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Bharata Natyam 
Elizabeth Kelly 

When two Pataka hastas are joined palm to palm, it becomes Añjali hasta.

Añjali hasta is to be used while saluting the devas, the gurus and the brahmins holding it on the head, before the face and on the chest, respectively.

Bharata Natyam 
Elizabeth Kelly 

When the palms of the two Pataka hastas are joined together, it becomes Añjali hasta. Its presiding deity is Kshetrapala.

Añjali hasta is used to denote the following: bowing, obedience or politeness, clapping time, indicating the form of Siva, saying ‘what shall I do' and meditation.

Bharata Natyam 
Elizabeth Kelly 

Añjali. If two Patāka hands join the palms it is called Añjali.

It is to be held on the head, face and bosom respectively in the salutation of a deity, a preceptor and a Vipra (Brahmana).

Bharata Natyam 
Elizabeth Kelly 

Añjali (salutation): two Pataka hands are joined palm to palm.

saluting Deities, Elders (guru) or Brahmanas the hands being held on the head for Deities, before the face for Elders, and on the chest for Brahmanas.

Bharata Natyam 
Elizabeth Kelly 

According to another text: same definition. The patron deity is Ksetrapala.

bowing, obedience, clapping time, indicating the form of Siva, saying “What am I to do?”, meditation.

When the palms of Añjali hasta meet only at their side, base and top, it becomes Kapota hasta (kapota = dove).

Kapota hasta is used to denote the following: bowing, taking oath, conversation with the guru or elders and agreeing with humbleness.

Bharata Natyam 
Elizabeth Kelly 

When a hollow is formed in between the palms of Añjali hasta, then it becomes Kapota hasta. Its patron deity is Citrasena.

Kapota hasta is used to denote the following: acquiescence, rows of trees such as coconut - arecanut and hintala, plantain flower, cold, modesty, collecting things, casket and madiphalam.

Bharata Natyam 
Elizabeth Kelly 

Kapota. Añjali becomes Kapota when the two [Patāka] hands meet only at their base, side and end.

It is to be used in salutation, addressing a preceptor, respectful acceptance or agreement.

Bharata Natyam 
Elizabeth Kelly 

Kapota (dove): the hands are joined at the side, base and top.

taking oath, conversation with elders etc., humble acquiescence.

According to another book: the Añjali hands are separated. The patron deity is Citrasena.

acquiescence, trees such as the coconut, areca-nut, etc., plantain flower, cold, nectar, receiving things, casket, citron.

Bharata Natyam 
Elizabeth Kelly 

When the fingers of both the hands are interlocked and the fingers are turned inwards (towards palms) or outwards, it becomes Karkaṭa hasta (karkaṭa = crab).

Karkaṭa hasta is used to denote the following: arrival of a group, seeing or showing a group, seeing or showing stoutness, stomach, blowing the conch, stretching or cracking the limbs, and bending the bough of a tree.

If the fingers of one Urnanabha hasta are introduced into the interspaces of those of the other Urnanabha hasta, it becomes Karkaṭa hasta. Its patron deity is Adideva Vishnu.

Karkaṭa hasta is used to denote the following: lamentation, yawning, striking, breathing hard, crab, blowing the conch, and cracking the fingers by women.

Bharata Natyam 
Elizabeth Kelly 

Karkaṭa. When the fingers of one hand are run through the opening between fingers of the other, and the fingers remain either inside (towards the palm) or outside (on the back of the hand) the band is called Karkaṭa.

It is used to denote the coming of a multitude, showing the belly, filling the conch-shell with wind, twisting or stretch¬ing of limbs and pulling a branch down.

Bharata Natyam 
Elizabeth Kelly 

Karkaṭa (crab): the fingers of the hands are interlocked, and the hands turned inwards or outwards.

group, stoutness, blowing the conch, stretching the limbs, bending the bough of a tree.

According to another book: in the Urnanabha hand, the fingers of one hand are introduced into the interspaces of those of the other hand. Its patron deity is Vishnu.

lamentation, yawning, breathing hard, crab, blowing the conch, cracking the fingers by women.

Bharata Natyam 
Elizabeth Kelly 

When two Pataka hastas are held together accross (i.e. one over the other at the wrists, it becomes Swastika hasta.

Swastika hasta is used to denote the following: crocodile, timid speech, dispute and praising.

