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Tāṇḍava Lakṣaṇam

The Natya Sastra
9:18

Where all the fingers are extended keeping them close to one another with the thumb bent the gesture is called Patāka.

9:19

Those conversant with the use of this gesture should place the hand with the gesture on a level with the forehead.

9:19

This gesture is applied when it is required to represent continuous shower of blows, warming near the fire, nudging others, excessive delight and proud indication of oneself. 

9:20

Both the hands with Patāka Mudra are joined together and then the fingers are separated and kept moving.

9:20

When it is required to represent flames of fire, shower of flowers, heavy downpour etc. 

9:21

Two Patāka hands separated from Svastika position

9:21

Presentation of flowers and sprouts, flourishing growth of grass and things arranged on the ground

9:22

If the hands with Patāka gesture are separated from Svastika position with the fingers pointing downwards

9:22

an object is opened, some¬thing is protected, another thing is covered and made dense and something indicated as a secret.

9:23

This same (verse 9:22) with the fingers pointing downwards but kept moving up and down

9:23

 is to be applied when the gust of wind, waves of water, agitation of the seashore and flood art to be indicated.

9:24

The gesture of Patāka hand with the combination of Recaka

9:24

Should be employed to represent incitement of people, a crowd of many participants, loftiness, beating of musical in instrument of percussion, and upward flight of birds.

9:25

Two Patāka hands with the palms shriking against each other

9:25

can represent the act of washing, breeding, pressing, cleansing, uprooting and lifting up of a mountain.

9:26

The manner of applying the gesture is the same whether a man or a woman stages it.

The Natyasastra, Volume I
9:17-26

Patāka (flag)—the fingers extended and close against one another, and the thumb bent.

9:17-26

To represent an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one’s ownself this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Patāka hands with the fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Patāka hands with their fingers pointing downwards are to be used to represent anything closed, made open, protected, covered, dense or private (to be concealed). This very hand with its fingers pointing downwards and moving up and down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and an objection. The Recaka of this hand should be used to represent encouragement, many [in number], a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed, pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. This is also the manner of representing man and woman.

The Natysasastra
9

With thumb bent and other fingers stretched out.

9

To convey striking, driving, joy, pride, etc. With both hands and fingers moving, it suggests rain, showering of flowers, etc. Both hands forming a Swastika suggests something falling down; and loosening and tightening the Swastika position suggests opening and conceal¬ment, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:27

In the Patāka hand the ring finger is kept bent. This should be known as Tripatāka understand its application (function).

9:28-29

Invocation, stepping down, dismissal, obstruction, gaining access, lifting up, bowing down, observing similarity, putting out alternatives and suggestions, touching holy and auspicious objects or placing them on the head, wearing the turban or any head gear or putting on the crown, covering the nostril, mouth or ear etc are represented by this gesture.

9:30

The same Tripatāka hand when the fingers are kept pointing downwards and moving up and down

9:30

 represents the flight of small birds, tortuous flow of a streem, wriggling movement of as make and fluttering of bees etc.

9:31

Tripatāka and the ring finger.

9:31

Wiping off of the tears, applying the Tilaka on the forehead, smearing of Rocanā and touching of the forelocks hairs

9:32

The Svastika formation of two Tripatāka hands

9:32

The salutation to an elderly person is to be shown. For the representation of a marriage caremony the same with tips touching one another is to be employed.

9:33

When the hands are separated and moved from this position they indicate a royal personage. The Svastika formation carried out obliquely indicates the seeing of a planet.

9:34

To represent the appearance of an ascetic the hands are to be raised with the palms averted from each other. When the palms are kept facing each other it represents a doorway.

9:35

Two Tripatāka hands first kept supine near the face and the second face downwards

9:35

represent the submarine fire or battle or the appearance of sharks.

9:36

Capering gambol of monkeys, surging of the waves, the wafting wind and the moving men are to be represented in a dance with this gesture by those who are adepts in gesture.

9:37

The hand should be kept with the thumb stretched forward when crescent moon is to be shown. The hand turned towards the back indicates the march of men (against enemies).

The Natyasastra, Volume I
9:26-32

Tripatāka (flag with three fingers)—the third finger of the Patāka hand to be bent.

9:26-32

It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything], bowing [in salutation], comparing, suggesting alternatives, touching [the head with] auspicious objects or putting them on the head, putting on a turban or a crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, stream, snake, bees and the like. And with the third finger of the Tripatāka should be represented wiping off tears, drawing a Tilaka or Patralekhā and touching of hairs.

