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BACKGROUND OF EVOLUTION OF LANGUAGE
OF GESTURES IN KERALA'S VEDIC
RECITATION STYLE
Mudras or hand gestures are used in Indian culture in widely
divergent areas ranging from Iconography to dance. The earliest extant
description of mudras occur in Bharasta's NS, a text dealing with dance,
music and drama from the beginning of the Christian era, but it is likely
that they were mentioned half a rnillenium earlier in the Natasutras
that existed in Paninis' time. Over the centuries m u d r a s have become
a common feature of religious worship in Hinduism, Buddhism and
Tantrism. Here the mudra is used as a meduim of communication with
the 'Unknown' .With the spread of Indian civilization, they travelled over
large parts of Asia.
The style of recitation of the Vedas by the Namputiries of Kerala
is a clear evidence which underline the tradition of the use of mudr-as in
Kerala-theatre. The Namputiries use two sets of m u d r a s : - one to
accompany the recitation of Rgveda and the other to accompany the
chanting of Samaveda. (It is uncertain where Vedic mudras are older than
any of the others) . Whatever be their origin, the Vedic mudras could not
have resulted from a simple adaptation of other varieties, since they
are characterised by a feature that is distinctively Vedic. Unlike other
mudrus which represent meaning, Vedic mudras represent sound also.
MUDRAS OF THE NAMP~TIRI RGVEDA
The rnudriis of the Nampfitiri Rgveda a re not s imple
representations of sound. They are used to represent the ends of words
(pada) in the word-for-word recitation (padapiitha) of Rgveda. Their function
is to disambiguate the text in doubtful places. For example, the continuous
recitation (samhitdp~tha) R.V.3.56.1, na td minnnti has for its pudapcilha
nu/t/tLi/minanti. But the padapctha might have been na/ t&h/minanti. A
ten year old pupil learns the samhitii and padapntha without knowing
Sanskri t grammar and the rules of sandhi . So he is taught the
appropriate mudm, which distinguishes between ta and tah. In other
cases the pupil may have learned the rules of sandhi from practice, but
he does not know which are the words of Sanskrit language and which
are not. According to the modern historical point of view, the padapzfha
is an analysis of the samhitdpiilha, and the latter results from the former.
According to the traditional point of view, the samhita is eternal, and
the padapdtha is one of its modifications (vikdra).
Ambiguity may also be inherent in accentuation. The accents
are expressed by the position of the entire hand (this parallels to some
extent the position of the head, inculcated when the accents were taught
for the first time).
In the movement of head, no distinction is made between the
svarita (the accent immediately following the uddtta) and the pracaya
(the "accumulated" accent of syllables neither immediately following a
svarita nor immediately preceding an udatta). As will be seen from the
descriptions, some of the mudriis correspond to the shape of the mouth
or vocal tract that produces the corresponding sound. For example, the
mudrii for the vowel 'u ' imitates the rounding of the l ips that
characterises its pronounciation. Unlike dance m u d r z s , all Rgvedic
mudrcis are executed b y the right hand only. (If the form of the rnudra is
the same as in Kathakali, this can be noted even though the significance
is always different). This is because the mudrci can indicate different sub-
ject or object which one has accepted according to the content of the
text. The kartarimukha rnudra is common to several persons, like kings.
The pataka i n the samyuta samiina state denotes a king. His name is
indicated by the kartarimukha mudrE. eg. Nala, RugmZngata etc.. Who
the king is to be understood from the context.
Accent
Udatta
Anudgtta
Svarita
Pracaya
Position of the hand
UP
down
up to the right
to the left
LIST OF RG VEDA MUDRAS
I . Hrasvamudra - Mudrd for short (hrasva) syllables. All fingers are
extended in all joints and all fingers except the thumb are i n
apposition with each other.
Eg:-Devdsyd, AS&, Ggygta
2. Mnrdhanyamudrs - Mudra for retroflex (miirdhanya). Consonants,
viz, !a, !ha, da, dha, na, . sa . and la followed by short vowel or e .