Bharata Natyam 
Elizabeth Kelly 

Svastika. When two Pataka hands are put across each other at their wrist, they form the Svastika hand.

Bharata Natyam 
Elizabeth Kelly 

Svastika (crossed): two Pataka hands held together at the wrists.

crocodile, timid speech, dispute, praising.

Research 
Elizabeth Kelly 

Svastika (crossed): Tripataka hands crossed on the left side. Patron deity Guha.

Wishing-tree, mountains.

Ḍola Hasta. When two Pataka hastas are placed on the sides of the respective thighs, it becomes Ḍola hasta (dola = dola = a swing).

Bharata Natyam 
Elizabeth Kelly 

When two Pataka hastas are hanging on their respective sides, it becomes Ḍola hasta.

Ḍola hasta is used to denote the following: infatuation, fainting, drunkenness or intoxication, indolence and vilasa etc.

Ḍolā. When the Patāka hands are placed on the thigh the Ḍolā hand is formed.

It is used at the beginning of natya.

Ḍola (swing): two Pataka hands placed on the thighs.

beginning a Natya.

Bharata Natyam 
Elizabeth Kelly 

According to another book: Pataka hands at the sides. The patron deity is Bharati.

infatuation, fainting, drunken indolence, welcoming the beloved (vilasa), etc.

Bharata Natyam 
Elizabeth Kelly 

When two Sarpasirsha hastas are pressed together (so that the little fingers and the wrists are joined), it becomes Puṣpapuṭa hasta (Puṣpapuṭa = flower casket).

Puṣpapuṭa hasta is used to denote the following: offering arati, receiving or collecting water, fruits etc., receiving the fruits by the children ; twilight offerings to the Sun and holding hand at the time of chanting Mantrapushpa (or a flower invested with magical power - Ghosh).

Bharata Natyam 
Elizabeth Kelly 

When one Sarpasirsha hasta is placed by the side of other Sarpasirsha hasta, it becomes Puṣpapuṭa hasta (the little fingers and the wrists - of the two Sarpasirsha hastas are to be joined).

Puṣpapuṭa hasta is to be used to denote the following: offering or receiving flowers, com, fruits etc. and offering of water.

Bharata Natyam 
Elizabeth Kelly 

Puṣpapuṭa. When two Sarpaṡīrṣha hands meet on one side they form the Puṣpapuṭa hand.

It is used in waving lights before an image of a god, as an act of adoration, taking of water, fruit etc. giving offerings to gods, evening, and a flower invested with magical power.

Bharata Natyam 
Elizabeth Kelly 

Puṣpapuṭa (flower-casket): Sarpa-sirsa hands are pressed together.

offering lights (arati), twilight water¬offering (sandhya argha dana), flower-spells (mantra-puspa), children receiving fruits, etc.

Bharata Natyam 
Elizabeth Kelly 

According to another book: one Sarpa-sirsa hand by the side of the other. The patron deity is Kinnaresvara.

offering and receiving flowers, corn, fruits, or water.

Bharata Natyam 
Elizabeth Kelly 

When two Mṛgašīrsha hastas are held on the opposite arm pits or upper arms, it becomes Utsanga hasta (utsanga - lap; embrace - AKS).

Utsanga hasta is used to denote the following- embrace, modesty or bashfulness, showing the armlets educating or disciplining the children.

Research 
Elizabeth Kelly 

When two Arala hastas are held crosswise on the shoulders, it becomes Utsanga hasta.

Utsanga hasta is used to denote the following: shyness or modesty, embrace, assent, cold, saying ’sadhu’, hiding the breasts and such other things.

Bharata Natyam 
Elizabeth Kelly 

Utsanga. If hands showing Mṛgašīrsha are placed on the upper arm of opposite hands the Utsanga hand is made.

It is used to denote embrace, displaying armlets and such other ornaments, and coaching of boys.

Bharata Natyam 
Elizabeth Kelly 

Utsanga (embrace): Mrga-Sirsa hands held upon opposite armpits.

embrace, modesty, armlet, education of children.

Research 
Elizabeth Kelly 

According to another book: Arala hands held crosswise on the shoulders. The patron deity is Gautama.

modesty, embrace, assent, cold, saying “Sadhu”, hiding the breasts, etc.

Bharata Natyam 
Elizabeth Kelly 

When the right hand as Sikhara hasta is placed on the left hand which is Ardhacandra hasta, it becomes Śivalinga hasta.

