Bharata Natyam
Elizabeth Kelly
Natya Sastra: Saṃyuta Hasta (Double Hand Gestures)
200 BCE - 200 CE - by Bharata
Saṃyuta Hasta - Double Hand Gestures
Natya Sastra - Language: Sanskrit
The earliest available comprehensive work on dramaturgy. It includes dance - and much, much more - describing all aspects of theatrical production, of which dance is a significant part. Earlier works are referenced in literature, but to date, have not been found and/or translated. It is also the foremost source generally cited as the historical reference for all modern classical dance styles. There is a very wide range of dates attributed to the Natya Sastra. The early range of dates are based upon linguistic dating, asserting the time range as 500-300BC because the words, figures of speech, and location names are relevant to that time period, and no longer used at later periods. The later dates of 700-900 AD are an estimate based on linguistically dating the latest chapters in the 36-37 chapters available now. 200BC-200AD seems like a reasonable compromise and is a reasonable bet given that texts after this time seem to build from concepts in this text. The analysis around what date it, or all of its parts, may be deserves its own publication.
Descriptions and Meanings
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:127
9:127
9:128
9:127
Two Pataka hands are put together. This is called Añjali.
9:127
It is employed to great friends, receive venerable persons and making obeisance to deities.
9:128
In regard to the deities Anjali is held on the head; to venerable persons near one’s face, and in greeting friends Anjali is placed on the breast. With regard to the others there is no specific stipulation.
The Natyasastra, Volume I
9:127
9:127
9:128
9:127
Añjali—Putting together of the two Patāka hands is called Añjali.
9:127
It is used to greet gods, venerable persons (guru) and friend.
9:128
In greeting gods it is to be held on the head, in case of venerable persons like father, teacher etc. it is to be held near one’s face, and for greeting the friends it is to be placed on the chest and in case of the remaining persons there is no fixed rule.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:129
9:130-131
9:129
Kapota: Two Añjali hands meeting resembling a dove. Listen to its employment.
9:130-131
A ferocious approach with inimical intention is indicated by the Kapota hand. So also bowing down and talk-ing to a venerable man. Women artistes employ this hand on their breasts to represent cold and fear. The Kapota hands released after the meeting of fingers are used to represent the ideas. “This much can be done” ‘‘Nothing more is feasible” or words expressing anxiety.
The Natyasastra, Volume I
9:129
9:130
9:131
9:129
Kapota (pigeon)—Two (Añjali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses.
9:130
It is to be used to indicate an approach with inimical intention, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts.
9:131
The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or ‘This much can be done’ or ‘Nothing more can be done.’
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:132
9:133
9:132
Interlocked fingers resembling Karkaṭa (crab) constitute this hand.
9:133
Bee’s wax, massaging of the limbs, yawning soon after getting Up from sleep, a huge body, supporting the chin and holding a conch shall in order to blow on it-all these are indicated by this hand.
The Natyasastra, Volume I
9:132
9:133
9:132
Karkaṭa (crab)—When the fingers of the hands are interlocked the Karkaṭa hand is produced.
9:133
It is used to indicate the bees-wax, massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it].
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:134
9:135
9:134
Two Arala hands are kept upturned and held together at the wrists. This constitutes Svastika hand. Usually women employ this hand.
9:135
If the hands are separated from the Svastika position it will represent directions clouds, the firmament, jungles, oceans, the different Rtus, the earth and other vast things as well.
The Natyasastra, Volume I
9:134
9:135
9:134
Svastika—Two Arāla or Vardhamāna hands upturned and held together at the wrists on the left side will form the Svastika. It is to be used by women.
9:135
When the hands are separated from the Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:142
9:143
9:142
Dola. Both the shoulders are at ease in a Karana and two Pataka hands long down. This constitutes the Dola hand.
9:143
This hand represents haste, sadness, loss of sense, swooning, inebriated state, excitement illness and weapon-inflict¬ed wounds,
The Natyasastra, Volume I
9:141
9:142
9:141
Dola—When the two shoulders are at ease in a Karaṇa and the two Patāka hands are hanging down the Dola hand is produced.
9:142
It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:144
9:145
9:144
Two Sarpasirsa hands with the fingers close to one another meet on one side intimately. This constitutes Puṣpapuṭa hand.
9:145
It is employed to indicate receiving, carrying etc. of rice, fruits, flowers, different kinds of foodstuffs as well as water.
The Natyasastra, Volume I
9:143
9:144
9:143
Puṣpapuṭa—Two Sarpaśiraḥ hands with their fingers close to one another meeting on one side very closely will give rise to the Puṣpapuṭa hand.