R i n g f inger f lexed a t metacarpophalangeal joint and f i r s t
interphalangeal joint, extended at last interphalangeal joint, all
other fingers extended and separated from each other. Hand in
supination.
Eg:- Raksa, ~ r i n i , Aila (RV.10.95.18), Kgne (RV. 10. 155.1) The
same mudrn is used for syllables ending Sya or p a unless they
are accented with svarita. Eg:-Zirusya, K~nusva
For syllables ending with sya or p a and marked with
svarita, the HrasvamudrZ is used. Eg:- Arnu~ya
3. Ghosamudri - Mudrh for unaspirated consonants with a voice
( g h d ~ a ) , viz: gha, jha, dha, dha, bha and ha.
All joints extended except metacarpophalangeal joints
of little, ring and t h e middle fingers which are flexed. Hand in
semipronation.
Eg:- Gha, Adhi, Tustumbha, Abhi, Nahi.
189
4. ~ ~ r ~ h a v i s a r ~ a m u d r g - Mudrii for long (dirgha) syllables ending
i n visarga ( h ) , and for syllables ending - na and - ni. The little, ring
and the middle fingers flexed at metacarpophalangeal and first
interphalangeal joints, while the thumb rests on the outer surface
of the middle phalanx of the ring and the middle fingers. Hand
is in pronation, except for sarvanudutta, where it is in supination.
Eg:- Devah, Tayoh, Bahvih, Devih, Ratndni , Dh~t tana
5 . Udattamudra - M u d r ~ i for syllables with uddtta accent. Thumb
extended, all other fingers fixed at metacarpophalangeal and first
interphalangeal while the last interphalangeal joints are kept
extended. Hand in supination.
Eg:- Vi, Adya, Pra, _Uta
6 . Tithimudra or Timudra - Mudrh for syllables ending in - ti and -
thi. The Ring and middle fingers kept in apposition, flexed at the
metacarpophalangeal joints and extended at other joints, tip of
the thumb resting on the tip of the ring and the middle fingers at
their inner surface. Other fingers are extended.
Eg:- Iti, Patani, Pathi
7. SimudrH - M u d r d for syllables ending in si, se, sya and sva.
I n d e x f i n g e r f l e x e d a t m e t a c a r p o p h a l a n g e a l a n d f i r s t
interphalangeal joints; thumb rests upon the distal half of the
index finger at its outer surface. All other joints are extended.
Eg:- Asi, ~ t a s i (RV. 1.30.4), Devasya, Sahase,
190
8. Uk8ramudra - Mudrii for syllables ending in - U- Ring, middle
and the index fingers flexed at metacarpophalangeal joints and kept
in apposition, tip of the thumb rests upon the inner surface of the
tip of the index finger. All other joints are extended. Hand is in
pronation.
Eg:- Kzu, Vidu, V&, Apsu, Susthu . . (RV. 8.22.18)
9. Svarapiirvakatakaramudrii - Mudrii for syllables ending in - t
( takdra) preceded by a vowel ( svara) . Index finger flexed at the
metacarpophalangeal joint, tips of index and thumb fingers kept
in apposition. All other joints are extended.
Eg:- At, Tat, Yat
If the preceding vowel i s short, the hand i s in supination.
Eg:- Tat , Yat.
If the preceding vowel is long, the hand is pronation Eg:- At.
10. Hrasvavisargarnudra - Mudrd for short syllables ending in visarga.
Tips of the index finger and the thumb are kept i n apposition,
forming a ring that is opened at the sounding of the visarga.
Eg:- Sah, Agnih, Divah.
11. Akararnudra - Mudrii for all syllables ending in - a . The ring
finger is flexed at the rnetacarpophalangeal joint. All other joints
are extended. Hand is in pronation.
Eg:- d , Vrsu, ManasH.
191
12. P r a t h a m a n t a m u d r g - Mudri i f o r s y l l a b l e s e n d i n " f i rs t"
( p r a t h a m a ) . C o n s o n a n t s , v i z , - k and-!, o r e n d i n g in - t
immediately preceded by r. Same as Akaramudra but with the tip
of the thumb touching the root of the ring finger.