It is used to denote 'Śivalingam'.

Bharata Natyam 
Elizabeth Kelly 

Śivaliṅga. When Ardhaçandra is held by the left hand and Sikhara by the right, the Śivaliṅga hand is made.

It is used in showing the phallic symbol.

Bharata Natyam 
Elizabeth Kelly 

Siva-linga (do.): Ardha-candra with the left hand, Sikhara with the right.

Siva-linga.

Bharata Natyam 
Elizabeth Kelly 

When two Katakamukha hastas are crossed at the wrists, it becomes Kaṭakavardhana hasta,

Kaṭakavardhana hasta is used to denote the following: coronation, ritual or worship, blessing at the time of marriage, and marriage etc.

Bharata Natyam 
Elizabeth Kelly 

When two Katakamukha hastas are crossed (at the wrists), it becomes Kaṭakavardhana hasta.

This hasta is used to denote the following: deliberation, Srngara rasa, pacifying the angry, certainty or taking a decision, Jakkini natana and Danda lasya.

Bharata Natyam 
Elizabeth Kelly 

Kaṭakavardhana. When a Svastika is made by placing two Kaṭakāmukha hands at their wrist, it is called Kaṭakavardhana.

Bharata Natyam 
Elizabeth Kelly 

Kaṭaka-vardhana (link of increase): Kaṭaka-mukha hands with crossed wrists.

coronation, ritual (puja), marriage blessing.

Bharata Natyam 
Elizabeth Kelly 

According to another book: Kaṭaka hands are crossed. The patron deity is Yaksa-raja.

deliberation (vicara), the erotic flavour (Srngara rasa), pacification, (the dances known as) Jakkini natana and Danda lasya, certainty.

When two Kartarīmukha hastas are crossed (at the wrists), it becomes Kartarīswastika hasta.

This hasta is used to denote the following: the boughs of trees, the summit of a hill, and trees.

Kartarīsvastika. When a Svastika is made by two Kartarī hands [placed at their wrist] it is called Kartarīsvastika.

It is used to denote branches, hill tops, and trees.

Kartarī-svastika (crossed arrow-shafts): Kartarī-mukha hands are crossed.

trees, the boughs of trees, the summit of a hill.

Bharata Natyam 
Elizabeth Kelly 

When the middle fingers and the thumbs of two Bhramara hastas are extended (stretched) it becomes Śakaṭa hasta.

Śakaṭa hasta is generally used to denote the gestures of rakshasas (=demons).

Bharata Natyam 
Elizabeth Kelly 

Śakaṭa. When the middle finger of the Bhramara bands is stretched it becomes Śakaṭa hand.

This hand is often used in playing in the role of a Raksasa (demon),

Bharata Natyam 
Elizabeth Kelly 

Śakaṭa (car): Bhramara hands with the thumb and middle finger extended.

the gestures of Raksasas

When the thumbs of two Sikhara hastas are joined and similarly the forefingers etc. are also joined it becomes Saṁkha hasta (Saṁkha=conch).

This hasta is used to denote the conch (i.e. blowing the conch) etc. as mentioned by Bharata and others.

Bharata Natyam 
Elizabeth Kelly 

Śaṅkha. When thumb of a Sikhara hand meets the other thumb and is clung round by the fore-finger [close to the latter thumb] the hand is called Śaṅkha.

It is used to denote conch-shell and such other things.

Śankha (conch): the thumbs of Sikhara hands are joined, and the forefinger extended.

conch

Bharata Natyam 
Elizabeth Kelly 

When the palms of two Ardhacandra hastas are joined askew, it becomes Cakra hasta.

Cakra hasta is used to denote a cakra i.e. discus / wheel.

Bharata Natyam 
Elizabeth Kelly 

Cakra. When the palms in Ardhacandra hands are put across each other they make Cakra hand.

It is to denote a cakra (wheel).

Bharata Natyam 
Elizabeth Kelly 

Cakra (discus): Ardhacandra hands askew, the palms in contact.

discus

Bharata Natyam 
Elizabeth Kelly 

If the fingers of both Cakra hastas are curved, it becomes Saṁpuṭa hasta (sampuṭa = casket)

Saṁpuṭa hasta is used to denote concealing things and a casket / box.

Bharata Natyam 
Elizabeth Kelly 

Saṁpuṭa. When the fingers in Cakra hands are curved, it is called the Saṁpuṭa hand.

