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Holding the two Katakamukha hastas before the chest is known as Caturaśra (=square) hasta.

This hasta is used to denote the following: churning, Jakkini natana, holding, milking, covering with cloth, wearing pearls, dragging ropes etc., tying the girdle, tying the bodice, holding flowers etc., plying the fly-whisk.

Research 
Elizabeth Kelly 

Caturaśra (square): Kaṭaka-mukha hands are held before the chest. Patron deity Varahi.

churning, Jakkini natana, holding, milking, covering with cloths, wearing pearls, dragging ropes, tying the girdle, tying the bodice, holding flowers, etc., plying the fly-whisk.

When one Hamsapaksha hasta is held face downwards and the other face upwards, simultaneously, it is Udwṛtta hasta.

This hasta is used to denote the following : modesty, simile, torment, thorns etc., sorrow, fear, consideration.

Udvṛtta (asunder): one Hamsa-paksa hand held face down-wards and one face upwards. Patron deity Vasistha.

modesty, simile, torment, thorns etc., difference, consideration.

If two hands are raised face to face (not touching / at a distance) before the chest, it is Talamukha (palms facing) hasta. Its presiding deity is Vinayaka.

If two Pataka hastas, opposite to each other, are moving, it will be Talamukha hasta.

This hasta is used to denote - Bhujangasukshma natyam, Mukha natyam, union, understanding and stout objects.

Tala-mukha (palms facing): two hands raised face to face before the chest, (not touching). Patron deity Vijnaraja.

embrace, stout things, a thick pillar, a sweet-sounding drum.

When Swastikamukha hasta is quickly separated, it becomes Viprakīrna hasta. Its presiding deity is Dakshinamilrti.

This hasta is used in denoting the drawing away of the end of the robe and tossing it.

When two Tripataka hastas join obliquely at the elbows, then it is Viprakīrṇa hasta.

This hasta denotes - armour, manipulation of hands / fingers, invoking a mantra, pardoning, and consideration.

It is used to denote a crocodile (pnakara).

Viprakīrna (loosed): Svastika hands quickly separated. Patron deity Daksina-murti.

drawing away the end of the robe (celancala), releasing.

When an Arāla hasta and a Kaṭakamukha hasta are crossed, it is Arālakaṭakamukha hasta.

This hasta denotes offering of betel leaves, anxiety and dismay.

Arāla-kaṭaka-mukha: Arala and Kaṭaka-mukha hands held crossed. Patron deity Vamana.

giving pieces of betel leaf, anxiety, dismay.

When the palms of two Hamsapaksha hastas face upwards and held high, it is Rēcita hasta.

This hasta denotes holding children and showing a painted panel and such other aspects.

When two Alapadma hastas are jointly extended on the sides, then it is Recita hasta.

This hasta is used to denote the following: Carinatana, Parswanatana, coconut tree, chattering ; it is also used at appropriate times in all the dances.

Recita: Hamsa-paksa hands face upwards, held apart. Patron deity Yaksaraja.

holding children, showing a painted panel (citra-phalaka).

When one of the two Recita hastas is held palm downwards and then both are held in recita position, it becomes Ardharēcita hasta.

This hasta is used to denote invitation, giving presents and concealing the actions.

Ardha-recita: two Recita hands one is held palm downwards. Patron deity Nandikesvara.

invitation, giving presents, concealing actions.

If two Tripataka hastas are placed on the two shoulders, then it is Utthānavaṁcita hasta.

This hasta denotes Lord Vishnu and a pillar. It is important in all types of natyas.

If the Pataka hastas are moving at the wrists pointing downwards, then it is Pallava hasta.

This hasta denotes holding the bough of a tree that is bent due to heavy load of flowers and fruits and bending.

Two Pataka hastas face upwards, then turned over and extended from shoulders to the nitambas (-buttocks) - is considered as Nitamba hasta. Its patron deity is Agastya.

Nitamba hasta denotes the following. weariness, descent or entry, astonishment, ecstasy and such other aspects.

If two Pataka hastas are moved from the shoulders up to the hips on respective sides, it is Nitaṁba hasta.

This hasta is used to denote the halos round the Sun and the Moon, beauty of limbs, compound wall, the aharya of devatas, movement and beauty of the sides.