9:144
It is to be used to indicate the receiving or carrying of rice, fruits, flowers, foods and lawfully obtained money of various kinds and the carrying and removing of water.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:137
9:137
9:138
9:137
Utsaṅga In this hand the Arala hands are placed in a contrary manner.
9:137
Its main use is to represent the feeling of touch.
9:138
Further its employment is to represent anything to be done with excessive effort, acts of anger and indignation, women’s envious acts and squeezing of something.
The Natyasastra, Volume I
9:137
9:137
9:138
9:137
Utsaṅga—When the Arāla hands are contrarily placed and are held upturned and bent, the Utsaṅga hand will be the result.
9:137
It is used to indicate feeling of touch.
9:138
It is also used to indicate acts of anger and indignation, in pressing of hands similar to women’s acts of jealousy.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:136
9:136
9:136
Kaṭakā Vardhanianaka. This is the combination of two Kaṭakāmukha hands i.e. one is placed on another at the wrist.
9:136
This is employed to represent movements concerning wooing a lady or in bowing down to a venerable person.
The Natyasastra, Volume I
9:136
9:136
9:136
Kaṭakāvardhamānaka—When one Kaṭakā (mukha) hand is placed on [the wrist of] another Kaṭakā [mukha] hand, the Kaṭakāvardhamānaka hand will be produced.
9:136
It is to be used in movements connected with love-making and in bowing [to a person].
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:150
9:151
9:150
Avahittha. This is the combination of two Ṡukatunḍa hands meeting each other on the breast. They are bent and slowly lowered.
9:151
This hand is to be employed to represent weakness, sigh, revelation of one’s own body, thinness there of and the yearning for a beloved.
The Natyasastra, Volume I
9:130
9:149
9:130
It is to be used in indicating weakness, sigh, showing one’s body, thinness [or the body] and longing [for a beloved].
9:149
Avahittha—When the two Śukatuṇḍa hands meet each other on the breast and are bent and then slowly lowered, the Avahittha hands will be the result.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:148
9:149
9:148
The Gajadanta hand is the combination of two Sarpasirsa hands mutually touching the opposite arms between the elbow and the shoulder.
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.
The Natyasastra, Volume I
9:147
9:148
9:147
Gajadanta—Two Sarpaśiraḥ hands touching the opposite arms between the shoulder and the elbow will give rise to Gajadanta hand.
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.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9
9
Pakṣapradyotaka with the palm placed downwards is called Garuḍapakṣa.
The Natyasastra, Volume I
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:139-140
9:141
9:139-140
If the Mukula hand is enturned with Kapittha hand it is Niṣadha hand, or The left hand holds the other arm above the elbow and the right hand touched fist. This also makes a Niṣadha hand.
9:141
Patience, intoxication, arrogance, magnanimity, eagerness, valour, conceit, haughtiness, absence of motion, steadiness etc. are indicated by this hand.
The Natyasastra, Volume I
9:139
9:140
9:140
9:140
9:139
Niṣadha—When the Kapittha hand surrounds the Mukulā hand the Niṣadha hand is made.
9:140
It is used to indicate collecting, acceptance, holding, a doctrine, and to indicate brief truth the two hands are to press (each other).
9:140
Ka-Kha: Niṣadha—The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with a clenched fist will make a Niṣadha hand.
(NOTE: NS by Ghosh gives two different Nisadha hands)
9:140
It is to indicate patience, intoxication pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness, motionlessness, steadiness and the like.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:146
9:147
9:146
Two Pataka hands are turned down and placed on each other with the thumbs kept raised. This is Makara hand resembling shark.
9:147
Its employment is for the representation of lion, tiger, elephant, crocodile, shark, fish and flesh eating animals.
The Natyasastra, Volume I
9:145
9:146
9:145
Makara—When the two Patāka hands with their thumbs raised are turned down and placed on each other the Makara hand is produced.
9:146
It is used to indicate lion, tiger, elephant, crocodile, shark and fish and other carnivorous animals.
The Natysasastra
Tāṇḍava Lakṣaṇam
The Natya Sastra
9:152
9:153
9:154
9:154
9:152
This is the combination of the Mukula hand and Kapittha in close clasp,
9:153
If one hand is pressed with the other this hand indicates grasping, receiving, preserving, convention, truthfulness and compression.
9:154
The combination of two Hamsapaksa hands turned down is also known as Vardhamāna.
9:154
It is utilized in represent-ing the opening of objects like latticed windows.
The Natyasastra, Volume I
9:131
9:131
9:131
Two Haṃsapakṣa hands turned down will be the known as the Vardhamāna
9:131
It is to be used to represent the opening of objects like latticed windows.
The Natysasastra