abhinay darpan

CORNELL UNIVERSITY LIBRARY GIFT OF Alexander B. Griswold Cornell University Library The tine original of tiiis bool< is in Cornell University Library. There are no known copyright restrictions in text. the United States on the use of the http://www.archive.org/details/cu31924012568535 . . . THE MIRROR OF GESTURE BEING THE ABHINAYA DARPANA OF NANDIKESVARA TRANSLATED INTO ENGLISH BY ANANDA COOMARASWAMY AND GOPALA KRISTNAYYA DUGGIRALA WITH INTRODUCTION AND ILLUSTRATIONS CAMBRIDGE HARVARD UNIVERSITY PRESS LONDON: HUMPHREY MILFORD Oxf OSD UuivERsm Fkess I9I7 . 191 HARVARD TJNIVEKSITy PItESS .COPYEIGHT. INSCRIBED BY THE TRANSLATORS WITH AFFECTIONATE GREETING TO ALL ACTORS AND ACTRESSES . . . . 51 51 Colophon .CONTENTS PAGE Introduction i . Danseuse. Stage. . and Nrtya The Audience. ..... 38 41 . Works of Comparison and Reference 52 . Vulgar Dancing.. 46 47 48 48 48 48 49 50 . 44 45 46 46 . . . Ministers. . 14 15 17 18 19 . Nrtta. the Course OF THE Dance Gesture Nine Movements of the Head Twenty-four Movements of the Head Eight Glances Forty-four Glances Six Movements of the Brows . . . Dancer. 24 25 .. The Indian Invocation Editor's Preface ii 13 13 Dialogue of Indra and Nandikesvara Natya. 21 .. Bells. Lives of the Hands Twenty-eight Single Hands Twenty-four Combined Hands Twenty-six Combined Hands Hands denoting Relationships Hands denoting Devas Hands denoting the Nine Planets Hands denoting the Avatars of Vishnu Hands denoting the Four Castes Hands denoting Famous Emperors HAfJDS denoting the Seven Oceans Hands denoting Famous Rivers Hands denoting the Upper and Lower Worlds Hands denoting Trees Hands denoting Animals Hands denoting Flying Creatures Hands denoting Water Creatures . . 21 .. . 26 .. . . . Inner and Outer Life of the Danseuse. . From Early Kangra VI. Abu. Mt. Hands of Images. Calcutta Museum. Madras Museum. . From an Ajanta Fresco. Dancing Frieze. Seated Image with Anjali Hands. Borobodur. OF PLATES Siva (Nataraja). Mt. IV. V. Danseuse. XIV. Combined Hands. Nautch Dance Before a Royal Patron. Danseuse. XII. Java. Combined Hands. VII. X. Abu. I Dllwarka. Single and Combined Hands. Apsaras Dancing Before Vishnu. Xni. XV. Painting. III. Single aistd Combined Hands. Ceiling Sculpture. fDANSEusES Before a Taina Goddess. Complete Poses. II. Single Hands. Buddhist Frieze. Dilwarra.LIST I. XI. EX. VIII. The Cosmic Dance or KuRUKUiLA. . the last scriptures of India were framed by Brahma is at the request of the lesser gods. Gordon Craig. before they see a short cut to a sensation. The dramatic Yuga. the present version of a shorter compendium known as the " Mirror of Gesture " {Abhinaya Darpana) of Nandikesvara may be of use as an introduction to Indian method. yet available in this too long neglected " " If there are books of technical instruction. has frequently asked is me for more detailed information than field. You know how I reverence and love with aU my best the miracles of your land. The disastrous effect the Chinese porcelain and the Japanese print has had on us in painting we must try to avoid in this theatre art.THE MIRROR OF GESTURE INTRODUCTION Mr. first ' chapter of the "Natya Sastra" Extract from a letter written in 1915. You know well what I mean. I dread (seeing what it has already done in other arts here) the influence of the finished article of the East. " and even a satisfactory edition. If only you knew how tmwiUing these men of the theatre (most of all those dissatisfied with the old sloppy order) were to face the odds. who understands ficiality of so well the noble arti- Indian dramatic technique. . at the as follows in the very beginning of the Treta This event described of Bharata: aeon before the present. So I want to cautiously open this precious and dangerous (only to us queer folk) book of technical instruction before the men go crazy over the lovely dancers of the King of Cambodia. before the quaintness tickles them. but I crave the instruction of the instructors of the East. " ^ While we still lack a complete and adequate translation. . of the " Dramatic Science {Ndtya Sdstra) of Bharata. I think. The day may come when I could afford to have one or two translated for my own private study and assistance. and how they long to escape obhgations (your phrase in Sati ') you would almost make a yearly tour of England crying ' Shun the East and the tell . . but I dread for my men lest they go blind suddenly attempting to see God's face. Gordon Craig. ' ' ' mysteries of the East '. them to me I pray you." writes Mr. creating vigour in the impotent. Mahoragas. and every rite. Rak§asas. pray therefore shape another and a fifth Veda for all the castes. he who knows the essence of every matter. as desired. endurance to the who seek advantage. and the Lokapalas entered upon Jambu-dvipa. and it was first used at the Flag Festival of Devas in battle against the When. weal and aU else. when the Devas. weary. yielding the fruit of righteousness to those who follow the moral law. whether in work or play. zeal in warriors. containing the significance of every Scripture. however. Brahma " This play is not merely for your pleasure or the pleasure of the Devas. yielding fame a concise instruction setting forth all the events of the world about to be. when popular morality is in the grasp of greed and of desire. recalling all the Vedas. mood (bhdva). " So let it be. from the Sama Veda the singing. peace. tending to virtue." Saying to them. the middhng. the — Brahma framed the Natya Veda from the several parts of the Four Vedas. called to his mind the Four Vedas. " Let me make a Fifth Veda. seated in Yoga posture. a discipline for the followers of a rule. This matter of the Four Vedas should not be heard by Sudras. and the world is deluded by envy. to celebrate the victory of the Danavas." Thus. affording excellent counsel. or slaughter. wisdom in the ignorant. and from the Atharva Veda the flavour. I made this play as following the movement of the world (loka-rt'-anukaranam). and forwarding every art. a restraint for the unruly. and and this afforded occasion for significance of dramatic art an explanation of the true character not to flatter any party. replete with the divers moods (bhavas). and by weal and woe.2 THE MIRROR OF GESTURE When Brahma was a Sage in the Krta Age. courage to the brokenwiUed. sorrow-smitten. but — to represent the true explains to and the Danavas: essential nature of the world. wealth. (pleasure and spiritual freedom). but exhibits mood (bhava) for all the Three Worlds. Gandharvas. to be called Natya (Drama). Danavas. From the Rg Veda he drew forth the words. Blessed This science was communicated by his Brahma to Bharata and to hundred sons. and the low. lust. or engaged in an arduous discipline. from the Yajur Veda gesture. unhappy. thinking. the best. pastime. laughter. Yaksas. the Danavas found that the drama depicted their own defeat. Indra. informed with the varying passions of the soul. it shall serve as a timely resting-place for those who are grieved. by resentment. profit to those . pleasure to those who follow lust. then Indra and the other Devas said to Brahma: " We desire a pastime to be seen and heard. This drama shall be the source of all counsel in matters of flavour (rasa). learning in scholars. Mnked to the deeds of all mankind. affording sport to kings. they remonstrated with Brahma. combined with epic story. battle. profit. and when Vaisvata Manu was preparing for the Treta Age." and turning away from Indra. " He adds that no performance should be begun without fulfill- ing the Office of the Stage (ranga-pujah). the actor no more yields to the impulse of the moment in gesture Indian acting or dancing — the than in the spoken word. indeed. is thus a deliberate art. of course. and only attains to perfect art through conscious discipline: " All the activities of the gods. for history. who the building of the theatre. I made this drama according to the Seven Lands. It is the action. it is too late to begin the making of a the text of the play remains the new work of art. long life. spring from a natural disposition of the mind. Drama is that which accords with the order (sva-bhava) of the world. and a place of audience for the Vedas. renown. for the is human actor. whether in house or all garden. with its weal and woe. which is essential Under these conditions. so there off no reason why an should be varied to dramatic accepted gesture-language (angikabhinaya) with a view to set advantageously the actor's personaHty. art. nor craft. in fact. there is no room for any amateur upon the stage. not himself a god. and so you should not feel resentment towards the Immortals. but the activities of men wiU. who seeks to depict the drama of heaven. therefore it is from the conscious working of the that the details of the actions to be done by result men inust be carefully prescribed. the amateur does not exist in Oriental art. Natya.^ Precisely as be. and not impulsive." both ideas — same word. kings of the spheres. fortune. affording counsel to the world. and it consists in movements of the body and other arts of expression (abhinaya). . in connection with how it is that the behaviour of the must of necessity be studied. and that those neglect this ritual will be ruined. The theatre is such as to afford a means of entertainment in the world.THE MIRROR OF GESTURE 3 bestowing righteousness. nor wisdom. same whoever the actor may is is precisely as the score of a musical composition not varied by whomsoever it may be performed. and other matters. increase of reason. The drama is to be understood as witnessing the deeds of Gods and Titans. nor any art. ^ This general principle holds good even where an author acts his own play. When the curtain rises. and Brahmasages. nor Union (yoga). That which is not to be found herein is not knowledge. artist In a following chapter Bharata explains. nor deeds. covers Nothing is left to chance. not the actor. for philosophy. The Ajanta frescoes seem to show unstudied gesture and spontaneous pose. actor has the The perfect same complete and calm command of gesture that the puppet showman has over the movements of his puppets. The " Watering of a Tree " is to be acted according to the following direction: " First show alina-padmakosa hands palms accessories are needless. 50. " Sahitya Darpa. and still less on scenery. the exhibition of his art is if altogether independent of his own emotional condition. a variety of natural capacity. of course. that these folk-plays " without scenery. impulsive. could rouse emotions which nowadays we scarcely experience while witnessing semiEuropean performances given on the stages of the Calcutta theatres. Referring to this. he is moved as a spectator. The more deeply we penetrate the technique of any typical Oriental art. and he is moved by what he represents.4 THE MIRROR OF GESTURE Granting. without the artistic display of costumes." ^ But it is not merely in connection with folk-plays that Let us take a few episodes from the " Sakuntala " of Kalidasa and see how they are presented. is actually long-inherited. N downwards. there naturally appears to be less difference between the good and actor than we are accustomed to observe in bad modern Europe. Under these conditions Hfe The Indian actor rehes only to a very itself becomes a ritual. however. eliminated alto- because the actor gether. well-considered. and the Indian connoisas the western critic to seur is as sensitive to every shade of the wider range of variation on the European stage. art. 733. . and well-bred. the more we find that what appears to be individual. but actually there is hardly a position of the hands or of body which has not a recognized name and a precise significance. small extent on properties. and not as an actor. and natural '. Babu Dinesh Chandra Sen remarks with justice of the the ' Bengali Yatras. it is The difference. p. who merely exhibits himself exists. incline the head. 1911.ia ". then 1 2 raise them to the shoulder.' Excellent is acting wears the air of perfect spontaneity. but that the art which conceals It is exactly the same with painting. " History of Bengali Language and Literature ". . printed in the " Abhijnana Sakuntala " edited by Godabole and Paraba. . Arala and Hamsasya hands. 1886. but not touching. imply both acting and dancing. etc. she does not make use of an actual vessel.THE MIRROR OF GESTURE 5 somewhat bending the slender body. it is for this reason possesses so Uttle interest for the ordinary European 1 Sukatmida. and pour out. palms inward. Indian acting is a poetic art. and made PadmakoSa. apart from any question of the words. a. PadmakoSa." The action indicated is ' ' practically that of the extreme left-hand figure in Plate XII of the India Society's " Ajanta Frescoes " (Oxford. The above stage directions are from Raghavabhatta's " Arthadyotanika ". and then the same is done with the other foot." The left hand here represents a basket. extended forward at the side. To move the Nalina-padmakosa hands downwards is said to be pouring out . commentary on Sakuntala. and imaginary flowers are picked with the right hand and transferred to the left. "Le Theatre Indien". we have used the word dance in our translation only for want of any English word combining the ideas of dancing and acting. of course. " Mounting a Car " is to be shown as follows: " The knees are to be raised. the right "Hold the left hand hand in Haifisasya. mainly concerned with the literature. The reader will go far astray if he understands by dancing anything but rhythmic shewing. turned a Httle backward. It is needless to say that the appeal of the Indian actor's art can only be that it felt by a cultivated audience. Bombay. while Patdka hands are held unsteadily against is the face. however. an interpretation of life. but the actress. which is. is prose. or imitation. 