Bharata Natyam
Elizabeth Kelly
Saṅgītanārāyaṇa: Saṃyuta Hasta (Double Hand Gestures)
1600 CE - 1650 CE - by Purusottama Misra
Saṃyuta Hasta - Double Hand Gestures
Saṅgītanārāyaṇa - Language: Sanskrit
Sangitanarayana is a Sanskrit text on music and dance written in the 17th century by Purusottama Misra, a minister at the court of King Gajapati Narayanadeva of Parlakimidi in Orissa and his instructor in musicology, with the assistance of the king. While the precise date of the Sangitanarayana is not known, its relationship to Purusottama Misra and Gajapati Narayanadeva prompts us to place it in the first half of the 17th century. One of the most valuable and extensive texts on music and dance from eastern India, Sangitanarayana consists of four chapters, the first on vocal music (gitanirnaya), the second on instrumental music (vadyanirnaya), the third on dance and dramatic art (natyanirnaya), and a fourth chapter that provides examples of musical compositions (Suddhaprabandhodharana).
Descriptions and Meanings
Saṅgītanārāyaṇa
3:435
3:435
3:436
3:435
When two patāka hands are joined at their palms, it is known as anjali.
3:435
It is to be placed on the head in bowing to gods.
3:436
In bowing to teachers it is held near the face, and in bowing to brahmins it is placed on the chest. There is no [fixed] rule for others, and women can use [this gesture] as they please.
Saṅgītanārāyaṇa
3:437-438
3:437-438
3:437-438
When the hands are joined at their bases, sides and tips while the palms remain unattached, it is known as kapota. Some experts call it kurma.
3:437-438
In addressing the teacher, in saluting or [in showing] modesty [this hand] is placed forward. To indicate cold [it is held] on the chest both by women and cowardly men.
Saṅgītanārāyaṇa
3:439
3:440-441
3:439
That hand [gesture] is known as karkata when the fingers of both hands are interlaced inwards and outwards.
3:440-441
The fingers are extended and placed in front of the belly to indicate a pot-belly. With the palm facing outwards and the fingers pointing slightly inwards, the hands are held up or at the sides or to the front to indicate breaking free from love. In yawning and stretching after getting up from sleep and in fatigue the chin should rest on the fingers that are stretched out.
Saṅgītanārāyaṇa
3:442-443
3:442-443
3:442-443
When both hands are turned up and placed on the wrists of one another, either in the arala, or in patāka or in khatakamukha [gestures] at the left side near the chest, it is known as svastika.
3:442-443
[This gesture] is used to indicate the sky, the sea and vastness [in general].
Saṅgītanārāyaṇa
3:444
3:444
3:444
When the hands in patāka hang down with the shoulders slackened and the fingers separated, it is called dola.
3:444
This is used in disease, dejection, fainting, intoxication and also in fatigue. In walking with dignity or pride, the hands swing at the sides.
Saṅgītanārāyaṇa
3:445-446
3:445-446
3:445-446
In puspaputa hands, sarpasirsa hands are manifested as extended with the palms joined.
3:445-446
It is used in offering flowers, receiving unhusked rice, flowers and fruits, offering oblations to gods, respectfully receiving guests and receiving blessings from the teacher and the king.
Saṅgītanārāyaṇa
3:447
3:448-449
3:448-449
3:447
That hand [gesture] is known as utsanga where the hands face the sides with their backs and are crossed in svastika at the elbow.
3:448-449
Others say that the hands are crossed in svastika touching the shoulders with their forearms. [Yet] another view holds that in utsariga both the hands are either in sarpasirsa or in patāka . Some again suggest arala in place of sarpasirsa or patāka.
3:448-449
This [gesture] indicates very difficult undertakings, cold, embrace, agreeing to be decorated, bashfulness of a woman etc.
Saṅgītanārāyaṇa
3:450-451
3:450-451
3:450-451
When khaṭakāmukha hands are crossed in svastika at their wrists or face each other, the [gesture] is known as khaṭakāvardhamānaka.
3:450-451
It is used in receiving betel leaves, in amorous persons making gestures of first love and in stringing flowers etc. Some use it to tell a truth.
Saṅgītanārāyaṇa
3:454
3:454
3:454
When two hands in sukatunda facing the chest are lowered pointing downwards, it is known as avahittha.
3:454
It is used to indicate weakness, eagerness, breathing out and scratching the body.
Saṅgītanārāyaṇa
3:452-453
3:452-453
3:452-453
When two sarpasirsa hands are placed between the opposite shoulder and elbow, it is known as gajadanta. Siromani views that sarpasirsa hands are bent and placed in the region of the neck. Some identify gajadanta first as nisadha.
3:452-453
When moved back and forth, it indicates uprooting rocks from the mountains. It is used in holding a pillar or in carrying a heavy weight. [This gesture] also indicates bringing in the bride and the groom [to the place of wedding].
Saṅgītanārāyaṇa
3:455-456
3:455-456
3:455-456
When a mukula hand is encircled by kapittha it is known as nisadha.
3:455-456
It is used to indicate correct understanding of the meaning of the scriptures, grinding, [to indicate] an established [fact] and saying 'This is true.' Some say that the first type of nisadha is gajadanta. This is used in valour, courage, majesty, pride etc.
Saṅgītanārāyaṇa
3:457-458
3:457-458
3:457-458
In makara hand, two patāka hands are joined [and placed one] on top of the other and turned down with the thumb pointing upwards.
3:457-458
This hand[gesture] is used to represent a crocodile, a shark etc., a tiger, a lion and other carnivorous animals, etc. as well as the flood of a river.
Saṅgītanārāyaṇa
3:459-460
3:459-460
3:459-460
When two haṁsapakṣa hands are crossed in svastika turned in opposite directions, it is known as vardhamāna. This can be done in three ways, either with mrgasirsa or [with] sarpasirsa [but moved in] the same way.
3:459-460
It is used in opening a door or a window. When [these] haṁsapakṣa hands are separated from svastika, they indicate beating the chest. Others say that it is the second kind of nisadha.
Saṅgītanārāyaṇa
3:462
3:462
3:462
When two hands in patāka are crossed touching the arms lightly, it is known as alirigana.
3:462
It is used in an embrace.
Saṅgītanārāyaṇa
3:463
3:463
3:463
Both hands in sikhara are joined with one another in the dvisikhara hand [gesture]
3:463
which is used to [denote] cracking fingers by a woman and in cursing.
Saṅgītanārāyaṇa
3:464-465
3:464-465
3:464-465
When the fingers of one hand are extended and spread out facing the hero and the other hand is placed on its back interlacing the fingers with the thumbs protruding out at the sides, then the hand gesture is known as kalapa. Some call it sesaphana
3:464-465
and it indicates the king of the serpents.
Saṅgītanārāyaṇa
3:466
3:466
3:466
This kalapa becomes kirita when it is placed on the head.
3:466
It is used to indicate [a]tonsure, crest or holding a crown.
Saṅgītanārāyaṇa
3:467
3:467
3:467
When patāka hands are joined at their tips it is known as the yogaprada hand-gesture.
3:467
It is used in expressing pleasure or union.
Saṅgītanārāyaṇa
3:468
3:468
3:468
The left hand in patāka is held up while [the other hand] is moved in sandamsa to make the hand-gesture named lekhana
3:468
which is used in writing, etc.
Saṅgītanārāyaṇa
3:469
3:469
3:469
When the hands in puspaputa are joined at the elbows it is known as casaka
3:469
it is used to indicate a water-jug.