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NANDIKESVARA'S

ABHINAYADARPANAM
A MANUAL OF GESTURE AND POSTURE
USED IN HINDU DANCE AND DRAMA
English Translation, Notes and the Text critically edited for
the first time from original manuscripts with Introduction

BY

MANOMOHAN
M.A.,

PH.D.,

With

GHOSH,

KAVYATlRTHA.

Illustrations

SECOND EDITION
(Revised)

FIRMA

K. L.

MUKHOPADHYAY

CALCUTTA.
1957

Published by

Firma K. L. Mukhopadhyay
6/1 A, Banchhararn Akrur's Lane, Calcutta.

Price Rs. lO'OO

Printed by

J.

C. Sarkhel, at the Calcutta Oriental Press Private Limited,

9 Panchanan Ghose Lane, Calcutta 9.

PREFACE TO THE
SECOND EDITION
The

edition of the

first

years ago

Abhinayadarpanam published twenty three

was welcomed by all

whose

interested

A. K. Coomaraswamy

work

the

Mirror of Gesture (Cambridge, Mass. 1917) directed

this

Sanskrit
its

publishing

text.

reasons

various

for

Still

second edition even after

time, and there was

some demand

for

it

was

such

named The
attention to

my

could

out of

One

it.

the late

including

persons

translation of

not think of

a long
print for

and an

reason

too, was that I then engaged myself in studying the

and
was planning a translation of this important work, and
Natyasastra
thought that this would be of greater use to readers interes-

one

important

ted in the subject.

a revised
utilised

edition

of

my work

Coomaraswamy also published in the meantime

The Mirror of Gesture (New York, 1936) and
the

for

revision.

This

for
first
I

the

last

three

volume of the

undertaking
even after
years,

four

or

me

relieved

also

time being from the urgency of

for the

second edition.
publication

But,
of

translation of the Natyasastra, Calcutta,

the

1951,

have been receiving earnest enquiries from various quarters whether

copy of the Abhinayadarpanam niay still be available. Some of the

enquirers gave
of

me

to

understand

but

the

that

they

had read the

of

still

translation

the

required
Abbinayacopy
Natyasastra
Hence, I could no longer remain indifferent in this regard,
darpanam.
and have come gradually to believe that a new edition of this work

may remove
very brevity

used in

want

a real

while

it

of a

dealt

class

with

all

of

readers. It

essential gestures

Hindu dance and drama, had made

favourite of the student of these arts.

a second edition

was thus

finally

seemed

My

overcome.

it

that

its

and postures

something

like a

hesitation about publishing

On

taking up the prepa-

found that some of the views expressed

copy
in the introduction and notes have
undergone some change during the

ration of a

last

for the press

twentythree years,

the book

is

also

and

my

idea about the

no longer quite the same.

So

need

of

readers of

have slightly modified

the

introduction

omission

have

here

added

additional

to

and

and
its

notes by

there.

It

usefulness.

information

making

may
If

on certain

be

necessary
that

emendation

hoped
some readers may

these
still

are requested
topics they

and

changes
require
to refer

kindly to the translation of the Natyasastra which, treats of

relevant matters in much greater detail.
very

3 ist March, 1957.

MANOMOHAN GHOSH

all

CONTENTS
Page

Subjects

Preface to the Second Edition

Notes on

...

...

...

lii

...

...

...

vii

Abbreviations and Symbols

...

...

...

viii

INTRODUCTION

...

...

...

PRELIMINARY

...

...

...

i.

The

...

2.

The

3.

Critical

4.

Reconstruction

(1)

(2)

(3)

Present Edition

Translation

ABHINAYA:

Apparatus

..

...

...

...

...

...

...

...

...

...

...

5
6

...

...

...

...

...

...

&

...

...

Drama and Hindu

6.

Object of Hindu Plays

Plays

7.

The Technique

8.

Abhinaya

9.

Importance of the Study of Abhinaya

ABHINAYA:

ITS

Plays
...

HISTORY

...

11.

The Origin of Abhinaya

The Development of Abhinaya

12.

The

Literature on

Abhinaya

ABHINAYADARPANA
work

...

13.

Scope of the

14.

The Abhinayadarpaiia and

...

16.

The Abhinayadarpana and

The Abhinayadaipana and
Samgitaratnakara

...

...

14

...

...

17

...

...

17

...

...

20

...

...

22

...

...

24

...

...

24

...

...

26

...

29

...

31

the

Bharata-Natyasastra
15.

...

MEANING

ITS

...

5.

10.

(4)

Illustrations

the Bharatainava

the
...

VI

17.
1

8.

The

Style and the

The Author

of the

19.

The

20.

The Time

21.

The Antiquity

Method

Treatment

...

31

...

...

32

...

...

33

...

...

33

...

...

34

...

...

...

39

...

...

of

work

Place of Nandikesvara
of

Nandikesvara
of the

TRANSLATION & NOTES

ILLUSTRATIONS

THE SANSKRIT TEXT

work

...

73

...

...

Select Glossary

...

...

...

Corrections

...

...

...

...

...

...

Index

...

81

149

NOTES ON ILLUSTRATIONS
In

Page 73

,,

74

Kartarimukha,
Ardhapataka,
Mayura, Ardhacandra, Arala, Sukatunda, Musti.

Pataka,

Tripataka,

Sikhara,

Kapittha, Katakamukha, SucI, Candrakala,

Padmakosa,

Sarpaslrsa,

Simhamukha

Mrgaslrsa,

(side}.
>

75

Alapadma, Catura (side\ Bhramara,

Hamsasya, Hanisapaksa, Sandamsa, Mukul, Tamra-

Kahgula

(side),

cuda.

76

Trisula,

Vyaghra, ArdhasucI, Kataka,

Palli, Anjali,

Kapota, Karkata, Puspaputa.

,,

77

Sivaliriga,

Katakavardhana,

Samkha, Cakra, Samputa,

,,

78

Kartarisvastika,

Sakata,

Pasa.

Kurma, Matsya, Kilaka, Varaha, Garuda, Bherunda,

Nagabandha, Khatva.

,,

N.B.

79

Kangula (front), Simhamukha

and Svastika.

For Simhamukha

see

pp.

(front),

74 and 79 and

Catura (front)

for

Catura and Svastika see pp. 75 and 79.

Kangula,

ABBREVIATIONS AND SYMBOLS

= Manuscript of the text in the Adyar Library.

AD = Abhinayadarpana
= Manuscript of the Bharatasastra Grantha
B.
Bh A = Bharatarnava.
Ch.ed = Chowktamba Edition.
= Manuscript known as the Abhinayadarpnnam

A.

I.

from

the

India Office Library.

Mbh = Mahabharata.

MG

The Mirror

of Gesture, ed.

Coomaraswamy and Duggirala

(Cambridge, Mass.) 1917.

NS

Natyasastra.

P.

= Manuscript

R.

=Ramayana.

of the so-called Bharatarnava

SR

nrSamgltaratnakara.

V.

=Manuscript

Note
of slokas

Numerals
and

in

of the text in

the Select

their translation.

from Poona.

Visvabharati.

Glossary

refer

to

the

number

INTRODUCTION
(O
THE PRESENT

i-

Hindu drama,

about

knowledge
developed
lack of

forms,

in India,

sufficient

the

EDITION.
a

way

which

in

the

study

of

the

Sanskrit
art

is still

materials.

The

of

is

literature,

our

play

due mostly

to a

work which gives us

only

stage

is

the

form

a typical

producing

This

very inadequate.

and comprehensive idea of the Hindu

for

of

section

large

Nataka

the

Though

a clear

Natyasastra.

Yet

development of ancient Indian thea-

history of the

work, though very important in many respects, is not

offerquite sufficient by itself. We need therefore make no apology in
ing for the first time a critical edition of Nandikesvara's Ahhinayatrical

art, this

darpana which exclusively treats of gestures in a manner rather different

from the NS., which also has these among other things as its subjects

The Mirror

of treatment.

introduction

work.

this

of Gesture

published with an illuminating

by A. K. Coomaraswamy, claims
But on comparing it with our text,

that the text used in

preparing the

MG

is

be a translation of

to
it

has been found out

not exactly identical with

AD, though the former has absorbed a major part of the latter
work and supplemented the same by making occasional quotations
from other works of the same class (see 2). And an important feature
the

our

of

text

is its

treatment of

items

like

postures

and

movements

dependent on feet, such as Mandala, Sthanaka, Carl and Gati,

which although omitted by the original of the MG, is indispensably
etc.

necessary for the complete understanding of

The

MG,

though

it

does not

very useful contribution to our

tion o

Hindu

histrionic art.

fully represent the

knowledge

AD,

has been a

regarding the production of

This was written

in 1934.
Conditions have changed since the publicathe translation of the NS. in 1951 by the Asiatic Society.

For the meaning of

at the end*

this

term and the following ones, see "Select Glossaiy'

ABHINAYADARPANAM

Hindu

The

plays.

such

the

text of

edited

present
a

for in

knowledge
hoped, supplement
have been brought to light for the first time.

2.

THE TRANSLATION.

The

Students of Sanskrit

will

literal.

about the language of the

in

it

with

and

ted from

fragmentary.

The

very

well as

two

arc

not

the

among

among

M. A
Telugu

present text has been reconstruc-

The two complete MSS, do

order

in

In this respect the fragmentary

themselves.

which various

complete and the rest

fully agree with each

topics have been treated.

MSS,
vary with the complete ones
The following description of the MSS,
also

other things notice this mutual variation.

Devanagarl

script)

transcript

of

the

complete

only

year

V.

1893-1894 by Sheshagiri
plain-leaf

MS

Its

(fairly

complete)

size is

16-2" x i" and

the bandhavd-hasta-laksanam last of

in the

it

all

has

29

It

Telugu
This

leaves.

and omits the

treatment of the nrttahastah and pada-bhedah

leaf

MS

in the

is

Another palm-leaf

from the Adyar Library.

is8 5 "x 1-2".

It

MS

in

number

MS

puts

navagrahahasta-

And

moreover

incomplete.

Telugu
(not complete)
palm
from the Adyar Library.
It has
Telugu
53 leaves.
number XXII. C. 25. Its size is 5-8" x 1-4".
ttka

MSS

script,

bears the

laksanam, navarasab and avasthabhedah (dasavasthati).

A. 1

the

Shastri).

the possession of the VisvabharatI, Santiniketan.

3038.

(in

and Tamil

(vide p. xxix of the Report of a Search of the Sanskrit

for the

MS,

work (No. 304 of the collection made in 1894)

the Madras Government Oriental MSS, Library

of the

in the possession of

A.

made

for this reason offer difficulty to

manuscripts, of which

five

other regarding

its

bd

may

fresh materials

translation has not been

may

CRITICAL APPARATUS.

3.

will

some

have been explained in the Select Glossary.

readers,

as

it

will,

however experience little difficulty

A few words which have been used

AD.

import

special

it

AD

script
It

with a

bears

the

complete) in the Telugu script

bears the number XXII. C. 38.
It size
(not

INTRODUCTION
A. 3

Library.

Ic

incomplete paper
bears

MS

in

number

the

Telugu

VIII.

J.

from the Adyar

9. 3" x 6'8"

script

Its size is

9.

and has 14 pages.

MSS

Besides these five

MSS have
MG.

been utilized

The Mirror

of the

AD

the following printed work and

for the reconstruction of the text:

of Gesture

(Cambridge, Mass., 19 17) edited by

A. K. Coomaraswamy and Duggirala Gopalakrishnayya. This work
is

a translation of the Skt. text

briefly

is

based on the second edition

published under the

(MG. p.
the AD,

the

But

MG

of

in

of such
spite

in

(see

order

following

It

4).
:

of

character)

defects

this

the

It

i).

original

Nadamangalam

has in

it

seems

places

arranges the

common

to suffer

with

from textual

work renders valuable

Navagrahahastas which appear

subject of its treatment in the

(Items not occurring in the reconstructed text of the

have been marked with asterisks.)

Salutations,

*A

before (see

Tiruvenkatacari of

determining the position of the

aid in

AD

in

Telugu

reference to the passages

original

corruptions.

only

editorship

With

10).

(in

of

described

*Patrasya bahib'franah,

between

dialogue

Indra

Nandikesvara,

Eulogy

Occasion

Sabha

*Ntca-natya-darsana-phalam,

Natya-kramah,

Natya,

Definition of

Ndtya

etc.,

for dances,

etc.,

#Seven limbs

*Patrasya antah-franab,

*Nlcanatya,

Variety of dances,
of

and

of the Sabha,

Angikabhinaya,

Nine movements

of the

Head,
movements
of
*Twenty-four

Head

according to another book,

Ministers,

Eight Glances,
^Forty-four Glances

Sabhanayaka,

the

according

Ranga,

another book,

Patralaksana,

*Six

Patras disqualifications,

according to another book,

Bells,

Neck movements,

movements

Hjsta-franah,

of

the

to

Brow

ABHINAYADARPA^AM

Hands

of

hastes

Hands

of the

(with alternative definitions for 24

Hands

of the four castes,

hands from another book),

The

Twenty-three Samyuta-hastas,
The same from another book,

from another book

Hasta-bhadab,

Twenty-eight

Asamyuta

planets,

Ten

have

following

*Hands

Avataras,

been

taken

of famous emperors, famous

Twenty-seven
Samyuta hastas
form another book,

lower worlds,

Eleven hands of
relationship,

Hands

Hands

mals, birds and water animals.

I.

of gods

and goddesses,

From

the India Office

examination

it

Library

AD.

3028 and 3090) named

and the other is
script

seven

rivers,

we

One

seven
upper worlds,

two MSS.

received

of

them

is

in

ani-

land

indicating trees,

the

(nos,

Telugu

Devanagarl transcript of the same.

to
be
a work
appeared
dealing with abhinaya and
a

On
tala

belonging probably to the school of Aiijaneya cited as an authority

on samgtta in various works; for, the end of the abhinaya portion of
this work, reads as iti
But this abhinaya portion
a(a}njaneya-matam.
is

frangmentary and seems

to

be a compilation from different sources.

Slokas 90-95,96, 970-983, 101-102, 104-105 of the

with a few variations worthy of notice.

This is the
P.
no. 42 of the

MS

AD

occur in

Appendix Collection

it

(19 16-18) of the Government MSS Library with the Bhandarkar

It
has been entered in the
Research Institute* Poona.

Oriental

Catalogue of the Institute published in 1925 as the Bharatarnava.

This fact led to an examination of this MS, for the AD, according

was an abridgment of the Bharatarnava. The

however revealed the fact that the work though

to a passage in the

MG,

examination of the

MS

it

possibly

had some connexion with the BhA, was not

see
(For details

passages
B.

in

5) In

common

This

is

the

spite

with

MS

AD,

no.

40

of this,

was

the

MS

itself

the same.

which has

certain

of help in reconstructing our text.

of the

Appendix Collection A. (1916-

with the B.O.R. Institute,

1918) of the Govt. MSS Library placed
Poona. It has been named in the Catalogue of MSS published by the

INTRODUCTION

This work

Institute as the Bharata-sastra-grantha.

be

to

appears

NS.

curious complilation of passages from various works including the

MS

Besides quotations from different works which this

contains passages from unmentioned

sources

which

names,

include

it

Dandin

AD

and Nandikesvara. The portions taken from the latter author's

consist of viniyogas of the Asamyuta-hastas. These offer some variants.

The

author of this Bharata-sastragrantha appears to have been a comfor he refers to himself as follows:

mentator of the Prasanna-raghava-,

asmatkrta-prasanna-raghava-tikayam

the

4.

RECONSTRUCTION.

AD

has been based

the work.

Support

in

The

MG

to granthantara

it

AD

though

in India
3

were already established, may

original

we do

know why
deities who in

not

considered later than other

all

have been prefixed

when

its

with

was not

borrowings
such

ascrip-

later

than

the gods of the Puranic

also give us

fication to consider the nava-graha-basta-laksana

For

of

on

fact that the planet-worship

AD.

text

M,

the early centuries of the Christian era

pantheon

the

of

V, but the navagraha-hastahas been accepted as belonging to

this matter has been available from the
in

from works other than the

tions.

edition

present

principally

laksana which occurs only

which does not ascribe

The

additional justi-

as

belonging to the
planetary deities should be
their Puranic character were

not probably very old. And as some of the planets have been mentioned in the Atbarva-vcda, planetary deities may in fact be as old as

Vedic pantheon. 4 Passages on rasa

avastha which occur only in M. and have no support from

some

of the deities

of the

have not been included

shown

in

the edited text.

MG,

They have been separately

at the end.

Kaye. Hindu Astronomy, Calcutta, 1924, p. 107,

Ibid., pp.

12-13.

and

(2)

ABHINAYA:

DRAMA AND THE HINDU

5.

the

perly

meaning

for 'histrionic art* in Sanskrit)

'dramas/

Hindu

To

PLAY.

understand

pro-

word abhinaya (roughly speaking, the word

of the

about the nature and

MEANING.

ITS

spirit

it is

play which

natya or rtipaka in Sanskrit,

is

have

to

necessary

Hindu

of

which

plays

are

clear

notion

often

called

called a drsya or

though

it

preksya kavya or
has some superficial resemblance

not identical with the same thing; rather there is a considerable difference between the two. The names such as ru-pa and
kinds of Hindu plays, give us clue
drsya kavya which include all
to

drama,

is

to the difference.

form' on account of
a
play
applied to

on

play

is

called

rufa or

visibility

And

(drsyata).

tion between characters (dramatis personae)

them.
i.e., a

And

e.,

its

'having-a-

term rupaka

drsya (preksya) kavya means

we assume

and the

stage representation. In earlier times

it

was

is

The word
and points

Hindu

by

its

reading,

called preksa.

its

lyrical

And

play discloses its relative neglect of action.*

natya, which

to

same

representing
to be seen

idea of action seems to be missing altogether in these names.

the very nature of a

is

non-distinc-

actors

poem which

poetical composition capable of being enjoyed not

but from

The

the

the analogy of a figure of a speech of the

or metaphor), because in a
(i.e., rtipaka
play
3

i.

riifaka,

its

also a

synonym for a rupa or drsya kavya

throws
further light on the point.
In
nature,
is

etymological meaning of this word which is

derived from the root nat (=*nrt) meaning 'to dance,' Hindu plays are

accordance with the

which rhythm and lyrical

given a very minor scope.*

compositions in

and

action

is

preponderate,

1.8.

Dasariipa,

Rasarnava-sttdhakara.

S. Rice.

pp. 96-97. 102,

elements

The

Trivandrum

Sanskrit

Drama

in

209, also Dasarupa, i, 9.

Arts and Letters. Vol. i,

(III, 2.) p.

Indian

4 Levi, Le thefara indian pp.

t

29-3,0. S. Rice,

op

cit.,

p. 89,

INTRODUCTION
All

these

show

to

go

Hindu

that realism in the ordinary sense has no

And

place

in

one

sure to discover their suggestive

is

demand on
accustomed

Hindu
ment

the

not

of

of

character and
5

the

demand

that

without

possible

In

are

inordinate,

but

new

which the word

art

condenses

one

in

it

brief

summarizes

rasa

For, no

formula:

can be successful

connexion we

this

quote Sylvain Levi's apt remark in translation.

produced
and which

who

avoiding realism.

as real to
spectators,

making things appear

consequent

the greatest possible scope to

giving

in favour of

unless the latter call

imagination to their aid.

may

the

Those

spectators.

call

may

examination of them,

closer

on the subject believe that the highest aesthetic enjoy-

imagination, and are therefore

amount

after

imagination

realism in art

to

theorists
is

plays.

fr

"Indian

and

'the

genius

symbolizes,

does

poet

not

express but he suggests".

Having

may

perhaps

6.

which

these

be

THE OBJECT OF HINDU

the aim and object of the

differ.

PLAYS.

To

evoke rasa

Hindu

however,

are of

offered.

And

explanation

is

be quite clear
considered.

when

"We

on the

excites his affection, aided

this affection in

much

not

by

stages

spectator

love

The

its

an

actors,

is

Rama, and Slta who

spectacle

which indicate

shapes in the various

evokes in the mind of the

transient

impressions of the emotion of

S. Rice, op. cit.t p. 102.

These

suitable circumstances of time and place;

planted there, and this ideal and

rasa has

unless

and

spectators

intimated by speech and gesture alike,

requited.

spectator

sentiment'.

help to anyone,

stage, for instance,

both dominant emotion of love and

of

in the

The term

the nature and characteristic of rasa will

the relative position of

see

plays,

as well as the attitude of

play-wright.
been translated as 'flavour,' 'Sentiment' or 'poetic

translations,

Hindu

they
but
not
'lyrico-dramatic spectacles,*

aim and object

their

of

characteristics

called

and spectators greatly

their actors

is

suitably

from

'dramas'

to

regard

generic

love

which experience has

excitation

Le thedtra

of

indien, p. 417.

the

emotion

A6HINAYADARPANAM

produces in him that sense of joy which

The

fullness of the

enjoyment depends

whom

experience of the spectator, to

known

is

and

extent

he

that

exquisite joy.

He may

feelings.

real

weeps

We

may

but

(rasa).

and

nature

identify himself with

experience in ideal form his

even

tears,

on the

essentially

it falls

the hero or any other character, and thus to

emotions

Sentiment

as

to

succeed

in his effort to the

Sentiment

the

one of

is still

compare the thrill of pleasure which the most

terrifying narration excites in us,

and we are

all

conscious of the sweet-

ness of sad tales."*

THE TECHNIQUE OP

7.

technique

as well as the

PLAYS.

technique

Before considering the

of

representation

literary

the

(abhinaya),

means by which plays evoke rasa, attention should be paid to

main guiding principles. It is the doctrine of suggestion that

two
their

lies at

Hence

the basis of

found that

it is

character,

Hindu

is

different

plays and indeed of

all

other arts

Hindu playwright's method

from

that

of

his

of

India.

depicting

in

fellow-artist

of

the

West.

Instead of giving prominence to his varied activities, the

Hindu

wright would build up the character

characteristic

by

mentioning

play-

emotional complexes suggestive of it as a whole.

That verses of varied forms are abundantly
for the

is

purpose of calling forth

simply
the lyrical element present

plays,

ABHtNAYA.

b\
prefix

in their

The

(carrying)

Sanskrit word abhinaya

play to

ni

'to

in a

drama.

10

But the

B. Keith,

made up

is

Thus

carry'.

(towards)

the

it

of the

means

imitation

(or

(physical and mental) of the characters

Drama,

p.

321,

(The

of

imitation

the

italics in

S. Rice, op. cit., p. 102.

bhavcd abbinayo' vasthanukarab, ch, VI.

9
2.

will

the quotation arc

ours) .

10

of

According

spectators'.

called

is

aesthetic significance

Sanskrit

Hindu

by means

to the Sahitya-darpana that representation

visualisation) of the conditions

in

musical recitation.

abhi 'towards* and the root

'representing

used

emotion

MS. VIII.

6;

INTRODUCTION
hot be clear unless the object of
the spectators,

plays,

the

viz.,

evoking

Hence we

taken into consideration.

is

movements

the famous commentator, defining

abhinaya as

of rasa in

see Mallinitha,
for

sugges-

11
For this reason, the word
ting
(Sentiment) and bhava (State)
abhinaya may be said to be the means for disclosing to spectators the
beauty or manifold pleasurable aspects of the play which cannot be

rasa

adequately
of

all

of the

appreciated by simply reading

these facts,
abhinaya

may

be termed

moods and emotional

various

Therefore, in spite of an
acting, the latter

term,

In

text.

its

the

consideration

'suggestive

imitation'

states of characters in

play.

apparent similarity between abhinaya and

whenever it is used in connection with Hindu

plays, does not mean quite the same thing.