9:32-37

Two Tripatāka hands held like a Svastika represent adoration of the feet of venerable persons (guru). Two such hands are to meet each other’s end for representing marriage. Separated and moved to the forehead they indicate a king. When obliquely forming a Svastika they represent planets. To indicate an ascetic they arc to be raised with palm turned forward. To represent a door they are to face each other. Submarine fire, battle and sea-monsters are to be indicated by two Tripatāka hands, first raised near one’s face and then moved with the fingers pointing downwards. With these very hands should be indicated jumping of monkeys, waves, wind and women. To show the crescent moon this hand should put forward its thumb, and to indicate a king’s march [against his enemy] this hand should turn itself towards the back.

The Natysasastra
9

It is the Pataka but with the fourth (Anamika) finger bent.

9

This is used for beckoning, sending away, saluting, etc. With the hand placed on the forehead it suggests putting on a crown, etc., or for touching auspicious objects. It is used for wiping tears. Swastika formed with both hands is to salute elders.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:38

In the Tripatāka hand if the index finger faces the back of the middle finger it is Kartarīmukha

9:39

This hand with face downwards indicates walking along the road; decorating the feet colouring them or dancing. With the finger pointing upwards the hand represents biting, blowing of horn or painting of a picture.

9:40

When the fingers in the hand are turned towards different directions (or different modes of folding) jit represents falling down, dying, transgressing, reverting, cogitating and depositing of some (valuable) thing.

9:41

This hand is employed by persons conversant with it either as Saṁyutakaraṇa (with both the hands joined) or as Asaṁyuta (disjointed) in regard to black antelope, Camara deer, buffalo, divine elephant, bullock, ornamental gateway and peaks of mountains.

The Natyasastra, Volume I
9:38-40

Kartarīmukha (scissors’ blades)—the forefinger of the Tripatāka hand is to bend backwards.

9:38-40

This [hand with its fingers] pointing downwards will represent showing the way, decorating the feet or dying them, and the crawling [of babies]. With fingers pointing upwards it will represent biting, horn and letters. And when the fingers in it are turned differently (i.e. the middle finger is bent backwards) it will represent falling down, death, transgression, reversion, cogitation and putting [anything] in trust.

9:42

And with the two such (saṃyuta) hands or one such (asaṃyuta) hand should be represented an antelope, yak, buffalo, celestial elephant (airāvata), bull, gate (gogūra) and hill-top.

The Natysasastra
9

In the above gesture (Tripataka) when the second (index) finger is on the back of the middle finger it is Kartarimukha.

9

Holding downwards, it suggests traveller walking, etc. Holding upwards suggests mountain summit, etc. By the two fingers (second and middle) walking in broken steps is also suggested.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:42

The hand wherein the fingers along with the thumb are kept bent depicting a bow is well known as Ardhacandra. Its application (function) is being mentioned.

9:43

Small plants the diget of the moon, the conch, the pot, bracelet, forcible forward thrust, excessive exertion, slenderness of the waist the girth etc. should be represented by means of this hand.

9:44

With this Ardhacandra alone should be represented the girdle, hips, waist, the face, the Talapatra (leaflike ornament for ears) and the Kundala (the ear ornment that hangs down suspended) of women.

The Natyasastra, Volume I
9:42-44

Ardhacandra (crescent moon)—the fingers and the thumb so bent as to make a curve like a bow.

9:42-44

With this should be represented young trees, crescent moon, conch shell, jar (kalaśa), bracelet, forcible opening, exertion, thinness and drinking. With this [very] Ardhacandra hand women should represent girdle, hip waist, face, Tālapatra and earring.

The Natysasastra
9

With the thumb on one side, and the other fingers spread out

9

forming a crescent moon young trees, crescent moon, pot, woman’s girdle or waist, etc. are suggested.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:45

The index finger is bent like a bow; the thumb is kept curved and the remaining ones separate and turned upwards. In the Arāla hand this is the position of fingers.

9:46

With this gesture inherent strength, pride, exploit, beauty, surage, divine objects, majesty, blessings and similar pleasing Bhavas are to be represented.

9:47

Collecting together or scattering and separating the hairs and glancing all over the body as is done by women are also represented through this.

