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Saṅgītanārāyaṇa
3:325-327

When the thumb is bent to touch the base of the forefinger and the other fingers are joined together and kept straight it is known as patāka.

3:325-327

It is applied in touching, slapping, [showing] a flag or clapping.

3:326-327

the fingers point upwards in motion and are separated.

3:326-327

To indicate flame,

3:326-327

[the fingers] point downwards,

3:326-327

To indicate rain

3:326-327

when placed on the hips

3:326-327

they [the fingers] indicate the wings of a bird.

3:326-327

[the fingers] point upwards

3:326-327

[To indicate] fainting

3:326-327

[the fingers] point downwards

3:326-327

[to indicate] beating the drums.

3:328-330

When this hand is moved upwards from the hips

3:328-330

it indicates lifting in [the art of] acting.

3:328-330

this hand is brought from the sides towards the face

3:328-330

To face an object.

3:328-330

When it is shaken at the sides

3:328-330

it indicates negation and separation.

3:328-330

Patāka is also applied to rubbing, crushing and wiping quickly and to hold or to pull up heavy materials such as stone, etc.

3:328-330

by placing the [patāka] hands facing each other

3:328-330

It is applied in raising and separating

3:331-332

Fingers moving up and down

3:331-332

[denote] the quick motion of wind and waves.

3:331-332

the [patāka] hands are separated after being crossed.

3:331-332

To indicate a lake or a pond

3:331-332

Patāka hands are separated and then crossed

3:331-332

to indicate gait as well as cutting, hiding, showing, talking and destroying.

3:333

[Patāka ] hands are slightly stretched out and pointed down with palms facing up

3:333

to indicate the coast, an opening, a marine animal, home or a cave.

3:541-543

Number four is indicated by patāka

3:541-543

Numbers ten, hundred and thousand are as told by the users as enacted with patāka hands

Saṅgītanārāyaṇa
3:335

Patāka becomes tripatāka when the ring-finger is bent.

3:335

This is applied in touching auspicious objects such as yoghurt and others.

3:336-337

[the palm] is turned outwards while bending two fingers that are close together.

3:336-337

In calling [someone]

3:336-337

The palm is held sideways, touching the head

3:336-337

in salutation.

3:336-337

The ring-finger is placed near the eye

3:336-337

to indicate tears

3:336-337

and moved down

3:336-337

to wipe away tears.

3:336-337

The ring-finger is placed on the forehead

3:336-337

to indicate putting on a tilaka [mark on the forehead].

3:338-339

The palm turned upwards with its fingers

3:338-339

is used in lifting the face up.

3:338-339

[The face] is bent down and lifted up alternately, being touched with two fingers

3:338-339

in [expressing] doubt.

3:338-339

two fingers are thrown outwards with the palm pointing down.

3:338-339

To indicate abandonment and indifference,

3:338-339

by holding [the palm] downwards at the side of the head and moving it around.

3:338-339

Wearing a turban is indicated

3:340-341

The same [movement] done above the head

3:340-341

indicates putting on a crown.

3:340-341

The [tripatāka] hand with two fingers pointing downwards and fluttering near the hip is moved up, in the middle and down sideways

3:340-341

to indicate respectively a bird, a stream and gentle breeze.

3:340-341

The [tripatāka] hand is [also] used to move a lock of hair by holding the [same] lock.

3:342-343

the hand is held close to the nose, mouth and ears respectively.

3:342-343

[To mimic smelling] bad odours and in hearing bad words arid noise

3:342-343

the [tripatāka ] hands are stretched out facing down and touching at the finger tips.

3:342-343

To indicate marriage,

3:342-343

The hands are crossed facing downwards

3:342-343

to indicate worshipping the guru's feet.

3:344-345

the hands are crossed and held near the forehead and then separated.

3:344-345

On seeing the king,

3:344-345

[the hands] are separated obliquely and then joined.

3:344-345

In viewing a house

3:344-345

[the hands] are held up facing outward.

3:344-345

In looking at a renunciate

3:344-345

The hands should be held face to face

3:344-345

while showing a door.

3:344-345

the hand is moved from the left side of the hip to the shoulder of the body.