Sanskrit word for 'actor*
primarily meaning

From
4

word nata (the

dancer') and such words
the

natayati (derived from the same root nat meaning 'to dance') it
appears that the ancient Hindus had their plays 'danced' and not
'acted'.
This is corroborated by the evidence cf the Harivamsa
as

(Visnuparva, ch. 93, si. 28.) which uses an expression like natakarn
nanrtuh (danced a play).
Rajasekhara (c. xotli century A.C.) too,
in his
prologue to the Karpura-tnanjari has an expression like 'sattaatn
naccidavvam* ( a Sattaka is to be danced).
Hence in course of the

abhinaya of

play

which

is

but

poem

to

be

seen

(drsya-havya),

And its
an important part.
rhythm
character
conveyed through abhinaya and dance, made it
rhythmical
suitable for the suggestion of the deepest and the most tender emotions
in all its possible
aspects plays

which tend

be

evoke

to

rasa (Sentiment) in spectators.

Depicting narratives by meanes of dance and abhinaya, is still to

found in the Saiva ritualistic dances of the Nilapuja found in
12

Bengal.

The

peoples of Indonesia

the history of their

depict stories

connection

(Java and

Bali)

which can

with India to a very remote past,

trace
still

from the Mahabharata and Puranas by means of dance.

11

abhinayo rasabhavadi'vyanjaka-cesti-visesah on Kiiata, X. 4i.

12

A popular festival in honour of Siva (Nilakan^ha) in the closing week of

the Bengali year,

ABHtNAYADARPANATVt

10

Rabtndranath Tagore during

Of this he writes
dances.

his

country noticed such

this

to

visit

plays and musical perfor-

that "in their

their movements, battle-scenes,

from beginning to end,
One who
love-scenes, even their clowning,
everything is danced.

mances,

knows

their peculiar dance-language,

The

help of words.
palace which,
vati,

we

making

by them.

how rhythm and

clearly explains

may convey the beauty of a

human life," he says, "in

of

movement.
portrayed,

but natural that

just

story

dance

gestures, the

of Salva

to

are the vehicle of

poetry,

of music, but the

the

meaning
mutually adopted by men.
the dance of these
people,

for this

kind

of

dance.

of outstanding importance has to be

movement should be given a corresThe dance here

of
rhythmic grace.

their

to

to

to

the

events of a story,

likewise

the

Their tongue

ing defeat, then this

there.

14

If

anyone

field

the words.
their

Of

The

appeal only

the words

that

governed by the natural laws

depending on sound-symbols

artificial,

are

any actual
dance-warfare.
But

the rule that fighting

is

Both

does the talking by signs as well as by

be more foreign

events

displayed as

all

its

rhythm

is

"The

spectators,

here addressed to the eye.

are

is

Tagore very
two elements of dance

keeping in the background, or leaving altogether,

Puranic legends, which in
to make
poetry, have
the ear,

and Satya-

also narration,

outward aspect, arc

such giving of rhythmic prominence

through

in the Fajah's

In that connection

narrative

ponding dignity by the addition

is

14

their

when any event

So,
it is

the

only emotion but

not

that

follow the story with the

can

witnessed

are told, represented

dance

transmuted into

day we

other

clear

it

13

necessary

for the

rhythm alone

is

poem.

In

not sufficient

silent, but the whole body

movements,
Nothing could
is

of battle than

this

form they give

if some
land had been governed by
fairy
must be done rhythmically, a false step entailis the kind of battle that would have been
waged

is

inclined

to

smile

at

such lack of realism, he

Angika abhinaya or gesture is an essential part of this dance-language.

Letters from Java. The Visvabharati Quarterly, Vol. 6 No. j, 1928,

April, pp, 2-3.

INTRODUCTION
whose heroes not only

needs must also laugh at Shakespeare,

15
metre, but even die to it."
In addition to this,

and writes

that,

Tagore
"There words

Jl

but

movements

the

realistic.'

we

with

dancing, and

allied to

we

spectators,

Hindu

start

plays

Then

conception
for

suggesting

never

be

able

Besides

possess.

detail the four different

to

Hindu

regarding

or play, nataka,

ideas

is

and

appreciate

this,

incon-

surely

that abhinaya

meant

shall

might

the

Japan

have a wonderful
it is

dramas he says that "our very words for dramas

shows that dance was its essential feature." 16
Unless

in

movements

the

all

and gestures are of the dance type, and they

In dramas where the words are metrical,
appeal.
sistent to leave

dances of

to the historical

refers

are also used,

fight

such

one should

branches into which abhinaya

something
emotions to
merit

as

consider in

has been divi-

1
^
ded, viz, angika, vacika, aharya, sattvika.

is

Angika abhinaya

(i)

regulate the

actors*

bearing,

the use

of

and

walk

artistic

gestures.

movements

Its rules

of features and

18

But consistently with the object which Hindu playes have,

the forms of gestures and movements prescribed in manuals of abhi-

limbs.

naya
often

way

not

are

(such as the

AD)

made with

reference to

of holding a flower

ly held,

while a gesture

though no actual bee

is

by

quite realistic, and besides

they are

For instance, the

imaginary objects.
not that in which it is ordinari-

a beau, is

may show
visible,

that a bee

and

worrying a maiden

is

movement

particular

body may show the ascending or descending from

1*
not actually be represented on the stage.

of

the

place which

may

Abhinaya means not only carrying out occasional directions of the

playwright as regards the various special movements and positions
which the dramastis per^onae
tively

spectators the

to

full

are to

assume, but also suggesting

aesthetic

import

of a
play

Ibid.

15

Ibid.

17

NS.

19

Jyotrindranjith Thakur, Prahandha^rnanjat'i, p. 305,

VIII. 9

AD. 39

NS.

VIII. 11-15

AD,

40.

effec-

by suitably

ABHINAYADARPANAM

reproducing along with his

fied in

the

playwright

the

actors

All

this

those manuals.
of

Raghavabhatta

given

for

Nirnayasagara),

or song, appropriate
gestures codi-

speech

Even

manuals of abhinaya.

are

in

out the directions of

carrying

down

use gestures etc., as laid

to

be

in

from the following directions

his
commentary of the Sakuntala (ed.

will
in

depicting

clear

the

vrksa-secana

(watering

bhramara-badha (an attack by a bee) and visada (grief) etc.

he has used the SR, a work later than the AD. (vide
18).

plants),

In these

Raghava-

bhatta's words are quoted below in translation.

Watering plants (vrksa-secana) slightly bending the body with

After holding near
the Avadhuta head and the Adhomukha face.
the shoulder the NalinI and the

Attack

Padmakosa hands.
with the Vidhuta head, the

bee (bhramara-badha)

by
Kampita lips and the turned

down Tripataka hand near the mouth.

Bashfulness in love-making (srngaralajja)<with the Paravrtta head

and the

Lajjita eye.

with the Dhuta head and the Visanna eye.

Despair (visada)
Avoiding an attempt to raise one's chin (mukhonnayana-parihara)
with the Paravrtta head and the Viniguhita lips.
of

Plucking

flowers

(puspavacayana)

with the Uttana Arala

left

hand and the Hamsasya right hand taken side-ways.

Making
head with

toilet

putting the Tilaka mark on the fore-

(prasadhana)

the ringfingcr of the

with the Paranmukha and the

Tripataka hand, wearing rhe garland

Sandamsa

(right

and

left)

hands,

putt-

ing on Tatakas (ornament of upper arms) and ear-rings with the two
Bhramara hands, and painting lac-dye on the feet with the Kartarl-

mukha hand, and wearing

ring with

Hamsasya and

the

Cyuta-san-

damsa hands.
Obstacle in walking (gatibhanga)

Coming down from

with the Orudhrta Can.

high place (avatarana)

with the Gahgavata-

rana.

Mounting

The
limbs was

code

a chariot (rathadhirohana)

of

binding

gestures and

on the

movements

nata\

so

with the Ordhavajaiiu Carl.

prescribed for the different

much

so,

that in

(he rqatter of

INTRODUCTION
can

gesticulation the term 'originality*

for

what

is

of

required

but a representation

The

rules.

ideal

him,

same

the

of

would require the

e.,

(i.

concerned,

tic

value he desires to
impart to them.

represented,

is,

as

to music.

the

new

of inventing

room

the nata has no

for that

musician

notes or

be

to

used

up

his

characterisfull aesihe-

being

in

the

setting

former

the liberty nor the necessity

has neither

haphazardly

for

only those

would suggest the

applying the existing ones, so

by inventing gestures

original

the business of masters (acarya)

is

language and the

no obscurity which

were, a lyrical poem, and the abhinaya

it

manuals, an account of the notes

As

him,

nata, but in building

to touch

is

moods which, properly

the nata the play

to leave

is

of the

interpretation

to

applied

a
interpretation of
play,

as far as the

tic

To

own

accordance with the prescribed

in

the playwright)

be

scarcely

his

Hindu playwright,

development of the plot are

characters, he

not

is

13

the

of

art

etc..

who know

the

20

In consequence of this, the spectatheory and practice throughly.

tors were
spared the necessity of putting up with fanciful interpreta-

which individual

tions

this the nata

had

natas

might make

sufficient scope for free grace

In spite of

their cost.

at

and

fitting variations

on

the usual play of limbs.

Vacika abhinaya may roughly be called die use of proper

21
According
pronunciation, modulation of voice, accent and rhythm.
(ii)

some Hindu

to
all

theorists

it

occupies the

first

a
place in
play, because

other branches of abhinaya viz., angika, aharya and sattvika, depen-

ded more on
have

for

it

than

this

rules of proper

proper
status

it

vacika

does on them.

abhinaya

also

to

included.

The

use of different

rules of the

21

A. K. Coomaraswamy, The Mirror

NS. XVIIl-XIX.

22

Ramdas Sen, Aitihasika rahasya (Bengali)

20

1885, p. 97.

than the

according to their

persons

These

But the meaning which

more extensive

dramatic delivery.

forms of address
are

is

22

of Gesture^

Part

Hindu

they

modern

dialects

and

rank or social
theorists

arc

pp. 3-4.

II,

second

Edition, Cal.

ABHINAYADARPANAM

14

of a

and

elaborate

very

to

well-adapted

out the

bring

lyrical

qualities

play.
(iii)

nata help

The costume and the appearance of the

Aharya abhinaya.
him in his work. They reveal the sex, rsce, sect or class,

social or other

The

position of the character represented.

costume and physical decorations

etc.,

play,

is

which

part

the aharya

called

23

abhinaya

motionlessness, perspiration,

voice, trembling,

sometimes

movements

be

their confusion

is

due

by words, and

modern

the

to

on

mostly

with

expressed

some

of limbs,

between

is

of colour, tears

change

to

no distinction

abhinaya

is the
representation
the vital principle itself.

arising from

conditions

conditions are:

are

This

Sattvika abhinaya.

(iv)

chic

eight psy-

These eight
change of
But as these

horripilation,

and fainting. 24

the help of suitable gestures or

scholars could, however, discover

and angika abhinayas. 25

sattvika

overlooking

the fact that while the

But

angika

things, and represents ideas conveyed

external

intellectual

of

changes

in a

man,

the sattvika abhinaya

because the eight conditions enumeris a thing expressing the psyche

ated above proceed from the inmost recess of the soul and pervade
;

the whole body.

they

But

(i.

in

e.

nature,

the eight conditions) from a separate branch of the abhinaya,

spite

sattvika

and deep-seated

distinctive

to their

Owing

of this possible

has

abhinaya

abhinaya when

every

distinction,

it

cannot be denied that

chance of degenerating

the nata lacks the genius as well as

the

into the angika

proper

training in

his art.

IMPORTANCE OF THE STUDY OF ABHINAYA.

Q.

rightly

acted.

observed

Hence

that

no

in order to

It

has

been

more than potentially such till it

play
understand a play properly, one must see
is

is
it

the stage in the manner in which the author designed it

produced on
If this, however, be not possible one should at least know
to be done.

23

Ramdas Sen

24

Ramdas

25

Cf. Keith, of.

of.

Sen, op.

cit. t
cit. t

cit. t

pp. 97-98,
p.

MS. XXIII,

93, N5. XXIV,

pp. 367-368,

2-3.

1-2.

INTRODUCTION
thoroughly that particular

misunderstanding

it,

The Hindu

taste.

manner, otherwise there

o
spite

in

plays,

15

is

chance of

every

or

artistic
sympathetic imagination
as our
knowledge goes, cannot be said

as far

have been properly appreciated by modern

they were studied without adequate attention

to

critics,

to the

because

merely

technique of their

Those who have made any generalisation

representation on the stage.
on their value, depended merely on the treatises on the literary
technique of those plays (such as the Dasarupa or the Sahityadarpana),
which themselves are not fully intelligible unless they are read along

with

treatises

on abhinaya and other

That

(art of production).

proper appreciation

of

this latter subject has

Hindu

as

the

prayoga-vijnana

much

to

do with the

plays has been recognized by few scholars

The few

and emphasized by none.

them picked out

branches of

stage-conventions which some of

were

grotesque or meaningless,

hindrance

rather

Hence it is clear that the Hindu

than a help to such an appreciation.
to
be
And its
abhinaya requires
investigated more carefully.

art of

as well as the
practical details

principles

them

underlying

should be

most exhaustive scrutiny.

Abhinaya and Painting. In the Visnu-dbarmottara?*

subjected to a
(i)

it

has

been said that the canons of painting are difficult to be understood

This remark is
without an acquaintance with the canons of dancing.
not intelligible to one

who

includes abhinaya, and was

although in later times

it

is

not

came

the postures of

of

An

fact

that

more

or less

dancing

its

origin,

exclusively

acquaintance with abhinaya, in

student of painting a more or

men

the

to be associated

with the performance of natyas.

fact, gives the

aware

to a great extent responsible for

definite

less

according to changes (physical,

idea

mental and

about
spirit-

which they arc subjected by the different objects surrounding

The value of a treatise on abhinaya lies in the fact that it
them.

ual) to

presents to us a

more

or

less

systematic

possible artistic gestures which,

may
26

evoke

and

elaborate

study

of the

when reproduced on the stage by natas,

Anyone who has some idea about

rasa in the spectators.

Ed. Venkatcsvara, Bombay, 1912* Part

III, ch,

II.

4.

AbHtNAYADARPAttAM

16

the technique of painting

will

understand

varying gestures by head, hands eyes,

lips

student of painting to

in

in its endless

acquire

skill

anatomy

condition,

purpose
that

of

(ii)

in its

its artistic

who

does not

of

would help a
human form
such as

considered in

(which

the

know

its

includes

rhythmic movement

for the

knowledge

of

possibilities.

The Visnu-dharmottara 27

Abhinaya and Sculpture,

opinion that one

dancing

and can thus vivify

rasa,

anatomy by revealing

the

human form

the

of

human form

evoking some

feet etc.,

depicting

while the canons of

abhinaya) consider the

descriptions

and the Abhilasitaratha-cintamani,

are given in the Visnu-dharamottara

motionless

and

the

In fact the canons of

painting

variety of poses.

give nothing but the

how

is

also of

the canons of painting, cannot be

acquainted with the canons of making images.

This

will

be clear to

one who has understood the relation between

given above.
all

doubt in

27

Part

And

study of the

AD

this matter.

III ch. 2.

In connection with
II

iff.

rules

of the

pp. 30
ranganasutradhara (vol.
etc., almost in the language of the
gestures

painting and abhinaya

may be expected to remove

for

making images

COS Edition)
MS (IX. ^ff),

describes

the Sama-

the

hand

(3)

ABHINAYA:

THE ORIGIN OF ABHINAYA.

10.

connected
its

ITS HISTORY.

with

rupakas or

An

application.

is

natyas,

essential

of

part

abhinaya^ and gttas (songs) are

made

'Abkinaya, though closely

(a)

them alone

in

(pantomimic dance)

is

not restricted to
nrtya

perfect

when they

are accompain-

ed by proper
angika (physical) gestures to suggest their
natural that

it is

history to

which

Not

part.

different

abhinaya

apart

from

social

of

rituals, folk-songs, folk-dance

to the

growth and development of

itself.

Different masters of the

course of

its

date

either thp relative

which

we

lack

of

art

priority

adequate
or

its

the

own
their

but also

growth,

entire

the

history

of

comprehension.

proper

and folk-plays contributed

this art as well as of

part

materials

importance

natya (drama)

who

abhinaya

long history, did also do their

at this distant

its

phenomena which influenced the

abhinaya, should be taken into account for

For instance,

its

and nrtya contributed

git* (song), nrtta (dance)

only the composite nature

have

should

natya

Hence

spirit.

this

in

to

flourshed

matter;

study

in

but

accurately

of the different forces

some way or other might have influenced the growth of

below only a few facts which reveal the
abhinaya, we shall consider
in

characteristics

that abhinaya has in

tions, sacred or secular as a

of

its

means

common with

of suggesting

other social institu-

the

complex nature

growth.

(i)

Gtta and Abhinaya.

It it a

well-known

fact that at

certain

nrtta
their evolution,
(including nrtya)
gita, (vocal music)
stage of

and

came very rightly to be considered not

vadya (instrumental music)
but
also mutually dependent. The word samgita
only homogeneous
which includes these three

arts

and which has often been mistranslated

an invention belonging to this stage. This inclumerely 'music* was

sion is of help in understanding the connexion between gita and nrtta

as

(nrtya).

And

abhinaya

as will

be seen

later

on very

clearly,

is

connect-

ABH1NAYADARPANAM

1$

ed

with nrtya.

becomes

clear.

the

Therefore,

relation

same

In practice also, the

between gita and abhinaya

is to
be seen even

relation

even when they are not dancers, usually

with
accompany
gesticulation. "This is of two kinds, of
which the first, quite distinct from what is spoken of in the present
the reflectreatise, is a hand movement reflecting the musical form;

now;

for Indian

singers,

their singing

tion of

but not

less often

and

relative

is

sometimes very impressive or graceful,

The

grotesque.

'shewing of moods'
ture'

is

empathy (sadharam),

second,

known

as

bhav-batana

of the
type here described as abhinaya, or

or

'ges-

from (abhinaya applied to) Natya only in the greater

1
importance of the music and the words".
differs

Nrtya and Abhinaya. The indispensable connection between

and
nrtya
abhinaya can be gathered from Dhananjaya's description of
(ii)

He says nrtya is the representation of concepts conveyed

2
words
by
(fadarthabhinaya). The description of Sarhgadeva establishes
He says 'that which expresses bhavas
the connexion more clearly.
the former.

'

(States)

by means

of angika

(gesture)

is

nrtya.'-

But according

to

commentator of the SR, angika- in this place

well as sattvika abhinaya.*
But there are, as will

Catura-Kallinatha, the
includes vacika

as

be seen later on, other factors which

development of natya
nrtya

is

contributed

their

share

to

the

and abhinaya, although the contribution of

This importance will be better

surely the more important.

when we observe the fact that abhinaya has almost always

been discussed in the works on samgtta in the chapter devoted to nrtta
which treat only of abhinaya, look to
and works like
(nrtya),
5
This mode
this as an art concerning solely the nartaki (dancing girl).
understood

AD

of treatment probably points to the fact

that abhinaya

first

came

to

be studied and systematized in connexion with nrtya, and hence the

in works
prepared much later when it
sign of that dependence even
came to be largely associated with natya.
1

MG.

[Words enclosed! within square brackets are ours.

p. 8.

I. 14.

Dasarupa
SR. VII. 28.

Jika, on SR. VII. 28.

AD,

si,

23b-27a

INTRODUCTION
The

relation of

19

may be

abhinaya to natya (drama)

said

become more intimate through the relation of the latter

the NS, the well-known work on natya and the musical

down

lays
to

that a play should be so written that dance

prescribed association of nrtya with

It is this

it.

to

have

to

for

nrtya,

arts,

can

clearly

be

Hindu

added

plays that

the latter to the name natya which means

a
thing to
literally
be danced, or performed by a nata (originally a dancer,
subsequently
the performer of natya). Indeed, it has already been mentioned that an
entitled

natakam nanrtuh
expression like

was used

(danced a drama)

in the

Harivamsa.^
(iii)

ritual

Ritual and Abhinaya.

Vedic.

(a)

The

part

which the Vedic

might have played in the origin of Hindu plays has been ably
8
In spite of there being no
more than one scholar.

discussed by

unanimity of opinion among them

the Vedic age contributed, even if
the origin of abhinaya.
that

natya

has

trace
specially abhinaya can

dismissed.

lightly

Samans,

are

still

9-

might

The testimony

whole

as

it

And

said that the ritual of

be to

NS,

of the

a small
in this

extent,

origin from the Yajurveda,

to

connection,

from the four Vedas, and

sprung

its

may be

it

all,

may

that

not be

Vedic hymns, at least

with some kind of: gesture, should

also the fact that the

chanted mostly

be remembered in this connection.

(b)
Epic Recitation and Abhinaya. The recitation of epic poems
the Bhagavata and other
such as the Ramayana, the Mahabharata
t

Puranas,

which

takes

generally

place

on the occasion

festivals, has some kind of abhinaya ascociated with

just like

good

orators, are required

audience

for impressing the

NS. XVII. 123.

Harivamsa, Cal. (1827 Saka)

Keith, op.

cit,,

10

Kathakas

or

original epics

good

(Mbh.

story-teller

to

make

with what

II.

93-28,

liberal use

they

deliver.

p.

who

9
read

before

or R.) or the Puranas, and

interspersing

of original Sanskrit
passages.

their

religious

of

gestures

The

theory

314.

pp, 23-27.
those

of

For Kathakas 1 -

it.

an

audience

NS,

i.

17.

episodes

explain them with the

from

art of a

narration with songs, or musical recitation

ABHINAYADARPANAM

20

Hindu

of the origin of

receives

on additional support from

Mudras and Abhinaya. Tantrik mudras

tures of the

hand)

in

not

is

otherwise

is

this fact too.

have some resemblance

abhinaya. This however,

of
suggest any clear connection

used

which

recitation

Tantrik

justified,

(c)

plays from epic

to

allow

to

sufficient

Tantrik

with

ritual

ges-

(ritual

manual gestures

the

us

to

the origin of

abhinaya.

and Abhinaya, Folk-songs, folk-dance and folk-plays

of abhinaya in them.
Popular ballads of

Folk-arts

(d)

also contain

some elements

be supposed to have been sung with some sort

and similarly folk-dances and folk-plays also were
These folk-arts can be witnessed even
probably accompained by this.
11
the
in
the
Gambhlra,
Gajan and the Nllapuja (of Bengal)
now-a-days
ancient times

also

may

of crude abhinaya,

and the Ramallla

mony

of the

The Mahavrata

cere-

Vedic times might be a trace of their early existence. 13-

As

Kalidasa.

has been

some material

affording

THE DEVELOPMENT OF ABHINAYA.

ji.
of

the Uttar Pradesh), thus

(of

us to arrive at their historical prototypes.

al for

taken

Patanjali

largely

practised.

mean

to

thar abhinaya was

time of

word freksa

the

in

(c.
1

vogue

used

dramatic
the

in

140 B.C.)

too,

in

show
^th
the

Kautilya's
it

century

seems

art

In the age that followed,

this

art

Arthasastra

be

may

time

the

Before

(a)

assumed

B.