It is used for covering things and in representing a box.

Bharata Natyam 
Elizabeth Kelly 

Sampuṭa (casket): the fingers of the Cakra hand are bent.

concealing things, casket

Bharata Natyam 
Elizabeth Kelly 

When the forefingers of two Suci hastas are bent inwards and interlocked, it becomes Pāśa hasta (pāśa = noose).

Pāśa hasta is used to denote quarrel due to enmity, noose and manacles.

Bharata Natyam 
Elizabeth Kelly 

Pāśa. When the forefingers of Suci hands arc close to each other [bent inwards], the hand is called Pāśa.

It is used to denote a mutual quarrel, a string and a chain.

Bharata Natyam 
Elizabeth Kelly 

Pāśa (noose): the forefingers of the Suci hand are bent and interlocked.

enmity, noose, manacles

Bharata Natyam 
Elizabeth Kelly 

When the little fingers of two Mṛgašīrsha hastas are bent inwards and interlocked, it becomes Kīlaka hasta (kīlaka = bond).

Kīlaka hasta is used to denote friendship, affection and conversation of lovers.

Bharata Natyam 
Elizabeth Kelly 

Kīlaka. When the little fingers of the Mrgasirsa bands arc bent inwards and close to each other, the hand is called Kīlaka.

It is used to denote affection and a jocose talk.

Bharata Natyam 
Elizabeth Kelly 

Kīlaka (bond): the little fingers of the Mrga-sirsa hand are interlocked.

affection, the conversation of lovers

Bharata Natyam 
Elizabeth Kelly 

When the palm of a Pataka hasta is placed on the back of other Pataka hasta and the thumbs and the little fingers are outstretched, it becomes Matsya hasta (matsya=fish)

Matsya hasta is used to denote a fish.

Bharata Natyam 
Elizabeth Kelly 

Matsya. When one hand is placed on the back of another and the two thumbs are out-stretched, the hand is called Matsya.

It is used to denote a fish.

Bharata Natyam 
Elizabeth Kelly 

Matsya (fish): Pataka hands face downwards, the thumbs and little fingers extended.

fish

Bharata Natyam 
Elizabeth Kelly 

In Cakra hasta, if the thumbs and the little fingers are extended and the ends of the other three fingers are bent, it becomes Kūrma hasta.

Kūrma is used to denote the tortoise.

Bharata Natyam 
Elizabeth Kelly 

Kūrma. When the tips of thumbs and little fingers of the Cakra hands are bent, it is called the Kūrma hand.

It is used to denote a tortoise.

Bharata Natyam 
Elizabeth Kelly 

Kūrma (tortoise): the ends of the fingers of the Cakra hand are bent, except the thumbs and little fingers.

tortoise

Bharata Natyam 
Elizabeth Kelly 

When two Mṛgašīrsha hastas are placed one over the other and their little fingers and thumbs are linked, it is Varāha hasta (varāha = boar).

Varāha hasta denotes a boar.

Varāha. When one Mrgasirsa is placed above another and the thumb of the one hand meets that of the other and vice versa, the hand is called Varāha.

It is used to denote a boar.

Bharata Natyam 
Elizabeth Kelly 

Varāha (boar): Mrga-sirsa hands one upon the other (back to back), the thumbs and little fingers linked.

boar

Bharata Natyam 
Elizabeth Kelly 

When the palms of Ardhacandra hastas are held askew and the thumbs are interlocked, it becomes Garuḍa hasta.

Garuḍa hasta denotes Garuḍa.

Bharata Natyam 
Elizabeth Kelly 

Garuḍa When palms of two Ardhacandra hands are placed horizontally with the two thumbs placed on each other, the hand is called Garuḍa.

It is used to denote Garuḍa.

Bharata Natyam 
Elizabeth Kelly 

Garuḍa: Ardha-candra hands are held with palms askew, and the thumbs interlocked.

Garuda

Bharata Natyam 
Elizabeth Kelly 

When two Sarpasirsha hastas are in swastika position, it becomes Nāgabandha hasta.

This hasta is used to denote the (Nāgabandha = serpent - tieup), pairs of snakes, bowers and Atharwana Mantras

Bharata Natyam 
Elizabeth Kelly 

Nāgabandha. The Sarpasirsa and the Svastika hands placed together will make the Nāgabandha hand.

It is used to denote the Nagabandba.

