Nṛttahastas - Dance hands (single and combined)
Saṅgítasamayasāra - Language: Sanskrit
A Sanskrit work on music, which also includes a chapter on dance. It attributed to the sage Pārśvadeva. The work references King Jagadekamalla and follows convenvention set forth in writings by that king. The King ruled in Hydrabad 1138 AD-1150AD, which gives the starting date of this work. The author is thought to be Maratha speaking, as the work uses many Marathi words, which would put the author's location near Maharastra.
Caturaśra: In caturaśra the katakasya hasta formed and spread out in front.
Udvrtta: When both the hands face each other forming the hansa paksha hasta, it is udvrtta.
Talamukha : When the hands are positioned in the chest horizontally, it is talamukha.
Arala Kataka: If arala and kataka hastas are formed in both hands it is arala kataka hasta. :
Aviddhavakra: If the upper part of hand is twisted in the aviddha hasta, it is aviddha vokra.
Recita : If the hands are spread and lifted upwards and moved fast it is recita.
Ardharecita : In the recita hasta if one hand is kept as caturasra hasta, it is ardharecita.
Uttanavancita : When the hands in tripataka hasta is moved a little towards the sides of the body, it is uttanavancita.
Pallava: If two pataka hasta (both hands) are kept on separate wrist, it is pallava.
Nitamba hasta: When the hands rest on the sides from the upper part of the hand or shoulder it is nitamba hasta
Kesabandha According to Digambara the great, the kesabandhahasta is formed by moving the hands from the hair (head) to both sides.
Latakhya: When the hands are well spread slantingly, it is latakhya.
Karihasta : One hand is kept at the ear and other has tripataka hasta is karihasta.
Pakshavancita : Front parts of both hands with pataka hasta are kept in the front parts of waist, it is pakshavancita.
Pakshapradyotaka : To turn those hands again is pakshapradyotaka.
Dandahasta : If the hands have the formation of hansapaksha and they are spread out obliquely, they are revolved and changed, it is danda hasta.
Garudapaksha: When the palms of avidhdhahastas are faced downwards and the hands are spread like hansapatsha slantingly garuda paksha.
Urdhva pārśva mandali: Rotating (the hands) at the both sides of the head is known as urdhvaparsva mandali according to digambara.
Uromandal: When the hands forming a circle kept close to the chest and enclose and release in a systematic order it is uromanḍalin.
Uropārśvardha mandalo: If with the mandali hasta and relaxed wrist the hands are rotated near the chest and at the half of the side it is uro pārśardha manḍali.
Mustikasvastika: When both svastika katakasya hastas (hands) are once or many times co curved, it is mustika svastika.
Nalinipadmakośa: When the hands are near the knees and having padma kosa hasta, revolving and chang¬ing the position, it is nalinipadmakosa.
Ulvaṇa : When the hands with pallava hasta moving upward enclosing and releasing the front part of the hand, it is ulvaṇa.
Lalita: When the hands move upwards to the head with pallava hasta, it is lalita.
Valita: Having svastika elbows and latakhya hasta is valita.