1915). only makes beUeve to lift and pour. and there held." ^ to be acted as follows: ' ' It should be noted throughout that the words Ndtya. rather than the technique of the Indian drama. NalinapadmakoSa hands are as follows: Sukatuij^ia hands are crossed palms down. and the Vidhuta head are explained in the text of the " Mirror of Gesture " translated below. while modern European acting. " Showing Fear of a Bee " is to be acted as follows: " Move the head quickly to and fro " Gathering (Vidhutam). the hps quivering. The immediate somrce is Sylvain Levi's well known and valuable work. so that the knee is level with the chest." Flowers" horizontally in Ardla. the leg being bent and lifted. Where such a need is felt. and the accompHshed actor must be accomprofessional. without imagination. " This is the view of those who are learned in the Bharatagama. but is undercUque. In the ' ' Mirror of Gesture " . despite the apparent complexity of the gesture-language. incomprehensible to an Indian audience. there arises a common and collective art." ^ It must not be imagined on this account that Indian Natya served or serves only for the entertainment of an academic This may have been the case with the old court dramas. or erotic — is common is But the knowledge of technique and theme is not alone sufi&cient. that is to say. united. plished in many things . epic. and nothing can be done unless the artist and the spectator share a common inspiration. indeed. The Indian actor. Indian view. are generally omitted in otur translation. who pours scorn upon the spectator who seeks in drama the statement of fact rather than the experience tion. ^ " Knowledge of Ideal Beauty. ^ Phrases of this nature. it but stood by everyone.O spectator. practised by everyone. makes no movement of is which the meaning ground for all. THE MIRROR OF GESTURE he remains so long — an outsider. which are constantly repeated. the various definitions are constantly supported by the remark. while the subject-matter — religious." . being the reward of merit gained in a former life. where no great art ever yet sprang into being out of nothing in a single genera- and the general imderstanding of art. an art which is not. which corresponded to the common and collective need of the folk. the power to experience aesthetic emotion it cannot be acquired by mere study. was not so with Natya in general.^ Whether or not this be true of the individual. result of a long. It is bom with us. How far this is assumed to be the case in India may be gathered from the remarks of the dramatic critics such as Dhanarnjaya.'' says Blake. are always the and consistently directed effort. " is not to be acquired. it is certainly true of human communities. The fact that dancing or pantomime is a learned art appears in all the literature. for example. — who remains from begiiming to end of the performance artist is if The Indian a and he works for an audience of unsparing critics. Art. and according to the inborn. The latter. Performances of this kind do not correspond very closely to modem European conceptions of the dance. or because the work was deliberately designed to create a beautiful effect. 1915. "La Rhfitorique Sanskrite". 257-282 — a valu- able paper.^ Authentic Indian acting. and tawdry. ii-r2. 39. however. chiefly exhibited in large towns such as Bombay and Calcutta. 47-50 and 90. survives in the 'Nautch'. 1884. Nos. 1915. Paris. whose imagination bestows and abundant no better than Ufe. 6. it is their own effort by which the audience own is delighted. a form of dance which sets forth a given theme by of song and gesture combined." generally exhibits an alternation of Nrtta and Nrtya. see also the " Sahitya Darpapa " of ViSvanatha Kaviraja. Burlington Magazine. and my "Hindu View of Art".' no longer to be seen in India modern Parsee theatres.^ upon their toys a varied Those who lack imagination are said to be is furniture. incongruous. . and one of the most beautiful and mov- means ing arts that maintain a precarious existence in a world that ' is The essential characteristic of aesthetic emotion (rasdsvddana) is a timeless (Brah- delight (dnattda) akin to that of the experience of union with the masvddana).THE MIRROR OF GESTURE of joy. It may hibit Indian be remarked that the few attempts that have so far been made to exdrama on the English stage have merited similar criticism. For the general question of aesthetic emotion.* The The art of the sitive. perhaps. 1875) in Regnaud. ' Dharmadatta. bayadere) out " flavoxir. or stones. must be regarded as representing the most perfect form of old Indian practical aesthetic culture now surviving. A. (Calcutta. The scenery and costume are elaborate. 1910. rhythmic movement without a theme and therefore withThe Indian Nacni (Nautch-girl. walls. Revue d'Ethnographie " et de Sociologie. pp. 54. and "That Beauty is a State". — " Sahitya Darpaija Brahman ". i. Leclere. and iv. is only nominally Indian. the music and the ballet hybrid. just as in the case of children playing with clay elephants. and well illustrated. "Le Th64tre Cambodgien". quoted " Sahitya Darpapa ". though generally clever. which belong rather to what is called in India mere Nrtta. in Cambodia. ' "DaSarupa". together with the sister art of music. and does not arise from the perfections of the hero. is iU-informed and unsenold Indian dramatic art in a complete state. 33.* tor's 7 and says that this experience depends upon the spectacapacities. "The Quest". Cf. and the acting. * It survives. The Nautch But the material drama is rarely if ever presented at the present day. These poses. to sometimes very impressive or graceful. according to His unfailing will. this expression of empathy (sddhdranl) is other than dancers. but also a special hieratic significance. 38). continuance. Krishna dances a dance of triumph following the victory over " In this drama of the world He is both the Chief Actor and the Chief of is Actresses. Hke- wise.8 THE MIRROR OF GESTURE There are still " thinking of something else. is a hand movement reflecting the musical form. but not less often grotesque. how closely connected are the dancing Many of the gods are themselves dancers. dances in the burning ground. The second. and destruction ing Energy — — the Eternal Becoming. signify the heart of the devotee Sri ' which we understand to made empty by renunciation. informed by All-pervadmarvellously represented in the dance of Siva.' is He also exhibits dances of triumph and of destruction. and are It is. chiefly of the hands. and will conclude. or ' gesture ' and differs from Natya only in the greater relative importance of the music lin- and the words. more or and the less familiar to students of Hindu iconography. and. in particular. Kali. of which the first. It may be remarked here that it is very usual for Indian singers. while in orthodox circles the Nautch is still an indispensable element in all festivities such as is weddings and coronations. trans. at that night which the end of time " (" Tantra Tattva ". Avalon. however. p. accompany their singing with gesticulation. of the classic taken place in painting and poetry. scarcely realised sculpture." innumerable Indian temples where the ritual dancing of Devadasis before the image is a part of the regular daily office. quite distinct from what is spoken of in the present treatise. known as bhdv batdnd or shewing moods is ' ' of the type here described as abhinaya. are spoken of as mudras (seals). the theme of the modern Nautch being most often Vaisnava. the everlasting operation of creation. The development of Natya is thus analogous to that which has a direct survival of the old Indian Natya. Certain of the dance poses possess not merely a general guistic. This drama commenced in the beginning with the union of Actor and Actress. . This is of two kinds. rather than in India. ness. cases the dance is felt to fulfil It will be seen that in all a higher end than that of mere entertainment: it is ethically justified of life. but for our delight. with the milkmaids of Brin- who are the souls of men. however. and by the Nrtya of Gods Devadasis and Nacnis upon earth. being threatened by that hybridization which affects the arts of India that are touched by western influence. subserves the Four Ends and this upon the groimd that it view of Natya is plainly stated in Tiruvenkatacari's preface translated below. which are the veils of all reality. Those of the class. the old Indian Natya is not likely to survive for very much longer.THE MIRROR OF GESTURE 9 Kaliya. The secret of all art is self-forgetful- Side by side with this view. there has always existed in India a puritanical disparagement of the theatre. are not for our instruction. From the love of many things we are led to the experience of Union: and for this reason Tiruvenliberation from the restless activity of the katacari does not hesitate to compare the actor's or dancer's art with the practice of Yoga. and party being now in full cry. or exhibit the relationships of hero and heroine " so as to reveal an esoteric meaning". are for the most part Lasya dances performed by the Apsaras of Indra's paradise. and represent a direct cosmic activity. brief But we are encouraged to think that even so an introduction to an extensive science may prove of prac- tical value to the many dramatists who are interested in the future . said in the present volume will serve only as an introduction to Indian dramatic technique and to Oriental acting in general. Probably the art All that is of the theatre wiU now first be revived in Europe. except the Rasa Mandala or General Dance last spoken of. transparent only when we are at peace with ourselves. and the Nautch. it is the godlike ecstasy of mind and the senses. however. based upon a hedonistic conception this of the nature of aesthetic emotion. and another General Dance. which set forth in narrative fashion the activities and Titans. Most of the dances just mentioned. on the other all hand. is The arts and this delight something more than pleasure. are Tandava dances daban. The translation is intended to be literal. but — him with the enthusiasm and the patience drama in his own environment. such as 'in the dance'. published imder the editorship of the late Tiruvenkatacari of Nidamangalam. Ananda Coomaraswamy . but in the latter part. while the illustrations on IV and V (above) are from photographs by the Archaeo- Survey of India. is somewhat compressed by the omission of words that it may inspire needful for the re-creation of the that are not absolutely essential. 'this is hand is called'.lO of the THE MIRROR OF GESTURE European theatre. and though we have done all in our power to serve the ends of scholarship. It remains to be said that our translation is based upon a Nagari transcript of the second Telugu edition of the " Abhinaya Darpana" of Nandikesvara. Victor Goloubew for the photo- graphs reproduced on Plates I and III. and occasionally elsewhere. My Plates logical thanks are due to M. or 'it stated in the laws of dancing '. or phrases that are constantly repeated. our main purpose in publishing the " Mirror of Gesture " is to interest and assist the living actor not that we suppose that it might be profitable for him to adopt the^ actual gesture-language of the East. science with finer insight. daughter of Bana Vighraraja. it known to everyone that in these days our people not merely it neglect this lore as though far as to declare it to were of the conmion is but go so fit be an art that only suited for the enterto tainment of the vulgar. that by clearly expressing the flavour. (i.. and which the delight of every connoisseur in every world. partake of the nature of the relations of master and pupil. Kohala. are clearly exhibited. etc. and enabling men to taste thereof. Madhava.THE INDIAN EDITOR'S PREFACE The Bharata Sastra. It has been declared by Brahma and others that the mutual relations of hero and heroine. and the patron deity of the flavour of love. and to reveal an esoteric meaning. brahmaniya. whereby they may understand how every business is unstable. Narada. imworthy of cultivated men. in their esoteric meaning. from which understanding arises indifference (vairdgya) to such business. Brahma. mutual service of the of hero . who is the progenitor of every world. Nandikesvara. Sambhu. and But it is hke the Unionbe practised only by play-actors. e. this. it gives them the wisdom of Brahma. Yajnavalkya. the Creator of every world. Suthese Usa) : famous authors of our science. so as to direct men in the way of righteousness. has been brought into being by Siva. and thence again may be won the BKss of Brahma. Arjuna. are the is Dattila. Notwithstanding sort. sdence (Yoga-sdstra) which is the means of attaining spiritual freedom (moksa): and the reason why a science such as this has come to be regarded in such a fashion is that it is by movements body (angikdbhinaya) that the lineaments and interplay and heroine. Gaurl. it will be evident that it has come into being to set forth the sport and pastime of Sri Krishna. obtaining the appreciation of connoisseurs and those who But if we understand this are learned in the lore of gesture. and therefrom arise the highest virtues of peace and patience. and the Hanuman. which is most dear to the Lord is of Sri. and also combined hands. and Spiritual Freedom. and patron mentioned in various works. " Mirror of Gesture ". In this way a total of four hundred and eight new verses have been introduced. and therefore this Bharata Sastra. trees. . A. the Bharata Rasa Prakarana. 