Nāga-bandha (serpent-tie): Sarpa-sirsa hands are crossed.

naga-bandha, pairs of snakes, bower, Atharva Veda spells.

When the thumbs and the forefingers of two Catura hastas (held one over the other) are extended and their ends meet, it becomes Khaṭwa hasta.

Khaṭwa hasta is used to denote bed and palanquin.

Khaṭvā. Placing one Catura hand on another Catura hand with the fore-finger and and thumb of each released, will make the Khaṭvā hand.

It is used to denote a bedstead and a litter.

Khaṭvā (bed): the thumbs and forefingers of two Catura hands are left free.

bed, etc

Bharata Natyam 
Elizabeth Kelly 

When the wrists of two Kapittha hastas are joined, it becomes Bhērunḍa hasta.

Bhērunḍa hasta is used to denote a bhērunḍa bird and a pair of birds or a pair of bhērunḍa birds.

Bharata Natyam 
Elizabeth Kelly 

Bheruṇḍa. When the two Kapittha hands are joined at their wrists, the Bheruṇḍa hand will result.

It is used to denote the Bherunda, and a pair of birds.

Bharata Natyam 
Elizabeth Kelly 

Bheruṇḍa: the wrists of Kapittha hands are joined.

pair of Bherundas (snakes)

Bharata Natyam 
Elizabeth Kelly 

If two Solapadma hastas are placed on the chest (palms facing the chest), it becomes Avahittha hasta (avahittha = dissimulation).

Avahittha hasta is used to denote erotic dances, holding a ball for play - and the breasts.

When two Sukatunda hastas are held in front of the chest (palms facing the chest) and pointing downwards, it becomes Avahittha hasta.

Avahittha hasta is used to denote - debility, thinness of the body, eager interest and thinness.

Bharata Natyam 
Elizabeth Kelly 

Avahittha (dissimulation): two Alapadma hands are held on the chest.

erotic dances (srngara natana), holding a playball, the breasts

Avahittha: Sukatunda hands held against the heart. The patron deity is Markandeya.

debility, wasting of the body, eager interest, thinness

Bharata Natyam 
Elizabeth Kelly 

When two Sarpasirsha hastas are crossed and their palms reach the middle of the opposite arms, it is Gajadanta (=elephant's tusk) hasta.

This is used to denote grasping a pillar, pulling up a stone and lifting anything heavy.

If the little fingers of the two Sikhara hastas are extended, it becomes Gajadanta hasta.

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).

Gajadanta (elephant’s tusk): Sarpa-sirsa hands, the middles of the arms boldly crossed. Patron deity Paramatma.

grasping a pillar, pulling up a stone, lifting anything heavy.

Research 
Elizabeth Kelly 

When the two Tripataka hastas are crossed on the left side, it becomes Swastikāmukha hasta.

This hasta is used to denote Kalpavrksha and mountains.

Two Pataka hastas, in vyavrtta position are shown with grace and elbows moving, it is Ȧviddhavakra hasta.

This hasta is used to denote tying the girdle, difference and slenderness of the waist.

Ȧviddha-vakra (swinging curve): vyavrtta Pataka hands are shown with grace and with (movement of) the elbows. Patron deity Tumburu.

tying the girdle, difference, slender-ness of waist, folk dances (desya natana).

If the two Ardhacandra hastas are first held at the sides of the hips and then extended upwards, it is Garuḍapakṣa (=wings of Garuḍa) hasta. Its presiding deity is Sanandana.

This hasta denotes waist, string and superiority.

Garuḍa-pakṣa (Garuda wing): Ardha-candra hands held at the sides of the hips, extended upwards. Patron deity Sanandana.

waist string, superiority.

Research 
Elizabeth Kelly 

If Mukula hasta is enclosed by Kapittha hasta, then it is Nishēdha hasta. Its presiding deity is Tumburu.

This hasta is used to denote - establishing the conclusion of an argument, truth, saying ' yes/verily', holding the nipples and worshipping Sivalinga.

Research 
Elizabeth Kelly 

Niṣedha (defense): the Mukula hand enclosed by the Kapittha hand. Patron deity Tumburu.

establishing the conclusion of an argument, truth, saying “Verily”, holding the nipples, anga-puja.

Bharata Natyam 
Elizabeth Kelly 

If two Ardhacandra hastas - one enclosing the other, palms downwards and the thumbs moving - then it is Makara (=crocodile) hasta. Its patron deity is Mahendra.