9:48-49

two Arāla hands waved round each other with fingertips touching so as to form a Svastika

9:48-49

The initial rites connected with marriage ceremony, the circumambulation of the fire by the couple, etc. People moving round and round, the general assemblage of people in a circle, the object buried under the ground-all these should be represented by the similar hands.

9:50

Beckoning to others, preventing someone from coming in, creating something, uttering too many words, wiping off perspiration, smelling sweet scents etc. and all auspicious matter (too are to be represented like this),

9:51

The activities mentioned before as ones to be presented by means of Arāla hands by women equally well Sukatunda. (beak of a parrot).

The Natyasastra, Volume I
9:45-50

Arala (bent)—the forefinger curved like a bow, the thumb also curved and the remaining fingers separated and turned upwards.

9:45-50

With this should be represented courage, pride, prowess, beauty, contentment, heavenly [objects], poise, act of blessing and other favourable states. And this, again, will represent woman’s gathering of hairs or scattering them and looking carefully over their entire body. The preliminaries to the marriage by bride’s going round the bridegroom and [marital] union are to be represented by two Arāla hands moving around each other and their fingers meeting in the form of a Svastika. And with similar hands should be represented circumambulation, round objects, great crowd of men, objects arranged on the ground. In calling any one, in making offering to the manes, saying too many things, in censure and rebuke etc., wiping off sweat and enjoying sweet smell, the Tripatāka hands have been prescribed before by me, but women are to use the Arāla hand to represent these.

The Natysasastra
9

The thumb is bent, the other fingers are spread out from each other, second finger bent like a bow.

9

This mudra is used for blessing in the case of males, and for collecting the hair in the case of women; courage, dignity of men and self-admiration by women are also suggested. By forming Swastika with the fingers (of both hands), marriage and other auspicious occasions are suggested.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:52

When ring finger in the Arāla hand becomes bent it is called Sukatunda.

9:53

“Neither I nor you" “This should not be done” these ideas are to be represented with this gesture. So also invoca-tion, dismissal, words in contempt such as “Fil upon you” etc. are represented by means of this land.

The Natyasastra, Volume I
9:51-53

Śukatuṇḍa (parrot’s beak)—the ring-finger (third finger) of the Arāla hand is bent.

9:51-53

With this should be represented words such as ‘(It is) not I’, ‘(It is) not you’, (It should) not be done, invocation, farewell, and saying ‘Fie (upon you)’ in contempt.

The Natysasastra
9

When in Arala gesture the second and the fourth finger are far bent it is Sukatunda,

9

used to suggest lover’s anger, jealousy, contempt, etc. If the fingers are bent down and straight¬ened more than once it suggests invitation (or challenge).

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:54

Muṣṭi (fist like). If the ends of the fingers are kept close to the palm and the thumb is placed above them it is termed Musti.

9:55

This hand is applicable in regard to the representation of striking, exercising (fighting), setting out, pressing (milk from the udders of cow etc), massaging, grasping of swords, lances and clubs etc.

The Natyasastra, Volume I
9:54-55

Muṣṭi (fist—fingers have their ends [bent] into the palm and the thumb [is set] upon them.

9:54-55

It is used to represent beating, exercise exit, pressing, shampooing, grasping sword and holding spears and clubs.

The Natysasastra
9

The finger tips touch the palm and the thumb presses down on the middle finger.

9

This mudra suggests holding of weapons, striking, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:56

If the thumb of the Muṣṭi gesture lifted up it should be known as Ṡikhara hand by those who employ the gesture.

9:57

This gesture is applicable in the representations of Rasmi (Reins rays), Kusa grass, burling of Tomara, and javelin, wielding of goad and bow, the painting of lips feet etc. and stroking the forelocks of hairs.

The Natyasastra, Volume I
9:56-57

Śikhara (peak)—in this very hand (muṣṭi) the thumb raised.

9:56-57

It is used to represent reins, whip, goad, bow, throwing a javelin (tomara) or a spike *(śakti), painting the two lips and feet and raising up hairs.

The Natysasastra
9

In the above mudra (Mushti) the thumb is raised up.

9

This suggests discharge of arrows, pointing lips and legs, etc. and lifting up die tresses.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:58

If in the gesture named Ṡikhara the forefinger is kept curved and pressed down by (? two) thumbs, it is then remembered as Kapitta (Wood apple).

9:59

Truthful and beneficient acts are to be represented by this Kapittha gesture. The weapons such as sword, bow, discuss, tomara, lance, club, Sakti, thunderbolt, arrows etc. are also indicated by the gesture.