C. At

to

have

made

the

been

further

the first testimony of which is the fragments of Asvaghosa's

This
great Buddhist poet is placed by Sten Konow in about
plays.
14
C,, but Keith is for placing him earlier.
150

progress,

In the Saptasatakam (Saptasatt or Sattasai) of Hala alias Satavahana

nadaa (nataka) and pavvararnga (purvaranga") are

1 1

Haridas

Nilapuja to

12

all

The Gambhira

Palit.

mentioned

side

by

belongs to the Malda district and the

parts of Bengal.

Hillebrandt, Ritual Litteratur p. 147. Sten

Keith, op.
p. 42,

13

Keith, op.

14

Sanskrit

cit.

23-24.

cit., p.

Drama,

31.
p. 70.

Konow,

Das indische Drama,

INTRODUCTION
1-

21

The word

furvaranga, being a technical word connected with

the production of a natya on the stage, shows that the art of
abhinaya
was at that time in a more advanced stage than in the age of Patafijside.

As

ali.

the

for

date

must have

of Hala, Winternitz says that he

2nd century A. C., at the earliest. 18 The

Avadanasataka, a Sanskrit Buddhist work describes the performance of

reigned either in ist or

The

a Buddhist nataka.

enough

development of the

siderable

wjrd

'natacarya*

the

in

that time

accord to

its

master-wdta

of

presume

become important enough

is

More

it

1*

nearly a

words

director

a
a

the

of

professor
of

the eyes of the

in

who

party
nata

people

of

had
to

Vedas and the Vedangas

work considered

between 200 A. C. and 253 A.C.

varnsa.

is

venerable teacher the title of acarya which was generally

This Avadanasataka

etc.,

or the

that the art of

given a master of seacred works like the

to

in that work,

The mention

of abhinaya,

art

sense

gives us good reason to

natas} 9

nataka

was consequently the

trained the natas (and

by

description of the

show that the age which produced the work witnessed con-

to

to

have been written

abhinaya is to be found in the HariThe word abhinaya with its derivatives has been used in
This fact together with mention of technical
dozen times.

copious

like nandi,

reference

to

and vidiisaka gives us ample ground for

nepathya
work was written at a time when the art of
t

presuming that the

abhinaya reached a high degree of development.

the date of the Harivamsa varies between

The

lower limit of

200 A. C. and 400 A. C. 1 '

however, be no objection to placing the work

There should,

in

the

second century, for the Bhasa-plays including words like can, gati
used in connexion with abhinaya have been assigned to 300 A. C.

Kavyamala

16

Weber's

no; Weber's

Gescbicbte der

ed. p. 127.

indischen

Litteratur, Vol. 3, p. 103;

also

ed. of the Saptasatakam, p. xvii.

Levi, of.

17
18

cit.,

p.

320 Avadanasataka

(ed.

Speyer) Vol. 2, pp. 29-30.

II.

92-93.
Hopkins, The Great Epic of India, pp. 387, 398.

19
Vol.

ed. p.

Wintsrnitz.

i,

p.

401

(Jransl. p. 464).

Winternitz,, op.

cit.,

ABHINAYADARPANAM

22

drama of

in the exstant

prominent

made

a
in

that

departure

and

song
from the

In

dance.
of

style

assigning

Kalidasa

more or

less

respect he probably
It seems
predecessors.
this

his

with

Kalidasa

beginning

was rather

innovation

this

which always characterizes

of the firm self-reliance

spite

he uses

genius,

great

his time consisted in

the admirers of old masters like Bhasa, Saumilla and others;

in

hence,

to

place

the

of

afraid

The improvement made by

In the age of Kalidasa.

(b)

Malvikagnimitra.

and

song

The

dance

cautiously

very

which must have

success of this

the estimation of his contemporaries, convinced

him of

raised

the

in

him

in

the fitness of his

method, which he applied more freely in the Vikramorvasi the proper

production of which would enable one to see the best specimen of the
art of

abhinaya.

The
of

and

value of Kalidasa's innovation from the standpoint of the

abhinaya
lyrical

Hindu

immense.

is

in their

plays

became

character

conception

him unique

spectacles

poems

after

element was given the fullest

lyrical
the more important scope given to song and dance.
in

which the

The

After Kalidasa.

(c)

made much much advance

Kalidasian
great

But

genius.

studied

composed
it

new

afresh,

is

the

12.

old

abhinaya does not seem to have

For the plays of post-

sure

more or

less after

the manner of that

that from time to time gestures were

gestures were added to their number, and some-

All these we

also

THE LITERATURE ON ABHINAYA.

which can be
Krsasva

ones

prominance by

after Kalidasa.

were slightly modified.

below under the literature on abhinaya.

times
see

are

age

art of

art

in their

the earliest

called

mentioned by

Panini

(c.

The

treatise

shall

on abhinaya

the Natasutras of Silalin and

is,

600

B.C.).

We

do not exactly

know what these contained, but if any conjecture on the subject is

allowable, we may presume in the light of a study of the later works
on nrtya and

among

other

and postures

abhinaya
things

etc.,

that

Silalin's

description*

and Krsasva's work contained

probably

classified

and where and how the nata was

to use

of gestures

them,

INTRODUCTION
The NS which among
thus

the

ether

NS

sometimes been assumed that the

text

meaning by the term

prose

formulae

existed

such

in

afraid that the above

Though
author

MS

the

written

all

assumption

it

is

is

of

highly
or

its

careful examination of the

stitra-

such actually

as its
abridge-

work.

But we are

based on a very weak

foundation.

if

and

Natyasutra

dubious existence,

doubtful

If

which,

versified

has often been referred to as the

metres

in

BhA

than the

earlier

has

It

subject.

has

its

been called the

NS

anything except the present

prototype of a like nature, ever existed.

word

is

consisting of highly compressed

probability

Bharatamuni

the

stitrakara,

work

abhinaya,

from was

in its earliest

the Astadhyay'i of Panini.

as

might have been

it

ment shows, was

oE

treats

things

work dealing with the

available

earliest

23

stitra will

this view.

support

It is

A
on

word karika occurring in the text of

the NS (VI, ii. 31) that one makes the above assumption.
As the
meaning of the word karika is quite plain, we are to discuss only the

word and

the basis of this

of the sutra.

meaning

that

firmly,

prose

to

is

An

authority
In his

such a belief.

like

the

as

Abhinavagupta

distinguishing between karika and the

noteworthy

(written
too

call

in

stltra.

In

NS

the

the

is

blow

not

for

mangalacarana

the Bharata-siitra.

one should remember that the Rk-pratisakhya

This also
verse, has been called the Parsada-sutra.

that

the

Southern

prolix prose) suttas (

some of

vibhagasutra

deals a cruel

this fact,

written entirely in
is

very

or

Astadhyayt

comments on NS. VI. n. 31, he

of the Abhinava-bharati, he has called the very

Together with

perhaps

work containing highly compressed

on any subject such

formulae

and

believed,

generally

means

word

this

Brahmasiitra.

It

of the

of

Buddhists

= siitras)

their metrical treatises

Maitreya-natha).

The

called

their

and the Northern

sutras (e.g., the
stitra

(thread)

scriptures

Buddhists

Madhyantawhich runs

through flowers in a garland seems to have led to a metaphorical use

of the word. Hence stitra means merely central principles or essential
On taking this view of the meaning of the word sutra we
rules.

may

consider the

NS

(in metre) to

be the

earliest

available

work on

14

AfcHlNAYADARPA^AM
Then come

make room

Agnipurana and the

the

for

Visnudharmottara

the

Visnudharmottara which
t

The

a treatment of abhinaya in their body.

been

not

has

critically

discussed

date of

by any

may be that this work belongs to a period not

20
than 500 A. C.
And the Agniparana has been placed in the
21
half of the 8th century.
authority, but

later

it

20

Indian Antiquary, XIX,

21

S.

K. De, op,

cit

p.

408. Jolly,

Hindu Law and Customs*

latter

p. 69.

p. 103.

(4)

ABHINAYADARPANA
SCOPE OF THE WORK.

13.

The

AD

treats

in

details

the

angika abhinaya which inculdes gestures, postures and movements

dependent on feet. The exclusive attention paid to the angika abhinaya
is

due

importance with reference to the training of the natya and

The same importance may be said to have been recognized

to its
1

nftya.

by Amarasimha the famous lexicographer, for he mentions in his Kosa

only angika abhinaya and the sattvika, primarily dependent on the
former.
(a)

Gestures.

furnish the basis

To

understand the proper value of gestures which

of the angika abhinaya one should observe their

application in other department of social activities.

Cambodian dancers who owe

with great pain.

Indian

See,

Gestures in the

Art & Letters, 2nd

their art to ancient

Cambodian

issue for I$f2y.

Sec the Amarako^a under 'Abhinaya*.

Ballet

Gestures are

India

by

J.

still

first

learn this

Cuisihier

in

INTRODUCTION
met with

in the

of primitive

languages

25

people.

It is

sure

that they

played an important role in the evolution o human speech.

gesture
is used
by mutes and even by others when they meet persons speaking
a language
And often it so happens that
unintelligible to them.

some

gesticulation

accompanying

of suggestion that

power

therefore, that they

arts of

mankind

is

This clearly shows the

spoken.
It
is no wonder,
inherent in gesturse.

words

were combined with dance

The

of
to

the

and have been endowed with

But

rasa in
persons witnessing dance.
this.

without some

ideas cannot be adequately

expressed or explained

ritualistic

use of gestures

first-born

rhythm

they have other

known

as

mudras

to

uses

is

among

call forth

an

besides

instance

Sadhakas (devotees) of the Tantrik school use them. According

some they are meant to emphasize and intensify their thought, and
it.

thus giving

them the

bliss

(mud) of meditation. But gestures used in

And nrtya and abhinaya also
from mudra.

abbinaya and nrtya differ

have different principles of

For in nrtya gestures are

utilizing them.
used by themselves, whereas in natya they are used in accompaniment

of words, to
suggest their

meaning.

But whatever might be the

application of gestures

one respect: in

all

difference of

in nrtya,

those

cases

symbolical, rather than natural and

matters (1-48), the

i.

ii.

iii.

iv.

Nine

AD

treats the

principle

regarding

the

abhinaya and mudra they agree in

they tend often to be artistic and
simple.

After

the

introductory
*
following kinds of gesture:

gestures of the head (49-65).

Eight gestures of eyes (66-79).

Four gestures of the neck (79-87)

Twenty-eight gestures

by one hand

(87-165) and

four

additional gestures (166-172)

v.
vi.
vii.

viii.

ix.

Twenty-three gestures by both the hands (172-203)

Gestures for representing gods (204-215)
Gestures for representing the ten Avataras of Visnu (216^225)
Gestures for rcspresenting different castes etc.

(226-231)

Gestures for representing various relations

ABHINAYADARPAfrAM

16

Gestures of hand for dance in general,

X.

moving hands

and the

method

of

dance (244-249).
Gestures for representing nine planetary deities
(250-258)
Postures and Gait.
After treating gestures, the
treats

xi.

in

AD

(b).

and various movements of the body depending principally

and
It is a
(2595.).
plain fact that the carriage of the body

of postures

on

feet

its

various

movements often characterize

On

person.

assuming this,
and move-

the theorists of the art of

abhinaya have codified postures,

ments of the body depending on

i.

feet.

Mandalas and Sthanakas

or sixteen

modes

of

standing

and

resting (260-282).
ii.

iii.

iv.

One

Utplavanas of five kinds or leaping movements (282-289)

Bhramarls of seven kinds or flight movements (298-332)
Caris,

and Gatis or eighteen kinds

peculiarity

noticed

is

in the

of gait

(298-332)

treatment of

the above

items.

Unlike that of gestures definitions of various postures (except in

and feet-movements are not accompanied by

case of Sthanakas)

An explanation of this fact

viniyoga (application).
end of
in the
following terms

AD

is

the
their

available at the

"Mandalas, Utplavanas, Bhramarls, Caris and Gatis according to

one another, arc endless in number and variety. Their

their relation to

uses in dance

and drama

arc to

be learnt from the

sastra,

the school and through the favour of good people^ and

tradition

not

of

otherwise

(322-324.)" This probably shows that at a very time when no work

was compiled, the uses already recorded incase of the above movements,
depended solely on the principles known to teachers. Probably fot
this reason

we do

a very early

14.

not get

them

in writing

which

THE ABHINAYADARPANA AND THE NATYSASTRA,

Sastra (not the Bharata-Natyasatra) has

as

AD

in the

an authority in the

treats of the

follov/s

tradition.

AD,

been

and the extant

angika abhinaya

two works becomes necessary.

(gesture),

N5

many

Bharata-

times referred

to

in its chapters VIII-XI,

Hence

comparison of the

INTRODUCTION

27

According to the MS. (Ch, VIII) there are

thirteen gestures of head while Nandikesvara has
only nine. Among
them five gestures have common names in both the works; besides
(a)

this, the

Head-gesture.

names

of

two gestures agree

partially.

comparison of the names, definitions and viniyoga (application)

two works shows that the gestures named

of the head gestures in the

Adhomukha,

Alolita,

= Lolita),

vahita are defined in each

applications also the

(ii)

has eight varieties, while

(66ff.)

gestures.
in

It

is

AD,

(i)

agrees substan-

Each of the classes

the class

not so elcborate in

(i)

and

101

VIII.
for

eyes

eyes for expressing sthayi-bhavas, and

pressing sancari-bhavas.

AD

agreement ; besides

NS. (Ch.

to the

there arc three classes of eye-gestures, such as,

eight rasas,

Pari-

their

MS.

According

Eye-gestures.

a considerable

gesture Udvahita in the

with the Utksipta of the

(b)

Dhuta, Kampita, Paravrtta and

manner. As regards

in a similar

two works have

this, the definition of the

tially

work

(iii)

eyes for ex-

in their

(ii)

has twenty varieties.

(iii)

its classification

turn

But the

or division of

them. The

enumerates only eight kinds of

ff.),

expressing

these

classificstion

the two works has not any common name.

(c)

Neck-gestures.

The NS (Ch.

VIII. i64ff), enumerates nine

kinds of these gestures while the

AD

The two enumerations

common

(d)

possess no

Hand-gestures.

Though

the

kinds of them.
(jgff) gives four

names.

NS

and

AD

agree in classify-

and though these three classes

ing the hand-gestures into three classes,
common names, they differ as regards the number

possess

many

in each class as well as

well

as

in

their

and application.

definition

Let us consider them separately.

9

(i)

Single-band gestures

According

to the

are twenty-four gestures in this class, while in the

is

NS

(Ch. IX), there

AD,

their

twenty-eight. In both the works twenty-two gestures have

names Their
considerable

description and application too

agreement,

in

the

number

common

two works have

ABHINAYADARPANAM

28

The comparison of the two works on

i.
The definition of the following
in

both the works

this

point yields these facts

thirteen

similar

is

gestures

Pataka, Tripataka, Ardhacandra, Arala, Sukatunda, Musti, Sikhara

Padmakosa, Sarpasiras, Mrgaslrsa, Catura, Bhramara, Mukula.

The following gestures have some points of agreement
ii.

The number

as regards their application.

varies in each case,

and

it

of

those

points

has been noted against the

name

of each gesture mentioned below.

Pataka

(2),

Tripataka (2), Ardhacandra (i), Musti (/), Katakamu-

kha (4) Padmakosa (j) Sarpasiras (5) Mukula

iii.
Except in the cases mentioned in

The

(ii)

above

of the gesturas vary in the

(application)
iv.

(2),

the

definitions of the following gestures

vary in

works:

Katakamukha,

Kartarlmukha,

viniyoga

two works,
both

the

SucI,

Kapittha,

Sandamsa,

Kangula, Alapadma (Alapallava), Hamsapaksa,

Tamracuda.
v.

The

following gestures of the

to their viniyogas (uses)

given
of

how

to

as

things:

Pataka,

and

gesture

NS,

are subdivided

according

special instructions have

is

to

be used

in different

been

groups

Tripataka, Arala, Suclmukha, Catura,

Sandamsa,
(2)

Combined-band

gestures.

this class, while the

gestures of

AD

The NS (Ch. IX) names

thirteen

gives twenty-three.

comparison of the combined-hand gestures named

in the two works, we have the following facts
similarly
The following gestures in both the works have substantially
i.

As

a result of the

the same definitions, and their applications also agree mutually

to

great

extent,:;

Anjali, Kapota,

Karkata

and

Puspaputa.
ii.

The

gesture

named Puspaputa

is

almost similarly

defined in

both the works,

tii.

The remaining
applied

in the

three gestures

two works.

are

differently

defined

and

INTRODUCTION

29

According to the NS. (Ch. IX. 1735.) they

arc twenty-seven in number and different from the single-hand and
But their number in the
is
combined-hand gestures.
thirteen,
(3).

Nrtta-hastas.

AD

and they
gestures;

are not

anything

six

for,

different

them

of

from the single or combined-hand

(Pataka,

Tripataka,

Sikhara,

Kapittha,

Alapadma and Hamsasya) are the same as the single-hand gestures of

the same name, and the remaining seven (Anjali, Svastika, Dola,
Kataka-vardhana, Sakata, Pasa and Kllaka) are the same as the
combined-hand gestures of the same name.

number

the

each

of gestures in

Thus, whatever might be

total number of hand-

group, the

gestures arc sixty-four according to *the

NS, and

fifty-one

according

AD.

to the

According to the NS, Carls are thirty-two in number

and are divided into two classes; (i) earthly (bhauma) and (ii) heavenly
Cart.

(c)

(aka'sagamt).

But the

AD,

and they constitute

The two works have no name common

has only eight

only one class by themselves.

Carls

in their Carls.
4
According to the MS, Mandalas are twenty in
number and arc divided into two classes: (i) earthly (bhauma) and

Mandala.

(i)

AD

but the
gives only ten of them and does
(ii) heavenly (akasika),
The two works have no common names in
not classify them at all.
their mandalas.

15.
these

THE ABHINAYADARPANA AND THE BHARATARNAVA

works arc

the two

works

ascribed

may

be

to

Nandikesvara,
indentical.

and

The

the

tradition

MG

Both

authors

of

recorded

AD

opening verses of the text used for the

says that the
is an
on
si.
of
the
notes
BhA.
But nothing
i),
abridgement
(vide
in
found
of
be
the
is
five
to
like this
any
manuscripts collated for the
in the

Hence in the beginning we disbelieved it. However

informed
that a manuscript named the BhA, exists in the
being
library of Bhandarkar Oriental Institute, Poona, we procured a loan of
it for
This led to a
placing our conclusion on a surer basis.
through
present edition.

See NS. XI.

iff.

Sec NS. XI.

4.

ABH1NAYADARPANAM

30

examination of the same work,

And

nrtya.

MS

same name.

occurs

work

In the

or at best

body

alapacartm vaksyc'ham

work

his

called

of the

recasting

old

work

work the following passage

of the

to

the

so-called

work of Nandikcsvara, and shows that

depended on

as

Bharatarnavam-amanthya

This adds to one's doubt as

original

well

as

BhA, which we have

of the so-called

appears, to be a different

of abhinaya

treats

the following are the results

The Poona
of the

which

BhA.,

being

a compilation

it is

as well as that of the so-called

Bharata

the

which

i.e.

his

Sastra.

At

the end of the chapter referred on misellaneous hands

it

writes

bharatartha-candrikayam bhudhara-raja'duhitrracitayam, and the colophon, which follows

this, is (f.

42)

iti

sri-Nandikesvara-viracita-Parvati-

prayukta-bharatartha-candrika-nanartha-prakaranam samaptam-astt.
Read together with the superscription (nandibharatokta-samkfrna-

dhyayah) at the head of this section, the above colophon offers

and again adds to our doubt as to the so-called BhA, being
with Nandikesvara's work

work

different

of the

name

same name.

of the
of the

MS

This

however, gives the

the

work

as the

probably shows
Nandikesvara.
In

its

MS,

BhA.
to

it

it is

sure,

name

of the

altogether a

depending on

work

as the

this

BhA.

only, for

The

labelling

These various ways of describing the work

be something other than the original work of

treatment of hand-gestures of the

of

may

identical

for its material.

depended on

and samyutahastas), P resembles to

number

be

Bharatartha-candrika

Nandikesvara as well as the so-called Bharata

discoverer of the

It

a puzzle

asamyttta-hastas

first

great

(single-hand

two kinds (asamyuta

the

extent

gestures)

AD.

The

twenty-eight in
the P. Of these,

is

number is twenty-seven in
similar definition and description in both the
have
twenty-six gestures
The number of sarnyuta-hastas (combined-hand gestures) in
works.
Of
the AD, is twenty-three while in the P their number is sixteen.
the

AD,

whereas their

these, seven

have

common names

and application of

six

in the

two works, and the

definition

have a substantial agreement in the both,

only

INTRODUCTION

31

but the treatment of nrtta-hastas in the P,

of the

AD,

Unlike

the

AD,

gestures called ftrtta-hastas.

In

resemblance

MS.

extant

the

to

sixteen in the P, whereas

in the

Of

NS.

the

their

this

regard,

The SR
it

is

common name

these, twelve

THE

ABHINAYADARPANA

being

evidently

necessary

to

work

two.

compare

and

AD,

has

treated

etc.,

gestures

SAMGITARATNAKARA.

in
It

various

more

are

nrtta-hastas

than twenty-seven
are found in both the

THE

posterior

the

work bears

latter

of

that

hand-

of

set

less

differ.

AND

SR which was compiled from

that

NS

not

no

is

works, but their definitions and applications

16.

the

The number

numder

new

describes

from

different

is

date

to

AD,

the

goes without saying

sources such as the

SR.

(vide

elaborately

14-16, 21-23, 40-43, 75, 55-56, 72, in, 145, 187,

But it should be mentioned that the author of
189-190. Ch. VII).
the SR, has from time to time retained the very language of the
i,

4-12,

source-books.

Besides the above, the SR, in other cases too bear clear

an influence of the

17.

The

THE STYLE AND METHOD OF TREATMENT

present work

like

is

written

in

simple

kirtitah

purvasuribbih,
are

very

ucyate

often

And

for filling

the

gestures

some

of the

up the verse

AD,

is

of different limbs separately,

even

for

He

in actual

though
have independent movement'.
of one single limb is never used, except

limbs

moreover the gesture

nrtyai.c >

analytical.

cannot

Sec the treatment of the nrtta-hastas in the N$. (Ch. IX 1738.)

See notes on slokas 31 and 34*

See Us, 89-93 of the AD.

AD.

is

froktah

natyakovidaih,

used

fadapurana.
Nandikesvara's method of treatment in the

abhinaya,

It

the

karmavisaradaih

considers

style.

OF THE

chapters which the NS, devoted to nrtta and

There are some grammatical anomalies 6 and stock phrases

simpler than

abhinaya.

evidence of

AD.

ABHiNAYADAkPAtiAM

32

short

for

exclusion

the

to

time,

of

the

synthetic method has been combined with the

it

we

but

find not

also their

analytical one.

MS,

the

For, in

only the enumeration of the gestures of different limbs,

combination in the form of karanas and angaharas*.

THE AUTHOR OF THE WORK.

8.

