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Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:97-99

Since patāka is the fundamental form, it features naturally in all actions. Therefore the functions of patāka are great. Many hand gestures are born from this, hence the importance of the hasta. The thumb must be bent to touch the root of the fore finger like the bent foot. The other fingers are stretched and held together on the same plane. As the hand then resembles the flag, it is called patāka.

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Happiness, pride, beating, etc require that the patāka hand be held at the forehead. It can be used in a slap, granting a boon and granting refuge.

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The fingers must be separated and made to shake to depict a rain of flowers, etc. the palm is to face downward while showing the rain of flowers.

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In offering flowers and wild grass, the patākas are crossed and fingers separated. In cleansing, squeezing and washing, the patākas are rubbed against each other.

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When a stone is being uprooted, etc. the palms of this hand face each othe and are held at a distance. While depicting the movement of the bird’s wings the fingers are loosened and the hand moves upwards from the waist region.

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The patāka hasta is used with a recita (an outbound movement) to show causing energy, large number, long objects, etc. The patākas shaking at the sides represent prohibiting and saying ‘no’, ‘does not exist’ and ‘don’t’. The patāka is turned downwards while striking percussion instruments.

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If the palm of the patāka hasta is turned downwards,

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the fingers are shaking and the ends stretched obliquely, it represents breeze or the speed of wave or the force of the sea water. The palms of the above said hasta upwards to represent the flow of water.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:106

When the ring finger is bent, it is tripatāka hasta since the other three fingers remain in the patāka position.

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It is used for invitation of deities, alighting, salutation, picking up, touching sacred ingredients, entering etc. Generally, the names of the hastas bear meanings based on significance.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:111

If the forefinger in the tripatāka hasta is held in such a way that it gives an impression it is watching the back of the middle finger, know that it is kartarīmukha.

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It is faced downwards and used to paint the feet, etc. An upright glance, horns, etc. are expressed with this. The kartarīmukha can also be used to depict a person reading a reply.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:156

If the thumb of the sarpaṡīrṣa hasta is separated, it is called ardhacandra.

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It finds usage in forcible removal, pitcher,

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the crescent on the day before or after the new moon, the string around the waist, belly, earrings and conch. Generally it is also used in love-sport and other emotions of women.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:152

The sarpasirsa hasta is loosened free. The middle and consecutive fingers are raised with a bend in them. This is the arāla hasta.

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This is used to depict gumption, pride, courage, majesty, light...

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...removing, fragrance, smelling, wiping sweat, etc. This is apt for touching and raising women’s hair as a sport.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:133-134

The forefinger, bent like the crescent moon is joined by the thumb. The ring finger is bent. The middle finger and little fingers which are curled are straightened up from that position. This is sukatunḍa

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true to its name means and represents parrot’s beak. It is used for emission, inviting, censure, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:145

If the thumb of sikhara hasta grips the middle finger, it becomes Muṣṭi.

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It is used to hold a sword, brick, etc.

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In boxing, pressing the body, squeezing the juice out; milking etc. the thumb can also be tucked under the fingers for this hasta.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:139

The forefinger of the kapittha hasta is bent to join the other fingers in the middle of the palm and the thumb is stretched to form śikhara.

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It is used to hold the sacred grass used in certain religious ceremonies, a rope and other things. It is also used to show strength, flinging a lance, women opening their hair loose and beautifying lips and feet.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:137

When the middle, ring and little fingers of kaṭakāmukha hand are curled into the centre of the palm, it is kapittha hasta

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It is used to represent an iron rod, sword, mace, the sharp circular miss; weapon (discus), brick, arrow and a spear. It is also appropriate to show breaking with a sharp knife, truth, suitability (belonging to the way) and well being.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:113-114

The middle finger is bent to be held by the thumb and the remaining are raised and bent. This is kaṭakāmukha hasta

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which is used to show garland of flowers, anchor, umbrella, fan, holding a mirror, pulling the string of a bow, end of a garment.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:115-118

In this hasta (kaṭakāmukha), if the forefinger is stretched it becomes sūcī hasta. Within this the tarjani or forefinger is of seven kinds - urdhvanana, nata, lola, kampita, jrmbhita, udvahita, cala. When the forefinger is raised, it is urdhvanana; the forefinger is bent in nata, Iola when it is inclined to the side, the shaking forefinger is kampita. When the forefinger is obliquely held and stretched it is jrmbhita. The forefinger with head upwards is udvahita and which moves at random is cala. In order to mark the difference between them, these movements of the forefinger are particularly represented.

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Urdhvanana tarjani is used to threaten, for the number one, to hold a stick, noose, etc.

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When the finger moves in circular path from left to right in anti-clockwise direction, it can be used for the sharp circular missile weapon, potter’s wheel, an encircling wheel, cart wheel, six energy points in the body (satcakras)...

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...capturing, indication of worlds, et al. The same gesture accompanied by a vibrating movement represents cheeks ornate with earrings and lightning.

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The forefinger must be stretched straight upwards to represent the flag. It must be shaken to indicate a cluster of sprigs. It must move from side to side to trace the curvilinear path of the fish and other creatures.

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The forefinger is bent over the thumb and used for the following: aromatic vapour, lamp, birds like the crow, vegetables like the bottlegourd, grapevine and other creepers,

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Tender leaf, falling down, a crooked shape, and a little snake. Boar and othei animals with tusks can be depicted by holding the hasta at the ends of the mouth.

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The forefinger stretched and bent to a side moves from left to right at length to signify dawn and dusk.

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When this is stretched from a bent position near the face, it is indicative of a word (talk). It is used to touch earrings, armlets indicative of fame and arranging hair locks.