Nitamba (buttock): Pataka hands face upwards, turned over, (extended from) the shoulder to the buttocks. Patron deity Agastya.

weariness, descent or entry (avatarana), astonishment, ecstasy, etc.

when two Pataka hastas are held as if binding the hair, it becomes Keśabandha hasta. Its patron deity is Durga.

it denotes diamond studded pillar, binding the hair, cheek etc.

When two Pataka hastas are moved from the hips up to the hair, then it is Kēśabandha hasta.

This hasta is used to denote - two tall trees, excess, Meru mountain, plenty and saying 'stand up'.

Keśa-bandha (tying the hair): Pataka hands binding the hair. Patron deity Durga.

gem-pillar, binding the hair, cheek etc.

If two Pataka hastas are held like a swing, it is Latā (creeper) hasta. Its patron deity is Sakti.

Latā hasta denotes the following : motionlessness, heavy with drink, beginning the dance called Swabhava natana, lines and yoga state.

When two Alapadma hastas, bent at the ends, are moving, then it is Latā hasta.

This hasta is used to denote the following: Bhramara- natya, shaking bud in the wind, creeper full of flowers, shaking of the cluster of flowers and boque (useful for playing as a ball).

Latā (creeper): Pataka hands held like a swing. Patron deity Sakti.

being heavy with drink, beginning (the dance called) svabhava natana, lines, state of union (yoga-condition), etc.

Research 
Elizabeth Kelly 

If two Tripataka hastas are placed - one on the waist and the other on the head - it becomes Pakṣavañcita (bent wing) hasta ; its patron deity is Arjuna.

This hasta is used to denote the movement of thighs and in showing difference.

If two Ardhacandra hastas are placed on the waist, it is Pakṣavaṁcita hasta.

This hasta denotes the wings of birds, rasana, and hip.

Research 
Elizabeth Kelly 

Pakṣa-vañcita (bent wing): Tripataka hands are placed upon the hips. Patron deity Arjuna.

movement of the thighs, difference.

If the Pakṣavañcita hastas face upwards, it becomes Pakṣapradyota (=shining wings) hasta , its patron deity is Siddha.

This hasta is used to denote the following: despondency, loss of wits, unexpected happening, Varaha avatara, kunda-abhinayam etc.

Research 
Elizabeth Kelly 

Pakṣa-pradyota (shining wing): Pakṣa-vancita hands face upwards. Patron deity Siddha.

despondence, loss of wits, strangeness, magic boar, pot gesture (kumbhabhinaya).

When two Musṭi hastas are crossed on the stomack, it is Musṭiswastika hasta. Its presiding deity is Kimpurusha.

This hasta is used to denote playing the ball (made of flowers etc.) boxing, great bashfulness and tying the girdle.

Muṣṭi-svastika (crossed fists): Musti hands are crossed on the stomach Patron deity Kimpurusa.

playing ball, boxing, great bashfulness, tying the girdle.

If two Padmakosa hastas are turned outward and crossed, it becomes Nalinīpadmakōśa hasta. Its patron deity is Sesha.

This hasta denotes nagabandha, buds, making equal distribution, cluster of flowers, the number ten, gandabherunda bird.

Nalinī-padmakośa: Padmakosa hands are outward-turned and crossed. Patron deity Sesa.

naga-bandha, buds, making equal distribution, cluster of flowers, the number ten, Ganda-bherunda.

If two Alapallava hastas are held close to the eyes, it is Ulbaṇa hasta. Its presiding deity is Vighriesa.

This hasta is used to denote clusters of flowers and wide open (or large) eyes.

Ulbaṇa (abundance): the same hands (Alapadma) held close to the eyes. Patron deity Vijnesa.

large clusters of flowers, eyes.

When two Allapallava hastas are crossed near the head, then it is Lalita hasta.

This hasta is used to denote sala tree, fort and mountain.

Lālila: the same hands (Alapadma) crossed near the head. Patron deity Vaisnavi.

sal-tree, mountain.

When two Sūcimukha hastas are moved aside from the front simultaneously, it will be Sūcyāsya hasta.

This hasta denotes saying 'what am I to do'?, yearning for the beloved, saying 'everything' and 'look here'.