Eg:- Samrdt, Vit, Arviik, Avart (RV. 7.59.4)
13. ~ ~ l a v ~ a d i r g h a m u d r ' a - Mudrd for long, palatal (tiilavyu) vowels,
v iz , and Z unless they follow retroflex consonants (viz, fa, !ha,
da, dha, na, sa, l a )
The Ring, middle and the index fingers are flexed at
rnetacarpophalangeal and first interphalangeal joints, thumb rests
on the outer surface of the middle phalanx of t h e index finger.
The little finger is extended in all joints. Eg:- adh hat!, ~ r v ? e t c .
14. Aikararnudra - Mudrii for ai. Same as ~a lav~ad ; rghamudr2 , but
with the rotating movement of the tip of the little finger.
Eg:- Elavai, Yajadhyai
15. (Ssthyadirghamudrg - Mudrii for long, labial (bsthya) vowels, viz,
u, o and au. Same as Ukaramudra NO:^), but the little finger is
also in apposition with the other. Eg:- Vasii, Vasd, Indo, Uhhau
16. N a k a r a m u d r a - MudrZ f o r n . I n d e x f i n g e r f l e x e d a t t h e
metacarpophalangeal jo in t with distal phalanx of the thumb
resting on the other surface of the f i r s t phalanx of the index
finger. All .other fingers are extended. Eg: - Mahbn, Kavin, DevEn
17. Nakaramudra - Mudr i i for n and n . Middle f inger flexed at
metacarpophalangeal joint, the tip of the thumb touching its first
interphalangeal joint, at its inner surface.
Eg:- Pratyak, A k ~ a n , Vanlah (RV 10.79.7)
18. AnusvaamudrZi - Mudrli for short anusvilra. The ring, middle and
inedx fingers flexed at metacarpophalangeal joints. Thumb rests
on the outer surface of the middle phalanges of the middle and
index fingers. Little finger is extended at the metacarpophalangeal,
and fixed at all other joints. Hand is in semipronation.
Eg:- Tam, Devam, Agnim, Puuohitam, Vibhum (RV 6.15.8)
19. ~? rghanusva ramudr~ - Mudrii for long anusvhra. Anusv~ramudr5
in prone position. Eg:- Nrisatycihhyizm, Gacchatiim, Urvim.
20. AkarasticakamudrZi - MudriZ for initial a i n doubtful situation.
Same as D;rghavisargamudr~ (No.4) . for a i and a u , with t h e
index finger moving up and down. (viz - Aikaravisargamudrg)
Eg:- Gopamaguh (RV. 10.6 1.10) with padapatha Gopam / (T/ agub/,
not gopam / E/ guh/.
21. M u d r d fo r r e p h a , v i k d r u , p r a k r t i and u t p a t t i - Same as
Svarapfirvakatakiirarnudril (no .9) , but w i t h a "pen-rolling"
movement between the tips of the thumb and the index finger.
22. V i k B r a n i ~ e d h a m u d r Z - M u d r h u s e d w h e n a n e x p e c t e d
modification following a modification from retroflex to dental
193
as marked by VikLramudra (no.21) does not take place. Same as
MDrdhanyarnudrg NO.^), but the index finger moves slightly up and
down. This mudrd is also used forpragrhya words when the final
vowel is not subject to sandhi.
23. ~ rasv?kara~amudr i i - Mudrii for shortening (hrasvikarapam) in
thepadapdtha. Same as Tiilavyadirghamudrii (No. l3) , but the hand
makes a tilting movement in semi pronated position.
24. Urn-itimudrg - Mudr2 for urn iti in the padapatha.
The index finger is flexed at the first interphalangeal joint, its tip
resting on the phalanx o f the middle finger. The middle and the
ring fingers are slightly bent, the thumb and the little f ingers
extended.
25. Avagrahamudra - Mudrii for separat ion ( a v a g r a h a ) i n the
padapa ' t ha of a compound word i n t he sumhiti?. Same as
TZilavyadirgharnudra (no: 13) , but the hand is kept i n different
positions.