The Natyasastra, Volume I
9:58-59

Kapittha (elephant-apple)—the forefinger of the Śikhara hand to be bent and pressed by the thumb.

9:58-59

It is to represent weapons such as sword, bow, discus, javelin (tomara), spear (kunta), mace, spike (śakti), thunderbolt and arrows, true and wholesome deeds.

The Natysasastra
9

In the preceding mudra, if the tips of the thumb and the second finger touch, it is Kapittha.

9

This mudra suggests weapons.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:60

When the ring finger along with the little finger of this Kapittha gesture is raised and bent it is Kaṭakāmukha (Khaṭakāmukha).

9:61-63

This gesture is applicable when the following are to be represented viz.-Hotra (Sacrifice), Havya (offerings into the fire), umbrella, pulling the rains, fanning, holding a mirror, cutting, powdering, holding a long baton, arranging the pendulous pearl-necklaces, long wreaths, flower garlands, tucking up the loose ends of robes, churning, drawing of arrows, gathering of flowers, poking with the goad, drawing up the goad, pulling a rope and seeing a woman.

The Natyasastra, Volume I
9:60-63

Kaṭakāmukha—the ring-finger and the little finger of this Kapittha hand to be raised and bent.

9:60-63

It is used to represent sacrifice, oblation, umbrella, drawing up reins, fan, holding a mirror, drawing [patterns], powdering, taking up big sticks, arranging a pearl necklace, wearing garlands, gathering the ends of clothes, churning, drawing out arrows, plucking flowers, wielding a long whip, drawing out a goad, a rope, and representing a woman.

The Natysasastra
9

If in the preceding mudra (Kapittha) the fourth and the little fingers are raised, it is Khatakamukha.

9

This mudra suggests pulling the reins, wearing garments, holding the hem of garments, threading a pearl necklace.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:64

When the index finger in the Hasta named Kaṭakā is stretched that Hasta should be known as one named Sūçīmukha by those who employ (gestures).

9:65

I shall briefly mention the various applications of this when the forefinger is raised, bent, kept shaking, oscillating, expanded, lifted up and tremulous.

9:68

In representing snouts, number one, clubs, sticks etc. this hand should be employed with the forefinger raised further. It should be bent and made to come into contact with the mouth to represent beings with curved fangs.

9:69

By a circular movement of this band, the forfeit are of all the possessions can be represented. An alternate raising and lowering of the forefinger is this hand represents long study and long day.

9:70

In order to indicate the realization of the meanings of utterances, the forefinger is curved and moved up and down near the face.

9:71

The artiste stretches the forefinger, shakes it and moves it up in order to indicate ‘‘Do not” or “Do speak”.

9:72-75

Anger is represented, perspiration is indicated if the forefinger is merely shaken. In the Abhinaya based on tresses of hair, earring, armlet and decoration of the cheeks, in representing egotism, or “I am” or pointing out on enemy the same gestures are followed. When asking “who is this?" or while scratching the hand is held very near the forehead. Two Sucimukha hands are collectively made use of to indicate gathering together of the men and their separation is indicated when they are separated. The artiste crosses the two hands to represent a quarrel. When the hands press each other bondage is represented. To indicate the close of the day make the two sucimukha hands face each other and hold them separately on the left side.

9:76

When moved in the front this hand represents any form, stone whirlpool, some mechanical contrivance or a hill. Serving of food is represented when the same movement is made with the hand pointing downwards.

9:77

While representing Siva this hand as, pointed downwards and closely held to the forehead; while indicating Indra the bend is to be raised into the forehead and held across.

9:78

Two such hands can represent the orb of the full moon and rising of the banner of Indra is indicated when they are held close to the forehead.

9:79

Moved around this same hand (single) represents the lunar area and Siva’s third eye is represented when held on the forehead. The artiste raises it obliquely to represent Indra’s eyes.

The Natyasastra, Volume I
9:65-71

Sūcīmukha—the fore finger of the Kaṭakāmukha hand to be stretched.