1887. and therewith a simple translation with easy Telugu words such as women and children can understand. animals. hands to indicate famous emperors. which has been day by day obscured. and there exists a reference work of the nature of a commentary. race. Nandikesvara. deities. etc. to wit. etc. Besides this we have pubHshed another book. ndyakd. also particulars of the occasion of their origin. such as the lion. May those of the public who are connoisseurs both patronize and give us their encouragement. of Nidamangalam. but as readily understandable this it was not by all. such as the crocodile. ndyaka. should also be patronized and practised by ourselves. Virtue. there have been introduced into second edition pictures of the "Hands". tdla. is a means to the achievement of the Four Aims of Human and Life. rasa.D. Pleasure. composed by one of the pubHshed the First of all founders of the science. Wealth. sacred rivers.12 THE MIRROR OF GESTURE and mutual understanding. Madabhushi Tieuvenkata. in which the Nine Flavours are explained. I resolved to restore the science to its former was eminence. practised even by the Devas.. containing full explanations of such technical terms as raga. the most exalted science. water" Heads." creatures. such as the swan. with Telugu translations. and a classification of birds. written by Raja Mannaru Gudi Sabhapataya Garu. which — — So thinking. with descriptions. dwells on Kailasa's mount. this dancer. This devotee of thine. XIII. Indra. Indra seeks the Bharatarnava. that he may gain the victory over him by authentic knowledge of the skill of dancing. who reveals the meaning of the Laws of Dancing. Coomaraswamy. of men. " Siddhanta Dipika ". He reveals himself through the world. Receive this simple " Mirror " attentively. Indra. whose speech the sum of all Whose Indra. Vol. of whose body is the world. with attention the Bharatarnava lore complete in four thousand verses. apart from that me the authentic and entire immensity. Welcome to the King of the Suras Is it well with the dwellers in heaven ? What is the cause that brings you here before me ? Indra. O Deva. has come to ask a favour. The image of Siva as dancer (Nataraja. In this verse Siva is compared to an actor. Nandikesvara. composed by thee. . the speech — more concise form. O wise of heart. — O Nandikesvara. NateSa) and actor is everywhere conspicuous in Saiva literature (see " The Dance of Siva ''. — Hear. pray relate to of Laws Dancing in a Nandikesvara. by A. ' are gesture. head of the dancinghall thy patronage adorns. whose means of expression (abhinaya) and costume. I reveal accordingly an abridgment of the Bharatarnava. Nandikesvara. In the dancing-hall of the Daityas there is a dancer of — ! — — — the name of Natasekhara. the ocean of the essence of compassion. jewels are the moon and stars — to that pure Siva who I bow! —I bow to Nandikesvara. and the starry firmament. image of compassion.OM MAY ALL BE WELL! HAIL TO THE HOLY HAYAGRJVA! THE MIRROR OF GESTURE DECLARED BY NANDIKE^VARA The movement language. Nandikesvara. Tell me truly and fuUy what I can do for you. voice. then. i). K. when the Vedas are its branches. by resplendent princes. and suggestion {rasa. Sama. especially at festivals. honoured by kings. elders. Nrtya at coronations. buffoons. adorned by the Vedas. where men of truth are found. by those who desire fortune. shining with good quahties.^ Natya is dancing used in a drama {ndtaka) combined with the original plot. entry into towns or houses. bhdva. ^ Nftta and Njtya constitute dancing as a separate art." . and accompanied by varied gesture. Lasya and Tandava. and yield therewith more dehght than even Brahma-bhss. and are means to overcome misfortune. disappointment. and regret. and those who are familiar with history and mythology. poets. Nrtta is that form of dance which is is void of flavour {rasa) and mood sesses etc. the latter merely so forth. 14) speaking of Njtya and Njtta. Natya and Nrtya should be seen riages. mar- reunion of friends. hurt. moving to and fro. song.). the birth of children. Brahma has derived instrumental music. as the object of the Abhinaya Darpaija is to explain how to express by gesture definite themes. Njtta is " the former. when distinguished by the sound of voice and lute {mnd) possessing heroes of renown. mood. affliction. Nrtta. and here dismissed with a merely negative definition. and Atharva Vedas. singers. and flavour respectively from the Rg. marking time with the feet. and learned men the bees. — . vyanjand (bhdva). Lasya dancing is very sweet. Nrtya should be seen by a royal audience in the courts of kings.and has made these Laws of Dancing which yield fulfilment of the Four Ends of Life. Tandava dancing is violent. shining with royal splendour. the former consisting of set dances with some special subject.14 THE MIRROR OF GESTURE The sages speak of Natya. celebrations. The Audience (sabha) The Audience shines Hke the Wishingtree. and the like. bayadire) consists of alternate Njtya and Njtta. gesture. There is a twofold division of these three. According to Dhanarnjaya (" DaSarupa " I. scriptures of art and science {iastras) its flowers. gesture-with-meaning is high {mdrga). famous for righteous conduct. ornamented . Yajur. the latter popular {deSi). The Seven Limbs of the Audience are men of learning. The ordinary performance of a nacni (nautch-girl. Nrtya that form of dance which posflavour. processions of men or gods. where the Vedanta is expounded. and Nrtya. and all auspicious occasions. and men of culture. weU-conducted. impartial. on (nata) near her. and finds expression in movements of the eyes." Strictly speaking. where dancing to be done. The Danseuse. of charming presence. facing the east. knowing the moods (bhavas) ' and their expression (hdva). void of jealousy and like faults. are — Those who shine as royal ministers (bkava). and couris at his side. vibhrama. of ViSvanatha. fain good will. with full round — ^ Bhava is the first touch of emotion in a mind previously at rest. learned in mood of the flavour of love. or Actress (patra). — The Ministers (mantri). of learned. twenty or twenty-eight ornaments {alankdra) of a heroine. eye- brows. mhjta. feigned indifference. etc.. Rasa or flavour and oyanjand or suggestion (transcending the literal meaning) distinguish poetry from prose. 25).THE MIRROR OF GESTURE 1 He who is Chief The Chief of the Audience (sabha-nayaka). wise. expert in all the arts. It is understood that the Danseuse (nartakt) should be very lovely. . by modesty. graceful swaying or loUing. "Bhasa-bhusana" of Lala-candrika. renowned. at ease. " etc. devoted servants of The Stage (ranga). the emotion which finds expression. on the right the cymbalist . should be present little behind. a Dhirodatta Nayaka. DaSarupa " of The physical signs expres- sing the hdvas are detailed in subsequent verses of the " Mirror of Gesture. hdva is (e. men of their word. familiar with customary etiquette. the imitation of the lover. it is called hdva. fear. full of gifts. vildsa. of the Audience should be wealthy. bhdva is mood or feeling unexpressed. when the emotion becomes more intense. the king. is The place before him. and thus ordered. as described. ministers. clever in statecraft. drummers (mrdangikah) the chorus (gitakdrah) between them. discerners of good quahties. his name is heard. omniscient. young. etc. as follows: ricchitti. rearrangement of dress or jewels to enhance loveliness. ku({amila. sympathetic. pp. and the drone (srutikdra) a Each of these. {pdtra) should stand in the middle of the stage. a combi- nation of anger. should tiers sit — The Chief knowing good from evil. The danseuse and the dancer (tdladhari). versed in musical lore. confusion or flurry. famed. absorption in thoughts of the lover when laiita. cej/d the gesture that expresses it. joy. tears. kilakincita. The ten hdvas or srngdra-ce}(ds are included among the lild. discriminating. moflayiia..g. a flutter of delight. bibboka. called the stage. the poets. 20. wealthy. of the Audience. silence imposed These are described in the " Sahitya Darpa^ia " Dhanamjaya. feigned anger. either side the on the stage. whose lips are thick. or very tall — or very short. and a male singer (gayaka) of renown. — The Bells should be made of bronze or bells. learned in the scriptures (sastras) of art and science. dexterous in ling the critical passages. Disqualifications of a Danseuse. of sw^eet speech. who is very be rejected. — The following accessories are called the Outer Life of the Danseuse: the drum. neither very stout nor very thin. capable. The if actress is not to be swayed by impulse. expert in posing hands and body. " as also ' pulling the strings of a puppet ". and of ready wit. adorned with costly very short. a phrase used in speaking of the relation of God to man and the universe. of good birth. and repeating a brief prayer. dainty. expert in grasping and releasing. silver. with the asterisms for their presiding deities.1 THE MIRROR OF GESTURE hand- breasts. — Wise men say the Dancer (or actor) should be handsome. the lute (vino). mistress of a studied art.^ skilled in steps and rhythms. eloquent. KuSala graha-mok^ayoh. the flute. self-confident. who is hump- backed. versed in song. without touch- ing her forehead with the bells and eyes with them. or breasts pendant. nor very tall nor The Danseuse (veSya) should whose eyes are (pale) Kke a flower. the beUs. or a hundred for the right foot and two hundred for the left. agreeable. Inner Life (antah prana) of the Danseuse. tied with an indigo string. lit. learned. with a charming lotus-face. or has not a good voice. in accordance with the Telugu saying bommale-vale adintsuta. but perfectly self-possessed. jewels. of the Inner Life of the ' — The ten factors Danseuse are swiftness. the chorus. Outer Life (bahih prana) of the Danseuse. charming. Investiture . with a knot between each pair of At the time of dancing there should be a hundred or two hundred for each foot. quite at home on the stage. and dancing. copper or they should be sweet.2 The Dancer or Actor (nata). of sweet voice. graceful in gesture. the drone. composure.toned. first No dancer ties the bells upon her ankles before dancing. whose hair is scanty. able to follow song and instru- ments and rhythm. emphasizing and relaxing the stress of emotion. makes the adoption of a professional life inevitable. self-confident. instrumental music. The Bells (kinkinl). weU-shaped. with wide-open eyes. cymbals of a good tone. stout or very thin. is speaking means " expression " whether by In the present work it is expression by gesture which considered. gesture.). For wherever the hand moves. and on this account the term abhinaya has been rendered by " ges* Observe that abhinaya ture " throughout. and be reborn in animal wombs. — Those who are versed in the is Science of Dancing say that that dancing actress does not begin with prayer. mood goes. parts of the body. where the glances go. vdcika. and the word abhinaya is used in this sense. the mood follows. According to another book (granthdntare) . and features {anga. hands.. ease. versatility. there is the flavour (rasa). besides the pure. vulgar in which the The Fruit of Witnessing Vulgar Dances. abhinaya is so called because it evokes flavour ^ (m^a) in the audience. the The Course of ditionally Dance (natya-krama) What is said traby our ancestors must therefore be kept in view. and song. intelligence. feet. {sdttvika. pratyanga. singing. Thereare three kinds of gesture: vocal. dhdrya). etc. will — Those who look upon . or costume." The three elements of bodily gesture are the hmbs. speech. Vulgar Dancing (nlca natya). " Exposition by means of the ges- and ornamental and dark {dngika. and and some say also the neck. Gesture Gestiure is (abhinaya) the principal theme of what is here related. tures of the body and limbs. strictly are called the Hmbs. The song its meaning must be shown by the hands. confidence. the mood (bhava) must be shown by the glances. etc. etc. The root ni with the prefix abhi implies exposition. the dancing of such a vulgar actress will have no children. Here we are only concerned with angikdbhinaya. — Having made the prayer. rhythm (tdla) is marked by the feet. bodily. sides. updnga). where the should be sustained in the throat.THE MIRROR OF GESTURE sjTninetry. 1 glances. . where the mind goes. the mind follows. arm-pits. waist. In Angdbhinaya the head. passionate. these six. the dancing may begin. there the glances follow. intoxication. . indifference. Udvahita. chin. some say also three others. Paravrtta. and elbows. jaw.^ authoritative speech. Alolita (rolling): the head is moved in a circle. and from these five will appear the resulting movements. astonishment. etc. Adhomukha. dismay. Usage: modesty. etc. these eleven are the features. not bent. fire. satisfaction. of drinking Hquor. fear. which I mention according to the old books. or inaction. own summoning from both Kampita (nodded): shaking the head up and down. cold. — Utksipta. summoning. Udvahita (raised): raising the head and keeping flag. threatening. sorrow. Alolita. back. flying things in the air. Only such as are useful in dancing will be described. In Updngdbhinaya the eyes. ankle. bathing. VI. regarding anything vile. pupils. The following nine Heads are Nine Movements of the Head. nose. of Usage: at begirming dancing. laughter. and palms. obsession. anger. eyehds. then that of the Glances. usage in " Bhagavad Gita ". tall. Usage: moon. saying "Halt!". Usage: sleepi- ness. Kampita. shoulder-blades. things on (face incHned): the the groimd. glancing at one's limbs. the Kps. named by those who are versed in the Science of Dancing: Sama. Neck. any- thing Adhomukha head is bent. thighs and calves. • Cf. impatience. the wrists. 