नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-IX. 206] GESTURES OF HANDS 189

Pārśvamaṇḍalī—the same movement made on one side.

196. Uromaṇḍalī—after circling movements one hand to be raised up and the other to hang down, and movements to take place near the breast.

197. Uraḥpārśvārdhamaṇḍala—the Alapallava (Alapadmaka) and Arāla hands moved by turns above the breast and on the sides.

198. Muṣṭikasvastika—the two Kaṭakāmukha hands bent at the wrists and moved round.

199. Nalinīpadmakośa the hands to be moved by turns with Vyavartita and Parivartita Karaṇa.

200. Allapallava—the two hand to have the Udveṣṭita Karaṇa in their movements.

Ulbana—the two hands to be stretched up and waved.

201. Lalita—two [Ala]-pallava (Alapadmaka) hands to be moved above the head.

Valita—the two Latā hands crossed at their elbows.

202. The Dance-hands are to be used in forming Karaṇas and hands such as the Patāka should be used in representing the meaning [of words].

203. [But] sometimes, out of necessity their uses are interchanged, and the names given are due to their predominant use in drama and dance.

204. The Dance-hands are of two kinds : single and combined. I shall now speak of hands in relation to the Karaṇas.¹

The four Karaṇas of the hand

205-206. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are : Āveṣṭita, Udveṣṭita, Vyavartita and Parivartita.

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196 (B.204, G.197). 197 (B.205, G.198). 198 (B.206, G.199).
199 (B.207, G.200). 200 (B.208, G.201). 201 (B.209, G.202).
202 (B.210). ¹ G. omits this. 203 (B.211). ¹ G. omits this.
204 (B.212, G.203). ¹ This Karaṇa is evidently differently from the K. mentoned in NŚ. IV. 62ff. 205-206 (B.213-214, G.204-205).