heartshould use the hands with due care after consulting the texts, asmay be required.

The following are mentioned in another book:

Hands of Famous Emperors.* — Hariscandra, Śukaṭuṇḍa. Nala,Mayura. Purukutsa, Alapadma. Purūravas, Muṣṭi. Sagara,Alapadma on the head. Dilīpa, Patāka. Ambariṣa, Kartarī.Śibi, Kapittha hand waved forwards. Kārttivīrya, two Patākahands at the shoulders in deva-vibhāvana. Rāvaṇa, the same handswith widely separated fingers, feathered. Dharmarāja, handswaved near the arms. Arjuna, Tripatāka moved forward againand again. Bhīma, Muṣṭi,hand moved forward. Śaibya, Sūcihand with the finger twisted upward. Nakula, Kaṭaka. Sahadeva, Śikhara. Nahusa, the hand moving. Yayāti, Tāmracūda.Bhagīiratha, Ardhacandra hand made like Tripatāka, and thisis also used for an eclipse of the moon (lit. seizing by Rahu).

For the Lords of the Earth Mandhātā and Marutvān, Mukula,Sūci and Muṣṭi hands and the Ardha-patāka twisted upwardstouching the body, these four hands are used in order. For thegreat Kings Raghu and Aja, Ardha-patāka hands as aforesaidare used respectively right and left. Daśaratha, Ardha-patākahands crossed. For Rāma the Śikhara hand, and also for otherkings who bear the bow. For Bharata, Śikhara hand held on theright shoulder. For Lakṣmaṇa, the same on the left shoulder.For Satrughna, the same on the face. If these are done with theleft hand on the left shoulder, it indicates those of the Lunarrace.

Hands of the Seven Oceans:*
Lavaṇa:* Mukula hands moved upwards and downwards (vyāvṛttacāpaveṣṭitau).¹

Ikṣu: Alapadma hands in the same way.

Sūra: Sankīrṇa and Patāka hands in the same manner.

Sarpi: Catura (hands in the same manner).

Dadhi: Tripatāka hands in the same manner.

Kṣīra: Sarpa-śīrṣa hands in the same manner.

Suddhodaka (Jala): Patāka hands held just as before.

Hands of the Famous Rivers.—*Moving upwards and downwards (vyāvṛttacāpaveṣṭitau) indicates a river, etc.: for any river,the Patāka hand is used. I shall expound the right fashion ofthose hands that indicate Gangā, etc., in accordance with theirspecial virtues.

For Gangā, etc., Tāmracūḍa; for Yamunā, Rekhā; for Kṛṣṇāverī, Siṃha-mukha; Kaverī, Catura; Sarasvatī, Patāka andCatura; Narmadā, Ardha-patāka; Tungabhadra, Haṃsāsya;Śarasvatī, Bāṇa; Vetrāvatī, Sūci; Candra-bhāga (Chenab) thehand moving; Śarayu, Padma; Bhīmarathi, Arāla; Suvarṇamukhī, Ardha-catura; Pāpanāsinī, Śukatuṇḍa. So it is said bythose who know bhāva; and for rivers not mentioned here thePatāka hand is applicable.

The Upper Worlds.—*For the Seven Upper Worlds, Bhu,Bhuvar, Svarga, Jana, Tapa, Satya, Mahar, the Patāka handtwisted upwards is applicable.
The Lower Worlds.—*For the Seven Lower Worlds, Atala,Vitala, Sutala, Talātala, Mahātala, Rasātala, and Pātāla, thePatāka hand twisted downwards is applicable.
Hands indicating Trees.—Aśvattha* (pipal), Alapadma hands,waving the fingers; Kadalī, Mukula hands interlocked, extended,and the fingers waved; Nārangi (orange), Padmakośa; Lakuca,Bhramara; Panasa (bread-fruit), Catura; Vilva (wood-apple),the same; Punnāga, Patāka and Catura; Mandāra, Khaṇḍa-catura; Vakula, Saṃdaṃsa; Vata (banyan), Patāka; Arjuna,Siṃha-mukha; Pāṭalī, Sukatuṇḍa; Hintāla, Kartarī-mukha;