In the

rest.

anything with certainty about the

life

not

to

say

and times of Nandikesvara,

the

It

is

easy

reputed author of the AD. This name has been found not only in
connexion with abhinaya, but also in relation to works on various other
subjects, such as, Tala, Rasa, Yoga, Tantra, Kama-sastra, Purva-

Mimamsa and
laksana

toN.

named Tala-

Kavya-mimamsa cities one N. as a writer on

work named Yoga-taravati l( from the hands of one

Rajasekhara in his

There

rasa.

is

11

N. The

Nandikesvara- tilaka

author.

The Pancasayaka mentions

and

Kamasastra,

whom

Besides

this,

Lingayet

author

the

Saivism

is

N.

too,

this

in

as

frankly

his

name

its

as

eponymous
writer on the

stitra refers to

one Nandi

to

the Lingadharana-candrika

of

we

Surely

But

these Nandikesvaras.

N.

identify with N. The Prabhakarawork has also one N. as its author.

inclined

is

Purva-Mlmamsa

vijaya

has

Vatsyayana,

Aufrecht

1*

tala,

works

three

Talabhinaya-laksana have been ascribed

and

Taladi-laksana

The

Saivism.

Lingayet

it

is

cannot

1
-

work on

see a single person in all

N,

probable that

in

connexion with

abhinaya was the same person, and he might have been

from the writers on Yoga, Tantra and Purva-Mlmamsa.
The testimony of Sarngadeva, the author of the SR which quotes

and

different

passages from the

view;
8
9

for,

seems to corroborate the

according to him,

Burnett's
S.

Triennial

'A Classified

K.

DC

12

13

above
part of the

was an authority on samgita, that

of.

TCM. vol.
TCM. vol.
TCM. vol.

Catalogue of

III Pt. I

Index to

cit, t

Mss. Library, Madras (TCM.)

1 1

first

is,

See NS. IV f 30-33. 59.

Tanjore, p. 45;

10

AD,

Mss.

in the Palace Library,

p. 35.

Manuscripts collected for the Govt. Oiiental

vol. IV, and (nos. 3308 b and V 4403 c).

pp. (no. 2595)

IV. Pt.

I.

pp. 4909.

IV

I.

(no. 3433).

Pt.

the Skt.

INTRODUCTION
he made some contribution
It

is

to the art

33

which includes tala and abhinaya.

the writer on ars amatoria was

say whether
But as the
with the writer on sarngita of the same name.
to

difficult

identical

XXV

of the NS dealing with courtezans can be considered

an integral part of the original work, one can say that the identity of
the two authors is not at all improbable.
However, any decision on
the point being very uncertain we shall consider here
merely as a

Chapter

writer
a

on

sarngita,

as

him.

of time tended to identify

An

account of

attendant

of

Siva

woman named
known

be

the

a son

as

being and

whom popular imagination

He was possibly a follower
shows

Lingapurana

was

Silada

was given by Siva

to

14

human

such he was a mortal

same name with

of the

god

and

mortal

originally

who prayed

that

to

son

of a blind

an immortal son and

gods
This Nandl

named Nandi.

in course

of Siva.

Nandikesvara the

the

for

not

came afterward

Nandikesvara and was immortalized by Siva

as the

chief of his ganas.

Mm.

Ramakrishna Kavi

identifies

Nandin

or Nandikesvara

with

was the author of Nandtsvarasamhita, the

Tandu. According to him
whole of which work is extinct now except a chapter on histrionics 15
,

and

this chapter

sufficient

on histrionics

is

probably the

proof in support of this statement,

more plausible suggestion based on

AD.

we may

similarity of

In the absence of

consider this as a

names.

THE PLACE OF NANDIKESVARA.

The god named
19.
Nandikesvara being pupular in some parts of southern India, our
author of the same name seems to have been an inhabitant of that
part of the country.

20.

Mm.
14

THE TIME OF

Ramakrishna
Gopinath Rao,

Kavi

NANDIKESVARA.

who

identifies

Elements of Hindu

If

the

with

suggestion

of

author

of

the

Iconography, Vol.

II.

part

II

PP. 455-459-

15

The Quarterly

pp. 25-26.

Journal of the

Nandisvara-samhita

Andhra

like the

of an author other than Nandikesvara.

Hist.

Research Society Vol.

III.

Manu-samhita may have been the work

ABHINAYADARPANAM

34

may be made about

NanJtsvara-samhita, can be accepted, a guess

date

our

of

author.

For,

is

The
the

a writer

Matanga,

by

quoted

samgita, and may probably be anterior

to the latter

the

by nearly

on

century.

Matanga can be roughly fixed, for, he is mentioned

Tamil work named Silappadikarana which has been assigned
date of

in

the

century A.G. Hence, Matanga who was more or less a century

than the writer of the Tamil work, ban be placed in the 4th

^th

earlier

This gives the

century.
earlier

THE ANTIQUITY OF THE WORK.

abridgement

know

practically

BhA,

the

of

And

nothing.

work

in

perhaps

Lack

nature

besides his there

century

AD,

as

one of

is

its

is

said to be

of

which we

the Nandisvara-

chapter.

Hence,

present state of our knowledge cannot be placed as

the

for

N.

made the determination

of sufficient materials has

AD

AD

The

exact

300 A.C. the probable time

early as the

of the

the

of

samhita which probably claims the

the

who was

than Matanga, as the third century A.C.

21.

an

date of

of the date

We

shall, however, attempt to

very difficult problem.
below
our
a
reasons
for
date
on the basis of available
tentative
give

materials.

The

lower limit to the date

written about

There
the

common

are passages

SR mentioned

gives one

the

occasion to

knew works

to

is

be had

from

the

SR,

work

16
1247 A.C.

like

name

of

AD,

as

AD

and the SR. The

fact that

one of the authorities on samgita

that Sarngadeva the author of the SR,

presume

the

to the

Tdlabbinaya-laksana,

Talalaksana

and

N, and quoted from some of them. Hence,

SR appears to be the borrower from the AD. The

Bharatarnava ascribed to
in the present case,

opposite possibility seems to be non-existent on the following grounds

It has been shown above that the treatment of gestures in the NS
:

is

partially different

from

the

treatment of these in the SR,

AD
is

and

more

more

elaborate.

And

or less in conformity with

Preface (p. 3) of the Anandasrama ed. of the SR.

the
that

INTRODUCTION
of the

MS, though

Thus

in their

the former has

treatment of gestures of

But SR

have slight agreement.

and
(or
Sthanakas)

which

is

from

To

less

hand

which

answer

this

AD

2.

the

NS

the

bears

is

indebted to the

two works

tives together.

light

is its

compiled
of an

It

The

NS

may have

MS,

or

AD,

or

let

us discuss the

An

of head

than that of the

alterna-

AD

has

and hand

in

the

AD.
are

also

more

NS.

One, however, cannot be sure on

Thoug h

this point.

tendency of such things are towards development,

if

the

that the

which these gestures can be used

in the

attempt
:

NS.

more developed

numerous

AD.

source.

two of

first

head

of

to that of the

common

in

VIH-XII.

gestures

appears, on the following grounds,

(b) Instances in

to

however a

is

resemblance?

classification of the
gestures
is

had

17),

chapters

treatment of the

are indebted to a

not borrowed things from the

extraordinary

I.

AD,

some resemblance

indebted to the

For convenience* sake,

(a)

only

be the reason of such a

is

of

name

question suggests the three following alternatives

the

these

SR (Ch.

which we

also treats of gestures

NS,

the

in

1.

j.

The

noticed before,

Now, what may

view

partially

limit to the date of the

difficult task.

NS

from the

the author of the

AD

the

In

developed.

to

Sthanas

from

different

quite

said

Carls,

authorities.

ascertain the upper

As we have

elaborate.

and SR may be

treatment of

other words,

whom

one of the

comparatively

to

AD

its
is

more

classification

does not appear probable that a work

it

recognize as

and

its

a later treatise like the SR, will be

passed off in the

ancient master like

this

in

Mandalas

less elaborate, or in

these facts

made

35

one assumes that the

of an over-elaborated treatise. Indeed

AD
there

it

will

might be

the

is

story that

the

be

general

nothing

abridgment
the

AD

is

an abridgment of the BhA the exact nature of which we do not know.

So there may be a chance that the AD might be the borrower in this

ABHINAYADARPANAM

36

But die BliA has

case.

some

there exists

been ascribed

to

himself, and besides this,

two works

dissimilarity in the

regards the

as

appli-

which have substantially identical definitions.

the two works at times follow separate traditions of their

cation of the gestures

Besides this,

own.

15 and 35) Thase two facts taken together

make one highly sceptic about the existence of such a possibility. This
NS
brings us to the second alternative, viz. the possibility of the

on

(vide notes

si.

The comparative

being the borrower.

cited here to the detriment

this

entailed.

may

gestures

be

again

But one may explain away

being a later work improved

NS

number and

earlier

works, are not rare in the

has added to

ment

ot the

fact.

The

the

in

on

MS,

the

study of

develop-

will also reveal the

increased

poetics to almost

in

same

some of the

four dozen.

The

nayakas which was four according to the

the
is also another fact of the same nature.
Dasartifa,

The above

of

explanation

AD

might be

chapters VIII and IX.

being

like

an

something
Nandin's work)

the

of

Sanskrit

number

to sixteen in

source ot the

For

literature.

the

alamkaras

four

of the

NS

Sanskrit

later

number and variety of alamkaras

treatises

latter-day

of this

also

is

and has modified the uses of some of them.

increase

but

gestures,

NS,
unquestionably a work later than
NS, in its section on gestures, but at the same
the number of gestures given in the latter work,

example, the
has closely followed the
it

variety of

of certain

of

SR which

MS

The

gestures which such increase

application
Instances of such improvement made on things, borrowed

modification

time

classification

direction.

by suggesting that the

the things borrowed. This improvement can be noticed not only

in increase of the

from

such

of this theory.

difficulty

upon

to

common

difference in the application of the

the

elaboration of

and hand gestures probably points

of head

gives
earlier

And

it

room

than the

for

presumption that the

NS,

extant

cannot be said that there

borrower from
evidence

us

the

of this

work of N.
borrowing

of

at
is

least

its

no chance

Indeed we have
the

NS, (from

shape of the colophon at the end of the Kavyamala edition of the NS, which reads as samaptascayam (?) nandibha*
in the

INTRODUCTION

37

This colophon which has puzzled more than

ratasamgitapustakam.
17
one scholar
may be said to record the tradition about the growth of

NS

which possibly incorporated and ampliearlier Natyasastra.

fied Nandikesvara's
original work as well as some
But as in the present state of our knowledge we do not know anything

the extant redaction of the

about

the

original

AD

and the

either

probability of

work

N5

of

or the supposed earlier

borrowing from

common

NS,

the

source comes

to the foreground.

Such

the

being

we

case

cannot give any precise idea about the

But in spite of this, the work does

upper limit to the date of the

AD.

not seem to be quite recent.

The

treatment

the ten Avataras of

of

In its enuprobably points

meration of the Avataras this work omits Buddha and gives Krsna's
name in his stead. This ommission may be explained as an anti-

Visnu made

Buddhistic

Hindus

in the

bias

AD,

Buddha

direction.

But considering the fact that the

an Avatara (incarnation) and respectfully

author.

the

of

raised

mentioned him

to this

to

works belonging to later ages, the theory of an antiThat the

Buddhistic bias becomes weak.
puts the name of Krsna
in

AD

the

in

allows

place

one

Buddha

of

to

in

its

enumeration

the

of

ten

Avataras

presume that the work might have been written in an

age when Buddha was

outside

still

Hindu pantheon.

the

The

18

menMatsya-purana (47.247) and the Bhagavata-pxrana (i.3,24),

lor the first time Buddha as one of the ten Avataras of Visnu.

tion

The lower

limit to the date of the

and the
Bhagavatapurana

may

be

tempted

hfth century of

is

to fix the

the

Matsyapurana

probably

of

is

later

the sixth century,

date.

Thus one

AD

as the
upper limit to the date of the
But as we do not have any
era.

Christian

Some have taken

this colophon
together with chapters (of the NS) on
and not with the entire work.
Probably due to a wrong
impression that satngtta means only 'music' they did not venture to connect the
of
colophon with the whole of the MS, a work on samgita which is mades
1

git A and vadya only

up

the three things

18

gita, v2etya

and nrtta.

Hemchandra Raychaudhury, Materials

for

the

History of the Vaishnava Sect, Calcutta, 1*920, page, 105.

Study

of

the Early

ABHINAYADARPANAM

38

definite

knowledge about the evolution

different

ages,

it

would

not

be

of the

worth

Avataia theory through

while

to

make any such

statement.

Now,
may

sum up our

say that the

century,
its

to

and

it

work

may

existence (in the

though
period

the
still.

kernel

investigation about the

the

AD, we

at the
surely existed
beginning of the thirteenth

have

existed

present form)
of

date of

the

even a few centuries

before

fifth

work may go back

earlier.

century
to a

is

But

doubtful,

more remote

NANDIKESVARA'S

ABHINAYADARPANA
We

Saluation.

i.

world, vacika

is

bow

to the sattvika Siva

whose Jingika

the entire language, and whose aharya

is

is

the

moon and

the

the stars etc.

In the beginning Brahman gave the
Origin of Natya.
Bharata together with groups of Gandharavas
Natya-veda to Bharata.
2-7.

This sloka of the

AD

has been taken by the author of the

SR

without

any acknowledgement (VII. i). This work however recognizes Nandikesvara as

an authority on sarngita which includes nrtya and abhinaya (II. 17, 21).
Besides the first sloka, SR takes from the
others as well.
These have been

AD

16.
pointed out in the Introduction
For meanings of sattvika, angika, vacika, and Sharya see 1 1-14.
In this loka Siva has been
compared with an actor whose means of expression is gesture and
One aspect of
posture as well as voice and costume.

Hinduism

sees in

world, the

human

him the Supreme Divinity who reveals himself through the

speech and the starry firmament. The conception of $iva as

cosmic dancer and actor

(cf.

MG.

sasa,

I.

2.

(Nata-raja)

often to be

is

met with

in

Hindu

literature

TVo

very beautiful examples of the same occur in Mudrarakand the Abhinava-bharati on N5. (COS) IV. 260.

p. 13).

In the MG,
mahgala-sloka has been followed by a dialogue between Indra
and NandikesVara (lndra-Nandtkesvara-samv3da) which does not occur in any

ms, of the
follows

over

AD

used- for

this

The

edition.

Once Indra met NandikesVara and

Natasekhara

knowledge

this dialogue

is

as

he intended to gain victory

and needed

Daitya dancer,

of the art of dancing.

substance of

said that

Then

for this purpose authentic

Indra was advised to listen to the Bhara-

This formidable
tarnava composed by NandikesVara, in four thousand verses.
extent of the work frightened Indra who begged NandikeSvara to relate to him
the entire law of dancing in a more
exalted student and revealed to

Bharatarnava.
of the

2-7

AD

The

story

is

concise from.

him the

AD

evidently a later creation.

with the BhA. see Introduction

The

The

MG omits this passage,

latter

took pity on his

which was an abridgment of the

(For any possible relation

15).

TQhe mythical account given

here about

ABHINAYADARPAtfAM

40

and Apsarasas performed natya, nrtta and nrtya before Siva. Then
Siva having remembered his own majestic performance
(dance), caused
Bharata

be instructed in that

to

[art]

by

his attendants

before this, on account of his love [to Bharata] he gave

in

instructions

lasya through

Tandu, sages spoke of

milk-maids of

to

rastra

this

stay

who

nanner

this

Parvatl

1.

lasya.

taught

turn taught this to

wom?n

[art]

latter

this

grants dutiful

life

(dbarrria),

liberation (moksa),

as

Brahman
rasas

taught [the art]

to

women

of Sau-

of other countries.

In
to

and

pleasure,

This

despondency.

[art]

Rk,

Yaju,

Sama and

for this art

(sastra)

and which promotes fame, self-confidence,

to peace, patience, libera-

rise

does away with misery, affliction, sorrow and

is valued
even more than the bliss which

on Brahman (the Supreme Soul) experience.

persons medicating
wise how could it captivate the heart of sages like Narada?

Dance which has

Variety of Dances (Natana).

ii-i2.
aspect

[of abhinaya]

of three kinds

is

according to sages like Bharata

Occasions

12-14.

which

wealth (artha) and enjoyment (kama) as

fortune and cleverness, and which gives

and

collected themes of recitation,

from the

and made rules

Atharva Vedas respectively,

fold

instruc-

was traditionally handed down, and has come

Eulogy of Natya.
vocal music and

abhinaya,

lity

on the other hand

The

in the world.

7*1

well

in

and they

Dvaraka,

their

in

Bana

the latter,

to

Knowing about tandava from

Parvatl.

to mortals.

daughter of

the

ted Usa,

it

And

(ganas).

for

natya,

nrtta

this four-

and nrtya,

and others.

Dance.

at the

Other-

Natya

time of a

and

nrtta

should

Those who wish

be

witnessed

particularly

the

and development of natya, nrtta and nrtya agrees substantially

origin

with that given in the

7-11
1

1. 12

cf.

NS.

The

I.

MG

festival.

for

NS. IV. 5,17.

17, 105, 107.

omits

lib.

The

four

items

in

nb,

refer

to

pathya,

abhinaya, gtta and rasa mentioned in 8.

Compare the NS. IV. 262-263.

songs of Alha along with dance and abhinaya are still found to be performed in U.P. at the birth of children (I owe this information to Prof. Kshiti
12-14

The

NANDIKESVARA'S
good luck should cause nrtya

be

to

41

on occasions

performed

of a god, a
marriage

town or house, and

ceremony, reception of

birth of a son

Natya: Natya
theme is an adorable

15.
tor its

Nrtta

by means

is

is

entry into a [new]

a friend,

(nrtya)

is

auspicious.
traditional story

[art]

which

does

not

States

express

(bhava)

called nrtta,

which suggests Sentiments

Nrtya: That (dance)

16.

States (bbava),

it

Nataka which has some

or

That [dance]

of ahhinaya,

for

the

like

with an image

coronation celebrations of kings, a festival, a procession

This dance

called nrtya.

is

always

fit

and

(rasa)

to find a place

in the court of
great kings.

Mohan Sen
some

The

Characteristics of a President (sabhapati).

17.

of the

President of

intelligent, discriminating, an expert

the audience should be wealthy,

Only two generations ago Hindu women

Visvabharati).

in

and marriages by songs and dance which,

This dance by ladies has now gone out of

parts of Bengal celebrated births

however, could be witnessed by

fashion,

though

In

beautiful

Dance

many

parts of

Girba dance

as a

be found

being made

recently attempts are

ones.

may

girls

all.

still

domestic

Western

of Gujarati

who dance during

India,

women

dance
is

is

still

living

greatly
art,

and

but

their vratas,

to revive these old dances and introduce

in
is

new
the

vogue

well-known.

over a great part

as well as religious institution still lingers

of India.

Pitjyam means 'adorable*

15

i.e.

'worthy of admiration*.

The

distinction

made

by the AD between nrtta and nrtya is not observed by the MS. This probably
shows that the two works follow two divergent traditions. From the
we

MG

learn that

nrtta

'is

that form

of

dance

which

is

void of Sentiment (rasa) and

'

Stite (bhava) (p. 4)

16
In the
this

MG

which "Lisya dancing

is

by a division into lasya and tanduva, of

Tandava dancing is violent,"
and
very sweet,
is

followed

MG

reads this differently, and the teadEvidently the original of the

there
seems
to
be
The
ing
sabhapati means here the President cf
corrupt (p. 15).
the assembly of
His functions are to make pronouncement of the

17

spectators.

merit of a performance of a play and to distribute rewards to the sutradhara or

For another definition of sabhapati
leader of the troupe of dancers and actors.
It should be noted in this connexion that this honour
see SR. VII.

1346-1350.

of presiding over an assembly of spectators

was given

to one,

on merit only.

ABHINAYADARPANAM

42

in

making awards, versed

having

pleasing virtues,

desires

and

in the

and

proficient

in

music,

versatile,

celebrated,

which express

with gestures

or malice,

envy

possessed of rightful conduct,

arts

of

well-acquainted

without

States,

lore

well-disposed to people,

kind, patient, disciplined, well-versed in

abhinaya.

an Adviser (mantrin). The Advisers of

such a President, who speak in an intelligent and dignified manner, are
well-off and have a desire for fame, understand Stares
(bhava), are able
Characteristics

8.

of

beween merit and

to distinguish

upright and well-versed

know

demerit,

the arts of love, are

a kind heart,
are good scholars,
polity, have
who are expert in distinguishing between different dialects, and possess
a poetic faculty
such Advisers shine [in the assembly]

in

Audience (sabba). The audience which

is as it were, the
Wishing Ttee 9 (kalpa-v rksa) shines with the Vedas as
its
branches, the Sastras as its flowers and the scholars as the bees
Character

19.

the

of

it.

adorning

20-23.

Arrangement

of

The

sit

reading of the original of the

The

p. 15).

Audience:

the

audience as described before should

MG

mantrins

of the

description

joyfully

is

President

the hall]
[in

of

seems to be different here,

not found

in

the

with his

(see

any of the principal

AD

works on samgita.

follows a
This again may be said to show that the
which is different fiom that of the rest (vide notes on 15). The functions of the mantrins seem to he assisting the President.
The need of an
tradition

expert for the appreciation of different dialects

a time

men

when

the difference

MG adds to

The

19

among them were not

the

character of the

of truth are found, shining

with

duct, honoured by kings, adorned

ded;

when

(i.e.

good

points to

Prakrits) probably

easily

marked.

audience the following

qualities,

famous

"whete

for righteous con-

by the Vedas; where the Vedanta is'expoun-

distinguished by the sound of voice and lute (vma)\ possessing heroes

of reknown, ornamented

by resplendent

princes,

shining with royal splendour"

This gives also the seven limbs of the audience as men of learning,
and those who are familar with history and my-

(p. 15),

poets, elders, singers, buffons

thology

20

(p. 15),

The

srulikara,

according to

modern times by the instrument

Prof. Kshiti

called Tan-pura.

Mohan

Sen,

is

represented in

NANDIKESVARA'S

On

face towards the east.

two

sides should sit

Dance should be performed

friends.
[of

his

dance

is

in the
ranga,

When

and

poets, advisers

him.

in front of

called ranga (the

stage).
a

43

And

the place

the dancing girl will be

On

very good dancer (nata) should remain near her.

her right side should stay two

men

with

cymbals, and two [persons

A singer should
with] mrdangas (drum) should be on her two sides.
remain between the latter two, and the drone
(srutikara) should be
near at hand.

In this order should

group of players

sit at

the begin-

ing of a natya.

Dancing Girl (patra). She should be

slender-bodied, beautiful, young, with full round breasts, self-confident,
well when to
witty, pleasing, knowing
begin [a dance] and when
Characteristics of a

23-25.

to

stop,

of

vocal

able
having large eyes,
and
instrumental music,

time-beats

(tala),

having

countenance.

girl

to

perform in accompaniment
and to observe the
proper

splendid dresses

having

these

all

and

possessing

qualifications

happy

called

is

dancer (patra}.

Her Disqualifications.
26-27.
should be avoided in the natya are
eyeballs, or
breasts, or

women who

who

The

ten

women

kinds of

that

women

have scanty

hair,

with white specks in their

or have thick
or pendant
lips

are cither very fat or very thin, or are

either

very

tall

or very short, or hunch-backed, or have no voice.