13. and Actions. stomach. hesitation. Beside these are the accessories. pre- paring for battle. faintness. Dhuta. Sama the (level): not moving. mountain. nor raised. rejection. Dhuta (shaken) the head is turned to and fro from right to Usage: denial. : things. arms. such as the heel. fainting. tongue. prayer. Usage: indignation. bowing. it still. knees. fingers and toes. firmament. enquiry. looking repeatedy at left and left to right. Hands. condolence with others. teeth. cheeks. dizziness.1 THE MIRROR OF GESTURE In Pratyangabhinaya the shoulders. face. The classification of Heads will be given first. indif- ference. are the parts of the body. first moment sides. Parivahita. dignity. Parsvabhimukha. The twenty-four Heads following are mentioned elsewhere. Parivdhita: turning the head in a circle. nar- Udvahita: dignity.. abihty to perform action. Alolita. Vidhuta: fear. looking to one side. keeping silence. looking at the an sides with an upward glance. Akampita. Usage: shamelessness. Nihancita.THE MIRROR OF GESTURE 1 Pardvrtta (turned round): the head is turned aside. asking a question. raising the head sharply. sation. failing to find sympathy. the moment of drinking liquor. Tiryonnatannata. Sama. instruction {upadeSa). one's own opinion. Parivahita. assent. Usage: saying " Do this ". Lolita. indignation. Adhomukha. Usage: saying "I can". Parivdhita (wagging) : etc. hasten- Akampita: ration. Tirascina. Kampita. Usage: cold. Ancita. conver- Kampita: raising the head high and shaking ing. first moved quickly. threatening. summoning. Prakampita. the head : gratification. pleasure. Utksipta (tossed): turning the head aside and upwards. yearning for the beloved. dismay. reflection {vicar a). consideration (w'tor^a). indication. astonishment. enquiry. quiver. heat. recalhng (the appearance . Saumya. Paravrtta. Avadhuta. Aratrika. Avadhuta: inclining the head sharply. modesty. Utksipta. Adhuta: slightly raising and turning the head sharply. Adhuta. Skandhanata. Usage: saying " Stay pointing out a place. by Bharatacarya and others: Dhuta. rejection. looking at one's Usage: own body. relaxing the features. aversion. etc. Dhuta: moving the head slowly and regularly to and fro. cherishing. is moved from side to side like Usage being in love. everything. Usage : recog- nition. Usage: saying "Take this". slighting. a fan. the same movement slowly. misapprehension. ". Usage an empty place. Vidhuta. Usage: something in front. the same head. questioning. hair. it. Saundarya. Udvahita. indifference. aversion. relaxing the features. just touching the shoulders. etc. the eyes languid as from excess of Usage: sleep. the head is Tiryonnatdnnaia: moved up and down. with the head. inferring the opinions of expressing normal Sama: natural pose circumstances. charm {lavana) Usage in dances showing Mukhacarl. Usage: things moving in the Adhomukha: the head is Lolita: pride. Usage: astonishment. is slightly bent to one side. intoxication. intoxication. and that called sions. Skandkdnata: the head Ardtrika: is rested on the shoulder. bent. Ancita (bent): the neck vile. smiling. Usage : pleasure at seeing the beloved (yilasa) graceful posing affected indifference {bibboka). {lalitaj. gazing at the middle of the lower Hp. looking back. fainting. others. Usage: regarding anything being in love. the face is Utksipta: uphfted. Usage: sleepiness. has gone aside. : . of the head. rapture at being reminded of an absent lover {mottayita) feigned anger {kuttamita) of being . of) THE MIRROR OF GESTURE the beloved. faintness. Saumya: begun. Usage: modesty.. reflection. is the head is moved about Usage: when flowers are offered in the hands.. Usage: Pdrsvdbhimukha: the head is turned aside in looking at persons to be on one side. in Carl-natana. joy. and touching it . sorrow. fainting. astonishment. following one who sky. giving pleasure.20 etc. bowing. Usage: when the dance (nrtya) freely. Nihancita: raising the shoulder. Tirasdna: looking up on both modesty. etc. modesty. hysterics (kilakincita). horripilation. turning the head to both sides. Alolita: motionless. and such suitable occasides. if the head unsteady. anxiety (cintd). Usage : affected indifference. Usage: "Do this". obsession. modest silence (maund). affectation saying unmoved the head (stambha) is Pardvrtta: averted. scales. subjection to another's will. looking at one's own The following Glances are mentioned elsewhere: Sama. Karuna. temple (deva moonUght. Avalokita (looking down): looking down. Vismaya. the trunk also Saundarya (elegance) bent. prayer . bed. the image of a god. without moving the head. yoga-practice. turning from side to side. Saci. the enemy's mode looking up and down. Ullokita. Adbhuta. Usage: looking at a shadow. Usage: beginning a dance. Pralokita. and Kulata natya. The Eight Glances ing eight sorts of (asta drsti) . study. twirling . Alokita (inspecting): swiftly turning with keen glances. greeting {namaskrta) keen insight (suksma Ullokita aside. tower (gopura). Snigdha. (japa).THE MIRROR OF GESTURE Prakampita (waving about) : 21 repeatedly moving the head for- ward and of fighting. drsti) (looking up): directing the glance flag. previous Anuvrtta (following): lives. keenly up and Usage: the point of a mandapa). on both Nimilita making the signs. desires. Avalokita. Sama (level) : gazing without winking. sides. (vicdra). Usage expressing a cause (kdrana) in dances showing : : . showing "all sorts of things". Ullokita. Alokita. Srngara. bee. the moustache (self-confidence) aiming an arrow. height. composition (prabandha) . Uke a of the gods. (closed): eyes Usage: madness. to both sides. half-closed. hinting. the " bee " hand. Sdci (sidelong) : looking out of the corners of the eyes. — In Bharatasastra the woman follow- Eye or Glance (drsti) are mentioned: Sama. friendly invitation. Pralokita: Usage: looking at things half-open. disordered mind. song. Usage: potter's wheel turning. surprise. reflection body. meditation (dhyana). Usage: the marvellous (adbhuta rasa). . in Usage: secret purpose (ingita). moving. thinking of some other matter. NimlHta. glancing quickly up and down. Anuvrtta. appearance of a sage (rsi). Pra- lokita. Usage: angry looks. wide-opened. the eyes shining. Usage : great fear. Drta. anxiety. Vitarkita. in the toils of — rais- ing the eyebrows and looking out of the corners of the eyes. Vira. Sad. Vibhranta. majestic. . the pupil bright and fluttering. Usage: love Srngdra (love) : born of great joy. Usage open. Trasta. Sankita. Lajjita. who : are fast bound by amorprevious births. Sucana. Ugra. Akasa. : steady. Sama: looks etc. direct. the terrible. (inspiring fear): Bhayanaka the eyelids raised and fixed. Madira. Mukula. Hrdaya. Trpta (satisfaction) keeping its place. Usage tall things. Jihma. Bhayanaka. the pupils at rest. regarding the tip of the (astonishment): nose.vouchsafed. Mlana. Vismaya straight-staring. quickly raised. UllokUa: looking upwards. self- (heroic): rather controlled. plea- sant anticipation. Usage: the pathetic. Sad: looking Drta Vira (fish ?) persistently out of the corners of the eye. radiant. Usage: astonishment. Usage: dismay. eyelashes recurved. the half. Adbhuta: the ends of the eyelids slightly curved. Snigdha (tender): the look that is associated with joy. Sunya. Malina. Abhitapta. : Usage resolution {utsahd) Visanna: the eyelids wide apart. the pupil fixed. Karuna: a downcast glance. Ingita. Visanna. Kimcita. Usage: secret purpose.22 THE MIRROR OF GESTURE Trpta. with tears. Vipluta. Santa. Dura. Lalita. Vilokita. Ardhamukula. : both pupils moving. Anuvrtta. Usage: the marvellous. Avalokita. Milita. things after one's own heart. Hrsta. expressing the surge of love passion. the pupil motionless. the eyebrows raised in wonder. benevo- black pupil slowly moving. Raudra. Usage : the heroic. lent. Pralokita: Usage: looking on both sides. having an inner in radiance. Usage: mutual glances of those ous desires. Usage: normal circumstances. casting glances on both sides. affection.). : excitement. like those of the women of the gods (not winking. Vikosa. THE MIRROR OF GESTURE Raudra lids 23 (cruel) : unfriendly. Vitarkita (deliberation): direct. Usage: secret thought. Usage : things or places behind. slightly and moved to and fro. dissipation). {silci) hand. a httle red at the comers. e. regarding a thing. this imclean eye denotes women (i. red. following the movement of the Usage: pointing out. the peaceful glance Milita: nearly closed. Usage : indifference (i. e. Usage: laughter. Santa (peace): of dispassion. excitement. the pupils moving to the comers. Usage: consideration Sankita (apprehensive) raised : a little moved. Usage: hesitation. the pupils fixed and the Usage: not moved. this modest glance is used modestly. Lajjita: the upper eyeUd dropped. the lashes meeting. SUcana: the eyes partly closed. twinkling. Vgra (fierce): very wide open. Ersta (merry): pleasant. the pupils partly hidden. Usage: study (pathana). Usage: ferocity. Usage: conditions such as subjection to another's wiU. Abhitapta (burnt): the eyelids moving. the pupils gazing languidly. . Z)Mro (far): slightly raised. the eyes slightly moving. the cruel. Molina: the lashes partly closed as if by rheum. the pupils fixed as {uhd). eyelids level. rolling. pupils visible. motionless. Vibhrdnta the pupils moving. Ingita: sidelong glances expressing joy. arated. if wide-opened. reflection Sunya (vacant): vacant. the wandering glance of strained. gradually closing the Hds. gaze Usage: misunderstanding (bahydrtha grahar^a). but with- out interest) Avalokita: (vicar a) looking down. fluttering. Usage: things at a distance. Vilokita: looking back. the brows contracted and raised. the pupils simken. the eyelids sepin fear. cruel. a little at rest. uncon(wandering): between tears and laughter. the pupil also lowered bashfully. are It expresses the natural state. the Kds recurved. and it is Vikosa: without winking. used in graceful posing {lalita). flurried. the lashes seeming to touch. smiling because of the it is working Love. Usage: dis- taste. Utksipta. the lashes a Httle recurved. the pupils moving somewhat {anaglulita). expanded. used to in envy. the pupil turned far back. centred. the expression of ' the pupils mild. Mukula: the lashes trembling and touching. half-bud eye indicates bhss and rejoicing. Akasa (sky) : directed towards the sky. ' disordered eye indicates beauty in things of : all sorts. According to another book there are named the following six movements of the Brows: Sahaja. and then dropped. crooked. the upper lids lowered. . indirect.24 Trasta THE MIRROR OF GESTURE (frightened): : inwardly pupils expanded. it is used to indicate the early stage of intoxication. the pupils just visible under the ' lids. astonishment. Recita. direct. Ardhaniukula: this ' smihng. the lids wide apart. the brows being at rest. etc. used in joy. Mlana (dull): the moving languidly and slowly. Sahaja: the natural brow in a smooth face. a slow and hidden glance. it is used for mediocre things. Madira: ranging. this dull eye indicates insipid matters. bud ' eye indi- Kuncita (curved): Kttle sunk. : Anuwtta Vipluta: ' (following) repeated glancing. this cates bKss {ananda). Kuncita. the pupil raised. the pupils moving. the eyeballs a disKke. convey secret meanings. Catura. jealousy. squinting. or jealousy. Patita. Lalita (graceful) : the comers of the eyes closed by the moveof ment of the brows. this the Kds trembling. Patita: made to frown. it is used in hurry. Erdaya: unsteady. imsteady. indicating things moving above. Jihnia (obHque) bent back. Usage fear and intoxication. feigned anger (kuUa- mita). as follows Prasarana. 12 of the Preface. the brows meeting and faintly quivering. when kissing the cheeks. It is used in touching one another's face. and at the same time most peculiar. looking at any place. Padartha-tika. pleasure at seeing the beloved ivildsa). of Usage: rapture at being reminded kincita) an absent lover {mottayita). badinage. serpentine progresto right Parivartita: moving and left. Lives of the ments) of the Recita. telling the truth. heart's bhss. hysterics {kila- Knowers of mood ihhdva) have declared that there are four Necks: Sundari. woman's Catura: anger. 9 the fingers point across the body. Prakampita: pigeon. Apavestita. Prerita. Kuncita: one or both brows arched. 8 the fingers point vertically upwards: in No. In No. Recita: one brow is contracted with charm and sweetness. Cihna. counting. Vyavrtta. so that the palm of the hand faces downwards (No. sion. 7). ^ The above-mentioned technical terms are used in the subsequent detailed description of the hands and in more detailed texts such as those quoted on p. swings. Sundari: horizontally (tiryak pracalita)} Usage: the beginning of affection. . and excitement. feelings of love (srngdra- bhdva).THE MIRROR OF GESTURE Utksipta: either one or 25 Usage: both of the brows is raised. : — Punkhita. Usage: listening to a secret. Tirascina: an upward movement on both Kke the gliding of a snake. saying " Sadhu". s and 7 are produced by turning the forearm on its own axis.^ ' This is one of tlie most characteristic. e. especially in DeUya nata (folk-dances). Nos. dalliance {Uld). The Lives (i. Usage Srngara natana (erotic dances). 