Bharata Natyam
Elizabeth Kelly
Gajadanta
Saṃyuta Hasta - Double Hand Gestures
Descriptions and Meanings
No associated images
Description:
9:148
9:148
The Gajadanta hand is the combination of two Sarpasirsa hands mutually touching the opposite arms between the elbow and the shoulder.
Meaning:
9:149:
9:149:
The carrying of the bride and the groom, excessive weight, clasping a pillar and the extermination of a hill or a boulder are indicated by the Gajadanta hand.
No associated images
Description:
9:147
9:147
Gajadanta—Two Sarpaśiraḥ hands touching the opposite arms between the shoulder and the elbow will give rise to Gajadanta hand.
Meaning:
9:148:
9:148:
It is to be used to indicate the carrying of the bridegroom and the bride, excessive weight, clasping a pillar and uprooting a hill or a block of stone.
Image:
Description:
26:66
26:66
When the elbows and shoulders in the Sarpa-Sira hands are bent towards each other, the combination is called Gaja-danta.
Meaning:
26:66:
26:66:
It is posed to show carrying the mountain.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
No verse annotation
No verse annotation
Gajadanta (elephant’s tusk): Sarpa-sirsa hands, the middles of the arms boldly crossed. Patron deity Paramatma.
Meaning:
No verse annotation:
No verse annotation:
grasping a pillar, pulling up a stone, lifting anything heavy.
Based upon:
Sarpaṡīrsha (Ahiphaṇa) - No verse annotation
Sarpaṡīrsha (Ahiphaṇa) - No verse annotation
Not included elsewhere
Sarpaṡīrsha (Ahiphaṇa) - No verse annotation
Sarpaṡīrsha (Ahiphaṇa) - No verse annotation
Not included elsewhere
Image:
Description:
8:501-502
8:501-502
When two Sarpasirsha hastas are crossed and their palms reach the middle of the opposite arms, it is Gajadanta (=elephant's tusk) hasta.
Meaning:
8:501-502:
8:501-502:
This is used to denote grasping a pillar, pulling up a stone and lifting anything heavy.
Based upon:
Sarpaṡīrsha (Ahiphaṇa) - 7:345-346
Sarpaṡīrsha (Ahiphaṇa) - 7:347-352
Not included elsewhere
Sarpaṡīrsha (Ahiphaṇa) - 7:345-346
Sarpaṡīrsha (Ahiphaṇa) - 7:347-352
Not included elsewhere
No associated images
Description:
8:549-550
8:549-550
If the little fingers of the two Sikhara hastas are extended, it becomes Gajadanta hasta.
Meaning:
8:549-550:
8:549-550:
This hasta is used to denote - taking a dip in the river, tusks of an elephant, measuring the ground and laying the comer stone (before starting construction).
Image:
Description:
4:1232-1234
4:1232-1234
Gajadanta: The elbows are bent and joined to the sides evenly. The hands are in Sarpaslrsa Hasta.
Meaning:
4:1232-1234:
4:1232-1234:
This Hasta is used to depict women alighting from a vehicle, carrying children and uprooting a rock,
No associated images
Description:
7:72
7:72
Gajadanta : If sarpasīrsaka hasta is formed no etalies (???) in both hands are spread out in front and kept a little upward it is gajadanta.
Meaning:
7:72:
7:72:
It is used to indicate the bearing of heavy burdens big stone and child etc.
Image:
Description:
2:186
2:186
When the sarpaṡīrsha hastas are placed between the shoulder and elbow, right hand on left arm and left on right arm, it is gajadanta hasta. .
Meaning:
2:186:
2:186:
Carrying weight, holding a pillar, uprooting and lifting a hill and the like can be depicted by using this.
No associated images
Description:
:65
:65
If two Sarpasirsa hastas with the elbows bent, are pushed forward, it is called Gajadanta hasta by Subhankara.
Meaning:
:738:
:739:
:740:
:745:
:738:
Mukha-candrika (a bride and ceremonially looking at each other by the side of the homa fire) in marriage, the circumambulation of a bride round the sacrificial altar, a marriage, a swing, an elephant,
:739:
a load borne by a porter looking away, the afflicted, the sound of striking on the arms, the tusk of an elephant, a long boat – in these Gajadanta is indicated
:740:
If Gajadanta is taken round, facing up, at the front,
:745:
If Gajadanta is swung at the front, it is a long boat.
No associated images
Description:
:741
:741
If Gajadanta is rocked on the right and on the left,
Meaning:
:741:
:741:
it means a swing.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:741
:741
If the chin touches the heart and Gajadanta, facing up, is extended forward,
Meaning:
:741:
:741:
it is called an elephant.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:742
:742
If Gajadanta is swung up and down,
Meaning:
:742:
:742:
it indicates a load carried by a porter.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:742
:742
If Gajadanta, facing up, is repeatedly moved to and fro,
Meaning:
:742:
:742:
it means looking away (i.e., dissent).
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:743
:743
If the eyes are closed a little, and the neck is turned this way and that, and the two Gajadantas are dropped as in idleness,
Meaning:
:743:
:743:
it suggests affliction.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:744
:744
If with a show of anger, the left Gajadanta is placed over the right breast and strokes are dealt with right Gajadanta on the left breast,
Meaning:
:744:
:744:
it means a wrestler’s haughty show of pride to the wise
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
:745
:745
If Gajadanta is pushed to the front,
Meaning:
:745:
:745:
it means the tusks of an elephant.
No dependencies
Not included elsewhere
Not included elsewhere
No associated images
Description:
7:106
7:106
Two sarpaśiras-hastas placed each at the opposite elbow [form] gajadanta.
No associated meanings
Image:
Description:
3:452-453
3:452-453
When two sarpasirsa hands are placed between the opposite shoulder and elbow, it is known as gajadanta. Siromani views that sarpasirsa hands are bent and placed in the region of the neck. Some identify gajadanta first as nisadha.
Meaning:
3:452-453:
3:452-453:
When moved back and forth, it indicates uprooting rocks from the mountains. It is used in holding a pillar or in carrying a heavy weight. [This gesture] also indicates bringing in the bride and the groom [to the place of wedding].