This hasta is used to denote the flow of a river in spate (sea, river overflowing - AKS), deer face, prosperity, solidarity, platform and crocodile.

Makara: Ardha-candra hands, one enclosing the other, palms downwards, the thumbs moving. Patron deity Mahendra.

the sea, overflowing of a river, deer-face, prosperity, solidity, platform, crocodile.

Research 
Elizabeth Kelly 

When two Hamsapaksha hastas are held, palms down and then turned together, face upwards, then it becomes Vardhamāna hasta. Its presiding deity is Vasuki.

This hasta is used to denote Nrsimha, His glory / radiance, tearing apart the demon's (Hiranyakasipu's) chest.

When two Sikhara hastas are held pointing upwards, then it is Vardhamāna hasta.

This hasta denotes saying - always, it is given, what-what? and once upon a time.

Research 
Elizabeth Kelly 

Vardhamāna (increase): Hamsa-paksa hands palms down, turned together face upwards. Patron deity Vasuki.

Narasimha, his glory, tearing the raksasa’s chest.

Bharata Natyam 
Elizabeth Kelly 

Holding two Alapadma hastas on the chest, and twisting them upwards, is Udwēsṭitālapadma hasta. Its presiding deity is Sakti.

This hasta is used to denote husband, humble words, the breasts, full-blown lotus, saying 'I am passionate', expressing prowess and indicating desires.

Bharata Natyam 
Elizabeth Kelly 

Udveṣṭitālapadma: Alapadma hands are held on the chest and twisted upwards. Patron deity Sakti.

husband, humble words, the breasts, full-blown lotus, saying “I am beloved”, conversation, indicating desires.

When two Sūçīmukha hastas meet with palms opposite each other, then it is Sūçīviddha hasta

This hasta is used to denote - Hallisa abhinayam, joining together, strength, union, joining of two boughs of a tree.

When left Pataka is held on the shoulder and the right Padmakosa is held pointing downwards, then it is Dwirada hasta.

This hasta denotes the trunk of an elephant and the elephant headed God, Vighneswara.

When two Hamsapaksha hastas, facing each other, are held infront of the chest, then it is Uddhṛta hasta.

This hasta is used to denote the following: whirlpool, calmness, thinking, shape or form, saying 'be steady', swing, big object, house, at present.

If the forefinger and the middle finger are bent towards the palm and the other fingers are extended, it is Saṁyama hasta.

This hasta is used to denote Pranayama and practice of yoga and saying 'the honourable'.

When the forefinger and the little finger of Simhamukha hasta are placed at the backs of the middle finger and the ring finger, respectively, it becomes Ajāmukha hasta.

Ajāmukha hasta denotes the faces of goats etc., the faces of animals without horns, elephant's kumbhasthalam and the wrestler's fight.

If the little finger of the Langula hasta is bent well, then it becomes Ardhamukula hasta.

This hasta denotes the likuca fruit, good character,

When two Ardhacandra hastas are held facing each other, then it is Kuśala hasta.

Kusala hasta is used to denote - moving on the ground, eye, objects complete in all respects, bathing or taking a dip in the river and lotus.

If two Tripataka hastas are placed - one on the forehead and the other on the chest - then it is Tilaka hasta.

Tilaka hasta denotes offering of Pushpanjali to the deities, perfumes etc. and tilakam.

When two Pataka hastas are held on the shoulders and then extended pointing upwards, then it is Jṅāna hasta.

This hasta denotes planet, heart and meditation.

When, the forefinger is extended and all the other fingers are bent, then it is Rēkhā hasta.

Rēkhā hasta denotes 'mudra'.

When two Tripataka hastas are extended pointing upwards, then it is Vaishṇava hasta.

This hasta represents Lord Vishnu.

When the tops of the thumb and the forefinger of the Kapitha hasta are held on the same level, then it is Brahmōktaśukatunḍa hasta.

This hasta denotes Garuda.

In Catura hasta, if the forefinger is left out and the little finger is joined, then it is Khanḍacatura hasta.

This hasta denotes liquids like blood, saying 'pleasant to the ear', and pieces.

When the little fingers of Khandacatura hasta are left out, then it becomes Ardhacatura hasta..

This hasta denotes enjoying sweet liquids etc.

If the forefinger of Mudra hasta is bent, then it is Līnamudra hasta.

Missing in the manuscript.