5) or upwards (No. Tirascina. Kke a half-moon. Sanketa. Parivrtta. making trial. sympathetic pleasure. Udvestita. sides. saying " Well to fro moving and done ! ". Kuncita. moving the head backwards and forwards like a Usage: sajdng "You and I". Usage: brandishing a sword. movements of Indian dancing. Parivartita. recollection. Prakampita. moveHands (hasta prana) Hands are twelve. . Musti. (Padma-) Kosa. Sikhara. is used in Pataka and other hands. (twisted (e. Mrga-sirsa. Sarpa-sirsa. beginning a dance. their form. bent. (e. XII c. inclined) : bending the fingers the Plate Recita (separated): separating the fingers (e. b). Arala. their state of movement or rest. Suci. or separated Udvestita Plate VII d. Trisula. Pataka (flag): the thumb bent Usage: to touch the fingers. Ardha-pataka. Tamracuda. e). (the fingers being) extended. forest. Plate foremost hand and Plate XIII Prerita (directed): the hand turned back. bosom. cloud. range.).g. Hamsa-paksa. Kapittha. or fluttering) : hand (dii ected) forward. XII a). face. banner.g. Kutkita (bent. and the fingers extended.g. Siinha- mukha. situation. The Classification of Hands (hasta bheda). night.h. communicating letters or ideas by the disposition of the fingers. XIII d.26 THE MIRROR OF GESTURE (e.g. weapons. Paddrtha-tika (word-meaning commentary): the meaning of words is conveyed. as set : forth in dance.g. XI c. twenty-eight Hands as follows: Pataka. Ardha-candra. Catura. world of the gods. There are two kinds. ' Ak^ara-mu^lika. river. Vydvrtta (turned back): the Plate VIII). Mayura.' Cihna (mark): the various Cihnas are the marks of those things which are evident. Suka-tundaka. Prasarana (outspread): extending the fingers Plate X a). and habits. is one of the ' sixty-four arts. viz. : Parivrtta (turned round) the Sankela (intimation) communicating an idea without words. and of those unseen. Candra-kala. Plate XI a). Punkhiia (feathered. There are Tripataka. — The character- istics of the Hands will be set forth in order. virtues. Kataka-mukha.g. horse.g. Bhramara. sideways. l.g. upwards): the hand directed (palm) up- wards (e. or separated (e. Harnsasya. Samdainsa. the Apavestita down): hand directed downwards c. (the fingers being) (e. Sola-padma.' . forbidding things. Langula. Single the Single (asamyutta) and the combined (samyutta). This movement (twisted I. Mukula. Plate XII (e. bent. Plates XI e. and eight others.) hand pointing upwards sideways hand directed forwards. extended. Kartari-mukha. cutting. Usage: ! . sunlight. ! ! merit {puny a). eye. applying fear. sprinkling water. year. approach. its patron deity Parabrahma. the sea. decrease. 27 moon- knocking. the form of a sword. palmyra touching. since when it has been called the " flag hand " It is the first of all hands. its colour is white. closing a dispute. ' woman and man. night. meaning of the seven cases. mudra of images. wind. forest. chest. patterns drawn on the vmion of in the abhaya face or body lekha). turning roimd. went to Parabrahma. prowess. \aelQry ". conveyance. petitioning a king. going. saying "Thus". a good king. {patra- the bearer of the vajra (Indra). graciousness. going month. its race Brahmana. ear. lake. Usage: a crown. boundary. street. r eclinin g. vajra the Pataka hand is bent. of hindrance.). cold. of good deeds. crying "Ha! ha!". its sage Siva. end of the robe (ancala). " Go ". abode of the gods. pure colour. removing having no refuge. clouds. flame. slap. it originates from Brahma. month. strong wind. half-year. flag): Tripatdka (three parts of the the third fin ger of tree. front. saying saying " Victory. preeminence. wings of a bird. one's taking an oath. day. touching. addressing (a "Such and such". wave. walking. strong sunlight. but is some- . rising flames. saying leaf. removal pleasing others. the earth.^ sandal paste. rainy season. equahty. wall. massage. mustering an army. cheek. saying "Protect". purity. According to another book. forbidding things. fortnight. benediction. high birth. X A. saying "Like what?" and "Like that". as he saluted him with the cry of " Victory " he held his hand Uke a flag. abode of the wise. light. applying sandal paste. shadow. or "Caress". wind. wave. When Brahma. moonlight. day. season. weapon. the Shaper. arrow. heat. radiance. the way person some distance away).THE MIRROR OF GESTURE cutting. times replaced The Pataka hand is commonly seen by ardha-candra. entering a self. cheek. pouring rain. light. recHning. silence. (Plate Brahmana caste. covering. the thumb is bent against the base of the forefinger and the palm and fingers extended. in front. screw-pine flower. slap. flow. the flight of certain birds. stroking the hair. Ughtning. leaving out the third finger. XII A. stealing. bank of a river. falling. in " Hindu Iconography. A. xxxi. 126) hand is is used in stage whispers {janantika) to shut out the others when only one person out of several present on the stage." fore- Kartari-mukha (arrow shaft face): in the same hand. a creeper. Once upon a time.. its sage : is Guha. horn {srnga). According to another book: since Sakra (Indra) It is so called and others held the vajra weapon with three Its colour is parts of the "flag". . crown. where it is stated that it is used for holding attributes (cf on Plate XI c) such as the conch . and that is the origin of the Kartari-mukha hand. screw-pine flower. tree. Usage: tender shoots (pallava). descent {avatarana) hf ting or bending down the face.28 THE MIRROR OF GESTURE same definition. tower (gopura). death. saying " Both. vi. touching auspicious things. It originates from Siva. disagreement. its patron deity Cakrapani (Vishnu) 1 Usage : red paint for the feet (paddthe Tripataka According to Dhanamjaj'a (" Dasarupa ". site {khala). of Ksattriya race. he drew a round the centre of the earth with his forefinger. dagger (krakaca). flag. and also that the thumb and third finger should meet near the middle The hands of images conform to this rule in most cases. irajra.'' 1914. Vasava (Indra) . marking the brow-spot. g. of the pakns. red colour. " Sakuntala ". its race Ksattriya. set out to slay Jadandhara.' (Plates VII B. .Usage: separation of woman and man. Sasankacircle According to another book: hand is out(-spread) . Most likely there exists some confusion of Kartari-mukha and Mayura hands. addressed " A fuller description of the Kartari-mukha hand is quoted by T. disrespect. hook. from an unnamed source. doubt. tying a turban. Usage invocation. Gopinatha Rao. lamp. the finger and little finger are outspread. p. 24. and discus. patterns drawn on the face or body. the corner of the eye. but not invariably. Ksattriya caste. panel for writ- ing or drawing (phalaka). . the forefinger of the Tripataka say. knife. Our figure shows the Kartari-mukha hand according to the text description. its patron deity Siva. arrow. I. applying strong scents. e. tongues of flame. closing the nose or ears. opposition or overturning. sleeping alone. its colour coppery. its sage is Parjaniya.) Ardha-pataka is (half-flag) : the little finger of the Tripataka hand also bent. rubbing-down a horse. it is red. the sages sekhara (Siva). cloth.. white Vaisya (Plate X b. tower. entirety. the back. Usage: bangle. the feet. forehead. waist. mirror. wiping sweat ability. 29 drawing patterns on the body. thick coil of hair. a spear.. a creeper. one's prayer. copper colour. ment. : same definition. husband and bull. renown. its race such is its history according mixed. patron deity Mahadeva. in the Abhaya mudra of Plates I. yearning of separated wife. vomiting. preeminence. Usage: the sipping of water (dposana) to thumb and forefinger was first used by Agastya in the of the — ^ This hand often replaces the Pataka. the other fingers extended. away argument according : to law {sastra). overturning or opposition. g. Ardha-candra (half-moon) stretched out. XI c. hill-top. wrist. the body. eyebrow. a : ' Usage the hand seizing the thumb of the Pataka hand is moon on the eighth day of the dark the throat. common people. fly-whisk. Arala (bent): the first finger Pataka hand or sharp acid. fortnight. movement of caste.THE MIRROR OF GESTURE laktaka). This hand origi- nates from the desire of Siva for ornaments. forehead.) of the etc. According to another book: drinkPataka hand are curved. making a vessel. tightening the girdle. brow-spot. sleeping alone. . (Plates : VII D. Ksattriya caste. effort. deer. wiping tears. It ing (dposanam krte) the seven seas. According to another book one. a platter. buffalo. origin. Usage: drinking poison. adolescence. from the brow. consecrating self. hair. astonishgrief. its patron deity Vasudeva Bharata and others. tying up the the ear of an elephant. scissors. greeting common people. stroking the hair. touching the Kmbs. bird of omen {sakuna). light- ning. cow.) Mayura (peacock) the third finger of the Kartarl-mukha hand isjoined to the thumb. carrying a child. colour. moon. beating time. of which the is moon its Its sage is Atri. anxiety. Its colour is red. intemperance. Madhava. its colour smoky. elephant. ex- supporting the cheek in pelling evil-doers. greeting meditation. its race Vaisya. Usage: the peacock's beak. an image. bow. is curved. e. consecration. nectar. wiping sweat from the brow. and the thumb set on them.) thumb is raised. holding the hair. patron deity the ing. Usage: steadiness. holding a shield. holding a book. its patron deity Marici. ings. who used it in a lover's quarrel with Sadasiva. Meru as his bow. secrecy. According to another book: same definition. (kunta). Sikhara (spire): in the same hand. the body. curve. fighting. wrestling. grasping a mace or spear. turning round. rimning. untying the emof a and tomara weapons. letting fly sakti bell. colour indigo. waist.) Musti (fist) : the four fingers are bent into the palm. abandonment. who Its sage is Indra. wresthng. Usage: Brahma-weapon. sound pounding. its race Brahmana. circumambulation at morning and evening prayer. fruit. fisticuffs. crossing. disrespect. when he held Mt. and the fingers closed. Brahmana caste. colour. Sukatundaka is (parrot's beak) : the third finger of the Arala hand also bent. dressing the hair. javelin. X f. saying " Come soon ! ". Usage: shooting an arrow. It originates from Vishnu. (Plate copper colour. the aversion of a parasite (titd) for by Brahmanas. his friend. . saying "Very well". According to another book: the thumb placed on the middle finger. opinion. saying " No ". grasping the hair. It originates from Candrasekhara (Siva). mystery (marma). dice. ! entering. bow. Usage grasp- agreement. etc. (Plate X c. questioning. girdle. lover. According to another book: same definition. nose (mukhagra). strong hold. . Its sage is Dhruvasa. recollection. throwing a spear ferocity.30 THE MIRROR OF GESTURE benediction. : used this hand when he fought with Madhu. holding things. putting coUyrium on the eyes. proceeding. its colour red. the the Usage: God of Love (Madan). carrying away. intimate suggestion {ahhinaydntara) brace. lovers' quarrel. silence. throwing a spear. sacrificial offer- greeting common people. indigo Sudra caste. moon. lightness. It originates from Parvati. ferocity. pillar. husband. tooth. race Sudra. movement. Vishnu used this Long ago when hand to race Rsi. . etc. hero. heroism. etc. to Usage: gratifying the steadiness. or a sling.. offering incense or lights. holding flowers at the time of dalhance.. its upon Mt. its race Gandharva. Mahisa-mardini. this hand (syn. saying drinking water from a spouted vessel (bhrngdra). galloping of a horse. pt. pounding barley etc.^ ^ Usage: picking flowers. intensity. its colour white. Gopinatha Rao. " Hindu is also bent. vallabha) its patron deity. sapphire. as Vitarka mudrd. Simhakartfo) in images is generally intended to receive the daily offering of a fresh flower. p. bashfulness. half -moon. saying " No sequences. Mandara. description of terms. the God of Love (Smara). ries. 16. tip of the forefinger and the side of the middle finger are applied to the tip thumb. difference. ! ". Vinayaka. Usage: churning. but to a less degree. spreading cow- holding elephant goad or vajra. its God of Love {Rati ancestors. holding a lotus of dalliance Qildbja dhdratia). patron deity Padmagarbha (Vishnu). enjoying congirl. Rsi caste. According to another book: same pull definition. charity. the its sage Jihna. the third finger is bent beside the middle finger. This hand is also used in teaching and is known to some iconographers. establishing a family. the forefinger and middle Kataka-mukha (opening in a link): finger are applied to the thumb. the Churning of the Ocean was done. seizing end of the robe (celdncala). coUyrium. and the little finger According to T. Sarasvati. plying a palmyra fan. or cymbals. Laksmi. XV c. number four. cleaning the teeth with and fro " What ? ". etc. the tomara weapons. colour dusky. Usage: LaksmI. permasign nent mood {sthayi bhdva). winding. of the hair-knot. spire. Iconography. i. its Its sage is Narada.) Kapittha (elephant-apple): is the forefinger of the Sikhara hand bent over the top of the thumb. holding cjonbals. veiling the head with the ancala. letting fly Sakti or demure attitude of an amorous bow. brow-spot. A. I. milking cows. counting Sarasvati's rosary. friend. offering incense or lights.. making the (Plates X d. showthe ing a dance (ndtya). white colour. perhaps The of the incorrectly.THE MIRROR OF GESTURE It originates 3 is from that Meru-bow. grasping the end of the robe (celdncala). XII d. and this is supported by the Ajaijta usage." Vol. umbrella. According to another book: same its definition.) : Candra-kald (digit of the moon) released. turning a wheel. Parabrahma. It originates is from Brahma. vision. threatening. its colour coppery. demonstration. capability. According to another book: the thumb of the Kapittha hand is thrown forward. wheel. Usage : holding a pearl or Raghurama. saying "He". glancing. applying reins. " Sadhu ". looking (ndyaka). "He". wood-apple. yearning for the beloved. turning the potter's wheel. listening. cleaning the teeth. pining "Thus". pointing to a distant country. addressing inferiors. XI A. lotus stalk. sunrise and sunset. sun. rod. betel leaves. secret. distributing folded musk. race Deva. its colour white. drum. holdiag a (Plate fan.telling.32 THE MIRROR OF GESTURE bow holding a pearl necklace or garland of flowers. handle. recollection. evening. explanation. he said " I am unique. distributing folded betel leaves. metal. patron deity Visvakarma. flower garland or a fly. astonishment. down (roma). saying fan. holding the discus. arrow. Usage: life. Parabrahma. drawing its presiding deity out an arrow. threatening. away. Bhargava. What ? ". Deva caste. drawing the bow. applying such things as musk or scent.) Suci (needle): the forefinger of the : Kataka-mukha hand or " is upraised. : Padmakosa (lotus bud) the fingers separated and a little bent. the body. when its race Deva. white colour. speech. truth. breaking a twig. (Plate XIII a. gold colour. city. going in front. one. embrace of harlots. rod. hero sili-mukha arrow. world.whisk. Usage fruit. sun. boastings. its This hand originated when Guha received Its sage is instruction in archery from Siva. Usage one. saying " What ? ". the palm a Httle hollowed. one hun- dred. elephant: . nose. beating the circle. beak. solitude. world. saying " Thus ". the twihghts. holding out a mirror. unity. conveyance. the thumb of the Suci hand is Usage: to indicate the crescent moon (Plate XIV a)." Its sage the sun. braid of hair. drawing a slowly. picking flowers. saying at things. the shape of a bell. According to another book: lotus. little finger are extended. etc. concealing a child. etc. ball of flowers.