Nṛttahastas - Dance hands (single and combined)
(Śri) Hastamuktāvali - Language: Sanskrit
A text which is purely devoted to hand (hasta) movements as the name suggests. The author describes it as "very elaborate", and I would have to agree. The number of verses per gesture seems to be among the highest that I've seen. The author also mentions the influence of the Natya Shastra and Saṇgītaranākara, but very little influence from the Abhinaya Darpana. The best I can tell, the work is affiliated with the "eastern tradition", although I know very little of what that constitutes. I also see the author most often referenced as part of the Bengali literary tradition.
If the two Khatakamukhas are placed eight angulas away from the heart, the two elbows being held straight, it is Caturasra hasta.
If the two Hamsapaksas are placed in front of the heart, as if preparing to play on two talas (cymbals), it is Udvrtta hasta.
If the two Hamsapaksas are held facing down, and then moved from . the two sides of the chest to the sides, it is Viprakirna hasta.
If the right Khatakamukha is placed at the front of the heart, and the left Arala is obliquely extended with its back on Khatakdmukha, it is Aralakhatakamukha hasta.
If the two Aralas are held up with the two elbows joined together, and then are made to face down tremblingly, it is Aviddhavaktra
If the two Hamsapaksas are brought from the lap quickly to the two sides and then brought back and this is repeated, it is Recita
If there be one Recita hasta and one Khatakamukha, dance experts should take that to he Ardharecita.
If the two Tripatakas are obliquely extended to the sides and the two elbows are bent a little, it is Uttanarecita hasta
If the two Padmakosas are obliquely placed in the front at a distance from the heart like two trees rich with foliage, it is Pallava hasta
If the two Tripatakas are brought down to below the buttocks, it is Nitamba hasta
If the two Tripatakas are taken out from the lock of hair to a distance and then brought back to the hair, it is called Kesabandha hasta
If the two Tripatakas in Recita, facing up, are held in the front, a little trembling, it is Lata hasta.
If the two Hamsapaksas, facing down, are placed in the front facing each other, it is Natamukha hasta.
If one Tripataka is extended tremblingly to the side while the other Tripataka is brought near the ear, it is Karihasta
If one of the two Tripatakas is placed over the head and the other placed over the waist, it is Paksavancita hasta.
If one Tripataka is placed over the buttocks and the other Tripataka is put on the head, and the places are exchanged swiftly, it stands for Paksapradyotaka hasta.
if the two Hamsapaksas are extended to the two sides, and they are gracefully brought to the top by making them alternately face up and down, it is Dandapaksa hasta
If the two Tripatakas are obliquely extended to the two sides with the two bent elbows joined together, it is Garudapaksa hasta
If the two Padmakosas are joined at the elbow, it is Urdhvamandali
If one (right) Alapadma is moved round the right breast, and the left Arala is taken round the left breast, it is Parsvardhamandalihasta
If the (left) Aral is moved round the (left) breast and the (right) Alapadma is moved round the (right) breast, it is Uraḥpārśvārdhamaṇḍala hasta.
If the two Aralas are contracted back from the front to form two Khatakamukhas on the shoulders, it is called Mustikasvastika
If the two Padmakosas, facing up, are taken to and from near the knees, being shaken all the time, it is Nalinipadmakosa hasta
If the two Alapadmas are held up high, it is Alapadmonnata
If the two Hamsapaksas are held with their tips up and with their wrists sticking to each other, it is Svastika hasta.
If one {Pataka) hasta is held up and the other {Pataka) low, going round the chest, it is Vaksomandali hasta
If the two Sarpasirasas are extended a little with the two elbows contracted, it is Sucyasya hasta.