23-25 The word patra for a dancing girl is to be noted: it

Medieval India (in Hindi) as patura and patnnya, in the s.imc sense.
giil

must be

body,

and

personal

beautiful; for accoi cling- to

dances

beauty,

than

other

this,

good make-up

SR

the true dance relates to

ate caricatures (Vll. 1249).

is

necessary for a dancing

speaks of the qualifications of the patra (XXVII. 97-98).

patra occurs also in the

26-27
obviously

The
a

MG

SR

The SR

does

says that absence of gunas (qualities)

VII. 1247).

A
a

dancing

beautiful

Next

girl.

to her

The NS.

description

of the

(VII, 1241-1244),

evidently leads vesyZ

misreading.

found in

is

is

natye

vivarjitah

(p. 16).

Jhis

is

give any specific p2tra-do$a> but

to be counted as dosa of a pfitra. (see

not

44

ABHINAYADARPAl^AM
Essentials of a

Dancing Girl. Agility, steadiness, rekha,

bhramari movement, the glancing eye, endurance, memory,

27-28.
in

practice

devotion [to her art], [clear] speech, good s nging power, these ten are
the essential qualities of a
Dance should be performed
dancing girl.

by

dancing

these qualifications.

girl possessing

Qualities of Bells.
28*30.
Tiny bells (kinkint) made of bronze
(kamsya) should have pleasant sound, and should be well-shaped, and

have

stars as their

The dancing

apart from one another.

them

two

or

and

[tutelary] deities,

hundred

in

remain

should

should bind a

girl

each of her two feet

one anguti
hundred of

with blue thread

in

tight knots.

muraja

Praising Ganapati the god of

Introductory Benediction etc.

31.

= drum)

Rekha

27-28

same occurs

and the Sky, one should

in this passage

in the

word may

of lines in adjusting limbs in dance* or as 'graceful

bhraman

The

A definition of

has a technical meaning.

SR. yil. 1226. This

Then

pray to the Earth.

be

translated as

lines

of

the

the

'harmony
For

figuie,'

see

289$.
above enumeration of

by the

described

MG,

as

the

merit of

by the AD has been

which lias been

the patra

patrasya antah pranah (inner

lives)

supplemented by a quotation from some unknown source which dcsciibes

patrasyah bahih pranah (outer lives). The outer lives of the patra are as follows
:

"the drums, cymbals of a good tone, the flute, the chorus, the drone,
(v'ma), the bells, and a male singer (gayana) of reknown."

The

definition of a dancer

"Wise men say that the dancer

or

actor (nata) given in the

(or actor) should

MG

is

as

the lute

follows

be handsome, of sweet speech,

learned, capable, eloquent, of good birth, learned in scriptuies (sastras) of art

and science, of good voice, versed in song, instrumental music, and dancing,
Such an* enumeration shows the scholastic
self-confident, and of ready wit".

tendency in the

later

theorist,

treating of abhinaya.

31

The

MG

for

the

passage
in the

This does not occur

is

surely

from a

late

work

AD.

omits this section as well as the three following slokas on siuli

and puspanjali, but curiously enough describes in a passage quoted from elsewhere the Vulgar dance as a dance begun without prayer etc., and opines that
those who witness the Vulgar dance will have no children and will be reborn
in animals'

The

wombs

(p. 17).

parasmai-pada

of the

loot rabh

in

this sloka

and in slokd 34*

is

NANDIKESVARA'S
by means

45

performances one should offer worship

[to these gods].
Again after many kinds of charming tunes have
been performed, the dancing girl should have the permission of her
musical

of various

preceptor for beginning to dress herself suitably.

Thou

to thee.

Goddess of Ranga.

Praise of the

32.

art the

patron of the

Goddess of ranga, victory

actor-class,

embodiment

the

the joy accruing from States (bbavas) and Sentiments (rasas),

charm the whole world,

kala (art) that only can

the

Offering of Flowers.

33"34'

living creatures, to

gods,

please

Then
to

[herself]

dancing

of

This

rule.

the work, for

may

protect the

her

preceptor

not be explained

writers of technical

than the grammar and the

to

to

protect

spectators,

dancing

girl

fruitful, the

style.

treatises

And

as a sign of the

naturally cared

this violation of

more

grammar

be due to the influence of Prakrit which the author of the work in

likelihood spoke.

The

MG

omits

32

teaching

to

of

evils,

edification

Her nrtya and songs accompanied by abhinaya

nrtya.

for the subject

also

the

victory to thee.

should begin to offer flowers [to gods]

After finishing the fiirva-ranga in this way, she should

grammatical

antiquity of

may

make

The

is

girl

35-36.
perform the
violation

to

destroy

bring

welfare to the leader [of the fl4ta-group]

and

to

yours

of

MG omits
It is

this.

this

passage (Prarthanddtkam).
is
invoked as

cuiious that a goddess

tlie

all

pre-

siding deity of the stage.

The NS simply mentions that gods should be bowed to (IV. 273) and enumerates them earlier (III. 23^.)
This also may be intcrpietcd as shewing that
the

AD follows

33-34

The

tioned in the

a tradition of

its

MG omits this.

N$

own.
Offering of flowers (ptispanjalt)

too (IV. 272).

has been men-

All these fotmalities campulsory at the

begin-

ning of a dance or drama show probably their original religious character.

the root rabh see notes on
3 1 above.

35

Dhanika

in

his

vrtti

on Dhananjaya's Dasaritpa

(ed.

Hall. p.

For

in.)

defines Purvaranga.

Raghavabhatta 12 only among its 22 limbs are to be called

Purvaranga proper. These 12 limbs are Utthapana, four kinds of Paiivartana,
and the 7 parts of the Nandi such as Apakrsta Dhruva, Suskavarsta Dhruva,

According

to

Rangadvara, Cari, Mahaciri, Trigata and Prarocana (vide. NS. V. 22f.)

Bhava (the expression of

States

by means

of gesture) as well as well as tala

ABHINAYADARPATSfAM

46

show

should

and conform

States

to

sing with her mouth, express the

of]

show

her hands,

Where
mind

[of the song]

meaning
by [gestures
by her eyes, and beat time with her feet.

States

go

Where

there.

mind goes

the

(bhava) should follow, and where there

(rasa)

Where

the hand goes,

eyes also should go there.

also should

She should

proper beats of time.

is

the

there

eyes go
the State

the State, there the Sentiment

arises.

Four kinds of Abhinaya

It is

38.

said that

Theie

(of limbs.) vacika (of speech),

four

are

aharya (of dress

etc.)

shown by means

is

Angika abhinaya

39.

preponderant there i.e., in the

kinds of abhinaya: angika

is

abhinaya

nrtya described before.

and sattvika,

of limbs.

Vacika abhinaya has a place with regard to kavyas

and natakas (dramas) which are made up of speech.

Angika abhinaya

40.

is

the decoration of the

body by

(poems)

means

of

necklaces and armlets etc.

performed with sattvika emotions

Motionlessness, perspiraby those who know how to represent them.
Sattvika abhinaya

40-41.

change of

tion, horripilation,
tears

and fainting

Angika

42.

ways by anga

are the
is

voice,

change of colour,

trembling,

eight sattvika conditions.

named

as

such

because

it is

in

three

chest,

sides

expressed

pratyanga and apanga.

The

Anga:

42*43.

(beat of

is

time) was

essential

six,

for

the

such

as,

head,

hands,

proper performance of dance, drama, and

songs in a drama.

36-37

These two slokas sum up one cardinal principle of

the Indian dance

and abhinaya.

39
VIII.

In the
5flE.)

MG (p.

17)

and after this

we have an etymology
it is

stated that the

AD

word abhinaya (cf, NS,

concerned with the angika

of the
is

abhinaya only.
40-41

42-43

half of 42.
MG omits this portion and the
MG has 'armpits' (kaksa) for 'chest' (vaksa). Perhaps on
first

an analogy

NANDIKESVARA'S
and

(flanks), waist (hips)

also

47

Others

feet are called angas.

these.

among
43-45.

The

Pntyanga.

such

six,

shoulder-blades,

as,

back, belly, thigh (calves)

and shanks are called

add three more, such

wrists,

neck

as,

elbows

pratyangas.

and knees

to this,

arms,

Others

and the

also.

Vpanga. Scholars

45-49.

called shoulder

eyebrows, eyeballs, cheeks, nose, jaw, lips,

face are also called
in

include neck

number.

upangas.

and

to sastras (

= rules

teeth,

Thus upangas

In other limbs

heels, ankles, toes

an upanga,

are

there
I

fingers.

of the art)

besides
of

speak

tongue,

head

in the

these
theie

and

eyes,

chin

and

are twelve

others,

such as

things according

which were extant before me. They

i.e.,

Their
angas, fratyangas and upangas are to be used in every dance.
in due order.
But when an anga (major
description will be given
and
the
also
move; hence all of them
limb) moves,
pratyanga
upanga
are not described

here in this work.

Head-gestures

Sama, LJdvahita, Adhomukha,

49-50.

and

Paravrtta, Utksipta

Parivahita

Alolita,

are the nine

Dhuta, Kampita,

he.id-gestures

named

by those well-versed in the rules of natya.

of the enumeration

of

six

limbs

in

connexion with drama and dance, the

six

Vcdic studies have been called sadanga. For obvious reasons limbs
named in the two groups are not identical.

accessories the

The N$

agrees

with

the

AD

in its

enumeration of the sadahga

(cf.

MS.

VIII, 13).

43-45 A pare mean* 'other authorities' which

books; most probably both are meant here. The
fratyangas though

it

mentions the word once in

this

be persons as well as
does not enumerate the

may

NS

connexion (Vide VII f, 12).

45 Updngas mentioned in the MS. VIII, 13. are only six.

48-49 This plea for not defining all the different pratyangas and upangas is
of upangas in the NS, (Vide
good, a,nd is in sharp contrast with the elaborate
VIII. 37-171).

49-50

After treating of these head

gestures

the

MG

quotes a different

ABHINAYADARPANAM

48

The head
Sarna (level):
51.
bent or raised up is named Sama.
Sama head

51-52. Uses:
sitting

is

prayers etc., in pride

for

when

it is

but

motionless

not

is

used at the beginning of nrtya, in

and feigned anger of love, stupefaction

and cessation from action.

When

Udvahita (raised-up):
named Udvahita.
52.

is

Uses:

In denoting a flag, the

moving

in the sky or skywards,

53.
[bodies]

the face

head

raised up, the

is

moon, the sky,

and very high

mountain,
the

objects,

wise people use the Udvahita head.

54.
the head

Adhonwkha (down-cast
is called Adhomukha.
Uses:

54-55.

is

the face

is

cast

In denoting bashfulness, grief,

bowing,

and

water,

placed

things

fainting,

When

face):

below,

in

plunge

down,

anxiety,
this

head

used.

When

Alolita (rolling):

55-56.

the head

is

moved round

it is

called Alolita.

Uses:

56,

In

denoting

intoxication, fainting, travelling, a wild

head

is

possession by an evil spirit,

and uncontrolled laughter, this

sleepiness,

used.

treatment

of

them

according

to

which they

are

twentyfour in

number

(p. 19).

Though

the

MG fathers the

head-gesture differently

51-52

The

(cf.

above upon Bharatacarya, the

N5

treats

MG gives the uses of the

Sama head

as

Prayer,

authoritative

speech, satisfaction, anger, indifference, or inaction* (p. 18).

MG has 'raising the head and keeping

(p. 18),
The
MG
has
after
etc./
Dizziness,
hesitation,
53
'fainting.*
laughter,
54-55 The MG has 'regarding anything vile* after 'bowing* (p. 18).
56 The MG has 'dizziness, hesitation, laughter, etc/ after 'faintness.'

52

The

the

VIII. 15-35).

it still',

NANDfKESVARA'S

When

Dhitta (shaken sideways):

57.

40

the head

the left side to the right one and vice-versa,

Uses:

57*59*
to sides,

discouraging

effect of cold
effort,

60.
it is

and

head

is

Kampita (nodded)

unwillingness,
liquor,

battle

glancing at one's own limbs and calling

used by Bharata and others.

When

Uses:

To

the head

denote the offence

enquiry, hinting, calling from

ing, this head is used.

the head

repeatedly

is

shaken up and down,

Kampita.

60-6 1.

61.

sadness,

Dhuta.

called

is

does-not-exist,' looking

astonishment,

others,

revenge,

sides, this

called

'It

the head

fever, fear, the first stage of drinking

forbidding,

one from

In denoting

moved from

is

When

Paravrtta (turned-round):
is

taken,

*Do

saying

near, inviting the deities,

the face

and

turned

is

stop',

threaten-

round,

called Paravrtta.

Uses: In denoting the command 'That should be done**

shame,
turning away the face, slighting, hair [or the head], and
anger,
a
quiver, this head is used.
62.

When the head

Utksipta (thrown-up):
63.
then raised up, it is called Utksipta.
64.

'Come',

Uses:
the

To

denote the

supporting

of

command

or

is

turned aside and

request

'Take

[something] and acceptance,

of

this*

this

head

is

used.

65.

from

Parivahita (widely

moved)

When

side to side like a cbauri, the head

65.

Uses:

is

the head

is

moved from

called Parivahita.

In denoting infatuation,
yearning

for

the

separated

MG

57-59 The
gives the uses as looking 'repeatedly at thing, condolence
with others, astonishment, dismay, indifference'...
preparing for battle, rejection,
impatience,. ..summoning fiom both sides, ,..SR assigns some of the Uses to the

Vidhuta and some to the Adhuta head. (cf. yil. 65, 57).
62 The
gives the uses as follows
'Saying "Do this",

MG

aversion, modesty,

quiver, relaxing the features, slighting, hair, etc.* Raghavabhatta quotes the
on the Paravrtta head. (Nirnayasagara ed. p. 40)4

AD

'

50

ABHINAYADARPAJyAM

lover, uttering the praise of deity, satisfaction, approval

this

head

and cogitation,

used.

is

Glances

66-67. According to ancient masters, glances are eight in number

such as, Sama, Alokita, Sacl, Pralokita, Nimllita, Ullokita, Anuvrtta

and Avalokita.

Sama

67.

The

(level):

eye-lashes], like that of a

Uses:

68.

an

[without moving the

Sama.

called

is

used to denote the beginning of a

It is

what

effort to guess

glance

[straight]

female divinity,

another

persons

is

thinking,

scale,

natya,
surprise,

and

the image of a god.

Alokita (keen glance)

69.

Gazing quickly with open eyes

is

called Alokita.

Uses

69-70.

wheel, showing

It

used

is

to

of objects,

denote

the

turning of a potter's

and begging.

Looking out of the

corner

of the

called Sacl according to those versed in the rules of the

Natya.

Sacl

70.
is

all sorts

Uses:

71-72.

making

(sidelong)

It is

used to denote hinting, touching

mark with an arrow,

parrot,

eyes

moustache,

remembering, and beginning

of deeds.

Pralokita (wide-glance)

72.

Looking from side

to side,

is

called

Pralokita.

66-67

The NS
a

Evidently
the eight

also describes eight glances,

tradition

different

glances

MG

the

has been

gives

but differently (VIII. 101-105).

followed

from another

In

there.

source

addition

forty four

to

kind of

glances (pp. 21-22).

68

The

lation of a

expression

'thinking of some other persons'

wrong reading

69

The

72

The

seems

to

be the trans-

for anyacinta-viniscaye in the original of the

MG has this as 'swiftly turning with keen glances' (p.

MG has here 'aiming arrow, hinting and Kulata natya.'

MG.

21).

NANDIKESVARA'S
Uses

73.

used to denote

It is

things

51

on both

situated

sides,

excessive affection, moving, and idiocy.

74-75.

Nimllita

Half-closed

(closed):

make

eyes

the Nimllita

glance.
It is used to denote a
Uses
snake, being under another
74-75.
man's power, muttering [prayers etc.,] meditation,
salutation, lunacy,
and keen observation.
\

75.

Ullokita (looking up):

76.

Uses:

It is

Looking upwards

used to denote the

top

called Ullokita.

is

of a

a tower,

flag,

the

heavenly orbs, previous birth, height and moon-light.

77.

Anttvrtta: Glancing quickly up and

down

77.

Uses:

looks,

It is

used to

denote

angry

is

called Anuvrtta.

and

greeting

of

friends.

78.

Avalokita (looking

clown):

downwards

Looking

is

called

Avalokita.

78-79.

Uses:

It

is

used

to

denote

at

looking

reflection, excercise, fatigue, study, looking at one's

own

shadow,

limbs.

Neck Movements
79-80.

Neck Movements:

States (bhava) there are

According to those who know of

necks
Sundarl, Tirascina, Parivartita,

(our

Prakampita.

80.

When

Sundari:

the neck

is

moved

to

and

fro

horizontally

called Sundarl.

it is

Uses:

81.

It

is

used

to

effort, in the sense of 'completely,'

Tirascina:

82.

both

The

neck

denote

the

beginning of affection,

width, and approval with pleasure.

making an upward movement on

sides like the gliding of a snake,

is

called Tirascina.

MG has 'making signs, moving and discordant mind/

MG has 'the appearance of a sage
74-75
Besides these the MG gives six movements of brows as mentioned elsewhere.
$l
T ne MG has "well-done** recollection, badinage, sympathetic pleasure.'

73

The

The

(rsi)

ABHINAYADARPA^AM

$2

Uses:

83.

Ic is

used to denote excercise with a sword, and

the

gliding of a snake.

half-moon,

to

The neck moving from

Parivartita:

83-84.
is

right to left

like a

called Parivartita.

Uses:
By those who know the natya-tantra, it is
84-85.
denote female dance (lasya), and kissing two cheeks of

used
the

beloved.

85-86. Prakampita. The neck when it is moved backward and

forward like the movement of a she-pigeon's neck, is called
Prakampita.
86-87. Us* s: h * s usec to denote saying 'you and T, folk-dances,
swinging and the inarticulate murmurings, and the sound uttered by a
woman at the time of conjugal embrace (manita).
l

Classification of

SINGLE
87-88.

They

are of

Now

Hands

HANDS

the characteristics of hands will be described by me.

two kinds:

single

and combined.

In the beginning the characteristics of

Single Hands:
88-92.
will
be
hands
told. They are twenty-eight in number: Pataka,
single

Tripataka,
Arala,

Ardhapataka,

Sukatunda,

Musti,

Kartarlmukha,
Sikhara,

Ardhacandra,
Mayura,
Kapittha, Katakamukha, SucI,

Candrakala, Padmakosa, Sarpasiras, Mrgaslrsa, Simhamukha, Kangula,

Alapadma, Catura, Bhramara, Hamsasya,

Mukula, Tamtacuda and Trisula.

Hamsapaksa,

Sandamsa,

hand in which the thumb is bent to

88-92. Pataka (flag). The
touch the fingers, and the fingers are extended, is called Pataka.
94-100.
denote

the

Uses:
clouds,

It is

used in the beginning of

forest,

river, region of gods, the horse,

86-87
87-88

The
The

forbidding things,
cutting, wrnd,

natya

bosom,

and

might,

to

lying down, attempt

MG has 'counting' (ssganite?) for manite.

MG puts in after this, twelve lives of hands (hastafranjh).

NANDIKESVARA'S
at going,
prowess, favour,

doors,

sunlight,

open

forcing

body of one's ownself, taking an oath,

silence, palmyra
touching things, benediction, the ideal king, saying 'such

leaf, shield,

and such

strong

of seven case-endings, wave,

entering a street, equality,

meaning

anointing the

moonlight,

53

the sea,

place',

person, going

succession

of

forward, holding a sword, a

good

month,

deeds, addressing a
a

year,

rainy day,

and cleaning with broom.

Tripataka (a flag with three).
Pataka hand, it is called Tripataka.

100.
in a

o i- 1 02.

Uses:

When

the ring-finger

used to denote a crown, a tree,

It is

is

bent

the vajra

(thunder bolt of Indra), and the bearer of vajra (Indra), the ketaki flower,

lamp, raising flames, a pigeon, patterns drawn on the

(fatralekha), an arrow, and turning round.
a

face or

breast

Ardhapataka (half-flag): If the little finger of the Tripataka

ioj.
hand is bent down, it is called Ardhapataka.
Uses

103-104.
writing

or

painting,

used to denote leaves, a

It is

bank

the

of

a river,

saying

board or slab for

'both', a

knife,

the

finger of

banner, a tower, and a horn.

105.

Kartarimttkha:

If

the same hand (Ardhapataka)

Uses:

106-107.
and

woman,

It is

the fore-finger and

are

outspread

used to

it is

denote

called

the

little

Kartarimukha.

overturning or opposition, plundering,

a corner of

eye, death, estrangement, lightning, sleeping alone during

falling
1

an

separation,

and weeping.

08.

100

man

of a

sparation

Maytira (peacock)^

It is

When

noteworthy that janantike

the ring-finger

= aside)

of the

Kartarl-

does not occur in the viniyoga

of the Tripataka hand, though the Dasartipa refers to it (vide Ed. Hall,
has 'cheek* (
The
I o i- 1 02
kapota).
kapola) for 'pigeon* (

i.

95).

MG

The

MG

gives

author of this work

additional

invents

the guardian deity (devata)

what

led

him

to

definitions of

the

etc.,

sage

of the

(rsi],

hands from another

race (vamsa), colour

hands (pp.

27!!).

We

work.

The

(varna)

and

cannot ascertain

give a Yedic colouring to these evidently extra-Vedic things.

ABHINAYADARPAISTAM

54

mukha hand
is

called the

is

joined to the thumb, and other fingers are extended,

109*110.

Uses:

Sastras,

in.
hand

is

removing

scattering

(tilaka),

and

used to

It is

a bird,
vomiting,
creeper,

forehead

it

Mayura hand.
denote

hair,

(agitating)

neck,

peacock's

river-water,

mark on the
the

discussing

famous thing.

Ardhacandra (half-moon):

stretched out, the latter

112-113.

the

an ornamental

Uses:

It is

is

If

called

thumb

the

the Pataka

of

Ardhacandra.

moon on

used to denote the phase of the

the eighth day of the dark fortnight, a

consecrating an image, a dining

hand

plate,

seizing the throat, a spear,

one's

waist, musing,

origin,

ownself, meditation, prayers, touching limbs, and greeting by

common

people.
1

14.

114.

When

Arala (bent):

curved, the latter

Uses:

is

the fore-finger of the Pataka hand

is

called Arala.
It is

used to denote drinking

poison,

nectar

etc.,

and violent wind.

115.
bent,
1

is

(parrot's head):

when

Arala,

its

third finger

is

called Sukatunda.

15-1

a spear,

Stikatunda

16.

Uses:

It is

used to denote the shooting of an

arrow,

remembering one's abode, saying of mystic things, and violent

mood.
116-117.

Musti

the palm and the

117-118.

is

set

It is

the

four

1 1
it

bow,

8.

Sikhara (peak):

bent into

fingers are

on them, that hand

is

called

Musti.

used to denote steadfastness, grasping the

holding things, and the fighting mood of

hair,

up

Uses:

When

(fist):

thumb

If

the

wrestlers.

Musti hand has

its

thumb,

raised

becomes Sikhara.
19*121.

Uses:

a pillar, certainty,

It is

used to denote amour (or god of love),

making

offering to manes, the

thing entered, a tooth, questioning, the

upper

phallic symbol,

lip,

saying

some'no',

NANDIKESVARA'S
recollection, near

about abhinaya

embrace, and sounding a

53

in

If
Kapittha (elephant-apple):
the fore-finger is bent over the top of the thumb,

Uses

milking

cymbals,

It is

cows,

dalliance, grasping the

act of

bell.