^ sage washing the face. occasion of charity. To indicate pranayama the sarpa Hf^a hand is held upon the bridge of the nose. clinging (lino). hole of a snake. cherishing. place of reside'iice. . a water-Uly. precisely as in the daily ritual of regulated breathing. coconut. (Plate XI D. opening (of a flower). karnikdra. bell. powder. cheek. its presiding deity is Bhargava. elephant. snake. elephant- apple. holding the breasts. sprinkling. an egg. image. prandyama.. cluster of flowers. saffron. wood-apple.THE MIRROR OF GESTURE apple. curve. Usage: women. saying "Sadhu". water. 33 mango. rain of flowers. bending a bough. bud. etc. saying colour. rain breast. costume of an drawing (naipathya). massage of wrestler's shoulders. bashfulness. lotus. turmeric saying "It is proper". appljdng sandal paste. and promised to put him down. giving water to gods of elephants' ears. ball of flowers. etc. fete-a-tSte. slowness. sprinkhng sandal etc. According to another book: derived from Vishnu. theya/'a-flower. pot.. answering. breast. light food. milk. sandal paste. "Very true". Its sage is Padmadhara. its patron deity Siva. the hand is like a perfect white hand when worshipping Siva with lotus flowers to obtain the discus. charm. hand is Usage: sandal-paste. and it also partakes of the Kinnara kind. the thumb and discussion. of women. its colour turmeric. the hole of a snake. brilliance. mirror. Brahmana caste. a short man. and sages. egg. of flowers. moderation. Usage trunk of an elephant. manners (krama-marydda) actor 1 fear.) the middle of the Pataka Sarpa-sirsa (snake-head): hollowed. fondHng. mud. its race Deva. Mrga-Hrsa (deer-head): in the above hand. coil of hair... traditional . mango. the same it definition. its race Yaksa. Its is Vasava (Indra). This hand is who showed when he offered to protect Devas against Ba'H. Usage: rouge (kunkuma). curve. drinking water. Narayana used this : vessel of gold or silver. the flapping massage of wrestlers. gold. bells. testing the prepa- ration of medicine. According to another book: the thumb. calling the beloved. Padmini.. XII B. who used the Mrga-sirsa hand to on her forehead when practising tapas for the sake of Siva. all Sola-padma (full-blown lotus. consideration {vitarka) deer-face. holding an umbrella. cdtaka. gestures (abhinaya) of women. having three Unes drawn on the brow. hair-knot. a beautiful vessel. yearning for the beloved. breast of a young white watercdtaka. partridge. place of residence. Sankhini or Hastini woman. slowness. roaming. jujube fruit. asterism (naksatrd). its Kraunca. Rsi caste. stair. areca-nut. It is little derived from Siva when he made a Its sage is pellet of the poison that sprang from the sea of milk. XIII A. moon- . lotus) (= Ala-padma): the fingers separated. elephant. is Usage: lakuca-iruit. the feet. Usage: fuU-blown elephant-apple etc. house. stroking the hair. patterns on the ground. blue lotus. screen. Its race is Rsi. applying sandal paste etc. breast. full-moon. the body. order. circle. vation (moksa) when placed on (Plates the heart. mirror. the thumb and little finger are from Gauri. any- thing small. middle and forefinger held like the eye of a coconut. turning. waving kusa Ldngula bent. lion-face. partridge. stair. cating one's self. the tips of the middle and third fin- Sifttha-mukha gers are (hon-face): to the appHed thumb. rudrdksa seeds. Usage: grapes. fragrance. Kly {kalhdra).. turned about the Httle finger. a mouthful. pill. (tail): grass. little bells. hailstone. hare. its colour golden. areca-nut. fruit. Usage: sal- coral. the rest extended. and the finger erect. coral. Usage wall. massage of the feet. myrobalan fruit.) the third finger of the Padmakosa hand girl. deliberation. indi. the third finger bent. placing three lines on the brow. hotna. lotus garland. Siddha caste.34 THE MIRROR OF GESTURE combining. its patron deity Padma. its colour white. its sage is Markandeya. self-manifestation. pearl. (kuca- race Siddha. holding the chin. It springs lines draw three : opportunity. its presiding deity Mahesvara. According to another book: raised. breast-bud praroha). a drop of water. white colour. policy. colour variegated. race Gandharva. Usage gorocana. Its sage Valakhilya. wet. honey.) Catura the the : thumb is bent and adjoining to touch the base of the third finger. gold. fingers first outstretched together. camphor. moon-pavilion. parrot. breaking to pieces. sword. the forefinger bent. indigo. playful converse (sarasa). Its sage is Kapila. earring. head. the rest extended. oath. Usage: bee. a gold. eye. fuU-blown lotus. its earrings for the mother of the Devas. tip of the ear. aesthetic emotion (rasdsvdda). who used Garuda when he wished to steal the its nectar. copper etc. etc. palmyra fruit. sweetness. stealing butter its and milk. its patron deity the Sun. Usage: yearning for the beloved. braided hair. crane cuckoo (kokila). cluster of flowers. oil eyes. difference of caste.. crown. musk. sufiiciency. imion (yoga). cakra- vdka (bird). sorrow. Usage: musk. (bee): the second finger and thumb touching. a moderate quantity of anything. cleverness. is According to another book: in the Pataka hand. colour dusky. ball. brow. dust. this hand its to show the way is from Kasyapa. and the Kttle It originates to finger is stretched out. palace. sugar. the thumb made to touch the middle Hne of the third finger. height. a Kttle. According to another book: there is it is the Ala-pallava §rl Krishna. anger. little finger extended (separately). fort. murmuring soimd. beloved. sweetmeat. ghi. chin. seat {dsana).THE MIRROR OF GESTURE pavilion (candra-Mla) . white colour. (Plate XII c. its race : mixed. diamond. or ghl. lake. beauty of form. emerald. mixed caste. Bhramara {sarasa). saying " Sadhu the ". mirror. Its sage Vasanta. praise. hand According to another book: the forefinger of the Hamsasya It originates from Kasyapa when he was making is bent. . play- converse. cheek. slow- stepping. its turning. c^n^ntration^ of mm attention). car. side glance. oil. dancing (nariana). and little. ful patron deity Vainateya. praises. It originates from is hand when when he was fresh ghl. face. red paint (laktaka). 35 village. gathering together (samyutia). drop of water. pearl. making marks with the nails. gathering. taking out a thorn. its race Apsara. adverbs of two letters. Apsara and in Subha-natya. Usage: union (yoga). when he was teaching the Tattva system to the sages at the foot of the Nyagrodha tree. metaphor (rupaka). vow of silence. kissing. dark colour. its race mixed. the rest extended. painting {citra-samlekhana) fingers are are joined. constructing a bridge. This hand is derived from Daksina-murti (Siva). sound of the flute. demonstration of a thesis {nirnaya). offering sesa- mum. Usage: constructing a caste. is Bharata. . smell. white (Plate VII c. Usage: instructing in wisdom. its presiding deity Caturanana (Brahma). its patron deity the King of Flying Creatures (Garuda). flying creatures. initiation. lines. the forefinger and thumb Usage: ripilation. applying wax. sage It is said to be Its associated with tdndava dancing. . tusk of an elephant. raising the wick of a lamp. singing. re straining. drawing " carrying garlands. its colour white. be examined by rubbing. uttering the karna-mantra. arranging. bee. Its sage is Sukha. middle and thumb are joined. hor. gem. certainty. drawing a portrait (rupa-lekhana) dusky colour. According to another book: same definition. horn. colour. bridge. examining things. gad-fly.) > : Hai)isa-paksa (swan-feather) the Kttle finger of the Sarpa-slrsa the hand is extended. own self. Usage: number six. of water. (Plate X E. ritual ipuja). its colour indigo. and springs from Tandi. feathers of a bird. According to another book: the finger tips of the forefinger. reading.' tying the marriage thread. horripilation. its patron deity the God of Love (Paiicasayaka) . demon- strating bhdva. picking flowers with long stalks. its THE MIRROR OF GESTURE race Khacara. speaking. meditation (dhydna). seal-ring. untying the girdle. completion. drop Brahmana caste.36 colour dark.) Hamsdsya (swan-face): the middle and following separated and extended. signifying ! Soham " (That am indicating things to of a task. saying " No ". accomplishment I). rubbing (metal on a touchstone). taking aim. navel. its of Speech. patron deity the Moon. . gunja seed. nail. umbrella etc. self {dtman). singing (satpgUa) gentle dances Qdsyanatana). colour white. Usage: water-lily (kumuda). eclipse. behaviour of an amorous woman. mosquito. plaintaia (bud): so as to flower. exegesis (tika). sprout. holding a seal. . slowness. brow-spot. According to another book : the middle finger of the Hamsasya hand its is outstretched. colour tawny. Usage: charity humble speech. prayer (j'apa). mistaking it for its a ripe bimba fruit.^ This hand originates from the Goddess Its sage is Visvavasu. testing metals etc. . sacred thread (yajnopamta) {citra lekhana). accepting fruits. shining listening. Vidyadhara caste. eating. white colour. the God of Love (Pancabdna). scales. sacrificial tumour. Usage: tooth. offerings. pointing (sucana) off. hfe (prdna). bug. the number five. and is quite distinct in form and significance from his Samdamsa. kissing children. cutting a wound. poison. slipping. Mukula the thumb and fingers are brought together show their tips. bud. snow. exceptionally. . its race Sankirna. on the touchstone white. its race Vidhyadhara. It originates from the Scion of the Wind (Hanuman) when he attempted to seize the sun. saying " No ! saying " A Httle ". lotus bud. small bud.. down. Usage: generosity. examining. flaw in a tooth. mixed race. (nikasa). its Its sage is Visakhila. (ddna). speaking. touching. painting pictures ". taking aim. number eight.THE MIRROR OF GESTURE Satfidatjtsa (grasping): 37 are the fingers of the Padmakosa hand repeatedly opened and closed. the number five. when she bestowed a rosary. According to another book: the fingers of the Padmakosa hand are brought together. collyrium. solitude. jndna-mudra. garland. truth. eating. patron deity Valmiki. fly. blades of grass. the fiie-fly. insect. apprehension. red ants. line. worship {arcana). 1 In this case. moment. brown colour. col- lecting pearls. the definition quoted " from other books " differs markedly from that of NandikeSvara: this form of Samdamsa hand is identical with Nandikegvara's Hainsasya hand. worshipping the gods. Veda. trident. i. Bdna (arrow): the three fingers joined just touch the thumb. Puspaputa. colour blood-red. Karkata. hand is bent. fear. But it is said that there are as many hands as meanings. wiping away tears. cock) : the forefinger of the Mukula calf. TmM/a Thus (trident): leaf.. large insect. its race Ksattriya. white colour. young bird. body its of the Daitya (Hiranyakasipu) its Its sage is Sardulaka. its colour mother of pearl. the Twenty-eight Hands are set forth. its race Deva. wood-apple leaf. the thumb and httle finger are bent. etc. Narasimha. Nala-nrtya. karnikara. Utsanga. patron deity the Primal Tortoise (Kurmavatara of Vishnu). and stood before Brahma to make exposition of themselves. as foUows) Urna-ndbha bent. Ksattriya caste. when the Three Vedas assumed a visible form. crane (baka). breast. Combined Hands (samyutta hastani) Twenty-four combined Hands are exhibited as follows: AnjaU. camel. Siva- . three. Usage: cock etc. Of old. monkey. writing or drawing. finger is extended. Hon.38 Tdmra-cuda THE MIRROR OF GESTURE (red-crest. Its sage is Vajrayudha (Indra). Kapota. blood-red colour. Ardha-sucika (half-needle): the forefinger of the Kapittha hand is raised. Dola. Usage: sprout. leaf. they used this hand. its patron deity Usage: the Three Worlds. tortoise. Usage: wood-apple three together. Usage: scratching the head. cock.. rubbing down a horse. (spider): It originates Padmakosa hand are from Narasimha when he was tearing the the fingers of the . the number Brhaspati. and the little Usage: the number six. theft. e. the Three Vedas. Svastika. According to another text: the thumb and Httle finger of the Pataka hand are pressed together. face of a deer. panel (phalaka). According to another text (three others are mentioned. Deva race. ' clasped hands '. Usage : bowing. (Plates IV a. the fingers of the hands are interlocked. cold. Bherunda. Sankha. Kapota (dove) Usage: taking oath. Kartarl-svastika. blowing the conch. e. etc. elbows. the patron deity always Anjali (salutation) : differs. Avahittha. tion. Matsya. bending the of a tree. Even though the origin and meaning remain the same. the fingers remaining interlocked.) • i.