9:65-71

I shall tell you briefly of its various uses as the forefinger [in it] is raised and bent, moving sideways, shaking, moving up and down, and moving up without any rest. By moving the forefinger upwards [in this hand] are to be represented discus, lightning, banners, blossoms, earring, zigzag movement, a cry of approbation, young serpent, young sprout, incense, lamp, creepers, Śikhaṇḍa, falling down, curve and roundness and with the forefinger raised this [hand] again should be used in [representing] stars, nose, [the number] one, club and stick. And [this hand with the forefinger] bent should meet the mouth to represent a being with teeth, and by the circular movement of this hand one should represent the taking away [a man’s] everything. And the forefinger in this hand should be quite near the eats in yawning, and by the mouth lowered to represent long study and long day. And the same should be curved near the face to represent a sentence. And to indicate ‘no’ or ‘speak’ the forefinger should be stretched, shaken and moved up.

9:72-75

This hand should be shaken to represent anger, perspiration, hair, ear-ring, armlet and decoration of the cheeks. And to represent pride, ‘I am,’ enemy, ‘Who is this’ man? and in scratching of the ear it should be held near the forehead. [And two Sūcīmukha hands] should be united to represent the union [of men], and be separated to indicate separation, and to represent a quarrel the two hands should be crossed, and to show bondage they are to press each other. The two Sūcīmukha [hands] facing each other and held separately on the left side will represent the close of the day, and held on the right side they will indicate the close of the night.

9:76

This hand moved in the front will indicate [any] form, stone, whirlpool, mechanical contrivance and a hill, and to represent the serving up of meals the same movement of the hand pointing downwards is required.

9:77

To represent Śiva this hand pointing downwards is to be held close to the forehead and to indicate Śakra (Indra) this hand is to be raised [to the forehead] and held across it.

9:78

By two such hands the orb of the full moon is to be represented, and to indicate the rising of Śakra (Indra) (i.e. raising his banner) it should be held close to the forehead.

9:79

[This hand] moved all around will represent the orb of the moon, and to indicate Śiva’s [third] eye, it should be held on the forehead and [in case of] Śakra’s (India’s) [eyes it should be] raised obliquely,

The Natysasastra
9

When the second finger in the preceding mudra is stretched out it is Sucyasya (or Sūçīmukha).

9

If the second finger is turned round and round it suggests a potter’s or a chariot's wheel or crowd.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:80

Padmakoṡa: All the fingers including the thumb are kept separately and the ends bent. They do not meet one another. 

9:81

Breasts of women and the fruits of similar appearance viz. Bilva, Kapittha etc. are represented through this hand. Acceptance of these fruits, flesh etc. is indicated by slightly bending it at its end.

9:82

The same Padmakosa hand represents offering of Puja to a deity carrying tribute casket, offering of the Agrapinda (the chief of balls of rice as oblation), and a number of flowers gathered together.

9:83

With two such hands with the fingers kept moving. The hands meet at the wrist and then turn backwards.

9:83

The lotus in full boom and the lily can be represented 

The Natyasastra, Volume I
9:80

Padmakośa (lotus-bud)—the fingers including the thumb to be separated and their ends to bend, but not to meet one another.

9:81

To represent Bilva and Kapittha (elephant-apple) fruits and the breasts of women [this hand is to be used]. But to represent accepting [these fruits] or flesh, this hand should be slightly bent at its end.

9:82

[This hand] should be held [to represent] offering Pūja to a deity, carrying tribute, casket, offering the first funeral cake, and a number of [small] flowers, are also to be indicated by the Padmakośa hand.

9:83

Two such hands with moving fingers meeting at the wrist and turning backwards will represent the fullblown lotus and water-lily.

The Natysasastra
9

The thumb and the fingers spread away from each other and bent like a bow is Padmakosa.

9

Used to suggest worship of god. Wien die tips of fingers arc separated and spread out two or three times it suggests showering of flowers. This mudra also suggests some fruits like bilva and women’s breasts.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:84

All the fingers not excluding the thumb are kept close to one another and the palm of the hand is hollow. This is called Sarpaṡīrṣa.

9:85

In order to represent water offerings (libations as well as sprinkling), movement of reptiles, challenging persons to combats and the stroking of the frontal globes the elephant etc. this hand is used.

The Natyasastra, Volume I
9:83

It is used to represent the offering of water, movement of serpents, pouring water [on anything], challenging [for a duel], motion of the elephant’s frontal globes (kumhba) and the like.

9:84

Sarpaśiras (snake-head)—the fingers including the thumb to be close to one another and the palm to be hollowed.

The Natysasastra
9

In this mudra, all the five fingers are held together with the palm turned down.