121-122.

122-124.

the

pulling at the girdle,

(?),

the

called

it is

hand

Sikhara

Kapittha.

used to denote LaksmI, SarasvatI, holding

end of

of

cloth and offering

gathering of

robes,

the time

flowers at

holding

collyrium,

incense or light.

124-125.

hand with the

is

called

Katakamukha (opening

in a bracelet)

The

and the middle finger applied

fore-finger

Kapittha

to the

thumb,

Katakamukha.

It is used to denote
Uses:
picking flowers, holding
necklace
or
of
flowers, drawing the middle of the bow,
garland
pearl

125-127.

offering betel

leaves,

preparing

the

mask and sandal

paste of

by rubbing them against something, applying perfumes

to

etc.

something,

speaking, and glancing.

127-128.
raised

is

Stici:

The Katakamukha hand with

its

fore-finger

called Suet.

128-131.

Uses:

It is

used

to

denote

number one,

the

Supreme Soul (Para- bra h ma), one hundred, the sun, a city, the

the

world,

saying 'like that* and 'that which', in the sense of crowdless, threatening,

growing thin, a rod,

body,

astonishment,

braid

umbrella, capability, hairs, beating drum, the potter's

ference of a wheel, consideration,

and decline

The

Candrakala (digit of the moon):

the thumb is called Candrakala.
releasing
Uses:

span of the thumb

It is

forefinger

Padmakosa (lotus-bud)
and a little bent and the palm is
called

Padmakosa.

wheel,

Sucl

used to denote the moon,

and objects of
of Siva, Ganga (the Ganges) and a cudgel.
134.

When

hair,

an

circum-

of the day.

132.

132-133.

of

that

the

also a little

hand

the

shape,

fingers

after

face,

the

are

hollowed, the

the

crown

separated

hand

is

ABrilNAYADARPANAJvl

56

Uses:

135-137.

an elephant-apple,
ball,

cooking

pot,

used to denote

It is

round breasts

meals,

taking

fruits,

woman,

of a

such as the bel and

a circular

flower-bud,

movement,

mango,

scattering

flowers, cluster of flowers, japa flowers, bell, an ant-hill, a lotus

1
When the tips
37.
Sarpatirsa (snake-hood)
Pataka hand are bent, it is called Sarpasirsa.
:

and an

in the

of fingers

It is used to denote sandal

a snake, the
138-139. Uses:
paste,
middle tone, sprinkling, nourishing, giving water to gods and sages,
the moving to and fro of the two kumbbas (the slight
protuberances

and arms of

of the head) of an
elephant,

139.

Mrgasirsa (deer-head)

finger of the Sarpasirsa

Uses:

140-142.
fear,

limit,

hand
It

wrestlers.

When

are extended

thumb and

the
it

the

little

becomes Mrgasirsa.

used to denote women, cheek, awheel,

is

quarrel, costume or

dress,

mark on

tripandraka

calling,

the forehead, a deer's head, a lute, massage of the feet, getting of one's
all,

the female-organ, holding an umbrella,

stepping,

and calling

the

beloved.

142-143.

and

the

third

Simhamukha
finger

are

fingers are extended, the

143-144.

waving

Uses:

jrf-grass,

applied

hand

It is

is

the

to

called

Uses:

It is

garland,

girl,

146.
are bent

middle

the

the rest of the

lion's

face,

elephant,

preparations

of

rectification.

its

third finger

used to denote lakuca

children, any other bell, a partridge,

young

of

Simhamukha.

Kangula: The Padmakosa, when

144.
becomes Kangula.
145-146.

tips

thumb and

used to denote boma, a hare, an

lotus

medicine by physicians, and

When

(lion-face):

betelnut

a white
water-lily, the cataka bird

fruit, bells

tree,

is

curved,

worn by

a breast of

and the cocoanut.

Alapadma, When fingers beginning from the little finger

and separated from one another, the hand is called Alapadma.

NANDIKESVARA'S

used to denote a full-blown lotus, elephantmovement, a breast, separation from the beloved,

Uses:

147-149.
apple,

circular

the

looking-glass,

57

It is

moon, beauty, the hair-knot,

full

moon-tower,

(turret) a village, height, anger, a lake, a cart, a cakravaka,

murmuring

sound, arid praise.

149-150. Catura. When the thumb is placed at the foot of the

third finger and the fore-finger and adjoining two fingers are clinging
to each other and the little finger is outstretched, the hand is called
Catura.

Uses

150-152.

used to denote musk, a

It is

little, gold, copper,

an eye, difference of castes, proof,

iron, wet, sorrow, aesthetic pleasure,

sweetness, slow gait, breaking to pieces, face,

Bhramara

152-153.

finger touch each other

and the

Uses:

153-154.

the

fore-finger

is

hand

fingers are outstretched, the

crane, a cuckoo,

When

(bee).

called

is

oil

and ghee.

thumb and

Bhramara.

used to denote a bee,

It is

and similar

the middle

curved and the remaining

a parrot,

a wing,

birds.

If the
thumb and the fore154-155. Harnsasya (swan-beak).
touch
each
and
the
other
finger
remaining fingers are outstretched the

hand

is

called Harnsasya.

Uses:

155-157.

instruction,

ascertaining

wick of
ing,

and

lamp,
a

Blessing

or

festival,

horripilation,

the

tying

putting

pearls,

a touchstone, a jasmine, a
painting,

the

with thread,
forward

the

act of paint-

a current.

dyke impeding

If the little
157-158. Harnsafaksa (swan-wing).
finger of the
is outstretched, the hand is called a
hand
Hamsapaksa.
SarpasTrsa
*

158-159.

Uses:

It

used

is

to

denote

truction of a bridge, putting nail- marks,

159-160.
are

brought

Sandamsa

close to

If

the

one another and drawn

quick succession, the hand

(pincers).

is

called

the

number

six,

cons-

and covering or sheath.

fingers

apart

Sandamsa.

of

Padmakosa

from one another

in

ABHINAYADARPAtfAM

58

Uses:

160-161.
an offering to

number

wound,

deities,

denote

used to

It is

the

worm, great

belly, presentation

fear,

and the

worship,

five.

Mukula

161-162.

together, the hand

Uses

162-163.

Mukula.
used to denote

It is

the five fingers of a hand meet

If

(blossom).

called

is

god of love [with his five arrows], holding of

and a plantain flower.
163.

Tamracuda

If

(cock).

the

water-lily,

eating,

the

navel
signet or seal, the

of

fore-finger

Mukula

the

is

curved the Tamracuda hand will result.

Uses:
164.
a calf and a
pen.
165.

Trisula (trident).

curved, the hand

165.

used to denote a cock, a crane, a crow, a camel,

It is

Uses

the

If

thumb and

the

little

finger

are

called Trisula.

is

It

used

is

to

and the idea

denote a W-leaf,

of

Trinity.
1

66.

Vyaghra

If

(tiger).

the

little

finger

and the thumb are

bent in the Mrgaslrsa hand, the Vyaghra hand will be the result.

167.
a

Uses.

mother of
167.

used to denote a tiger,

It is

frog,

monkey and

pearl.

Ardhasuci.

If

the

thumb

is

moved above

in

the Kapittha

hand, the result will be the Ardhasuci hand.

1

68.

Uses:

used to

It is

denote a sprout, young ones of a bird,

and big worms.

168-169.

Kataka.

joined together the result

169-170.
166

Uses:

If
is

It is

the middle

finger

and the third finger are

the Kataka hand.

used to denote calling and moving.

This hand and the three following ones (167, 168, 169) have not been
list of
The
omits this hand,
single hands (59-62).

enumerated in the

MG

and mentions two more single hands such as Urnanabha and Bana.
168-170 The lacunae in the text have been suggested by the
mss. do not show them.

editor.

[The

NANDIKESVARA'S

59

If in the
Palli,
170.
Mayura hand the middle finger
the back of the
fore-finger, the Palli hand will be the result.

171.

Uses

These

171-172.

put on

used to denote a village or a hut.

It is

is

(single hands) will

form combined hands

[also]

Their ways (characteristics)

exigencies
abhinaya.
with reference to their objects will be shown in due order.

according

to

of

COMBINED HANDS
172-175.
According to older teachers including Bharata and
others, the combined hands are twenty-three in number.
They arc
:

Anjali, Kapota, Karkata, Svastika, Doll, Puspaputa, Utsahga, Sivalihga,

Katakavardhana,

Kartarlsvastika,

Sankha,

Sakata,

Cakra,

Samputa,

Matsya, Kurma, Varaha Garuda, Nagabandha, Khatva

Pisa, Kllaka,

and Bherunda.
176.

If

Anjali.

two Pataka hands

the

join

palms

it is

called

Anjali.

Uses:

176-177.
respectively

in

the

It is to

on

be held
of

salutation

the

deity,

head,

face

and bosom

preceptor and a Vipra

(Brahmana).

MG

gives the following: *When two single

172-175 In this connexion the
hands are combined that is a combined hand. Even though the origin and
1
But the origin rnd
meaning remain the same the patron deity always differs
.

the case of following hands :

patron deity have been mentioned only in
InDola,
Karkata,
Puspaputa, Utsanga and Katakavardhana.
Anjali, Kapota,
the

stead

of

twenty-three,

additional
breasts.
its

the

MG

is

called

twenty-four Samyuta hands.

The one

is

viniyoga (uses)'.

The

MG gives twenty-seven

None

MG

(twenty-seven) Samyuta hands

many

combined hands from another book.

names except Svastika

which is never
The

of these

present text.

in

gives

Avahittha which

two Alapadma hands held on

'Erotic dance (srhgara-natana) holding a playball, and the breasts are

hand here

cases correspond

(p. 43).

to those

is

to

tired

be found
of

in

the

quoting

Names and

list

given in the

gives a third

list

of

descriptions of these hands

mentioned above.

ABHINAYADARPANAM

60

Anjali becomes Kapota when the two [Pataka]

177.
Kapota.
hands meet only at their base, side and end.

Uses:

178.

It is

to

be used

in

salutation,

addressing

pre-

ceptor, respectful acceptance or agreement.

Karkata.

178-179.
through

main

the

opening

When

is

showing the

palm) or outside (on the

It is

back

of

the

used to denote the coming of a multitude,

the conch-shell
belly, filling

ing of limbs and pulling a branch

Svastika.

180-181.

hand are run

one

of

the other, and the fingers re-

called Karkata.

Uses

179-180.

fingers

between fingers o

either inside (towards the

hand) the hand

the

When

with wind, twisting or stretch-

down.
two Pataka hands

are put across each

other at their wrist, they form the Svastika hand.

181.

Use:

181.

Dola.

the Dola hand

182.

is

Use:

It is

used to denote a crocodile (makara).

When

are placed on the thigh

Pataka hands

the

formed.
It is

used at the beginning of natya.

When two Sarpasusa hands meet on one side

Pusfafuta.
form
the
they
Puspaputa hand.
182.

Uses: It is used in waving lights before an image of a god,

183.
as an act of adoration, taking of water, fruit etc.
giving offerings to
gods, evening, and a flower invested with magical power.

184.

upper arm

Utsanga.

If

hands showing

of opposite hands the

Mrgasirsa

Utsanga hand

is

are

placed

on

the

made.

Uses: It is used to denote embrace, displaying armlets and

185.
such other ornaments, and coaching of boys.
1

86.

Sivalinga.

When

Ardhacandra

and Sikhara by the right, the Sivalinga hand

1

8 6.

Use:

It is

is
is

held

by the

made.

used in showing the phallic symbol*

left

hand

NANDIKESVARA'S

When

Katakavardhana.

187.

Katakamukha hands
188.

Uses:

61

a Svastika

at their wrist, it is called

is

made by

placing two

Katakavardhana.

used in coronation, worshipping, and marriage

It is

etc.
1

88.

When

Kartarlsvastika.

hands [placed at their wrist]

189.

Uses:

189.

Sakata.

stretched

190.

it

It is

it is

a Svastika is

used to denote branches,

When

made by two

Kartarl

called Kartarlsvastika.
hill

tops,

and

trees.

the middle finger of the Bhramara hands

is

becomes Sakata hand.

Use: This hand

often used in playing in the role

is

of

Raksasa (demon).

thumb and

other

thumb] the hand

191.

Uses

192.

Cakra.

hand meets the

latter

called Sahkha.

is

Itisused to denote conch-shell and such other things.

When

192.

Uses:

193.

Satnputa.

called the

of a Sikhara

clung round by the fore-finger [close to the

is

across each other they

it is

When thumb

Sankha.

150-191.

the

palms

in

Ardhacandra hands arc put

make Cakra hand.

It is to

denote a cakra (wheel).

When

the fingers in

Cakra

hands

are curved,

Samputa hand.

193.

Uses:

It is

194.

Pasa.

When

used for covering things and in representing

box.
the fore-fingers of SucI

each other [bent inwards], the hand

194.

Uses:

It is

is

hands

are

close

to

called Pasa.

used to denote a mutual quarrel, a string and a

chain.

Ktlaka. When the little fingers of the Mrgaslrsa hands are

195.
bent inwards and close to each other, the hand is called Kllaka.

195.

187

Uses:

It is

The SR mentions

used to denote affection and a jocose talk.

this as the

KbatakavardhamSna.

ABHINAYADARPAISrAM

62

Matsya. When one hand is placed on the back of another

and the two thumbs are out-stretched, the hand is called
Matsya.
196.

Use:

197.

used to denote a

It is

fish.

197. Kurma. When the tips of thumbs and little fingers of the
Cakra hands are bent, it is called the Kurma hand.

Use:

198.

the

When

190.

Varaha.

thumb

of the one

hand

is

one Mrgaslrsa is placed above another and

hand meets that of the other and vice versa, the

Varaha.

called

199.

used to denote a tortoise.

It is

Use:

It is

used to denote a boar.

When

palms of two Ardhacandra hands are placed

horizontally with the two thumbs placed on each other, the hand is
200.

Garuda.

called Garuda.

200.

Use:

201.

Nagabandha. The Sarpaslrsa and the Svastika hands placed

together will

It is

make

201.

Use:

202.

Khatva.

used to denote Garuda.

Nagabandha hand.

the

It is

used to denote the Nagabandha.

on another Catura hand

Placing one Catura hand
released, will make the

with the fore-finger and and thumb of each

Khatva hand.

202.

Uses:

203.

Bherunda.

their wrists, the

203.

It is

used to denote a bedstead and a

When

the two

Bherunda hand

Uses:

It is

Now

presentation

hands

the

joined

at

used to denote the Bherunda, and a pair of birds.

for Deities

the hands which are prescribed for

and

arc

will result.

Hands
204.

Kapittha

litter.

sculptural

construction

of

the

dramatic

deities

arc

re-

being

described in the following order:

203

A fabulous being named

folk-lore.

Bherunda

is

sometimes met with in the Bengali

NANDIKESVARA'S
Brahman: Brahman

205.

is

to hold

63

Catura with

his

left

hand,

Harnsasya with his right one.

Siva

205.

Siva

is

Mrgasirsa with his

hold

to

hand and

left

Tripataka with the right one.

Visnu: Visnu

206.

Tripataka with both his hands.

to hold

is

206-207. Sarasvati: Sarasvatl is to hold Sue! with her right

hand and Kapittha with the left one raised on a level with the
shoulders.

207-208. Parvatt
right hand held up, and

hand
be

but

also,

in

Abhaya

ParvatI

Ardhacandra
be held

should

it

hold

to

is

Ardhacandra

the

should be held by the left

down. The two hands should

and Varada (giving

(fear-dispelling)

with

boon)

poses

hands

near

about

respectively.

208.

Laksmi

Laksmi

is

to

hold

Kapittha

her shoulders.

209.

Ganesa:

Ganesa

is

to

hold

Kapittha hands placed on his

thighs.

left

left

209-210. Kartikeya; Kartikeya is to hold Trisula with

hand and Sikhara with the right one held up.

his

210*211. Manmatha: Manmatha

his

is

to

Sikhara

hold

with

hand and the Katakamukha with the right one.

211.

Indra:

Indra

to

is

hold

Tripataka and

Svastika

in

his

two hands.
212.

Agni: Agni

and Kangula with the

is

left

Yama: Yama
213.
Suci with the right one.
213.

Nirrti:

Nirrti

to hold

Tripataka

hold

is

to

is

to hold

Pasa

with

The

209

The

his

right

hand

his

left

hand

and

Khatva and Sakata with her two

hands.

205

with

one.

MG mentions *5iva' as 'Sambhu'.

MG mentions 'GancsY as YighncsVara/

ABHINAYADARPANAM

64

Varuna

214.

and Sikhara with

Varuna

hold

to

is

Pacaka

Kuvera

5.

left

hand

right

hand

his

the right one.

214-215. Vayu: Vayu is to hold

and Ardhapataka with the left one.
2

with

Kuvera

hold

to

is

Arala

with

Padma

his

(lotus)

with

the left

hand and the Gad! (mace) with the right one.

Hands

Ten Avataras

for the

Matsya: Show the Matsya hands on the same level with

This is called the hands of the Matsya-Avatara.

216.

the shoulders.

Show

Kiirmai

217.

the shoulders.

This

the Varaha hands on a level with the

and keep them on the

with

level

hands of the Kurma-Avatara.

called the

is

Show

Varaha:

218.

Kurnia hands on the same

the

This

sides.

is

called the

waist

hands of the god

Adivaraha.

Nrsimha

219.

Hold Simhamukha with the

This

with the right one.

Tripataka

Vamana:

220.
right

hand

If

called the

left

hand and

hands of Narasimha.

hand holds Musti up and the

but downwards, the result will be

left

Musti

holds

also

the

is

Vamana's hands.
221.

Parasurama:

Ardhapataka

held

is

left

If

by

hand

the

is

right

placed

hand,

in the waist

and the

the

will

result

be

Parasurama's hands.

222.

Ramacandra:

and Sikhara by the

223.

Balarama

Musti by the
224.

left

If

Kapittha

is

one, the result will

If

Pataka

is

held

by the right hand

be Ramacandra 's hands.
held

by the right hand and the

one, the result will be Balarama's hands.

left

Krsna:

If

the Mrgaslrsa hands facing each other

are

held

near the face, the result will be Krsna's hands.

225.

Pataka is held by the right hand

the left ooc, the result will be Kalki's hands.

Kalki

Tripataka by

If

and

the

NANDIKE$VARA
Miscellaneous

226.

Raksasa:

result will be the

and the right hand

the result

left

mouth

are held at the

the

a Raksasa.

Brahmana:

226-227.

Hands

hands

Sakata

the

If

hands of

65

When

Sikhara

is

held

by

two hands

held horizontally to indicate the sacred thread,

the Brahmana hands.

is

is

227-228.
Ksatriya: If the Sikhara is held horizontally by the
hand and Pataka is held by the right one, the result is the

Ksatriya hands.

228-229.

229-230.

If

Vaisya:

Katakamukha by the

right,

Sudra:

the

Hamsasya

the result will be the

Vaisya hands.

Sikhara

If

held by the left hand and

is

is

held by

the

left

hand and the

the Mrgaslrsa by the right one, the result will be the Sudra hands.

the

230-231.

In

eighteen

castes

inhabitants

of

similar

manner there

according

to

countries

different

their

are

will be

hands named

profession.
also

Hands

to be understood

of

after

the

by the

wise people in a similar manner.

231-232. Husband and Wife: If Sikhara is held by the left

hand and the Mrgaslrsa by the right one, the result will be the hands
of a married
couple.

Mother: If Ardhacandra is held by the left hand and

232-233.
Sandamsa by the right one, and the left hand is turned round over the
the result will be the mother hands.
belly,
233.

Use:

234-235.

It is

used to denote a mother and a virgin.

Father:

If

the right hand of the mother hands holds

Sikhara, the result will be the father hands.

235.

Uses:

236-237.
hand at the
left

hand

is

It is

used to denote a father and a son-in-law.

If
Hamsasya is held by the right
Sandamsa is held by the right one, and the

Mother-in-law:
throat, and

afterwards rubbed round the belly, the result will

mother-in-law hands.

be the

ABHINAYADARPANAM

66

237-238.

Father-in-law:

law hands, Sikhara

left

are

is

the right hand of

If in

held, the result

is

the

mother-in-

the father-in-law hands.

by the
238-239. Husband's Brother: If Sikhara is held
hand and Kartarlmukha is held by the right one, and the hands
placed on sides, the result is the hands of the husband's brother.

239-240. Husband's Sister: If at the end of the preceding

hand the right hand shows the gesture indicating a woman (i.e., the
Mrgaslrsa), the result will be the hands of the husband's sister.

are

240-241.
shown in

Elder and Younger Brothers:

the

and on the two

front

If

the

Mayura hands
be the

sides, the result will

hands of the elder and of the younger brother.

If one
holds the Sandamsa on the belly and
241-242. Son
moves it afterwards and holds the Sikhara by his left hand, the
son's hands result.
:

242-243. Daughter-in-law: If after showing the son's hands one

shows with the right hand the gesture expressing a woman (i. e., Mrgaslrsa),

then the result will be the daughter-in-law's hands.

243-244.

Co-wife

If

one shows the gesture

for a

woman

(i. c.,

Mrgasirsa) with both the hands after showing the Pasa hand, then the
co-wife's hands are made.

Hands
244-247.
are
left

of Nrtta-hastas

is

of five kinds.

They

be movements upwards, downwards, on the right, on the

and in the front. The moving of hands should be in the manner

known

of that
left

The movements

Nrtta

in

of the feet.

and

know

to

the

the

The

left

one (foot or hand) should be on the

This is noticed by those who
right.

right one on the

rules

of

nrtta.

(For

thirteen

hands

247

see

the

translation

of

the

verse 28.)

248-249.

The

such

Anjali,

Katakavardhana,

Sakata,

Kurma, Hamsasya and Alapadma

asa,

are

fit

as Pataka,

Kllaka,

Svastika, Dola,

Kapittha,

to be used in Nrtta.

Sikhara,

NANDIKESVARA
Hands

67

for Planets

The San: IE Alapadtna and Kapittha arc shown

250.
two hands near about the throat, the Sun's hands are formed.

by

The Moon: If Alapadma is shown by the left hand and

251.
Pataka by the right one, hands produced are called that of the Moon.
252.

by

Mars:

SucI

If

shown by the

is

hand and Musti

left

the right one, Mars's hands are

produced.

253.
Mercury: If Musti is horizontally held by the left hand
and Pataka by the right one, then Mercury's hands are produced.

Showing Sikhara to indicate the sacred thread

make the hands of a Rsi or Brahmin as well as that of Jupiter.

254.
will

left

Jupiter:

Venus: To hold Musti with both hands and to keep the

255.
hand high up and the right one down, will make Vcnus's hands.
256. Saturn: To show Sikhara with the left hand and Trisula

with the right one,

to

is

make

Rahu:

To

Ketu

To show

257.
SucI with the right,
258.
with the right,

is

is

to

Saturn's hands.

show
to

make

make

with

Sarpaslrsa

the

left

hand and

the hands of Rahu.

SucI

with

the

hand and

left

Pataka

the hands of Ketu.

Feet in

Dance

259-260. Feet in different positions and with different movements will be described in accordance with the old tradition. These
[positions

(leaping

and movements] give

movement

or

Padacarl or Carl (gait).

rise to

Mandala

(posture), Utplavana

Bhramarl

(flight movement)
jumping),
Their definitions are to follow.

and

Standing Postures (Mandala)

260-261.

