नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-IX. 183 ] THE GESTURES OF HANDS 187

175. At the time of verbal acting (i.e. when the actor will enunciate his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen)¹.

176. The movements of hands in dancing and acting will be of five kinds, viz. palms kept upwards, downwards or oblique, fingers pointing upwards or downwards.

177. These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance-hands (i e. gestures to be used in dance).

The Dance-hands

178. Caturasra—two Kaṭakāmukha hands held forward eight Aṅgulis apart [from each other] on one’s breast, the two shoulders and elbows on the same level.

179. Udvṛtta—the two Haṁsapakṣa hands waved like a palm-leaf (fan). Its alternative name is the Tālavṛnta (palm-leaf).

180. Talamukha—the two hands from the Caturasra position to be held obliquely facing each other.

181. Svastika—the Talamukha hands crossed at the wrists; but released after this they are called Viprakīrṇa.

182. Arālakaṭakamukha—the two Alapallava (Alapadmaka) hands with palms upwards changed into Padmakośa hands. Its another name is Arālakaṭaka.

183. Āviddhavaktraka—The two hands are to have a graceful (kuṭila) movement after touching [successively] the opposite shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back.

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175 (B.180, G.172). ¹ B. repeats here 164 (B.169)
176 (B.182, G.175).    177 (B.183, G.176).
178 (B.184, G.177).    179 (B.185, G.178).
180 (B.186, G.179).    181 (B.187, G.180).
182 (B.188, G.181). ¹ B.G. read after this a variant of this definition.    183 (B.190, G.183).