1 Representing the up and down motion of waves.

Pūga (areca-nut), Padmakośa hands crossed; Campaka, Lāngula**hand downwards; Khadira, Tāmracūḍa quite face downwards;Śamī, Kartarī hands interlocked; Aśoka, Patāka hands crossed,i. e. touching at the wrists and freely moving to and fro; Sindhuvāra, Mayura hands interlocked; Āmalaka, the SamyamaNāyaka hand, i. e. the forefinger and second finger together inthe middle of the palm, the rest extended; Kuruvaka, Kartarīand Tripatāka hands; Kapittha (elephant-apple), Alapadmahands are crossed; Ketakī(screw-pine), Patāka and Caturahands crossed at the wrists; Śimśapa, Ardha-candra handscrossed; Nimbasala, Śukatuṇḍa hands crossed; Pārijāta, theTrijñāna hand, i. e. Patāka with both hands twisted upwards;Tintrini, Lāngula hand; Jambu, the Ardha-patāka hand;Pālāsa, the Ardha-candra hand; Rasāla (mango), the Tripatākahand.

Hands that indicate the Lion and other Animals.—*Lion, theSiṃha-mukha hand, i. e., r. h. Siṃha-mukha, and 1. h. Patākaapplied to the back of the right, the fingers being freely moved;Tiger, the Ardha-candra hand held face downwards; Boar, theSankīrṇa-makara hand, i. e. in the aforesaid Matsya hand, ther. h. is held downwards and shaken, the five fingers being severally held apart, indicating bristles; Monkey, the Adho-muṣṭi-mukula hand is used, i. e. the thumb and second finger of theMuṣṭihand are joined; Bear, I. h. Padmakośa face downwards,r. h. Patāka placed on the back of the left; Cat, the Ardha-mukula hand, i. e. the thumb and third finger of the Muṣṭihandare joined; Yak, the hands touching at the wrists, I. h. Muṣṭi,r. h. Mudrikā, making the Muṣṭi-mudrā hand; Iguana, Talapatāka hand, i. e. the thumb and little finger of the Patāka handare slightly raised; Porcupine Deer, the Candra-mṛga hand, i. e.the forefinger of the Mṛga hand is raised; Antelope, the Mṛga-śīrṣa hand; Black Antelope, the Muṣṭi-mrga hand, i. e. the thumband little finger of the Muṣṭihand are extended; Mule, Nāgabandha hands directed upwards, indicating ‘Cow-ear ‘; Mouse,the Khaṇḍa-mukula hand, i. e. the forefinger of the Mukulahand is fully extended; Mole (?) (girikā), the Khaḍga-mukulahand, i. e. the forefinger of the Mukula hand is bent and moved

to and fro (tiryak prasārita); Hare, the Tala-patāka hand ismoved horizontally (tiryak); Scorpion, the Karkaṭa hand isdirected downwards; Dog, the Madhya-patāka hand, i. e. thelittle finger of the Patāka hand is bent; Camel, the Kaṇḍāñjalihand, i. e. the thumbs of the Añjali hand are bent and moved upand down; Goat, Śikhara hands in contact face to face; Ass, theBhinnāñjali hand, i. e. the forefingers of the Khaṇḍāñjali hand arebent in contact; Bull, the Tala-siṃha¹hand, i. e. the second andthird fingers are bent to touch the palm, and the thumb placedover them, and the two other fingers extended; Cow, the Sankīrṇa-mudrā hand, i. e. the middle finger is bent, and all theothers extended, also indicating Yantra-bheda.