9

This suggests giving water, movement of a snake (the word is also mentioned as sarpasiras, sarpa meaning a snake), etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:86

All the fingers are kept permitting down-wards except the thumb and the little finger which are to be kept raised up. This is called Mṛgašīrṣa.

9:87

This hand is moved in order to represent “here” “now” “It is present” “today” “it is possible” and similar senses. Splendour throwing of dice, removal of perspiration and the affected displeasure of women against lovers etc. are also represented by this hand

The Natyasastra, Volume I
9:86

Mṛgaśīrṣa (deer-head)—the Sarpaśiras hand with all its fingers pointing downwards, but the thumb and the little finger raised up.

9:87

It is moved to represent here, now, “It is,” to-day, able, shaking (ullasana), throw of dice, wiping off perspiration and pretended anger.

The Natysasastra
9

 In the above mudra if the thumb and the little finger are straightened up, it is Mṛgašīrsha.

9

It suggests‘here’, ‘now’ and also used to act wiping of perspiration.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:88

The little finger is raised, the ring finger is kept bent and the three other fingers viz. the middle the fore¬finger and the thumb are kept separated, like the holy fires. This hand is called Kaṅgula.

9:89

Insignificant fruits of diverse kinds, angry retorts of women etc. are represented by this hand when the fingers are kept moved.

The Natyasastra, Volume I
9:88

Kāṅgula—The middle and the fore-fingers and the thumb to be separated and the ring finger to be bent but the little finger raised.

9:89

By this are to be represented immature fruits of various kinds and angry words of women.

The Natysasastra
9

Kāṅgala: (In some texts it is wrongly given as Lāṅgala). In this the fourth and the little finger are straightened up.

9

It suggests the sense of ‘little’ and also used when children’s face is held up by chin.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:90

The fingers are separated from one another and are kept turned towards the palm in a circular way. This is called Alapadmaka or Alapallava.

9:91

It is employed by artistes to indicate prevention, a woman’s boasting about herself and such senses as “who are you?" “It is not”, “Absurd” etc.

The Natyasastra, Volume I
9:90

Alapallava (Alapadmaka)—all fingers turned towards the palm, standing on its side and separated from one another.

9:91

It is to be used for indicating prevention, words like “Of whom are you,” “It is not,” “nonsense” and a woman’s allusion to herself.

The Natysasastra
9

Alapallava: (In the list it is mentioned as Utpalapadma, but while explaining, it is called Alapallava). In this mudra all the fingers are raised and stretched backwards.

9

This is to suggest pro¬hibiting or asking ‘who are you’?, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:92

Three fingers are spread. The little finger is lifted up. The thumb is kept within them. This hand is remembered as Catura.

9:93

It is used in indicating the senses of policy, discipline, penances, cleverness, a timid girl, a sick person, spirit, deceit etc. and also apt words welfare, truth and tranquility.

9:94

one or two such Catura hands kept moving round

9:94

Openness, deliberation, movement conjecture, shame etc.

9:95

Two Catura hands combined together

9:95

to indicate comparison between the eyes and petals of lotus and also the ears of deer.

9:96-98

Apart from these, it is the practice of the artistes to employ Catura hand in signifying various things such as sports dalliance splendor, memory, intellect judgement, for¬giveness, nutritions, consciousness, hope, affection reasoning, union, purity cleverness, favorableness, softness, happiness, character, question livelihood, property, wealth, defeat, amorous coition, merit and demerit, youth, home, wife and various colours.

9:99

The colours represented thus. The Catura hand is held up to indicate white, if it is moved round yellow and red colours can be represented and when one Catura hand is pressed with another it indicates blue.

The Natyasastra, Volume I
9:92

Catura—the four fingers stretched and the thumb bent near the middle finger.

9:93

It is to be applied in representing policy, discipline, penance, cleverness, a young girl, a sick person, perfidy, gambling, proper words, salutary truth, and tranquillity.

9:94

By one or two such hands moved round should be represented openness, deliberation, moving, conjecture and shame.

9:95

By the combined Catura hands are to be represented lotus-petals compared with eyes, and ears of deer.

9:96-98

Besides these, the Catura hand is to indicate sports, love, brilliance, memory, intelligence, judgement, forgiveness, nutrition, consciousness, hope, affection, reasoning, union, purity, cleverness, sweetness, favourableness, softness, happiness, good conduct, its want, question, livelihood, propriety, dress, soft grass, a small quantity, wealth, defeat, sexual intercourse, merit and demerit, youth, houses, wives and various colours.