3:344-345

To indicate a woman

3:347

The hands are held near the face, stretched forward and point-ing downwards

3:347

to indicate fire of the nether region, a scorpion or a crocodile.

3:347

the thumb is stretched out.

3:347

To indicate the moon in the first quarter,

3:347

the thumb points downwards with [the palm] turned back.

3:347

To indicate the wheel of a chariot

Saṅgītanārāyaṇa
3:351

It is called kartarimukha when the forefinger of a tripataka hand is joined to the middle-finger and the thumb touching them.

3:353-354

It is held downwards

3:353-354

in discussing journey and in painting the feet [with lac].

3:353-354

the hand is moved from the nose to the end of the ear.

3:353-354

To indicate viewing

3:353-354

The same hand, facing upwards, is placed forward two or three times

3:353-354

to indicate reading a book.

3:353-354

Two hands are held on the head

3:353-354

to indicate horns.

Saṅgītanārāyaṇa
3:348

When the fingers are curved with the thumb like a bow resembling the crescent moon, the hand is known as ardhacandra.

3:349-350

The same [hand], turned away,

3:349-350

indicates fatigue.

3:349-350

The [same hands], curved in the middle, face each other and are joined in the same way

3:349-350

to indicate earrings when held near the ears.

3:349-350

By usage it is also used in forcible ejection. it is moved around making a circle.

3:349-350

To indicate a bangle on a wrist

3:351

The hands are separated and held upwards

3:351

to indicate a young tree.

3:351

The same hands are placed at the front of the mouth

3:351

to indicate a conchshell.

3:351

they are placed forward facing the front.

3:351

To indicate a water-pot,

3:351

The [same] hands point downwards touching the hips

3:351

to indicate a girdle.

Saṅgītanārāyaṇa
3:355-357

That is known as arala where the thumb is bent like a bow at first, the palm is curved in the middle and the rest of [the fingers] are half bent touching [each other].

3:355-357

It is used to indicate strength, energy, patience, tenacity, pride, dignity by bringing it up to the head from the navel.

3:356-357

This is placed on the chest

3:356-357

for benediction and placed outward for ancestral rituals.

3:356-357

the hand is moved around twice or thrice.

3:356-357

To indicate tying or letting down the hair of a woman,

3:358-359

[The hand] moves in a circular motion

3:358-359

to indicate a crowd

3:358-359

and the fingers turn downward

3:358-359

to indicate calling.

3:358-359

the [arala] hand is moved around clockwise.

3:358-359

To circumambulate deities,

3:358-359

the finger is stuck out again and again.

3:358-359

To indicate questions like "Who are you?", "Who am I?" or "What is [our] connec-tion?" suggesting an absence of connection,

3:360

by placing the hand on the forehead pointing downwards.

3:360

It is [also used] in wiping off the perspiration from the forehead

3:360-362

The head is touched with the arala hand bringing it up from the left side.

3:360-362

This should be used to indicate prowess, salutation and invisibility. It should [also] be noted that it can used in the situations mentioned in the use of tripatāka . For men whatever can be indicated by arala is applied to tripatāka. Simhana views that [gestures] meant for arala apply to women.

Saṅgītanārāyaṇa
3:377

[When] the forefinger and the ring-finger of arala is curved, [it] makes Sukatunda.

3:378

In Siromani, When the thumb is lightly touched by the ring-finger and the forefinger [it is sukatunda].

3:378

In Kalpataru, [It is known as sukatunda] when the ring-finger of arala is bent.

3:379-380

[It is used] in sayings such as, 'It is not you,' 'nor I', 'You are not needed by me,' 'You are a cheat.' Some apply [this gesture] to indicate calling, dismissing, scolding, ignoring, throwing dice in a dice game, holding the pen or playing the vina.

Saṅgītanārāyaṇa
3:363

When the fingertips rest close to the end of the palm, touching at the joints with the middle finger being pressed by the thumb, it is known as musti.

3:364

Paksadhara, however [holds that], In mustika hand, all the fingers touch the middle of the palm being pressed by the thumb, or the thumb is under [the fingers].

3:365-366

It is used in beating, exercise, squeezing the breasts very hard, holding a sword or a stick, also a staff or a spear.