Hands that indicate Flying Creatures*.—Dove, the Kapotahand fluttered (punkhita); Pigeon, the same hand moved horizontally (tiryak); Hawk, Śukatuṇḍa hand; Owl, Gaja-dantahands face to face in contact; Gaṇḍa-bheruṇḍa, Ardha-candrahands face downwards, touching at the wrists, and all the fingersseparated; Cātaka, the Lāngula hand fluttered; Cock, the Bhramara hand; Kokila, the Arāla hand fluttered; Crow, the Samdaṃsa-mukula hand, i. e. the forefinger of the Bhramara handis placed on the thumb, and the hand fluttered; Osprey, theSūci hand relaxed (apaviddha); Parrot, the Śukatuṇḍa handfluttered; Crane (sārasa), the Pradiṣa-mukula hand, i. e. theMukula hand with the little finger slightly bent; Crane (baka),the mingled-Haṃsa hand, i. e. the forefinger and thumb arejoined, the second and third fingers extended, and the little fingermade to touch the palm, this is also used in Mantra-bheda;Curlew, the Līnālapadma hand is used, i. e. the little finger ofthe Alapadma hand is bent to touch the palm; Firefly, theHaṃsa-mukha hand, i. e. the thumb is joined to the topmostjoint of the middle finger, and the hand relaxed; Bee, theBhramara hand fluttered; Swan (haṃsa), the Haṃsāsya hand;Cakravāka, Alapadma hands fluttered; Paddy-bird (koyaṣṭika),the Arāla-patāka hand, i. e. Arāla with the right hand, Patākawith the left, and the hands touching; Vyāli, the Vyāli hand,

** 1** i. e. Siṃha-mukha, with the back of the hand in the horizontal plane. PlateXIII A.

i. e. the forefinger and middle finger bent like a bow, the thirdfinger placed at the base of the thumb, the little finger bent.

Hands that indicate Water-Animals.*—Frog, the double Cakrahand, i. e. the thumb and forefinger go in, the middle finger isbent, and the little finger extended; Crab, the Līna-karkaṭahand, i. e., r. h. Karkaṭa direct upwards and placed on the I. h.,the fingers being interlocked; Leech, Sūci hands moved along;Crocodile, Patāka hands crossed and held apart, also indicatinga box; Duṇḍupha, the Kartarī-daṇḍa hand, i. e., r. h. Kartarī,face upwards, placed on the other fore-arm, and I. h. Kaṭaka-mukha.

This Mirror of Gesture has been edited by Tiruvenkaṭācāri ofNiḍāmangalam, a very learned interpreter of Gesture and thelike, according to the Bharata Śāstra, and into this work arelikewise introduced many extracts from the Bharata Śāstra, forthe pleasure of the cultivated public. Thus ends the Mirror ofGesture, with extracts from other books. Śrī Sanātana-Rāmaarpaṇam astu!

WORKS OF COMPARISON AND REFERENCE

Coomaraswamy, Ananda, Viśvakarmā, London, 1915.

Coomaraswamy, Ananda, The Arts and Crafts of India and Ceylon,London, 1913.

Craig, Gordon, The Art of the Theatre, London, 2d ed. 1911.Craig, Gordon, The Mask, 1900—

Foucher, L’Iconographie Bouddhique, Paris, 1910, 1911.

Fox-Strangways, A. H., The Music of Hindustan, Oxford, 1914.

Grosset, Joanny, Bhāratīya-Nāṭya-Çāstram, Tome I (all published), Paris, 1898.

Haas, O., The Daśarūpa of Dhanaṃjaya, New York, 1912.

Hincks, Marcelle A., The Japanese Dance, London, 1910.

India Society, Ajanta Frescoes, London, 1915.

Kakuzo, Okakura, The Ideals of the East, 2 ed., 1904. (AshikagaPeriod.)

Knosp, Gaston, “Le Théâtre en Indo-Chine,” Anthropos, 1908.

Leclère, Adhémard, “Le Théâtre Cambodgien,” Revue d’Ethnographie et de Sociologie, 1911.