* Usage: group. areca-nut. Elders {guru) or Brahmanas Elders. clapping time. yawning. plantain flower. What am I to medi- (Plate : Vin. base and top. Karkata (crab): ness. Ksetrapala. before the face and on the chest for Brahmanas. conversation with elders humble acquiescence. but the hands may also be flattened is by extending the used in stretching the arms over the head. The patron deity is Citrasena.) the hands are joined at the side. According to another text: deity is same definition.. breathing hard.. Garuda. and XII E. bough According to another book: fingers of in the Urna-nabha hand. Kataka-vardhana. and this . stretching the limbs. Cakra. Naga-bandha. crab. cracking the fingers by women. — the for hands being held on the head for Deities. Usage: acquiescence. indicating the form of Siva. citron. stout- blowing the conch. the Usage: lamenta- one hand are introduced into the interspaces of those Its patron deity is Vishnu. a sign of amorous feeling frequently mentioned in literature and depicted in painting and sculpture (Plate IV a. Pasa. saying " tation. Kurma. 39 Sakata. Usage: saluting Deities. Kilaka. receiving things. that is a Combined Hand. obedience. nectar. etc. extreme left. and the hands turned inwards or outwards. According to another book: when two Single Hands are combined. According to another book: the Anjah hands are separated. trees such as the coconut. Varaha. casket. Samputa. The patron do ? ".THE MIRROR OF GESTURE linga. Khatva. of the other hand. two Pataka hands are joined palm to palm. extreme left). hiding the breasts. Usage : trees. modesty.40 Svastika (crossed) THE MIRROR OF GESTURE : two Pataka hands held together at the wrists. Dola (swing) ^: two Pataka hands placed on the thighs. Pataka hands at the sides. armlet. Sakata (car): Bhramara hands with the thumb and middle Usage: the gestures of Raksasas. " Hindu Iconography. pacification. the summit of ahiU. patron deity Yaksa-raja. fainting. i6." Vol. : (crossed arrow-shafts) Kartari-mukha hands are crossed. certainty. the erotic flavour {Srngara rasa). According to another book: Kataka hands are crossed. -^ z Kataka-mukha hands with Usage: coronation. (link of increase): left i hand. twilight water- offering (sandhya argha ddna). assent. fig. marriage ^ is . blessing. or water. fruits. timid speech. and ibid. Usage : offer- ing and receiving flowers. drunken : indolence. Usage: crocodile. According to another book: one Sarpa-sirsa hand by the side of the other. According to another book patron deity is BharatT. dispute. etc. ritual (puja). cold. ^ Apparently identical with the Kafyavalambita hand of T. Usage: beginning a Natya. embrace. children receiving fruits.) : The patron Ardha-candra with the Siva-Hnga. welcoming the beloved {vildsa) etc. praising. The Usage: infatuation. the boughs of trees. . PI. i. p. Utsanga (embrace) pits. The patron deity is Kinnaresvara. finger extended. deity is Gautama. V. (the dances known Jakkini natana and Kartari-svastika Danda lasya. (flower-casket): Sarpa-sirsa hands are pressed Usage: offering Hghts (drati). I. Gopinatha Rao. Usage: modesty.. Usage: Kataka-vardhana crossed wrists. saying " Sadhu ". Siva-linga (do. ii. The as) Usage: deKberation (vicdra). com. flower-spells (mantra-puspa). A. Arala hands held crosswise on According to another book: the shoulders. Sikhara with the right. etc. . Puspaputa together. education of children. : Mrga-slrsa hands held upon opposite arm- Usage: embrace. pt. Usage: tortoise. the conversation of lovers. Usage boar. (casket): Samputa hand are bent. : two Alapadma hands are held on the Usage: erotic dances {srngdra natana). 1 The palm of one and the two little fingers hand on the back of the other. the thumbs and the Httle fingers of the Mrga-slrsa : little fingers extended.) : Varaha (boar): Mrga-slrsa hands one upon the other (back to back) the thimibs and little fingers linked. eager interest. Pataka hands face downwards. Usage: conceahng things. (Plate XIV c. ball. Atharva Veda . XIV D. the wrists of Kapittha hands are joined. the palms the fingers of the Cakra Usage: discus. Usage: debility. and in con- the forefinger extended. noose. Usage: bed. Khatvd (bed) Bherunda: : the thumbs and forefingers of two Catura hands are left free. Usage: Garuda. deity is The patron Markandeya. speUs. bower. wasting of the body. thinness. fingers along the fingers. Garuda: Ardha-candra hands arfe held with palms askew. holding a play- the breasts (Plates XI e. : 41 the thumbs of Sikhara hands are joined. PdSa (noose) the : forefingers of the Suci hand are bent and inter(Plate locked.) hand are Kurma (tortoise) the ends of the fingers of the Cakra bent. manacles.) Kilaka (bond): interlocked. Plate XIV b). and the thumbs interlocked. casket. According to another book the combined hands are as follows: Avahittha: Sukatvmda hands held against the heart. Avahittha (dissimulation) chest. (Plate XIV e. etc. Such are the twenty-four Combined Hands in order. XIII d). Ardha-candra hands askew. Usage: enmity. Usage: naga-bandha. Matsya (fish) : hand are Usage affection. pairs of snakes. (Cf. . (discus): Usage: conch. the and thumbs moved to and fro. Usage: pair of Bherundas. XII f.THE MIRROR OF GESTURE Sankha (conch) Cakra tact.) Naga-bandha (serpent-tie): Sarpa-sirsa hands are crossed. except the (Plate thumbs and little fingers.! : Usage: fish. ' Usage: despondence. stout things. tying the girdle. state of etc. held apart. descent or entry etc. loss magic boar. (not touching) pillar. milking. V. shown with grace and with (movement deity Patron Tumburu. Patron deity Siddha. Pataka hands face upwards. A. " Hindu I. ' Sarpa-sirsa hands. p. holding. plying the fly-whisk. Caturasra (square): chest. Usage: (avatarana). Patron deity Sakti. tying the bodice. (shining movement of the thighs. Iconography". Patron Usage: holding children. beginning (the dance called) svabhdva natana. mountains. and ibid.. Usage: tying the girdle. folk dances (desya natana). Lata (creeper): Pataka hands held Kke a swing. PI. Patron deity Parainatma. Vol. difference. astonishment. i. (extended from) the shoulder to the buttocks. the middles of grasping a pillar. 12. Patron deity Arjuna. slender- ness of waist. union (yoga-condition). a thick . holding flowers. Recita: deity Yaksaraja. Tala-mukha (palms facing): two hands raised face to face bePatron deity Vijiiaraja. dragging ropes. Patron deity weariness. Usage: being heavy with drink. Paksa-vailcita (bent wing): Tripataka hands are placed upon Usage: the hips.. Paksa-pradyota wing): Paksa-vancita hands face upwards. illustrated here on Plates and III. lines. ecstasy. lifting anything heavy. Usage: pulling up a stone. Usage: churning. Hainsa-paksa hands face upwards.42 THE MIRROR OF GESTURE : Gajadanta (elephant's tusk) the arms boldly crossed. embrace. i6. of wits. difference. (swinging Pataka hands are the elbows. showing a painted panel (citra-phalaka) Nitamba (buttock): Agastya. . turned over. wearing pearls. etc. Svastika (crossed): Tripataka hands crossed on the curve): vydvrtta of) left side. I pt. pot gesture {kumbhdbkinaya) Quite distinct from the Gaja or Danda hand of T. covering with cloths. fig.tree. Gopinatha Rao. Aviddha-vakra Usage: Wishing. Kataka-mukha hands are held before the Patron deity Varahi. Jakkini natana. Patron deity Guha. a sweet-sounding drum. Usage fore the chest. strangeness. " is " Everything ". . Usage: waist string. hair. concealing actions. etc. overflowing of a river. dismay. solidity. saying here. Patron deity Vasuki. tjdng the girdle. stomach. Patron deity Daksina-murti. ? ". . Usage: drawing away the end of the robe (celdncala) releasing. Patron deity Mahendra. extended upwards. Patron deity Kimpurusa. Usage: saying yearning for the beloved. Ardla-kataka-mukha: crossed. tearing the raksasa's chest. Usage: the sea. Patron deity Nandikesvara. superiority. invitation. palms downwards. Makara: Ardha-candra hands. (asunder) his glory. platform. torment. one enclosing the other. Sucydsya (needle-face): front simultaneously. anga-puja. the thumbs moving.THE MIRROR OF GESTURE Garu4a-paksa (Garuda wing) dana. : one Harnsa-paksa hand held face down- wards and one face upwards. Vardhamana Narasimha. saying "Verily". Usage: giving presents. Usage giving pieces of betel Arala : anxiety. holding the nipples. prosperity. Usage: modesty. or " Look Ardha-recita: of two Recita hands one held palm downwards. : Nisedha (defence) hand. consideration. binding the Patron deity Durga. Usage: turned together face upwards. cheek. thorns etc. clusion of the Mukula hand enclosed by the Kapittha Patron deity Tumburu. crocodile. : hair. boxing. deer-face. " What am I to do Suci hands are moved aside from the Patron deity Narada. Udvrtta (increase) : Hamsa-paksa hands palms down. Musti-svastika (crossed fists): Musti hands are crossed on the Usage: playing ball. simile. KeSa-bandha (tying the hair) Pataka hands binding the Usage: gem-pillar. Viprakirna (loosed) : Svastika hands quickly separated.. leaf. Patron deity Vasistha. truth. Usage: estabKshing the con- an argument. great bashfulness. and Kataka-mukha hands held Patron deity Vamana. : 43 Ardha-candra hands held at the Patron deity Sanan- sides of the hips. difference. [The descriptions in many cases correspond with what has already been given. Patron deity Vaisnavi. Brahmoktasukatunda. Khanda-catura. Recita. husband. Ardha-catura. Kesabandha. Mudra. Ganda-bherunda. saying " I am (Plates conversation. Dvirada. breasts.tree. pp. Patron deity Sesa. indicating female and male. the left hand then placed on the stomach. full-blown lotus. Tilaka. right hand Samdainsa. right hand Mrga-sirsa. it . Svasr (mother-in-law): the right hand left and Saindanisa at the throat.] Eleven Hands denoting Relationships: wife): left Dampati (husband and hand Sikhara. Uddhrta. indicating Usage: humble words. Tala-mukha. Patron deity Vijnesa.) Ulbana (abundance): the same hands held close to the eyes. indicating the womb. eyes. mountain. Pallava. Aja-mukha. Nitamba. duction. Usage large clusters of flowers. Intro- Udvestitdlapadma: Alapadma hands are held on the chest and twisted upwards. XI e. Gajadanta. indicating mother or daughter. Rekha. Kusala. buds. Mdtr (mother) left hand Ardha-candra. desires. Vardhamana. Jnana. 4. 5. Usage: 5a/. the right hand is held as : : Sikhara. XIII D. Patron deity Sakti. Paksa-vancita. : Ldlita: the same hands crossed near the head. Utthanavaiicita. and ten. Usage: ndga-bandha. ^ is held as Hamsasya hand then placed on the The Stri consists in placing either (woman) hand is not separately described. Lata. According to a different book the Combined Hands are as follows Twenty-seven hands are described as follows: Viprakirna. the beloved ". Vaisnava. indicating father or son-in-law.44 THE MIRROR OF GESTURE Padmakosa hands are outward-turned NaUni-padmakoSa: crossed. Ardha-mukula. the number (Identical with Nalina-padmakosa. showing the Stri hand'. the stomach showing the Stri hand. making equal distribution. but it will be seen that hand on the stomach. Samyama.) cluster of flowers. Suci-viddha. Pitr (father) following the last hand. Lina-mudra. hand Sikhara. r.^ Vijnesvara: two Kapittha hands held forward. r. (Fear not. : Bharir-bhrdtr (brother-in-law) the left side. r. Yama: Nairfti: 1 2 1. the right downward. Those not mentioned are that indicate the to be inferred according to circumstances. and ^ \ ] Laksml: two Kapittha hands held at the shoulders. the left upward. h. Khatva and Sakata hands. h. h. Kataka. : hand the hand shown with the Jyesta kanistha bhrdtr (elder or younger brother) the Mayura is hand shown forwards and backwards. making Abhaya and Varada Charity). Manmatha: 1. Pdrvati: Ardha-candra with both hands. at Sapatni (co-wife) : the Pasa hand is shown first. Thus are described in order the eleven hands denoting rela- tionships. Catura. the hand Kartarl-mukha at the Nananda Stri (sister-in-law): is following the Bhartr-bhratr left. Sikhara. r. . h. h.' ' is to be understood in the case of all the Deva hands unless otherwise indicated. Vishnu: Tripataka with both hands. Trisula. h. h.THE MIRROR OF GESTURE SvaSura (father-in-law) is : 45 hand right following the last hand. Ardha-candra. Hamsasya. held upwards. h. referred to in ' Showing Deva hands is Held at the shoulders ' a subsequent section as deva-vibhivana. Bhartr (husband): Hainsasya and Sikhara hands are held the throat. Sanmukha: 1. h. h. Suci. r. Tripataka. and then Stri with both hands. the right shown as Sikhara. Snusa (daughter-in-law): following the last. Mrga-sirsa. Pasa. 1. Hands and forms which accord with other Devas: ' the character actions of 1. Sikhara. Brahma: Sambhu: Sarasvati: h. h. the Stri hand shown with the right. Indra: Tripataka hands crossed. Suci. Brahma and r. 1. Musti. r. Angdrakha: 1. left raised. Tripataka. h. h. Sarpa-slrsa. Musti askew. h. Rahu: Ketu: 1. 1. 1. Surya: Solapadma and Kapittha hands held on the shoulders. then both hands Tripataka of the level at the shoulders. level at the shoulders. 1. Krishna: Mrga-sirsa hands facing one another on the shoulders. h. Kuvera: h. h. one upwards and the other downwards. r. Ten Avatars of Vishnu. Pataka. Trisula. r. is shown. h. Sikhara. Suci. . held respectively near and far. Musti. Budha: 1. THE MIRROR OF GESTURE h. r. Padma. Suci. Brhaspati: thread. Pataka. h. held on the : face. Balardma: 1. Hands Candra: that indicate the Nine Planets (nava graha). r. h. Pataka. Pataka. Hands Kurma: the Kurma hand 1. 