3:365-366

The thumb is held forward

3:365-366

to indicate running and the thumb is pressed to indicate a bow.

3:365-366

the thumb goes in the middle.

3:365-366

In milking [a cow] and in wrestling,

3:365-366

In extracting juice from something or also in squeezing the juice out [musti is used].

Saṅgītanārāyaṇa
3:367-368

When the thumb of musti is held up, it is known as sikhara.

3:367-368

It is used in hurling a javelin or spear, in grasping a bow, arrow or goad. It is [also] used in colouring the lips or the teeth and in throwing the hair back. Some say whatever is directed for musti can be applied to this.

Saṅgītanārāyaṇa
3:369

According to Kohala when the forefinger of sikhara is bent touching the thumb it is known as kapittha.

3:370-371

In Sarigitakalpataru, however, It is said that if the forefinger touches the tip of the thumb [it becomes kapittha].

3:370-371

It is used in showing weapons such as arrow, bow, discus, spears of tomara and kunta variety, mace, javelin, thunderbolt, and shield, either real or imagined. It also indicates axe, turya and a bhalla [arrowhead]. Some say that either sikhara or kapittha can be used [i.e., interchange¬ably].

Saṅgītanārāyaṇa
3:372

When the ringfinger and the little finger of the kapittha hand are stuck out slightly bent and separated, it becomes khatakamukha.

3:373

In the chapter on practicing the technique of shooting in ParaSuramasanihita, however, [it is described as], That hand is khatakamukha where the forefinger is [held like] a shaft with the middle finger being pressed by the thumb touching the ring finger.

3:374-375

Pointing upwards,

3:374-375

[this gesture] indicates eons, holding clothes, a chowrie, picking flowers, holding an umbrella and a wreath. [It is also used] to indicate drawing out arrows and churning.

3:374-375

When held at the front

3:374-375

it indicates holding a mirror. Both hands are used, the palms turned downwards to indicate grinding substances such as musk.

3:376

It is also used by performers to indicate clipping the stalks of betel leaves, to drive away holding the rein and in covering libation and kusa grass, and holding the sacrificial ladle and in fastening and unfastening the girdle.

Saṅgītanārāyaṇa
3:388

When the forefinger of khatakamukha hand is extended upwards, it is called sucimukha.

3:388

To indicate cakra, the discus, it is moved around in a circle with the forefinger pointing upwards.

3:389

it is moved around pointing downwards.

3:389

To indicate the circular movement of an owl

3:389

When it is moved around at the sides

3:389

it indicates the wheels of a chariot.

3:390

[it is] placed on the nose

3:390

To indicate breathing

3:390

it is held up straight.

3:390

to indicate [the number] one

3:390

It is moved to the extremity of the ear

3:390

to indicate a slightly dangling earring.

3:391

it is bent and it is slightly extended to indicate a feather.

3:391

To indicate a crooked vehicle

3:391

both forefingers touch each other at the sides with the palm facing downwards.

3:391

To indicate union,

3:392-393

When separated

3:392-393

they indicate separation

3:392-393

and when crossed

3:392-393

they indicate confrontation.

3:392-393

Both the [forefingers] of the sucimukha hands should be slightly bent at the sides, touching the edges of the lips

3:392-393

to indicate the teeth of a lion or a tiger.

3:392-393

By moving the hand in a circular motion it is brought down

3:392-393

to indicate a fall.

3:394-395

it is lifted up

3:394-395

To indicate a flag

3:394-395

and it is swung

3:394-395

to indicate approval.

3:394-395

The forefinger is brought up and down

3:394-395

to indicate lightning.

3:394-395

the finger goes inside the earhole.

3:394-395

To indicate washing the ear after hearing bad words,

3:394-395

the finger is moved horizontally.

3:394-395

In making an offering

3:396

the finger touches the head, pointing down¬wards,

3:396

To indicate Siva,

3:396

and it is lifted up horizontally.

3:396

to indicate Vasava [Indra]

3:540

Number one is to be denoted by one hand in suci

3:540

[with two hands in suci]

3:540

number two [with two hands in suci]

Saṅgītanārāyaṇa
3:383

When the thumb and the fingers are separated and bent like a bow without touching at the tip it is known as padmakosa.