Lévi, Sylvain, Le Théâtre Indien, Paris, 1890.

Fenollosa, Ernest and Pound, Ezra, “Noh” or Accomplishment,London, 1917.

Pischel, R., The Home of the Puppet-play (translated by M. C.Tawney), London, 1912.

Rao, T. A. Gopinatha, Hindu Iconography, 1915.

Stopes, Marie C., The Plays of Old Japan, London, 1913.

Viśvanātha Kavirāja, Sāhityadarpaṇa, ed. with translation,Bibliotheca India, Calcutta, 1875.


PLATES


PLATE I
<MISSING_FIG href=”../books_images/U-IMG-1727105556picture1.png”/>

THE COSMIC DANCE OF ŚIVA (NAṬARĀJA)

Copper figure in Madras Museum. The first right hand holding a drum, the second in abhaya
mudrā, the first left hand (out of the picture, see Plate XI B) holding a flame, the
forward left hand exhibiting the gaja or daṇḍa pose (cf. Plate III).


PLATE II
<MISSING_FIG href=”../books_images/U-IMG-1727105986picture2.png”/>

                    ** **KURUKULLĀ**

Nepalese copper figure, about sixteenth century, Calcutta Museum. Upper hands in position of
shooting an arrow (CI Plate XV c).


PLATE III
<MISSING_FIG href=”../books_images/U-IMG-1727152704picture3.png”/>

DANSEUSE

Hands corresponding to the forward hands of Plate I.Buddhist frieze at Borobodur, Java,
about ninth century, A.D.


<MISSING_FIG href=”../books_images/U-IMG-1727153526picture4.png"/>
A


<MISSING_FIG href="../books_images/U-IMG-1727153776picture5.png"/>
B


<MISSING_FIG href="../books_images/U-IMG-1727153968picture6.png"/>
C

CEILING SCULPTURE AT DILWARRA, MT. ĀBŪ

Dance with hand poses, and music.


PLATE V
<MISSING_FIG href="../books_images/U-IMG-1727154905picture7.png"/>

DANSEUSES BEFORE A JAINA GODDESS
Ceiling sculpture at Dilwarra, Mt. Ābū.


<MISSING_FIG href="../books_images/U-IMG-1727155097picture8.png"/>

APSARĀS DANCING

In the Vaikunṭḥa Sabhāof Vishnu: from an early Kāngrāpainting in the collection of

Mr. W. Rothenstein.


PLATE VI
<MISSING_FIG href="../books_images/U-IMG-1727156586picture9.png"/>

DANSEUSE

From an Ajaṇṭā fresco (sixth to seventh century A.D.): tracing by Samarendranath Gupta.


	PLATE VII
<MISSING_FIG href="../books_images/U-IMG-1727156936picture10.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727157034picture11.png"/>

** A. BUDDHA
B. BODHISATTVA**
Seated in padmāsana. the hands in dharmacakra mudrā. Seated in lalitāsana, the r h. tripa-
Nepalese, eighth to ninth century.**
** lāka, I. h. holding stalk of lotus.**
**(The r. h. alone is haṃsāsya.)
(Javanese, ninth to eleventh century.)
(Dr. Coomaraswamy’s collection)
(British Museum)


<MISSING_FIG href="../books_images/U-IMG-1727190343picture13.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727190531picture14.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727190696picture15.png"/>

  C. *Haṃsāsya* hand, from a  D. *Kartari* *mukha or mayura*    E. HANDS OF A DANCING ŚIVA  
       Nepalese image.     hand (holding stalk of a lotus),    r. h. *Ardha-candra* (for palāka),  
                           from a Nepalese image.         making *Abhaya* *mudrā*     
                           HANDS OF IMAGES


PLATE VIII
<MISSING_FIG href="../books_images/U-IMG-1727191480picture16.png"/>

SEATED IMAGE WITH AÑNJALI HANDS

COPPER GILT FIGTREOF A DONOR

Nepal, sixteenth to seventeenth century. Indian Museum, South Kensington, London.


