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In caturaśra hasta, the kaṭakāmukha hastas are held with shoulders and elbows in a straight line like that drawn by an artist

In sausthava, the hastas are eight away from the chest, facing the viewer. 

It can be used to depict arrangement of flower garlands attractively, Lord Visnu, etc.

The caturaśra position of hands is held with haṁsapakṣa hastas at the chest in udvestita karma.

One executes the vyāvartana while the other parivartana, simultaneously. This is done as the hands move upwards and these hands are udvṛtta hastas.

Research 
Elizabeth Kelly 

The caturaśra hands are turned to haṁsapakṣa as before. Facing each other, they traverse the corners and reach their respective sides. These are the talamukha hastas, to be used in the graceful playing of the drums.

When the svastika hands facing down or otherwise are separated abruptly, it is viprakīrna. (The hastas follow previous hastas to form new ones)

As a first step, svastika hastas with patakas are made to execute vyavartana or parivartana, the hands turning into alapadma while doing so. 

Then padmakosa hastas are held to face upwards and made to perform vyavartana and parivartana.

After that one hand turns into arāla and second into kaṭakāmukha, both being held in the square position of caturasra becomes Arālakaṭakāmukha.

A few scholars opined that the whole exercise should be done with hands crossed in svastika. Few others said that it should first be presented with arālas and then kaṭakāmukha.

Pataka hasta amorously traverses the bent shoulders, elbows and arms in that order to form āviddhavakra hastas.

The haṁsapakṣa hastas are turned supine (the palm facing upwards), hands stretched forward and moved randomly with speed. These are the recita hastas

it is used to show Narasimha opening the enemy’s chest.

One hand continues recita and the other is in caturasra position. These are executed alternately to form ardharecita hastas.

Hands are held at the level of any of the shoulders, cheeks, forehead in tripataka hasta. They are held transversely, slightly supine and face each other. The shoulders and elbows are moved slightly. This is utthānavaṅcita.

Pataka hastas are brought to the shoulder in vyavartana and in parivartana moved to cross at the wrist, to be held steadily. This forms pallava hastas, as said by scholars. A few suggested tripataka hastas.

Pataka hastas are stretched horizontally and held loose to form latā hastas. These are used in nrtta and abhinaya. In nitamba (nitambaka?) and other hastas other scholars suggest tripataka hastas.

Keśabandha hastas begin at the height of half the face, move out from over the shoulder and go down to the original position.

Pataka hastas are stretched horizontally and held loose to form latā hastas. These are used in nrtta and abhinaya. In nitamba and other hastas other scholars suggest tripataka hastas.

Research 
Elizabeth Kelly 

As one hand sways any superior hasta from one side to the other, the second hand bears tripataka at the ear to form karihastas as defined by the learned.

Research 
Elizabeth Kelly 

Kaṭakāmukha was suggested in place of tripataka. A few others said tripataka was originally called lalataka. One tripataka held at the waist and other at the head with the tips touching the body is pakṣavañcita.

Research 
Elizabeth Kelly 

If the tips of the fingers of the above hasta are turned away from the waist, pakṣapradyota hastas are formed. It is always more impressive when pakṣavahcita hastas are executed first and then pakṣapradyotaka hastas.

When the haṁsapakṣa hasta is brought from the side to chest in vyavartana and simultaneously the other hand moves horizontally in line with the shoulder in parivartana, they are danḍapakṣa hastas. This action must be executed by alternating the hands.

Here when both arms are stretched out simultaneously vyavrtti and parivrtti are executed, one following the other.  Pataka hastas reach the chest in vyavrtta, then traversing the forehead area reach the sides and with outstretched arms a circle is executed. This is urdhvamaṇḍala as said by experts in dance. Kutidharacarya says these hastas are generally called cakravartinika.

When those (above) hastas are placed at the sides, the hastas facing each other, these are called pārśvamaṇḍali hastas. To make the name appropriate to the movement, other scholars have directed that aviddha arms must rotate on their respective sides below the shoulder level. These hastas are also called kaksavartinika.

When the hastas perform udvestana and apavestana while moving the hands away from the chest to the sides (in an order), and move around, those are uromaṇḍala. Others said these should remain at the chest. A few others have named both the variations as urovartanika. Yet others said this hasta which moves upwards must hold haṁsapakṣa hastas.

One alapallava hasta is moved from the chest to the side with vyavarti karana. The other in arāla moves around with the outstretched arm and reaches the chest, traversing a circle in avestita karana. Immediately it moves to the side and forms uraḥpārśvārdhamaṇḍala.

Kaṭakāmukhas are then crossed in muṣṭisvastika hastas. Those born mutually from muṣṭi come under this according to Bharata.

Any one of muṣṭi, sikhara, kapittha or kaṭakāmukha can be used. Traditionally, as the other three hastas have taken birth from muṣṭi, Bharata named these hastas muṣṭivastika.

One hasta is contracted downward (kuncita) with muṣṭi and the other arched upward with kaṭakāmukha. Those are muṣṭisvastika hastasas said by Kirtidharacarya. 'khahgavartinika' is another name given to these hastas.

As the padmakosa hastas are moved in vyavartana and parivartana, they are brought a little close to each other near the svastika area (chest area). Vyavartana and parivartana are executed with palms facing away from each other. This is nalinīpadmakośaka. The above hastas are joined at the wrist so that the little fingers and thumbs face each other.

They bear other qualities as said by a few others. The same hasta when turned backwards at the shoulders, chest or knees is also nalinīpadmakośa. Kirtidhara and others named these padmavartanika.

Research 
Elizabeth Kelly 

The same hastas as above when held at the head, become lalita hasta. Other scholars (other than Bharata) say the tips of kaṭakāmukha hastas must touch the head.

The fate hastas crossed at the shoulder form the valita hastas.

The above haṁsapakṣa hastas, when crossed at the wrists are svastika hastas.

When the patāka hastas in prone (palm facing downwards) position are made to take a quick leap-like movement down and fly upward, the tārkṣyapakṣa hastas are framed.

Alapallava hastas start to move from chest with udvestita karana. The arms are stretched out to take these hastas above the shoulders. As the fingers shake, the arms are brought in front of the shoulders and bent inwards. These are alapallavobaṇas hastas. Others call these vatavartinika.

As the hastas are like the fan made of palm leaves, they are also called tālavṛnta. They can be used to portray fanning with or sway of the palm leaves.

First the patāka hastas perform vyavartana and parivartana in caturasra position. They are turned into sreciarpaṡīrsha hastas in the same position.

Then they become sūçīmukha hastas which are extended to the sides transversely and alternately. These are the sūcyāsya hastas as experts of dance explicated.