There

standing), Ayata,

are

Alldha,

ten

standing

Pratyalldha,

postures:

Sthanka (simple

Prchkhana, Prerita, Svastika,

Motita, SamasucT, and Parsvasuci.

262.

Sthanaka:

Standing

with

Samapada

and touching the hip with Ardhacandra hands,

feet in the

will

same

be Sthanaka.

line

ABHINAYADARPA1SFAM

68

263.

two

Ayata: Standing with

half a cubit

feet

apart from

each other in a Cacurasra posture and at the same time bending knees
a little
apart and placing one of them upon the other, will give rise to
the Ayata
posture.

264-265.

Alfdha:

Place

the

foot before the

right

left

make

distance of one cubit and a half,

and Katakamukha with the right one

this,
will
to
rise
Alidha
the
others,
give
posture.
;

266.

If

Pratyatidha:

Alidha posture,

it

and

hands

will be called

with

Sikhara

feet

the

one

left

at a

hand

according to Bharata and

are

interchanged in the

Pratyalldha.

266-267. Prenkhana: Putting one foot by the side of another

heel and having Kurma hands, will give rise to the Prenkhana
posture.
one foot violently [on the earth] at
from another and standing with
knees bent and one of them put across another and holding the Sikhara
hand in the breast and showing thePataka hand stretched out, will give
Prerita:

267-269.

a distance

of

Putting

and

one cubit

rise to the Prerita

a half

posture.

269-271. Svastika: The right foot should be put across the

and the right hand should be put across the left hand
thus

foot,

left

will

be the Svastika posture.

271-272. Motita: Rest on the earth with the forepart (toes) of

the feet and touch the earth with each knee alternately and make
Tripataka

with

both

the

hands

this

will

give

rise to

the Motita

posture.

272. SamasUci: A posture

toes and knees is called Samasucl.

toes

in

posture
273. Parsvasuci:
and by one knee on one side,

which the earth

which the earth

in
is

is

is

touched

with

touched with

called Parsvasucl.

Varieties of Resting Postures (Sthanaka)

274-275.

Resting

postures

are

of

six

kinds

according to the

NANDIKESVARA
placing of feet.

arc

They

69

Ekapada, Nagabandha, Aindra,

Samapada,

Garuda and Brahma.

275.

Samapada

276.

Uses:

Standing with two feet alike

used

It is

in

offering flowers

is

called

Samapada.

and playing

[to gods]

in the role of
gods.

276.

Ekapada

Standing with one

across the knee of that foot will give the

277.

Uses:

and

foot

Ekapada

laying

position.

used to denote motionlessness and the

It is

other

the

practice

of penance
(tapasya).

two

277-278. Nagabandha: Standing like a serpent intertwining

feet and two hands
together will give the Nagabandha posture.
278.

Use

It is

used in showing the Nagabandha.

Aindra: Standing with one leg bent and the other leg
278-279.
and knee raised and hands hanging naturally, will give rise to Aindra
posture.

Uses

It is

280-281.

used in suggesting Indra and

Garuda:

If

in

Use

Garuda posture.
281-282.

Brahma

show the gesture

Uses

It is

Sitting

used

to

(?)

is
it

put on
be

will

used to denote Garuda.

It is

with

another foot on another knee will give

282.

king.

the Alldha posture one knee

the ground and the two hands jointly

the

one

rise to

denote

foot

on one

Brahma

knee

and

posture.

japa (repeated

muttering

of

prayers) and similar matters.

Different Kinds of Leaps

282-285.

They

Now,

are of five kinds

284.
Alaga
hand on the hip,

the definition
:

of

(Utplavana)

various

leaps will

be

given.

Alaga, Kartari, Asva, Motita and Krpalaga.

Leaping with both the feet and placing Sikhara

same time, will be Alaga.

at the

285-286. Kartari: Leaping on toes with Kartarl hands held

behind the left foot, and holding on one's waist a downward Sikhara

hand

ac the

same time,

will be Kartari

jump.

ABHINAYADARPANAM

70

286 287.
together,

Asva:

First, leap

on two

feet

and

and make Tripataka with both the hands.

then

This

place

them

will be

Asva

jump.

287-288.
Kartari, will be

Motita:

Leaping

on both

sides

alternately

like

Motita jump.

288-289. Krpalagai By heels of both the feet alternately touch

and keep Ardhacandra hands between the two.
the
This will
hip

make Krpalaga.
Various Flights (Bhramarl)

we

shall describe

various

dance]

Natypsastra they arc

persons
Akasa and Ahga.
Cakra,
Garuda,
Kuncita,
Utpluta,
Ekapada,

seven

289-291.
According

Here,

versed

to

in

flights [in

the

Utpluta: If a person moves round his entire body from

Samapada posture, he is said to perform the Utpluta bhramarl.

292.

If
keeping feet on the earth and carrying Tripataka
293. Cakra
round
moves
one
hands,
rapidly one then performs Cakra bhramarl.
:

294.

Garuda

Stretch

on the earth and then move

one foot across another and put the knee

about rapidly with outstretched arms.

This will be the Garuda bhramarl.

295.
the

Moving round

Ekapada:

alternately on

one foot

will

be

Ekapada bhramarl.

Moving round with knees bent

Kuncita:
296.
Kuncita bhramarl.

296-297.

Akasa

his fully stretched feet

If

will

be the

one moves round his entire body after making

in a
jump, he will make the Akasa

wide apart

bhramarl.

297-298.

Anga:

If

one leaps with

then stops, he performs the

Ahga

According

to

Now

cubit

apart

and

bhramarl.

Different

298-300.

feet half a

Gaits

the definition of various Carls will be told by me.

persons

who know

Bharata's works well they arc eight:

NANDIKESVARA
Calana, Cankramana, Sarana, VeginT,

71

Kuttana,

Luthita,

and

Lolita,

Visama.
301. Calana (walking):
will be Calana (walking).

Cankramana (making a
made by two feet

301-302.

natya say that a gait

sideways alternately,

is

a foot

Advancing

leap)

from

natural place

Persons well-versed

carefully

in

up and thrown

raised

Cankramana (making

called

its

leap).

Sarana (moving): Moving like a leech that is covering

ground, by joining one heel with another [at each step] and holding
at the same time Pataka hands, is called Sarana (moving).

302-303.

Vegim (running)

304-305.
or toes or

If a

nata walks swiftly on his heels

and holds Alapadma and Tripataka hands

go with VeginI (running) gait.

his entire sole,

by
he
alternately,

305-306.

is

said to

Kuttana (pomid'mg):

The

striking of the

the heel or the fore-part of a foot or the entire sole,

Luthita

306.
posture,

(rolling)

is

earth

with

called Kuttana.

Performing Kuttana from the Svastika

called Luthita (rolling).

is

Lolita (trembling)
Slowly moving
307.
touched the earth after performing Kuttana

a foot

which

as described

has

not

before,

is

called Lolita
(trembling).

Visama (rough): Setting the

308
right

one,

and the right

the time of
walking,

is

left foot to

the

foot to the left of the left

Visama (rough)

called

right

of

the

one alternately

at

gait.

Different Kinds of Stepping

309-310.
will

The

different kinds of
stepping

be told gradually.

These

are ten in

with

their

definitions

number: Goose-step, Peacock-

step, Deer-step, Elephant-step, Lion-step, Snake-step, Frog-step, Heroic-

step and

Human-step.

311-312.

Goose-step:

distance of half a cubit

carrying

Placing

slowly one foot after another at a

and bending on

Tripataka with both hands,

will

two

sides

alternately

be stepping like a goose.

and

ABHINAYADARPANAM

72

312-313.
in

both

the

To

Peacock-step:

hands

and

stand on toes and to carry Kapittha

move both

to

the knees

be
alternately will

making Peacock-steps.
313-314. Deer-step: Running forward or sideways like a deer
with Tripataka on both the hands will be called Deer-step.
314-315. Elephant-step: To
with hands holding Pataka on both sides

walk

315-316.
succession and

To

Horse-step:

with Samapada

feet

have Elephant-step.

to

and jump in quick

hand and Pataka with

raise the right foot

with

Sikhara

to hold

slowly
is

the left

the right [hand] will be the Horse-step.

317. Lion-step:
swiftly and proceed in
hands.

First
this

stand on toes

manner with

and

Sikhara

then
held

jump forward
in

both

the

This will be the Lion-step.

If
one holds Tripataka with both hands
318. Snake-step:
and on boch sides and walks as before, he is said to move like a snake.

319.

Frog-step:

like a lion,
steps almost

320.
with

the

one holds

If

he

said to

is

Sikhara

with both

hands and

go with Frog-steps.

Heroic step: Coming from a distance holding Sikhara

left hand and Pataka with the right one, will be called the

Heroic step.

When one
321-322. Human step
cession and puts the left hand on the
;

with the right one, he

is

said to

goes
waist,

round in
holds

move with Human

quick suc-

Katakamukha

steps.

Mandalas, Utplavanas, Bhramans, Carls, Gatis accord323-324.

to their relation to one another are endless in number and
ing
variety.
Uses of these in dance and drama are to be learnt from the Sastras,
tradition,

and through the favour of wise people.

THE END

ILLUSTRATIONS

PATAKA

KARTARTMUKHA

ARALA
5RRT

TRI PATAKA

ARD HA PATAKA

AR.DHACANDRA
MAVURA

MUSTI

ABHINAYADARPANAM

74

KATAKAMUKHA

SUCI

SARPASIRSA

CANDRAKALA

MRIGASIUSA
'

PADMAKOSA

ILLUSTRATIONS

KANGULA
(SIDB)

ALAPADHA

75

CATURAcs.ce)

BHRAMARA
HA(v|SAPAKA

MUKULA

TAMRACUPA

ABHINAYADARPANAM

76

TRtSULA

VYAOHRA

^DHASUCl

PALU

KAPOTA

KARKATA

PUPAPUTA

ILLUSTRATIONS

S1VALINGA

KATAKAVARDHANA

SAtfKHA

SAMPUTA

77

KARTARISVASTIKA

CAKRA

ABHINAYADARPANAM

78

NAGABANDHA

KHATVA

ILLUSTRATIONS

SIM

HAM UK HA

SVASTlKA

79

CATUR A CFRONT)

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126
f? sfarrfa

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if
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127

N.

B. Numerals refer to the

and

Text;

and

(i)

indicate

(ii)

numbers of the

serial

respectively the ist

slokas in the

and the 2nd halves

of the slokas.
1

V. q$T

M.

V.

for

*u4 for gpJ*

crorr

?<tf

sjgs^al

M.

M. 3&m

si

??::.

V.

sigf5

gp?:

*n?qraftq*TOt *RO:,

sip^

*Tfaff

V.

for

VM.

For

VM.

V. <mf ^Tftm

VM.

R:

crat

5^1 g
S. reads

6(ii)

T^RT

cf?f:

for

M.

^ifw4

<nsf

-,

S. ^rfir^nn^ *fcf,

S. q?ni:

and

M.

1 1

V.

13

VM.

14
15
1

M.

q^^rac wrerfiRf

M.

V. >!i<rt^^W ^,

10

^rrfif

sj^T'

M.

<r^

VM.

wft

^ft^r^

S.

f r

for

VM.

c^

for

g^T^fir:

S
S,

i^

for

?^ for 3
for $re

M.

^flit^f:

18

M.

19

A^ wi^r^ ^ ^;

^n^r^

V. ^511^5125^^3^

^i^H^i for
2

20

M. 5iT^pci^w^5^T

Mss.

qqsf:

5?

for

for

V.

S.

.....

=^38^

cf5f

^WJ

S.

for ?n$:

cf<|^HI

ft^'

M. 3%^

nrg*^

for

VA

^ 35^

A
a

gftftcTH,

q%g: for

M.

Aa

^fi??f for

Aa

22

V.

24

A
A

25

M.

27

VA

28

Mss.

29

Mss. S^?T 5TW^

23

a
a

TO^HJCT
2

^TT

*T3zf

32

V.

33

V. gs^

34

V. inrR^TO

35

M.

36

MA

37

A
A

38

M.

39

errft

??f $r4"
3

5Tf^;5^f5fr

f^rm:

Sf^t nt^T: for

Mss ^ff^T^

VM.

?3\

Tt^f

for *C^TT

for

^W
;

?tf

^R'

Mss.

w|:

for ^rf

M.

V.

M-

M.

Mss.

?fT5WTd^

?TT^t

^5f[^fsT^^H

cTRTm^ft and

A ^^*qt

3ffit

^n^I ^f^TT:

for

-,

W^MH^ft?f A

M.

sfifsrsft^

WWIJT^

^fm:

for

A a sg<0R&i

for

A cTMf^^ for ^T^

3

^cf: *n^TT: for cT^t

HRT

srfwiit g^*

^
following *tvnt&W OTtf*t ^rf%%^[ ^^;
M.

^sftfwqr:

VM,

frnfor

42

Mss.

T5J for

43

P. smrrfa for

44

P. qffe^Tf^q^t

45

ffar

Mss.

S.

f r

M.

S.

adds to this the

HT3%JT for

ft^if^cr

^t^T

^^Pr

?RfTftr^tS^4^r^

S. qr*t for
;

SP.

^vn^qt

P. >5TOHtfa for

=sri^>i[5r-3

M.

qn^
f

fTO%3

^ft^i'r^^

SP.

P. *T3^ for

iftfr^^rRftqifng,

V. ?fe ijfit

P.

52

M. spwrfrfaTO^

54

V.

56

M. ^=^H

58

VM.

MV.

^r

fwft

20

if

SUTT^Tj, for

for

5RP9i, M.

^ ^

M.

for

for

M.

59
60

V.

61

S.

62

66

V cm4^R^5rrf^ M. ^TOF^,
A 3TRfrft*T for siratftg

67

V.

68

M.

69

M.

70

MV.

for Si

tffitTJ^it:

TOi^lf?OT
;

for

M.

tffi^f g^fT^Hct,

f^^Rt

for

qftf^: gOTflqrf

2TT^5^f

VM.

A M. ^TR
r

SRTTCHTct

for

A A3
1

for ^T?f

V.

73

M.

74

M. &&fa$

^T^qr^

5T*i'ftT%

Wt^

V.

^T^t ?fe

A ^
for ?<^
M.

ft^

for

A A2
1

^B^ fo?: *fiRki

A!A 2 ^^f^r^ for

72

for

and

M.

qr

cRcnfr,

for

fopq^

S*refTO* for

M. |r^HT5tTOtWH A |T?iqjtn^r^wij,

77

M.

78

VA^

79

V, *vr*Nfb$

81

MA

82

M. qRt$S^*fT*fr ^

83

84

V. qftff^

ft^T*

^qiq^

^fJ|

TT^,

^ ^ qw
^r ^

for <TOT ^c^,

A
for

VM

for

V.

<TT^

MA A
1

TO^ff^

75

wsiffrftd^pi;

for

mf

qftqfSsft for

V.

=^f%cfT

ft*i&,
;

V.

firsKt for

=3Rf*rci;

for

ft^PB^

for

85

M.

?lTSref% for 3T3ST3?a

86

M.

gi*T<5[5*Fg%

87

88

V-

89

1.

A
90

91

353%

p?T

T^ssfam;:
3

I.

I.

gfiwrftreRN

A2

95

PA 3

MV

A3

96

V.

s*ra,

^^sRiig^:

^rg^^t^r?!^:,

P.

nFT^fMq?T^:, P.

wn,

1.

rn^r^t^^rm (*r)t
;

I.

ff^fiRf^RT

has for this the following

also has 'the

same with

B.

P. q^i^

**&

srar^
;

BI.

v.

I.

adds to this couplet

ft^%

5TcU^

^^
;

q^i^^^,

B.

B.

^g^^

fR^ft for

BP

i=Rtfft

^fw%, M.

between g6(i) and 96(ii) the following

B.

i.

P, *ri):

WOTtftft

VPA A ft^% for

VPA 2 B 5^ ^^^
I.

^srsnrerer:

94

M. ^^i^

MA A &nw for ^rrat

6

the following

I.

ft^TT

for

sratfwr:

cRfqR*r:

P. *5TRf ^TTJT^^rqj^t^

93

j?^psrr^Rw.

^f3^^T5f?5r^:,

^,
I.

86(ii)

^^^?r^r:

srfgOTnswwjs.

92

AA

for

ste^

for
1

srcfpisr

fan *u for

5^ fifths

5^3$ ^ft

^^

A2

gw%

97

3**tft'*rWT

continwed in

98

M.

ftr^,

99

M.

^-^ ^

100

V.

(T^nfirj

omits

B.

3[sfo

as follows

I.

following

V. ^>ft

V&m$

for

for

01

102 V.

:,

I.

i^nrts

the

for

for

*H3Trfi[f*T:

^BT^^

and

and

I.

oo

(ii)

the

has the same

this

contiuing

by

^Ff:

P1B

whole couplet
* * *

and P.

whole couplet

and

3-

AA
1

3-

read

reads

read

T^f^ltf

*W$

P.

5Rtn?TJ, P. 5pft*T%: B.

M.

for

?fcT

cTWm^B:

104 B.

reads
:

105

P.

103

:,

is

^^ for fa

as

f^^^R

(97)

couplet

TcTT^T^^T^JTTcI, B.

1.

Yhis

97-99.

*3T<t

for

104^),

for

5Rfrr%,

M.

I.

reads

V.

the

107

M.

finc^

08

109

A
A
A

v&

as

io7(i)

06, P. frqqfaq^fq *,

f%&t

frrefe^sfq

BA fo^
3

gsn,

^fswrferr

BP %KW\

M.

^ ^,

B. omits

A2

for

^?nffi^

jrefr^r,

1126. f sqjigtfT

for

^if

io9(ii)

f^f^l^:

for

^^n^^TT

T^f^4%sfq

A ^gt for VT^T^,

A
cSRiR ^q^f,

=ST

for

BP.

Mss.

B. omits

otf

Mss. ^^^qfT

vrrf^

^rr

V. ^i^^jr

8f5?^|^r,

and reads

P. f%s1

tfswnftcn:,

^^

107(1!)

M. g?q^

frq^sfq- toft fiRi V&ftg*:;

(?T^P.) gftm^fw^TR^:

no

*r B. omits io6(ii)

zfa&s:

for

10

and

*jsng

B.

B. omits

113

has

SfWBT^^f^ar:

sniKfTSff

114 Mss.

<r*ft

115 B. omits
6

117

B.

ii5(ii),

for

B.

vn^sfir

M. ^^rw

5^^

A!A A

^m

fotf

B.
^rf

118 Sec

v.

1.

of
c:

117

STftRf f^?c^5 ^fgfir: ^nftr^ft^

for

TO and

n8(i)
P. as

reads n8(ii) as

^fo^qf^l:

i6(i)

^sqfoK^

and n8(i) P. and B. have the

following:
P.

ST

for

BV. omits
2

M.

tf4rwfrnfe;

jygu? and

and

H3(ii)

13(11)

114 with ^T^f^:

B omits

continues

M. ^fg^qftgcT

tfggtftafiga,

ii7(ii)

Sg^%

^. A ft^i^n^

M. *%*rg*5W#

i2(ii)

^fwW^

^nft-

=5T-

1 1

V.

=trift

fti^:

tfsitf RRT:

for

^
1

19

*?TO

for
gives the entire viniyoga

sp%
as

it

vpftsft

19-1 21 (i)

3Tf ..... , f*RT*3rsf

while

has

P.

121

qfwT^

*T^%

forar-

$T*T%

*!?

and B. has

as

it

for

firfwJt

See nots on 119,

foreft

g^^t

reads

For I2i(ii) and 122(1)

WfJ^?:

And

as

g^

......

120 See notes on 119, V. ^fa?nrifa%

M.

ftrefar

<f<J$

133

f fecIT

P. reads

122 For 122(1)

see notes

on 121,

^:

sfts^f

^fT^t

TT^ni^-,

B. has 122(11) as

123 B. omits 123. Mss.

124 B. tfqw

qft^fSer:
T,

AA
X

125

M[

$3fl>Tg*sT?*sr

*rc3TT*h,

or

^fe^ ^fr^^r ^%citgOT^n, M.

V. ^fiTftRrtgOT^ws,

Mss.

I25(ii)

and

^l^nq'^.
126(1)

The

follows:

entire

been

has

3 (^3

B)

3^T^ B

viniyoga

of

PB.

as

given

134
126

MV

See v.

qfa*$r for tfa^r

127 V.

?fe*TT^

128 V.

f^r:
:.

^^RT. Sec v.

^tfly^:

<Jtaj:

1.

of

of

1.

125

125 and

128(1!)

M.

srrarf^nf^nih,

For I27(ii) and 128(1).

has
n:

and P. has

A A a MV ^^^ for
A A 2 ^?TT?^f for ^>T^r
l

129

PB. have

130

^^

MV. $Rq

<rr*3jt

for

129(11)

(s3T

A A2
1

^T^T^T^3f^,

P.

*$&

PB. ^W%^T(<tT)<ir

^ ^j^f^T^, A

^BJ^Rrw?^

ffanrof

PB. omit

130(11)

131 B. omits

this,

and P. has

133 For

M.

has 131(11)

^n$fr

133(1)

f^Rfts?^ ftf^ft^t

134

sr'gsajT fTOTTs

q^t

fiTJ^q?^

has

WR?ir

PB. omit

AI A

as

cfft

this couplet

fftcf

5fsfr ^ Mss.

ftf^^T

cR^T

W^K^:

and P. gives

A A2
1

sfi^f^f:

omit the seond

half of 134*

135

M. ^g%Scq^THl^

^cf%

for

3
$*%, PBA

read

the

as follows:]

^
136

sKrzsft

*ft%

^T^frt (B. ^JTTT

(A *w$

PBA 8

this

^n^rr^

and 137(1)

:
(B. qrsnsf

as follows:

ftftsfaft fJTjj?^ (6?v=ft^ B.)

ii

whole

135
137 Sec

v.

fa^ra
138

MA

136. V.

for

1.

g<f*fl$,

?w$t

=sref TO^teT 5<ftfan

<mrafsrforarR ^,

MV.

fcrftVB^j,

^5

PV.

<fin%<ffi-

M. TOTO *fo?TT*T %t
see notes

OTTOfofNf*WV

on 139.

139 For

BA3 P

and 139(1)

138(11)

have the following:

8

(A
3

V. ^fafTOSE

M.

^fir

51^

$frsfg<&T

140 For 140(1)

51^%

B. has sfarf

^tf %ft,

^^rfif

f^ifiRft,

W% ^^^TTW
M.

V,

fipift for f^rr^,

%5^%, A m^A for ^TTfT^ for 140(11) See

and 141 PBA have the following:
140(11)
2

S^TIfl%

v.

1.

V.
on 141

141 For

A 1%$ *F^T^%
A ) ^^ ^ firj^rt
3

frrft

^T^I^

(^nr^

M. %$
142

qft<$ for

^r>n^ q^f^fi^

143 For 143(1)

MV.

143(1!)

144 For

M.

^rwf^, A A
1

*T?s}

^:

*&&

for

143(1!)

|?T?T%

II

omit 141(1!)

