The tips of the thumb and the second and middle fingers touch each other; the other two are apart from each other and raised.
This mudra suggests the sense of ‘small, little, delicate’, etc.
Keeping the forefinger middle finger and the thumb without any intervening space. The remaining fingers are to be kept stretched. This is Hamsāsya.
With the end throbbing slightly this hand should be used to indicate exquisitely fine, small loose and light things. Exit and Softness too can be displayed.
Haṃsāsya (swan-beak)—the forefinger, middle finger and the thumb close to one another and the remaining fingers stretched.
It with the slightly throbbing end is used specially to indicate fine, small, loose, lightness, exit, and softness.
When the tarjani (forefinger) madhyama and the thumb without any interspace between them are placed like Tretagni (three sacrificial fires) and the remaining fingers are outspread, the hand becomes Haṁsa-Vaktra.
It should be used to show slimness, lightness, fragility and softness.
If the tips of the forefinger, the thumb and the middle finger are joined with some movement and the ring finger and the little finger are stretched out apart from each other, it is Hamsasyahasta.
…Out of these, the first eight are samyutahastas
Glance, softness, dust, white, blue, red, mercy / pity / compassion, group of hair (as a line),
… and the rest four are asamyutahastas.
beginning of rain, hair, line, the three folds of the abdomen are the meanings shown by this hasta.
Haṁsásya (swan-face): the middle and following fingers are separated and extended, the forefinger and thumb are joined.
tying the marriage thread, initiation, certainty, hor¬ripilation, 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 (rupaka), saying “No!”, indicating things to be examined by rubbing, accomplishment of a task.
According to another book: the tips of the forefinger, middle finger and thumb are joined, the rest extended. This hand is derived from Daksina-murti (Siva), when he was teaching the Tattva system to the sages at the foot of the Nyagrodha tree. Its sage is Sukha, its colour white, its race mixed, its presiding deity Caturanana (Brahma).
instructing in wisdom, ritual (puja), demonstration of a thesis (nirnaya), offering sesamum, speaking, reading, singing, meditation (dhyana), demon¬strating bhava, applying wax, horripilation, pearl, gem, sound of the flute, gathering together (samyutta), smell, own self, drop of water, taking aim, seal-ring, kissing, Brahmana caste, white colour.
Haṃsāsya (swan-beak). If the thumb and the fore¬finger touch each other and the remaining fingers are outstretched the hand is called Haṃsāsya.
Blessing or festival, the tying with thread, ascertaining instruction, horripilation, pearls, putting forward the wick of a lamp, a touchstone, a jasmine, a painting, the act of paint¬ing, and a dyke impeding a current.
When the three fingers i.e. middle, ring and little fingers are separated and extended, the tips of the forefinger and thumb joined, then it becomes Hamsásya hasta (hamsa âsya or vaktra = swan face).
Haṁsásya hasta is used to denote the following: benediction, tving a thread or tying Mangalasūtra, initiation, certainty, horripilation, pearl etc., extending the wick of a lamp, rubbing on touchstone, jasmin flower etc., picture, painting, gad fly, dam or drop of water
Additional usages in Nida’s version: carrying garlands, signifying Sõham', metaphor, saying 'no', and accomplishment of a task.
When the tips of the forefinger, the middle finger and the thumb are joined and the rest are extended, it becomes Haṁsásya hasta.
Haṁsásya hasta is used to denote the following: instruction in wisdom, ritual or worship, decision, offering sesame, speaking, reading, singing, meditation, interpreting a bhāva, applying red paint etc., horripilation, pearl, playing on flute (when two Haṁsāsya hastas are joined), smell, ownself, drop of water, taking aim, seal-ring, brahmin race and white colour.
Haṁsamukha The little finger of the Mukula Hasta is raised upwards and the ring finger is bent.
This Hasta when moved slightly is used to depict smoothness, smallness and softness. To depict the act of smelling flowers the Hasta is kept steady,
Hansāsya: If the last two fingers are kept spread aloof it is hansāsya.
It is used to indicate the shape of a lentil dough, nuts, and oil massage, etc.
If the thumb, fore and middle fingers come together such that the ends join and the other two fingers are separated and stretched, it is haṁsāsya.
It is used in its original form to show slenderness, softness, littleness, crushing, throwing and those objects with slight movement.