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When it is stretched, it can be used to wipe sweat and to write the like of letters. The same hasta when made to shake and turned, indicates anger.

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When the same hasta is raised, it expresses ‘but’, ’he’, ’then’, etc. and demanding ‘who is he?’ in anger on seeing the enemy.

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If the forefinger is stretched forward, it indicates objects at a distance, anything placed transversely and scratching the ear. When joined with that of the other hand, it shows union...

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...when separated, separation. If one forefinger is placed across the other, it means quarrel. If the hastas are held at a distance of one tala (the distance between the thumb and middle finger) and the forefingers are interlocked like a shackle, it means a bond.

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When both forefingers are turned away from the dancer and stretched to the right, it indicates the sun and sunset as the right is the side of the sun.

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The same is performed on the left to indicate the moon and recession of the moon as the left is the side of the moon. If the forefinger points downwards and the tip rotated, it shows a well, a whirlpool, rock, etc.

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Both {slid fingers) coming together and pointing downwards can be used to show the forehead and the three-eyed Siva. The same hasta moved obliquely with a circular movement indicates Indra.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:141-142

All the fingers and the thumb are held separately and bent slightly with the palm facing up and the extremes coming close to complete the circle, giving an impression of a lotus which has blossomed slightly. Know this hasta as padmakoṡa.

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This is used to picture the breasts of a young girl, and holding the fruits like wood apple, bel fruit.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:108

When the latter part of the patāka hasta is depressed, it is the sarpaṡirsha hasta. It finds use in receiving, giving, collecting water, dampening one’s self

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slithering of a snake, the wrestlers striking their shoulders and thighs in combat, thumping the prominence on the upper part of an elephant’s forehead and upper part of its back, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:110

When the thumb of the sarpaṡirsha hasta is raised, it becomes Mṛgašīrṣaka.

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It is used to play dice in a game of gamble, augmenting energy, wiping sweat and in words like, ‘here’, ’now’, ‘it is here’, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:143

The ring finger of the haṁsāsya is dropped inwards and the other three fingers, along with the thumb are held like three fires with the finger-ends separated to form the kāṅgūla hasta

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This is used to brush the chin of children, to show a trivial matter and a new fruit. The fingers of this must be in the process of going apart to represent angry words of women.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:168

With the little finger taking the lead, the fingers are curled inwards, one following the other, forming the alapallava hasta.

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It is used in questioning, “whom do you belong to”, “does not exist”, “don’t”, etc, meaningless talk and boasting of women. Since it is like the shaking lotus, it is also called alapadma.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:147

The three fingers are stretched and brought together with the little finger raised and thumb at the root of the middle finger. This is Catura.

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When used with a single hand it can be used to represent a slim waist, etc. The petals of a lotus and eyes can be indicated by this. When hands are rotated slightly it is for philosophy, bashfulness, etc.

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If this is raised up it shows fair complexion. When turned down, red and yellow colours. Hastas of both hands would rub against each other to show dark complexion.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:150

The ends of the thumb and middle finger are touched, the forefinger bent slightly and other two fingers separated and left free in bhramara hasta.

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A lotus with a long stalk, water lily, holding white and blue lilies, women beautifying themselves with the mark on the forehead etc, wearing earrings, can be depicted through the usage of this hasta.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:135

If the thumb, fore and middle fingers come together such that the ends join and the other two fingers are separated and stretched, it is haṁsāsya.

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It is used in its original form to show slenderness, softness, littleness, crushing, throwing and those objects with slight movement.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:154

The tips of the fore, middle and ring fingers are bent slightly and the little finger raised slightly in the haṁsapakṣa hasta.

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It is used in touch, application of cream to cheeks, taking, sowing, massaging the body, horripilaton, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:158

When the thumb and forefinger of the arāla hasta meet it becomes saṁdamṡa. It is of three kinds: agra, mukha and parsva saṁdamṡa.

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If the nails of forefinger and thumb meet, it is agra saṁdamṡa.

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It can be used to depict making garlands, picking small flowers, sprinkling,

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string, a strand of hair, holding a pebble and objects of the like, uprooting a thorn and other actions.

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In the same way when the first part of the forefinger and thumb meet, it is mukha saṁdamṡa.

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This is used in doubt, rebuff, separating the flower from the stalk...

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The intricacy of a young shoot, writing a letter with a pencil, squeezing the red dye (obtained from the cochineal or a similar insect as well as from the resin of a particular tree), colouring the eyes, etc.

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It is used along with the other hand to bore a hole in the like of a pearl, the use of an arrow, wiping the sacred thread, aim, meditation, string, etc.

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If the sides of the fingers come together it is parsva saṁdamṡa.

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The skilled use it with the left hand for reprimanding words, contempt, envy, a useless object, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:164

All five fingers meet at the edges in one direction to form the mukula hasta in the upward direction.

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This is used to depict the buds of the lotus etc,

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Offering flowers to gods, offering material for prayer, the kiss of the desirous, bangles, the number five, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:170

If the ring and little fingers of the bhramara hasta are bent into the palm, it is tāmracūḍa.

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This represents the hen, driving away smaller animals...

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...to begin the (tala) rhythm, haste, make somebody believe, a second, call boys and others, the yawn of the boss, etc.

Jāyasenāpativiracita Nṛttaratnāvalī, Volume I
2:166

Fingers of the padmakosa hasta, when bent exaggeratedly form ūrṇanābha.

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This is used to scratch the head,

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The stone used to even out abrasions, theft, holding hair, etc, indicating leprosy, and chin. While showing carnivorous animals, both hands must be crossed.