37^ ^zrot^ A

has

see notes

omits

M.

ft'fT5^Tfi?>T^[Tf<T^^T:,

?|^5Rn^ A. q^ltft:

T^irat:

on 144 below.

and

44(1) P. has

^ft^

^513^

V. $regf%%

*?t?^

ftff

P.

for

*3

145 B

%*w
3

for

<rrf^,

?fnRfe and

For 145

(ii)

For 145

ii

See v.

wRiwrraf

for

^faff^r

wfmft, PB
I.

and 146

on 146

A3

(i)

BP

read

T.

II

>

V.

reads 146(4) as

rr^4%sfir

for

\\

3
^q% %^ ^Rg^^5f^^[ A

^i^%

for 3>faS[3TT ^f%cTT^

147 V.

for

fiROTHjftOTWis

*n*ra%

f%

for

P fiK^T^TSTTSR:

147 See

v.l.

on 148 below

148 For 147, 148 and 149(1) P reads

3
and B reads

and

reads

* *

149

Mw^^?:%
T:

'TOmTORft

f%2T-' see v.

150 For 149(11) and 150(1)

:,

for

^ ^r^ff.
PB

of

see

148

also

this,

M^

J^T^fTcT^ for

I49(i).

150

^T:

ftftK$f

for

for

and P read

M ^% %w^3^:

II

Pr

gtf%

151 B omits

1.

f^^

Wf,

A a ^W^ ^ ^t^

for

^T:,

153 For

and 153(1)

152(11)

reads

^WHTfofiT^ft faf**

^CTT: sKrrftcrrartfft sf ^:

sro^t

and P reads

M qft
154

for

153(11) see v.

ror

q%,

SWtf(^:

^q:
;

g^%
For 155(11) see

156

M Jjf^T^t

for

1.

of

^ife^T^

154

for

153(11)

flT^Hi

^
r:

158

V.

B)

^^T^RT^^

157

V f^%

frf^PUt

3 5f^r^^

^r

P. flftf^ufjTfteq^, see vl. of

159 For 158(1!) and 159(1)

II

Htel^t

see v.

1.

of

PB

ftfiTT^

157

f^^T %^%

stss *n^in^fsf^q% (B. fir^r%)

^rift

A A2

and 154(1) B reads

157 For 155(11), 156 and 157(1) PB. read

i

M qftMgt ^^tw:,

qJtfeft *raT*TO:,

srawitstf

v.

of

1.

^d
159

read

AA
1

v.

1.

60 For

^s^f

of

g^

AA
l

vr^Ftfr

^cfm:

160

159(11) and 160(1)

reads

M.
18

^tf^^t 5fT^r^tfttj

II

i6o(ii) see v.l. of 161

for

159(1!)

see

138
161 For i6o(ii) and 161(1) BP. read *ftfc%

i^fr)

(B.

(B. f<rer)

162

A^ ^s4
2

reads
v.

1.

163 For

gfararef

^ fcra

3^

*rfrfa?<ft (B. ^i

(B

tf^RT tf&T Tft*p%

(B.

fopq^)

VM, ^?rrw

*f8* *rr^frt:,

for
5

OT}pqiW^T5?p^fwfR5:, M. fg^sfrr^
of

MV.

162(11)

for 162(11) see

163
and 163(1) P reads

162(11)

and B reads

M. ^i^ $^gs^

164 For the

for

for

M.

66 Mss

$fai&

?f^

163(11)

P. reads

164 B reads

f ^f^T^ ^% $1%

^T^I^t

165

entire

reads *T%

5?j^

cTT^JT^5

Risu^**,

for

?f^

w, A 1

reads

3?

$(t ^^tfirt: for i62(ii)

fqpfCTT^,

ft^

A ^39
1

^otc^g^s

for

39

169 For 169 and 170 Mss read

highly probable that

It is

confounded.

have

these

therefore

have

lines

the

suggested

been

mutilated
as

reading

the text.

171

Mss

175

A a ^frofOT^

V. srfif jfffir:

177

A
A

178

MVA

176

?M

80

RJTT^^f,
;

^Fcrfflft

^^

sfarr*ftaft ^Tt^rpft

M.

182

3<OTr*fTT

HTCfl^fcfa:,

f^:^^

A ^

^r,

qrcn^n^,

9iqW

fir^T^

qr?rr%

35

VMA'A

Wf^nt ft^g

V. ^TOfcafaft ^,

f^ftf^f

MVA
1

for ^ift'^rf^ ^. cf

^% ^f

w^sPr

^ ^nrt

183 Mss ^ra^rrR[

5Tf% V.

for

sronoWf^,

M.

rf^Prqt ^rfe^T^:

;narnF$

A %vm
3

srqr^-g^,

A 5^5^^:

181

184

A2

ft^cTT:

179 M.
1

M.

ff^cnf^fa:

in S.

VII 198.

A1

^rf^fa: V.

VA ^ ffi^r: for
A fipqRr ftreR:
3

185
1

86

187 Mss ^frar?Rff,

1

88

190

M.

frrorjfir

M. %%^r^

M.

JTT

5^
for

%^T?cf,

for

i9o(ii) see v.

1.

of 191

and

shown

in

140
191

cf^T

qf^,

and 191

m&h

V.

irTsfen g<TOT,

5 <mi snftre

for

I9o(ii)

reads

wra
u

192 For the

entire couplet

reads

^iwn'nw^ B:
?

tftstf

A ^?

194

?T3T^

reads

M. wlg^^, M.
couplet

196 For the

197

TO ^

3>faE%:

for

couplet

^^t

ffirfsRjfa^

^^^

reads

A2

194(1!)

for

193(11)

V.

reads

reads

>2f ^ot

S^ ^

entire couplet

TT^r, for

for the entire

^r

|if

195 For the 195(1)

entire

^?3TT

li

^ftf ^32;

gat

R5gj[%^pR

A2

TW,

^rt ft^??^

193 For 103(1)

197(11) See

reads

v.l. for

^t^r^: *^: ^f^cf:

:

*^^^

ftftg^i? for the

198 For 197(11)

M.

^i^ft?

199

200

^^

^T^sfE

has ftqfqt

for

202 For the

entire

couplet

203

M.

205

M.

^g

206

finen% *a,

^CT^T

^^

^T

'

99

for 198(11)

and 199

1,

has s?V.

^T

^I^ft

f^t and

reads

reads

continues the couplet by

^rNtf%
of

^^f^, A

A ^s^-ir
2

f'gi^ 3R3[%*ir,

fiwerrwwrt

f^g,

207

207 For 206(11) and 207(1)

V.

see v -

9^CO

TWt 5^-

Mss

JT^f^ f^TTf^ V.

20 1 For the entire couplet

v.

reads

A A
3

M.

for fft^,

* or

^^K^Tftjffifwi

M. ^q^

&yqW&ftwtfW%

*J*T*ftq

A3

reads

^PTCT ^sfir for ^firw%sfir

V.

A3

^i-^r

fm^ft

^^ ^ MA

2
f^cn^ g, AiA MV

^i|^,

for 206(1!) see

208 M. q^<ft

for

209 V. %<sK\f%%
210

211

wgTO

Rft

V.

212 V.
c

218 M. $5g

216
217

A
A

3*:

c|:

qgsqTWncw

wrtstf

g<Fgi#o for

i^fjfi

entire

couplet

A V ^TOTOI
8

reads

5?g^

5$:,

for

the

^l TO? ww
M.

219 For

219(11)

220 For

the entire
couplet

reads

222 M.
223 M.

AV
X

225

227 Mss ^cfl^

228 For

for

227(ii) and 228(i)

Mss
-,

229 For 228(11)

231 V.

227(11)

a.nd

see v.

A3

1.

of

228

reads

ffffT^:

^^,

229(1)

A3

for

reads

v.
228(11) see the

1.

for

229

232 V.

*&

V.

^frfasftfer:

V.

:,

for

233

234

A A2V

M.

for

V.

TO:

235 For 235(1)

236 Mss

AAV

^TT^

237 Mss %q:

reads

TO'.

^ ^i:

238 V. ^jfaqfam

240 V. JTl^lf^
241

for

f^j: for

for

246 V.
247 This

3
is

repeated

see

37

Mss

Mss

248 V.

250 M.

for

254 Mss

for

256 .Mss
263 V.

265

M.

for

-,

278 V.

280 Mss
282

M.

287

M.
M.

288 V.
291 V.

M.

for
for

V.

285 For

286

V.

g?;:

for

^ for

<*fqc*r*

V.

V.

44

295 V.

for

301 V.

306 Mss
309 V.

M.

312 V.
3.3 V.

314 V.

Mss

CRT: for

319 Mss
322

M.

323 M.

324 M.

for
for

V.

V.

SELECT GLOSSARY
Abbreviations
u. = utplavana; g. =gati; h, = hasta;
gr.=sgriva;
c. =carl; dr. = drsti; bhr. = bhramarl; m. = mandala; s. = siras; sth.=
:

Numerals

sthlna; u.=sutplavana.

refer to the

number

of slokas.

anga 42-43.

utpluta bhr.

ariga bhr. 297-298.

udvahita

agni h. 212,

utsanga h.

184-185.

anjali h.

ullokita dr.

75-76.

176-177

adhomukha

s.

s.

292

52-53

ekapada bhr. 29^.

54-55.

anuvrtta dr. 77.

ekapada

sth.

276-277.

arala h.

114.
ardhacandra h. 111-113.

aindraka sth. 278-279.

kataka h. 168-170.

ardhapataka h. 103-104.
ardhasucl h. 167-168.

katamamukha

alaga u. 284.

h. 124-127.
katakavardhana h. 187-188.
kapittha h. 121-124.

alapadma h. 146-149.

kapota h. 177-178.
s.

60-6 1.

avalokita dr. 78-79.

kampita

asva u. 286-287.

karkata h. 178-179,

asamyuta

h.

= gesture

by one hand

and

postures

in

drama and dance 39.

ayata m. 263.
alldha

285-286.

kartarimukha h.

akasa bhr. 296-297.

angika = gestures

kartarl u.

105-107

kartarl-svastika h.

kahgula h. 144-146.
Kartikeya h. 209-210.

m. 264-265.

alokita dr. 69-70.

kilaka h. 195.

alolita s.

kuncita bhr. 296.

55*56.
and

= dress
aharya

decoration o

the body. 40.

Isvara

utksipta

= $iva)
s.

h.

188-189.

Kalki h. 225.

205

63-64

movements
jumping
utplavana
in dance and drama.

kuttana

c.

Kuvera

h.

kurma

h.

305-306.
215,

197-198.

kurmavatara h. 217.
Krsna h. 224.
krpalaga u. 288-289.

ABHINAYADARPANAM

146

=a

for natya,
general term

Ketu h. 258.

natana

Ksatriya h.

khatva h. 202.

nrtya and nrtta.

nanandr h. 239-240.

gajalllag. 314-315,

nagabandha h. 201.

227*228.

= mode
gati

of walking or

setting

foot.

Gancsa

nagabandha
naty

200.

h.

right

representation of

the

or

nayaka

nrtta = merely

c.

251.

c.

nrtya

301.

= dancing

movement

action

the

of

feet

which

in
if

promi-

nent.
tika

ture,

h.

213.

cf.

symmetrical

= pantomimic

Nrsimha

h.

ges-

padmakosa
s.

219.

paravrtta

Parasurama
parivahita

h.

134-137

61-62.
h.

s.

221.

64-65.

tamracuda h. 163-164.

parivatita gr.

tirasclna gr.

h.
palli

170-171

pada-cari

= carl.

82-83.

turangim g. 315-316.
tripataka h.

100*102

165-166.

83-84.

Parvati h.

207-208.

parsvasuci

m. 273.

dampatl h. 231-232.

pasa h. 194.

devara h. 238-239.

pitr h.

dhuta

putra h. 241-242.

s.

57-59.
nartana
dance and drama.

dance, a dance

93-100

atikya saha jayaya-

expression,

Cha. Upanisad.
dola h. 181-182.

trisula h.

and

which represents feelings and

moods through gestures
pataka h.

= indication,

dance

and abhinaya

catura h. 149-152.

cari

rhythmic movement of limbs,

nrtta h.=gestures used in dance

301-302.

candrakala h. 132-133.

calana

story

or dramatic performance

cakra h. 191-192.

h.

of a

= one who pays for

Nimi

Candra

part

and dance,
of begin-

cakra bhr. 293.

cahkramana

277-278.

with recitation, costume, songs

song or dance.

a tune,

ning

manner

sth.

= stage

story

Garuda bhr, 294.

Garuda sth. 280-281.

= thc
graha

234-235.

puspaputa h. 182-183,

147

SELECT GLOSSAY
prakampita

gr.

mayuri g. 312.
matr h. 232-234.

85-86.

pratyahga 43.

dr.

pralokita
prasanjita

manavl

m. 266.

pratyalidha

72-73.

= excessive

musti h.

affection.

mukula

prcnkhana m. 266-267.
prerita

ing or

Balarama h. 223.
h.

Brhaspati

Brahma

sth.

Brahma

h.

motita

354^
281-282.

h.

an

affects

Yama
(lit,

that

idea to be

106

represented), 98,

bhujahgl g. 318.

bhramara

h.

203.

h.

152-154.

= flight
in

body

general

dance and drama,

matsya

g.

mayura

307.
Vaisya h. 228-229
h.

198-199.

Varuna h. 214.
in

vacika

= oral

expression,

delivery 39.

0-2

h. 108-1 10.

1 1

h.

220.

vayu h. 214-215.

196-197.
matsyavatara h. 216.
h. 2

306

Vamanavatara

319.

h.

manmatha

dance.

Varahavatara h. 218.

252.
in

222.

lolita c.

Varaha

142-143.

h.

mandala = posture

manduki

the

142-143.

Mahgala (Mars)

h.

= female

luthita c.

movement of

dance

(jyestha) h.

213.

raksasa h. 226.

lasya

bhratr (kanistha) h.

h.

rasa = sentiment

Rahu h. 257.
rekha=see notes on 27.
Laksmi h. 208.

= represented,

bhramarl

m. 270.271.

Ramacandra

etc.

bhavana = see bhavana,

bherunda

a close a

226-227.

= State
bhavana = representation

bhavita

to

mrgaslrsa h. 139-142.

bhava

which

bringing

motita u. 287.

205.

Brahmana

6-1 18.

tune, song or dance.

253.
h.

1 1

h.

161-163.
moksa = the right manner of releas-

m. 267-269.

Budha

321.

g.

mllita dr. 74-75.

vlra g.
.

320.

Vinayaka

h.

209.

visama-sancara

c.

308.

proper

ABHINAYADARPA^AM

148

Visnu

h.

=
samyuta h. gesture by

206.

vcginl c, 304-305.

vyaghra h. 166-167.

sarana

sakata h. 189-190.

SarasvatI h.

sahkha h. 190-191.

sarpasiras h.

c.

302-303.
206-207.
i37* I 39'

Sanaiscara h. 256.

saci dr.

70-72.

sikhara h. 118 121.

sattvika

40-42.

sivaiinga h. 186.

sirnhl g.

317.

sukatunda h. 115-116.
ukra h. 255.

simhamukha

Sudra h. 229-230.

sucl h.

srutikara

1.

127-131.

or

sitting

posture 262.
h.

snusa h. 242-243.

209-210.

m. 269-270.

sapacnl h. 242-243.

svastika

sama

svastika h.

67-68.

samapada sth. 275-276.

sama samasucl m. 272. 51-52.
sarnputa h.

142-144.

surya h. 250.
sthanaka
standing

svasura h.
svalru h.

dr.

h.

sundarl gr. 80-8

= drone.

Sanmukha

both the

hands.

193,

180-181.

hamsl g. 31 1-312.
hamsa-paksa

hamsasya

h.

h.

57- 159.

154-157.

CORRECIIONS
line

Page

last

7
7

Read

Hasta-bhedah

Le theatre

in die n

Ditto

Kapittba for Tripataka

INDEX
audience (of a play), 42

abhaya pose, 63
Abhilasitartha-cintamani,

audience arrangement

of,

AbhinavabharatI, 23, 39

Avadanasataka, 21

Abhinavagupta, 23
Abhinaya, iyff; and painting, 15;
and ritual, 19
and sculpture,
1 6
and song,
and
17

aharyabhinaya, (costumes

akasagami

developfour kinds of,

of, 2off

46

importance of

the study

i^ff; inKalidasa'sage, 22;

literature of,

22

in,

angika, agents

Bengali folklore,
Bharatasastra,

2^ff
26ff
Bharata-natysastra,

62

26

and
;

and

Bharatasastragrantha, 5
Bharatasutra, 23

Bharatarnava, 2()R and Samgit-

Bharatacarya,

48

ratnakara author of, 31

Bharatarnava,

accent in the stage-speech, 13

action in

Hindu

adviser to

plays,

Sabhapati,

bhauma

.,29

bhauma m, 29

42

Bhagavata-purana, 37

Agnipurana, 24

bhava

Aitihasikarahasya, 13

bhav-batana, 18

(state),

alamkaras, growth of, 36

bhraman, 44

Alha, songs

Brahman, 40

of,

40

Andhra Hist. Research

Society,

33

brows, movements

46

Burnell,

Apakrsta Dhruva, 45

cakravaka, 57

Apsarasas,

46

Brahmasutra, 23

ahgahara, 32

art of

20

origin of, 17.

Abhinayadarpana,

anga,

46

ballads, ancient Indian,

of,

meaning

ment

14

30

alapacari,

angikabhinaya,

Tantrik mudras, 19

etc.),

29

of,

cari,

42-43

40

producing plays,

artha (wealth),

40

Asvaghosa, 20
Atharvaveda,

of,

32

Cambodian dancers and abhinaya,

24
castes,

to

show eighteen, 65

Catura Kallinatha, 48
6,

40

51

Caturasra posture,

68

ABHINAYADARPANAM

150

cari,

Hindu Astronomy, 5
Hindu dance, principles

bhauma, 29
cataka,

of, 46
Hindu iconography Elements

23

Coomaraswamy, A. K. 1,3
Costumes in the stage, 14
dance in

Hindu drama,

9,

10

40

of,

plays, action

of,

39
in, 6,

6; objects

lyrical
of,

occasion for, 9-10; suggestive

character of, 7; technique of, 8

girl,

beauty

43;

of,

disqualification of, 43;

up

Siva,

nature of,

dance, occasion for, 40-41 variety

dancing

Hinduism and

Hindu

dance language, 10

of,

20

Hillebrandt, A,

akasagaml, 29;

43;
make-

44

Hindu playwright's playbuilding

10-11.

Hindu women

Dandin, 5

of

Bengal

and

dance, 41

Dasarupaka

6, 18,

Indian dance, principles,

45, 53

46

Dhananjaya, i8(?)

Indonesian dance and drama, 9-10

Dhanika, 45

Indra and Nandikesvara, 39

dharma

(dutiful life),

dialects in the
stage,

40

Japa flower,

42

Janantika,

50

dramatic delivery, 13

Kalpavrksa,

drone,

Karana, 32

42

Dvaraka, milk maids

folk-arts

of,

40

42

Karpuramanjarl, 9

Kathakas, 20

44
and abhinaya, 20

Earth-goddess pujas

56

to,

Kavi, Ramakrisbna 33

folk dance,
17

Kama

folk plays,
17

Kavyamlmansa, 32

folk song, 17

Kavyaprakasa, 5

Gambhlra, 20

Krsasva, 22

Gandharvas, 39

Laksml, 55

Ganapati,

44

Levi, Silvain, 6, 7

Gahga, 55
Garba dance, 41
goddess of rathga, praise

(enjoyment) 40

Lihgadharana-candrika, 32

Lingapurana, 33

Harlvamsa, 9

Lingayet Saivism, 32
nature of Hindu
lyrical
plays, 6

Hala, 20

Madhyanta-vibhaga-sutra, 23

of,

45

INDEX

151

of origin of,
natya, etymology

Mahabharata, 9

Mahavrata, 20

Natyaveda,

Maitrayanatha, 23

nayaka, 41, 42

makara, 60

make-up

nine planetary deities, 5

43

Nilapaja, 9,

Mallinatha, 9

mandala,

bliauma, 29;

29;

akasikl,

21

nepathya,

of a dancing girl,

and

29

nrcta,

20

40

nrtya,

40

mantrin (adviser to President), 42

18
nrtya and abhinaya,

Manusamhita, 33

offering

Matanga, 39

padma

Matsyapurana 37

painting and abhinaya 15,

Malavikagmmitra 22
Mirror of Gesture i

parabrahma, 55

modulation of voice

moksa

(liberation)

mudra, meaning

muraja,

Palit,

25

n, 20

patur, paturiya,

33;

34

44

45

puspanjali,
of

44

43

puspaksl,

Nandibharata, 29

of,

53
20

patra (dancing girl),

40

Nandikesvara, place

45

64

Parsadasutra 23

44

time

(lotus),

Patanjali,

Mudraraksasa, 39

music, vocal,

flowers in the stage

patralekhal,
1

40

of

40

Prabandhamanjari,

1 1

Prabhakaravijaya, 32

Nandikesvaratilaka, 32

Prasanna-raghava-tika, 5

Nandl, 32

Prakrits,

Nandlsvarasamhita, 33-34

President of the audience, 41,

nartakl,

pronunciation, 13

43-44

nata, def. of,

Nataraja,

44

39

Natasekhara, 39
21
natacarya,
nalikera,

56
Nandl, 21
Narada, 40

42

Puranic gods, evolution of, 5

Rabindranath Tagore, 10
Rao. Gopinath 33

Raghavabhatta, 12
Rajasekhara 9, 32
realism in

Hindu

recitation in a

plays,

play,

40

1 1

42

ABHINAYADARPANAM

152

Rgveda, 40

Sahityadarpana, 8

Rkpratisakhya 23

Samaveda, 19
sculpture and abhinaya, 16

rekha,

44

rhythm, 13
Rice, S., 6,

Sen, Kshitimohan,

and abhinaya, 19

ritual

ritualistic dance,

Shakespeare and realism 10,

Silappadikarana,

Vedic, 19

ritual,

Saiva ritualistic dance,

9,

20

Sakuntala 12, 22

SatyavatI story,

10

of,

sutra,

Tandu, 40
tala

33
22

(time beat),

1 1

46

Talalaksana, 32

33

srhgara-natana,

in

Taladilaksana, 32

39

tandava,

59

srutikara (drone),

in

23

Talabhinayalaksana, 32

Siva's dance,

sadanga

of,

Tagore Rabindranath,

Sarngadeva, 33

Siva,

42

meaning

Silada,
Silalin,

34

sutradhara,

drama

song and abhinaya, 8

Sten Konuw, 20
sthanaka,

Sambhu, 63
Salva and

42

Sen, Ramdas, 13

43

natya, 47;

Vedic

studies,

47

sabha (andience), 42
sabhapati,

42

39

varada pose,
31
Vatsyayana, 32

Vighnesvara, 63

Saptasataka, 21
Saras vati,

Vipra (Brahmin), 59
Visnudharmottara, 16
Western Drama and Hindu plays, 6
Woodroffe, Sir John, 25

55
1

Saumilla, 22

women

Usa, 40

Vedic colouring of the Natyasastra,53

SaptasatI (Gatha), 2

sadharani, 18

56

Vacika abhinaya, 13

Samgltaratnakara, 39
Sanskrit Drama,

Saurastra,

79

upahga, 48

Samarahgana-sutradhara, 16

Sattasai, 2

tradition, use of,

tripundraka,

42

sabhapati's adviser,
salutation,

40

Tanpura, 43
Tantrik mudras and abhinaya, 20

of,

40

Yajurvcda,

40

Yogataravall, 32