1. Sanaiscara: 1. r. then both hands Tripataka h. h. h. h. the wards. h. Vdmana: Musti with both hands. Kalki: 1. Pataka. Hands denoting the Four Castes: Brdhmana: Sikhara with both hands. r. Raghurdma: r. h. Narasiipha: h. Solapadma. as if holding the sacred the right down- Sukra: Musti with both hands. as if holding the sacred thread. r. (Buddha is omitted. h. r. and towards the right side. h.) The Raksasa Hand Both hands Sakata. r. h. Suci. r. Tripataka. h.46 Varuna: 1. the right hand moved to and fro. h. Kapittha. ParaSurdma: the left hand on the hip and Ardha-pataka with the right. Arala. h. Sikhara with both hands. Sarpa-slrsa. h. Gada. Vayu: 1. h. Sirnha-mukha. r. Ardha-pataka. h. Matsya: the Matsya hand is shown. Sikhara. Ardha-pataka. r. Sikhara. gender. left hand moved to Pataka with the Vaisya: 1. Bhagiratha. it indicates those of the Lunar are used respectively right hands crossed. The Hands to their work. and suitability. For the great Kings Raghu and Aja. Hamsasya. Tamractida. Kataka. Ardha-candra hand made like Tripataka. SahaYaydti. Rdvana. Ardha-pataka hands as aforesaid and left. h. Saibya. Sagara. deva. Kapittha hand waved forwards. these four hands are used in order. Sikhara with the right. of the Eighteen other Castes are shown according In the same way the hands are to be inferred which indicate the people of different countries. Sudra: h. Ardha-pataka For Rama the Sikhara hand. the hand moving. r. the same on the face. hands waved near the arms. There are as many hands as meanings. the same on the left shoulder. Nala. The following are mentioned in another book: Hariscandra. Ambarisa. the same hands with widely separated fingers. Sud. Sud and Musti hands and the Ardha-pataka twisted upwards touching the body. Kartari. Nahusa. Alapadma. as may be required. Mukula. For Bharata. For Satrughna. Dilipa. and also for other kings who bear the bow. hands at the shoulders in deva-vibhdvana. feathered. h. h. Pururavas. Hands of Famous Emperors. Musti. Musti hand moved forward. following careful research. Their usage is to be regulated by their hteral meaning. Suci hand with the finger twisted upward. 1. So much is told in an abridged form. — Mayura. seizing by Rahu). two Pataka Sibi.THE MIRROR OF GESTURE Ksattriya: 47 and fro. . Kataka. Purukutsa. Alapadma on the head. Sikhara. If these are done with the left hand on the left shoulder. Pataka. Bhima. those who are acquainted with the moods of the heart should use the hands with due care after consulting the texts. Sukatunda. and this is also used for an eclipse of the moon (Ht. category. Nakula. For the Lords of the Earth Mandhata and Marutvdn. Tripataka moved forward again and again. For Laksmana. Dharmardja. Arjuna. race. Sikhara hand held on the right shovdder. Dasaratha. Kdrttmrya. Suvarnamukhi. and the fingers waved. Jana. Rekha. Kaveri. For Ganga. The Upper Worlds. Mahar. Lakuca. the same.48 THE MIRROR OF GESTURE of the Seven Oceans: Hands Lavana: Mukula hands moved upwards and downwards (vyd- vrttacapavestitau) . Bana. Candra-hhdga (Chenab) the hand moving. Sarpi: Catura (hands in the same manner) Dadhi: Tripataka hands in the same manner. Pataka and Catura. Bhuvar. Manddra. Rasdtala. I shall expound the right fashion of those hands that indicate Ganga. the Pataka hand is used. Padmakosa. etc. Padma. the downwards is apphcable. before. Pdtall. Sarasvati. 1 Sukatunda. Simha-mukha. Hintdla. for Yamuna. Vata (banyan). Panasa (bread-fruit). Kslra: Sarpa-sirsa hands in the same manner. for Krsndveri. So it is said by those who know bhdva. Ardha-catura. and downfor any river. Taldtala. Tamracuda. Ndrangi (orange). Pdpandsim. Pataka and Catura. Kadall. Ardha-pataka. Bhu. Siira: Sankirna and Pataka hands in the same manner. Satya. Pataka hand twisted Hands indicating and Pdtdla. The Lower Worlds. armada. N — — Vitala.. the Pataka hand twisted upwards is applicable. Trees. Vilva (wood-apple). Suddhodaka (Jala) : Pataka hands held just as Rivers. Tungabhadra. in accordance with their special virtues. Pataka. Ahattha (pipal). Bhramara. Sukatunda. and for rivers not mentioned here the Pataka hand is appHcable. For the Seven Upper Worlds.1 Tksu: Alapadma hands in the same way. Samdamsa. Punndga. Harpsasya. . Tapa. Catura. Catura. Mahdtala. Bhlmarathi. Simha-mukha. etc. Alapadma hands. Mukula hands interlocked. Vetrdvati. Sarasvati. Hands of the Famous — Moving upwards : wards {vydvrttacdpavestitau) indicates a river. Atala. extended. Arala. etc.. Kartari-mukha. Arjuna. For the Seven Lower Worlds. Suci. Representing the up and down motion of waves. Khandacatura. Sarayu. Svarga. Sutala. — waving the fingers. Vakula. Jambu. e. the foreiinger of the Mukula the hand is fully extended. h. is held downwards and shaken. the h. hand. the Ardha-pataka hand. hand held i. Pataka hands crossed. the five fingers being sever- ally held apart. Iguana. the Musti-mrga hand. the Trijiiana hand. h. Boar. Sami. Alapadma hands are crossed. i. Tintrini. Pdldsa. Porcupine Deer. e. the Adho-mustie. Ardha-candra hands crossed. the Mrgasirsa hand. the Samyama Nayaka hand. mukiila hand is used. the Tripataka the middle of the palm. Sukatunda hands crossed. Padmakosa face downwards. r. face downwards. Pataka with both hands twisted upwards. e. Antelope. ' . r. i. NagaMouse. h. bandha hands directed upwards. Kartari and Tripataka hands. 1. Tamracuda quite face downwards.. the forefinger of the Mrga hand is raised. i. making the Musti-mudra hand. e. applied to the back of the right. i. Mayura hands interlocked. the forefinger and second finger together in Kuruvaka. Simiapa. the Ardha-candra hand. e. i. Ketakl (screw-pine). 1. e. Cat. the hands touching at the wrists. Kapittha (elephant-apple). Hands that indicate the Lion and other Animals. Campaka. e. indicating Cow-ear Khanda-mukula hand. Khadira. the thumb and little finger of the Musti hand are extended. . Parijdta. pataka hand. i. the rest extended. h. the h. indicating bristles. i. the Ardha-candra — Lion. i. the Sankirna-makara hand. Langula hand. the Khadga-mukula hand. Musti. the fingers being freely Pataka moved. Pataka and Catura hands crossed at the wrists. e. Simha-mukha hand. Amalaka. e. i. h. the Candra-mrga hand. r. Talar. Mule. Langula hand downwards. the thumb and third finger of the Musti hand are joined. Musti hand are joined. i. in the aforesaid Matsya hand. 49 Padmakosa hands crossed. Kartari hands interlocked. Yak. Mole (?) (girika). Rasdla (mango). and Tiger. Simha-mukha. Black Antelope. 1. Nimbasala. touching at the wrists and freely moving to and fro. Mudrika. e. the forefinger of the Mukula hand is bent and moved ' Monkey.THE MIRROR OF GESTURE Pilga (areca-nut). the Ardhamukula hand. e. the thumb and second finger of the Bear. Pataka placed on the back of the left. ASoka. i. the thumb and little finger of the Pataka hand are slightly raised. Sindhuvdra. bent. Cock. the Hamsasya hand. i. and the two other fingers extended. the Hamsa-mukha hand. Crane (sdrasa). ^ i. e. i. Bee. Hands that hand fluttered indicate Flying Creatures. Arala with the right hand. Pigeon. Cdtaka. the Karkata is is moved horizontally {tiryak). Pataka with the left. i. i. Bull. Firefly. the Sanklrna-mudra hand. and the hand relaxed. the Arala-pataka hand. this is also used in Mantra-bheda. the second and third fingers extended. Curlew. the thumb is joined to the topmost joint of the middle finger. with the back of the hand in the horizontal plane. the Tala-pataka hand Scorpion. e. Camel. Goat. Paddy-bird (koyastika). Ass. Cow. Parrot. touching at the wrists. Plate XIII A. the Tala-sirnha ^ hand. also indicating Yantra-bheda. the Linalapadma hand is used.so to THE MIRROR OF GESTURE and fro {tiryak prasdrita) . and the thumb placed over them. Gaja-danta hands face to face in contact. Kokila. the Suci hand relaxed (apaviddha). Ardha-candra hands face downwards. i. and the hand fluttered. Sikhara hands in contact face to face. e. the BhinnanjaU hand. Vydli. Hare. the Madhya-pataka hand. the Kapota hori- (punkhita) . Sukatunda hand. the Arala hand fluttered. and all the fingers separated. i. the Sukatimda hand fluttered. the mingled-Harnsa hand. e. e. the Pradisa-mukula hand. the Uttle finger of the Alapadma hand is bent to touch the palm. i. i. Crow. the Samdamsa-mukula hand. the second and directed downwards. the forefinger and thumb are joined. hand Dog. e. Osprey. the Httle finger of the Pataka hand is bent. and the hands touching. Simha-mukha. Cakravdka. the middle finger is bent. Alapadma hands fluttered. the Kandanjali hand. the forefingers of the KhandanjaU hand are bent in contact. Hawk. others extended. — Dove. e. the same hand moved zontally (tiryak). e. the Langula hand fluttered. e. the Bhra- mara hand. i. the thumbs of the Anjali hand are bent and moved up and down. Swan (haipsa). the forefinger of the Bhramara hand is placed on the thumb. e. Ganda-bherunda. and all the third fingers are bent to touch the palm. e. i. Owl. the Crane (baka). i. e. and the little finger made to touch the palm. the the little finger slightly Mukula hand with Bhramara hand fluttered. the VyaK hand. . r.. a very learned like. hand. This Mirror of Gesture has been edited by Tiruvenkatacari of Nidamangalam. bent. for the pleasure of the cultivated public. i. r. 51 e. also indicating a box. Leech. finger extended. and into this and the work are many extracts from the Bharata Sastra. h. the Hands hand. i. the thumb and little forefinger go in.THE MIRROR OF GESTURE i. the forefinger and middle finger bent like a bow. Dundupha. the middle finger and the i. with extracts from other books. the double Cakra is little finger bent. the fingers being interlocked. face upwards. and 1. Gesture. the Kartarl-danda hand. h. Suci hands moved along. e. that indicate Water-Animals.. the third finger placed at the base of the thumb. Thus ends the Mirror of Sri Sandtana-Rdma arpanam astu! . Crocodile. e. e. h.. Kartarl. Crab. placed on the other fore-arm. h. Pataka hands crossed and held apart. according to the Bharata likewise introduced interpreter of Gesture Sastra. the Lina-karkata Karkata direct upwards and placed on the 1. Katakamukha. — Frog. " Noh " or Accomplishment. London. Paris.. Marcelle A. T. with translation. lished). 1912. Pischel. 1914. Okakura. ed. Gordon." Revue d' Ethnographic et de Sociologie. 1904. London. 191 5. Calcutta.. London. India Society. " Le Theatre en Indo-Chine. H. 1875. Adhemard. 1915. 1890. 191 2. Grosset. 2 ed." Anthropos. Ezra. Visvanatha Kaviraja. Tome I (all pub- Haas. The Japanese Dance. The Ideals of Period.52 THE MIRROR OF GESTURE Works of Comparison and Reference Coomaraswamy. London.. 1915. Gaston. Paris. 0. (Ashikaga Knosp. Ajanta Frescoes. 191 1. Bhdratiya-Ndtya-Cdstram. Kakuzo. A. Hindu Iconography. London. London. London. Fox-Strangways. 2d Craig.) the East. 191 1. 1910. Marie C. The Art of the Theatre. The Plays of Old Japan. The Music of Hindustan. The Home of the Puppet-play (translated by M. ed. 1908. Fenollosa. A. L'Iconographie Bouddhique. New York. R. BibUotheca India. Oxford. 191 7.. London. Le Theatre Indien. Ananda. Gopinatha. 191 3. . Foucher. Ananda. ViSvakarmd. Tawney). 1911. Leclere. Rao. C. Sylvain. Joanny. Coomaraswamy. Sdhityadarpana. 1910. Ernest and Pound. 1913. Stopes. Hincks. Levi. Gordon. The Dasarupa of Dhanawjaya.. The Arts and Crafts of India and Ceylon. 1900 Craig. " Le Theatre Cambodgien. Paris. 1898. The Mask. PLATES . . PLATK I THE COSMIC DANCE OF SIVA fNATARAJA) Copper fii,'ure in miidrd, The first ri.L^ht hand holding a dram, the second in ahhaya Madras Museum. the first left hand fout of the picture, see Plate XI B) holding a tlame, the forward left hand exhibiting the anja or danda pose (cf. Plate III). rLATJC II KURUKULLA Xepalese copf>er figure, about sixteentli c-fntLiry, Calcutta Museam. ci. U["M'L-r iiands in [losiLion of shooting an arrow (C[. Plate X\' . PLATE III DANSEUSE Hands corresponding to the forward hands of Plate I. Buddhist frieze at Borobodur, Java, about ninth century, a,d. CEILIXi; SCULPTURE AT DILWARR^X, ['ancc with hanri pa.-.es, ;inr| ML'. AHU mu^ic. . Abu. . W.DANSEUSES BEFORE A JAIXA GODDESS Ceiling sculpture at Dihvarra. Mt. APSARAS DANCING In the \'aikuntha Sabhii of Vishnu: from an early Kangra painting in the collection of Mr. Rothenstein. . ): tracing by Samarendranath Gupta.PLATE VI DANSEUSE From an Ajanta fresco (sixth to seventh century A. .D. . HANDS OF IMAGES . Anllui-candni (fur paldka)^ from a Nepalese image. .tNG l^rvA of a lotus). ei^. Seatfil in Hl'DDHA H. HaXDS of h. Kartari mukha hand (holding stalk or mayura E. ninth centurj-. r. Hamsasya hand.ile^e. iioDllIS \TT\'A padmaadna (The (Dr. holdin. making Abhaya mudrd. ihi: r h. Seated in lulliuuniu. alone hamsdsya.) Coomara^wamy's (British Museum) C.) collection (Ja\'anese. h.. ninth to ele\'cntli century.' stalk uf iutus.irlpa- Xc['. r.PLATE VII A. Crom a Xepalese image. D. is IdkaA. the han^h m dhaiinacakra mudra.lUh to h. a I)AN<. . South Ken-ini:tnn.Pi. Lnmlun.'.seventuL-nlh centun. .ATi-: \'iii SEATED IMAGE WITH AXJMJ IIAXDS ( '(II'PKR r. sixteenth U> . Mu-^uum.in Nepal.rLT I'lCTRK Of A IldN'UR Indi. . ATE IX XAUTCH DANCE BEFORE A ROYAL PATRON From a sixteenth century Rajasthani illustration of Pamama collection) (?) rdqini. mode. the dancer exhibiting pataka hands: chorus to (Dr. Coomaraswamy's . a musical left.PI. . . Sukatunda hand SINGLE HANDS (From drawings by Miss Dorothy M. Larcher. Bhramara hand F. Patdka hand B. Ardha-candra hand C. Sikhara hand E.PLATE X A. Musti hand D. . Udvestitdlapadma hands. Kataka mukha hand with blue lotus (hand of Bodhisattva. C.PLATE XI A. I). Kartar image in mukha Chand of an Madras Museum). Ardha-candra hand. Ajanta).) . E. SINGLE AND COMBINED HANDS (D and E drawn by Miss Dorothy Larcher. Padmakosa hand. with flame (upper left hand of figure represented on PI. D. . \in!lh!-»iuf:h<l left iKinii D.I'l. AtapaJma luft hand E.ATI-: XH 1^ . K'lrkiiln CimiljinfcJ liands (a Kruvc of trees) SINGLE AND COMBINED HANDS . Sikhara left hand C. . ATE XIII B. Raisini. Both Hands udvcstildlapadma COMBINED HANDS . Mt.PI. 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