PLATE IX
<MISSING_FIG href="../books_images/U-IMG-1727191950picture17.png"/>

NAUTCH DANCE BEFORE A ROYAL PATRON

From a sixteenth century Rājasthanīillustration of Pañcama (?) rāgini, a musical mode, the
dancer exhibiting palāka hands: chorus to left.

(Dr. Coomaraswamy’s collection)


	PLATE X
<MISSING_FIG href="../books_images/U-IMG-1727237384picture14.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727237476picture15.png"/>

 **A. *Patāka* hand             B. *Ardha*-*candra* hand**


<MISSING_FIG href="../books_images/U-IMG-1727237953picture16.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727238096picture17.png"/>

** C. Muṣṭi hand D. Śikhara hand**


<MISSING_FIG href="../books_images/U-IMG-1727238583picture18.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727238706picture19.png"/>

** E. Bhramara hand F. Śukatṇda hand**

SINGLE HANDS

(From drawings by Miss Dorothy M. Larcher.)


	PLATE XI
<MISSING_FIG href="../books_images/U-IMG-1727243407picture20.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727243434picture21.png"/>

A. Kaṭaka mukha hand with blue lotus B. Ardha-candra hand, with flame (upper left
(hand of Bodhisatṭva, Ajaṇṭā). hand of figure represented on Pl. I).


<MISSING_FIG href="../books_images/U-IMG-1727243917PICTURE22.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727243999PICTURE23.png"/>

C. Kartar mukha (hand of an D. Padmakośa hand.
image in Madras Museum).


<MISSING_FIG href="../books_images/U-IMG-1727244344picture24.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727244424picture25.png"/>

E. Udveṣṭitāla padma hands.

SINGLE AND COMBINED HANDS
(D and E drawn by Miss Dorothy Larcher.)


	PLATE XII
<MISSING_FIG href="../books_images/U-IMG-1727322017picture18.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727322112picture19.png"/>

** A Tripatāka right hand
B. Siṃha-mukha left hand**


<MISSING_FIG href="../books_images/U-IMG-1727322410picture20.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727322542picture21.png"/>

** C. Alapadma left hand.
D. Sikhara left hand**


<MISSING_FIG href="../books_images/U-IMG-1727322754picture22.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727322835picture23.png"/>

** E. Karkaṭa combined hands (a grove of trees)F. Pāśacombined hands (enmity)**

SINGLE AND COMBINED HANDS


PLATE XIII
<MISSING_FIG href="../books_images/U-IMG-1727323298picture24.png"/>

A. r. h. Sūct, 1 h. Siṃha mukha representing Krishna driving cattle.


<MISSING_FIG href="../books_images/U-IMG-1727323526picture25.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727323629picture26.png"/>

** B. RAISING MT. GOVARDHAN C. THE RICE-MORTAR**

(Alapadma hands)


<MISSING_FIG href="../books_images/U-IMG-1727323900picture27.png"/>

D. BOTH HANDS udècṣṭitāla padma

COMBINED HANDS


PLATE XIV
<MISSING_FIG href="../books_images/U-IMG-1727495776picture28.png"/>

A. EYEBROWS LIKE THE CRESCENT MOON (I. h. candra-kalā)


<MISSING_FIG href="../books_images/U-IMG-1727495983picture29.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727496055picture30.png"/>

** B. A BED
C. THE FISH (Avatar)of Vishnu)**


<MISSING_FIG href="../books_images/U-IMG-1727496290picture31.png"/>	<MISSING_FIG href="../books_images/U-IMG-1727496369picture32.png"/>

** THE TORTOISE
E. GARUḌA**
(Avatar of Vishnu)
(Vehicle of Vishnu)

COMBINED HANDS

]