9:99

[To represent] while it (the Catura hand) should be held up; red and yellow are indicated by moving it round, and blue by pressing [one such hand with another].

The Natysasastra
9

Three fingers spread out with the thumb beneath them and the little finger raised.

9

This suggests, as Bharata himself says, many things, including grace, hope, affection, youth and so on.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:100

The middle finger and the thumb cross each other, the index finger is bent and the other two fingers are separated and raised. This is in the Bhramara hand.

9:101

By means of this hand the artiste indicates the plucking of flowers with long stems viz lotus waterlily etc. and the adornment of the ear is also indicated.

9:102

The Bhramara hand is allowed to fall down with a thud

9:102

 to indicate scolding, arrogance, rapidity, beating the Tala and instilling confidence and comfort in some one.

The Natyasastra, Volume I
9:100

Bhramara (bee)—the middle finger and the thumb crossing each other, the forefinger bent, the remaining two fingers separated and raised.

9:101

It is used to indicate the plucking of flowers with long stems such as lotus blue, and white water-lily, and earring.

9:102

It should fall down with a sound to represent rebuke, pride of power, quickness, beating time and producing confidence.

The Natysasastra
9

The tips of the thumb and the middle finger are touching, the second finger bent and the other two raised.

9

This is used to show picking of flowers, taking out thorns, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:103

Keeping the forefinger middle finger and the thumb without any intervening space. The remaining fingers are to be kept stretched. This is Hamsāsya.

9:104

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.

The Natyasastra, Volume I
9:103

Haṃsāsya (swan-beak)—the forefinger, middle finger and the thumb close to one another and the remaining fingers stretched.

9:104

It with the slightly throbbing end is used specially to indicate fine, small, loose, lightness, exit, and softness.

The Natysasastra
9

The tips of the thumb and the second and middle fingers touch each other; the other two are apart from each other and raised.

9

This mudra suggests the sense of ‘small, little, delicate’, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:105

Haṁsapakṣa. Three fingers are kept stretched resembling the wings of a swan ; the small finger is kept raised and the thumb is kept bent.

9:106-108

Offering libations of water is indicated here by keeping the hand near the cheek the artist represents acceptance of gifts, ceremonious rinsing of the mouth, the feeding of the Brahmins, close embrace, too much of stupour, horripilation, gentle touch, massaging with unquents etc. The amorous actions of ladies in regard to the space between the breasts shall also be indicated by means of this hand with relevance to the Rasa concerned. Touching of the Chin and the mood of sorrow too can be thus indicated.

The Natyasastra, Volume I
9:105

Haṃsapakṣa (swan-wings)—the three fingers stretched, the little finger raised and the thumb bent.

9:106-108

It is used to indicate pouring libation of water, and things connected with smell, acceptance of a gift, Ācamana and taking meals by Brahmins, embrace, excessive stupor, horripilation, touch, unguent and gentle massage. It may again be used to indicate according to the Sentiment, amorous action of women relating to the region between their breasts, their sorrow and touching of their chin.

The Natysasastra
9

The thumb is bent, the little finger is raised and the other three stretched parallel to each other.

9

This suggests the offering of water to the dead, the feeding of Brahmins and in the case of women it suggests sorrow, holding the chin, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:109

The thumb and the forefinger in the position of Arala hand are kept crossed like pincers. The palms is slightly hollowed. This is Samdaṁṣa hand.

9:110

In as much as the hand is held in front, near the mouth or on one side this Samdaṁṣa can be classified into three. The due Rasa and Bhavas are kept in mind.

9:111-115

(a) Samdaṁṣa in front

(b) Sandamsa near the mouth.

(c) Sandamsa on one side.

9:111-115

(a. This represents plucking of flowers, wreathing of garlands, taking up blades of grass, leaves, hairs or thread, holding or pulling out an arrow or removing thorn.

(b) This represents taking off of a flower from the stem gently, the wick of a lemp, the stick of collyrium, filling up of vessels with something, saying “Fie upon you!" and wreath in diverse forms. (c) The left hand is used by slightly turning the tip to represent softness, abuse and envy. The com¬bination of two or more of these is used to represent Sacred thread, piercing holes in pearls etc. bow string, fineness, arrow, objects aimed at yogic practice, meditation and small quantity. The Sandamsa is used to indicate painting colouring the eyes, deliberation, drawing the Patra I.ekha and squeezing of the Laksarasa.