3:383

This is used in worshipping a god or in offering a sacrifice.

3:384

With the fingertips moved outwards twice or thrice,

3:384

the hand [gesture] indicates heaps of flowers.

3:384

by contracting the [finger] tips [with the hand] turned downwards.

3:384

It is [also] used to pick up coins from the floor

3:385

the fingers are separated with both the fore-arms touching and pointing downwards.

3:385

To indicate the eating of meat by tigers or lions,

3:385

Others also say that both hands should be shown

3:385

to indicate full-blown lotus in water etc.

Saṅgītanārāyaṇa
3:397

That [gesture] is known sarpasira when the palm of the patāka hand is curved in the middle.

3:397

the hand is turned downwards,

3:397

To indicate the movement of a snake

3:397

and it is turned upwards.

3:397

in offering oblation to gods

3:397

[It is used] in wrestling, in the clash of an elephant and a tortoise and in [showing] the downfall of pride.

Saṅgītanārāyaṇa
3:404-405

When the thumb and the little finger of the sarpasira hand are raised, then it is known as mrgasirsa.

3:404-405

Turned downwards,

3:404-405

it indicates 'here’, 'now' and 'today.'

3:404-405

It is turned upwards

3:404-405

to indicate throwing the dice.

3:404-405

[It is used] to [show] touching the perspiration on the cheek and in pulling the girdle.

Saṅgītanārāyaṇa
3:381-382

That becomes kangula where the ring-finger is bent with the little-finger raised upwards.

3:381-382

The fore-finger and the middle-finger [of kangula] are raised with the thumb

3:381-382

to indicate the three [sacrificial] fires.

3:381-382

It is used to indicate a small sized morsel, a small fruit or holding the chin of a child, imitating a cat's paw, [showing] a cat's eye [the gem] or holding the tip of the nipple.

Saṅgītanārāyaṇa
3:386-387

It is known as alapallava when the fingers are moved side-ways out of the palm in the vyavartita or parivartita karana movement of the hands. This is also known as alapadma in a karana.

3:386-387

It is used to express 'Who do you belong to?' 'This is not here' or in negation. It is used by women to express only what is despicable, inappropriate and false.

Saṅgītanārāyaṇa
3:398

Where the thumb touches the middle joint of the middle finger and the little finger is raised it is known as catura.

3:399

According to some, the thumb of the patāka hand touches the middle of the middle finger.

3:399

Some again view that the little finger goes at the back of the ring finger.

3:400

When placed near the face,

3:400

it indicates moral conduct,

3:400

while placed on the chest

3:400

it indicates reasoning.

3:400

When two hands touch each other at the wrists,

3:400

it indicates modesty.

3:401

It is crossed

3:401

to indicate copulation.

3:401

The hands are held downwards

3:401

to indicate a young boy.

3:401

The hands are raised

3:401

to compare the eyes with lotus leaves.

3:402

The hand is moved in udvestita

3:402

while sporting

3:402

it is turned up

3:402

in throwing the dice.

3:402

By rubbing the thumb and the middle finger with each other

3:402

crushing is indicated.

3:403

The [catura] hands are joined

3:403

in clever speech

3:403

it is moved to the side.

3:403

while in deliberation

Saṅgītanārāyaṇa
3:412-413

When the forefinger is bent touching the middle of the thumb with its tip to form a bow and the little and the ring-fingers are extended and separated it is known as the bhramara hand.

3:412-413

This is used in receiving flowers with long stalks, in indicating earrings made of palm-leaves and in plucking thorns etc.

3:541-543

Number eight is denoted by bhramara

Saṅgītanārāyaṇa
3:406

When the forefinger is joined with the thumb and the middle finger like the three [sacrificial fires] and the ring finger and the little finger are separated and raised, it is known as haṁsāsya.

3:407

When the tips of three fingers rub each other,

3:407

it indicates [something] thrown out, [or]

3:407

soft and smooth with the tips rubbing in a circular [motion] and outwards,

3:407

it indicates [something] loose, little, and light.