When the middle finger, fore-finger and thumb combine to the shape of the beak of a goose, and the other two fingers are spread out, it is Haṁsamukha
The lower lip, kissing, drinking, ambrosia, plastering, sandal paste, Agar wood, musk,
camphor, saffron, milk, butter, clarified butter, oil, the red dye, an odour, sniffing, breathing,
different kinds of pulverised things, dust, bitter taste, granthiparna odour, the meaning of ‘There is’, a campaka flower, a malati flower, a mallika flower,
vermilion, collyrium, looking, hurry, an offering to a crow, ears, the beak of a cuckoo or pigeon,
a goose, a peacock, Garuda, the sarika bird, the cuckoo, the parrot, the cakravaka bird, the cakora bird, the khanjana bird, the sarasa bird,
the kalahamsa bird, the rajahamsa, other birds, an ant, a gadfly, an insect, a mosquito,
a rat, a scorpion, the fire, itching, a child, a light thing, the heart of a tree, ornament, pleasure, coughing,
the husk of paddy, a thing made of lac, the dregs of a liquid, cinnabar, yellow arsenic, other general dyes,
a smooth thing, a soft thing, a sweet thing, pulsation, a small quantity, a loose thing, sentiment, the main substance of a subject, the pith of a matter, the beak of a goose, a dusty thing, words,
a festival, the mind, the heart, life and honey—in all these subjects is Hamsasya Pasta prescribed by me. Detailed description of the Subjects of Hamsasya Hasta
When the Hamsasya hasta is held, with the palm facing upward, near the mouth,
it indicates the lower lip. It also means kissing.
If Hamsasya is shaken near the mouth,
it suggests drinking.
When the hasta is held near the mouth,
it means ambrosia.
If the hasta is held near the trunk of the body,
it means besmearing of sandal, etc. It also indicates the subjects beginning with ‘sandal paste’ and ending with ‘saffron’.
If after demonstrating Hamsasya water is indicated,
Subhaiikara Kavi calls that milk.
If Hamsasya, facing upward, is rotated in the front,
it stands for butter, clarified butter, oil or the red dye.
If Hamsasya is held near the nose,
it indicates a scent, the nose, breathing.
If Hamsasya, facing downward, is moved as in rubbing,
it would mean a powder of some sort or some dust.
If Hamsasya is taken near the cheeks in a glad mood with the eyes shut and the whole face turned awry,
it would mean bitterness.
If Hamsasya, facing downward, touches the two sides,
it means granthiparna.
If Hamsasya is hung in the front,
it means, 'There is’.
If the forefinger of Hamsasya is held up with the thumb sticking to the base of the forefinger and the other fingers are closed in a fist,
it would be a campaka or Malati or mallika flower.
If Hamsasya is moved to the parting of hair of the head,
it indicates vermilion.
If Hamsasya is taken near the end of an eye,
it would mean looking or collyrium.
If Hamsasya is sharply moved to the front,
that indicates hurry.
If Hamsasya is moved to touch the ground on the left of one’s body,
it would mean offering to the crows (kakabalf).
If the left Hamsasya is placed over the heart,
it means the mind.
If the left or right Hamsasya touches the heart,
the dance pundits would take it to mean the heart or life.
If Hamsasya, facing downward, is sportingly taken upward from a distance,
it means honey.
If otherwise Hamsasya, facing upward, is slowly shaken,
it also is honey.
The subjects from ‘an ear’ to ‘a festival’ are indicated by the demonstration of the bhava, rasa, akara (shape) and sthana (proper place) appropriate to these subjects.
When the forefinger is joined with the thumb and the middle finger like the three [sacrificial fires] and the ring finger and the little finger are separated and raised, it is known as haṁsāsya.
When the tips of three fingers rub each other,
it indicates [something] thrown out, [or]
soft and smooth with the tips rubbing in a circular [motion] and outwards,
it indicates [something] loose, little, and light.
[The hand should be used] in the appropriate manner
to indicate [collecting] pearls or picking flowers.
the dawn should be shown by Hamsasya and Pataka.
The lower lip - Vardhamanaka and Hamsasya
Brahman: Brahman is to hold Catura with his left hand, Hamsasya with his right one.
Mother-in-law; If Hamsasya is held by the right hand at the throat, and Sandamsa is held by the right one, and the left hand is afterwards rubbed round the belly, the result will be the mother-in-law hands.
Vaisya: If the Hamsasya is held by the left hand and Katakamukha by the right, the result will be the Vaisya hands.
If Catura and Hamsasya hastas are held by left and right hands respectively, it is Brahma hasta.
Saraswati hasta: Left hand Hamsasya hasta and right hand Sucihasta