The Natyasastra, Volume I
9:109

Sandaṃśa (pincers)—the forefinger and the thumb of the Arāla hand crossed and the palm a little hollowed.

9:110

The Sandaṃśa (hand) according to the Sentiments and States, is of three kinds, viz. that [held] in front, that near the mouth and that on one side.

9:111-115

In representing the plucking of flowers, taking up grass, leaves, hairs or thread and holding or pulling out an arrow or thorn the Sandaṃśa should be held in one’s front. And to represent taking off a flower from its stem, the wick [of a lamp], [collyrium] stick, etc. filling up [any vessel with any thing], in saying ‘fie [upon you]’, in anger, this should be held near the mouth. To represent taking off the sacred thread, piercing a hole [in pearls and similar objects], bow-string, fineness, arrow, and objects aimed at, yoga, meditation and small quantity [two] such hands should be combined. This shown by the left hand held on one side and slightly turning its tip is used to represent softness, abuse and envy. It is used also to indicate painting, colouring one’s eyes, deliberation, stem, drawing Patralekhā and squeezing of lac-dye by women.

The Natysasastra
9

This mudra is Arala but with the change that the tips of the thumb and the second finger touch and the palm is downwards.

9

It is of three kinds—(i) Agraja, when taking out a thorn or picking delicate flowers is suggested, (ii) Mukhaja, when flowers are picked from the stalks or when the brushes (for anointing collyrium to the eyes) are used, and (iii) Parsvaja, when pearls are pierced, etc.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:116

The fingers, are bent and kept close to one another in the form of a bud as it were when their tips meet together in the Hamsasya hand. This is called Mukula.

9:117-118

Making of offerings in the adoration of a deity, lotus bud, that of a lily, long distant kiss that of a vulgar lecher, contempt, diverse object, taking food, counting of coins, pouting the lips, donating something, quickness etc. are represented by this hand.

The Natyasastra, Volume I
9:116

Mukulā (bud)—the fingers bent and close to one another and their tips meeting together in the Haṃsāsya hand.

9:117-118

It is used to represent the making of offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (viṭa-cumbana), contempt, miscellaneous things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers.

The Natysasastra
9

In the the Hamsasya mudra when all the fingers bent at the tip are raised, it becomes Mukula.

9

This is used to suggest worship to gods, kissing lovers, touching breasts and so on.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:123-125

Small fractions of time viz. Kala, Kastha, Ksana Nimesa arc represented by this hand. It also represents talking to and inviting a young girl. Even of the fingers are kept close to one another and made bent with the thumb set on them the hand is termed Tamaracuda. With this hand, hundred, thousand gold coins are indicated. If the fingers are quickly made to move freely it represents sparks or drops.

9

The middle finger crosses with the thumb, the index finger is kept bent, the remaining two fingers resting on the palm. This is called Tāmracūḍa.

9

In order to indicate rebuke this hand is allowed to fall down with a thud. Beating time, instilling self-confidence, rapidity and gesticulation too are indicated hereby.

The Natyasastra, Volume I
9:121-122

Tāmracūḍa (lit. copper-crest i.e. cock)—the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm.

9:121-122

It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs.

9:123

This hand is also to be used to indicate small fractions of time such as Kalā, Kāṣṭhā, Nimeṣa and Kṣaṇa as well as talking to a young girl and inviting her.

9:124

When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the Tāmracūḍa hand.

9:125

By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move freely it will represent sparks or drops.

The Natysasastra
9

Tamracuda: The thumb and the middle finger touch each other, the second is bent, the other two touch the palm.

9

It is used to beckon children, to rebuke and so on.

Tāṇḍava Lakṣaṇam

The Natya Sastra
9:119-120

In the Padmakosa hand fingers are further bent. This is called Urṇanābha because it resembles a spider.

9:121-122

Tne Urṇanābha hand is usually employed, to represent the combing of the tresses, receiving stolen property, scratching the head, the fell,disease of leprosy, lions, tigers and holding a stone.

The Natyasastra, Volume I
9:119-120

Ūrṇanābha (spider)—the fingers of the Padmakośa hand [further] bent.

9:119-120

It is used to represent holding one by hair, receiving stolen goods, scratching one’s head, skin disease, lions, tigers and such other animals, and seizing a stone.

The Natysasastra
9

The five fingers of Padmakosa are bent.

9

It is used to suggest catching (a female) by the hair, scratching the head and so on.