3:407

[The hand should be used] in the appropriate manner

3:407

to indicate [collecting] pearls or picking flowers.

Saṅgītanārāyaṇa
3:408-409

[ When] three fingers of patāka hand starting with the forefinger are bent in a similar way and the little finger is extended, then [it] is known as hamsapaksa.

3:408-409

This is used in ceremonial sipping [acamana], in anointing with sandalwood paste etc., and in receiving.

3:409

The hand is placed on the forehead

3:409

to show three sectarian marks.

3:410

The arms form a circle

3:410

to show a huge pillar and to [show] embracing someone in front,

3:410

[and] when they are crossed over

3:410

[they show] the embrace from the back.

3:411

To show depression and anxiety [the hand] is placed on the cheek as directed and it should be placed on the breasts by women to indicate restlessness. This is hanisapaksa.

Saṅgītanārāyaṇa
3:419-420

When the fingers starting with the middle fingers and the thumb and the forefinger slightly bent at their sides touch at their tips with the palm curved, it is known as sandamsa.  It can be of three types: agraja, mukhaja and parsvaja, defined respectively as pointing forward, towards the face, and sidewise.

3:421-422

The agraja sandanisa is used in pulling out a thorn, plucking small flowers and in plucking a flower from its stalk.

3:421-422

Mukhaja [is used] in applying collyrium [to the eye] with a brush or a pencil.

3:421-422

Parsvaja [is used] in examining gems, pearls and corals, in piercing gems, in speaking the truth, in enacting meditation and in finding out the three transcedent qualities, this hand is used.

3:424

It is [also] used in painting and in preparing lac-dye.

3:424

Both hands [in this gesture] facing sideways

3:424

indicate poverty.

3:541-543

while number nine is indicated by sandamsa

Saṅgītanārāyaṇa
3:414-415

When all five fingers are extended touching each other at the tips it is the mukula hand. 

3:414-415

It is used to indicate sacrifice, buds of flowers such as a lotus, etc., eating and worshipping the immortals. [It is also used] to indicate a wish to kiss and to indicate the number five.

3:415

When this hand is repeatedly opened and brought back to its original state,

3:415

it indicates giving gifts and [also] haste.

3:416

When it is placed on the breast or the armpit,

3:416

it indicates acchuritaka.

3:416

When with five fingers a nail mark is made with some noise on the breasts of a woman,

3:416

it is known as acchuritaka.

3:541-543

number five by mukula

Saṅgītanārāyaṇa
3:425

When the tip of the thumb touches the tip of the middle finger and the forefinger is bent while the other fingers rest on the palm, it is known as Tāmraçūḍa.

3:426

Others view that [this is] the musti hand [with] the little finger, extended.

3:426

It is used to indicate the number one thousand etc.

3:427

Quick movements of the fingers [in this gesture]

3:427

indicate oozing out. The previous movement is for calling a child or in scolding. It is [also used] to measure time and in haste by snapping [chotikā] with noise.

Saṅgītanārāyaṇa
3:428

The definition of chotikā is given in Kalpataru in the following manner: chotikā is the sandamsa hand made to snap with noise.

Saṅgītanārāyaṇa
3:429

When a patāka hand is placed on the cheek, it is known as upadhana.

3:429

It is used in sleeping or thinking.

Saṅgītanārāyaṇa
3:430

When the little finger touches the root of the thumb turned down and the three fingers in the middle are joined, it is known as simhasya.

3:430

This is used to denote the face of a lion or in mixing ground objects.

Saṅgītanārāyaṇa
3:431

When the fingers are joined to form a round, it is known as kadamba

3:431

which is used to indicate tasting.

Saṅgītanārāyaṇa
3:432

When in a patāka hand the thumb touches the middle finger at the root, it is known as nikuñcaka,

3:432

which is used to indicate [something] small and also the instruction of the Vedas.

Saṅgītanārāyaṇa
3:417-418

That is urnanabha where the fingers are well bent and separated.

3:417-418

This is used to indicate leprosy, and in holding rocks etc. It is [also] used to scratch the head

3:417-418

and [it is] placed on the chin

3:417-418

to indicate a lion or a tiger.