MUDRAS OF THE N A M P ~ T I R I SAMAVEDA
As seen for Rg Veda Kerala Brahmins used mudra for
chanting SZimaveda also. Some Samavedic mudriis are identical with
Rgvedic mudriis for vowels. In the Samaveda, however, they are used
sparingly. The proper domain for Samavedic mudrds is svara, the
musical phrases or motives of the chant. But there is one inherent
194
difficulty. Since the flow of melody in these chants is more continuous
than the flow of speech in recitation, the Samavedic mudriis are more
dynamic than those of Rgveda. They should be seen in movements, while
the chant ing is heard . Words a lone and picture a lone are both
m i s l e a d i n g . A proper study can only be made wi th the help of
cinimatograpy.
Here Ittj Ravi Namptitiri chanting the initial portion of the first
chant of ~ a i r n i n i ~ a Gramageyagana with the accompaniment of rnudrus
is shown with the help of photographs.
These photographs also illustrate the gestures that accompany
the chanting by Itti Ravi Namputiri of the beginning of .JaiminYya
Gramageyag2na 1 . I ( 6:)
The chant begins with a sequence of fifteen svaras, sung to the
single syllable "0". The first three are not accompanied by mudras , bu t
merely counting the movement of the fingers. The remaining twelve
svurus consist of a sequence of elementary positions of the right hand.
The hand is held at three vertical levels: high (upari), middle
(madhyam) and low (adhah). It may be moved to the three horizontal
positions: right ( dak j i na ) , middle (rnadhya) or left (vu'mu). In each of
these positions the hand may be held in one of four ways.
195
1. Malartti , "supine": in the upari position, the palm of the hand
faces the chanter.
2. Kamiltti, "prone": in the upari position, the hand faces the chanter.
3 . Uparistha or cericcu, "sideways": the edge of the little finger faces
the onlooker.
4. Matakki, "closed": the hand is held in a fist,which may be done
in any of the three preceding positions.
Omitt ing the first three, the sequence of twelve svaras
accompanying the chant of the initial "0"of J .G.G. 1 . I are described thus:
(1) rnafakki, malartti, upari; ( 2 ) mafakki, malartti, madhyam; ( 3 ) malartti,
adhah; ( 4 ) malartti, upari; (5) malartti, madhyan; ( 6 ) malartti, adhab;
( 7 ) malar t t i , mudhyam; (8) kami l t t i , upar i ; ( 9 ) kamil t t i , adhah;
( 10) cericcu, kamiltti, daksina, upari; (1 1) cericcu, kamiltti, madhyum;
( 12) kamiltti, adhah.
The sequence of these mudrns const i tutes a continous
movement pictured on Plates 7 A-F, 8 A-F. In 7A-C the hand, in supine
position moves down but remain closed. In 7 D-F, still in the same position,
it moves down again but opens up in the process. Plate 8 A pictures the
hand going up again still open. Now begins a new, quicker downward
movement that is pictured in Plates 8 B-C, where the hand is in prone
position. Next the hand moves down again beginning in the sideways
position ( cer i ccu) to the right (dukqina) , but gradually turning and
ending in the prone position (kamiltti). This is pictured on Plates 8D-F.
Thus ends the sequence of the mudrhs accompanying the syllable "0".
196
The next syllable "gna" consists of the same twelve rnudriis
and is accompanied by the same sequence of mudms. Plate 8 F actually
pictures the transition from the last movement of "o", prone and down,
to the first movement of "gna", supine and closed. If the chant had ended
with the last svura of the "o", the hand would have remained in the pure
kamiltti position, with the fingers extended.
Ssmavedic mudrds give importance to the position of hands
like supination, pronation, closed, top, middle, bottom etc. Proximity of
the mudriis is preferred here. This is one of the attributes of the rnudrfis
stated by Bharata also.33
However, the correlation between svaras and mudrds remain
unexplained, and much more work is needed before we are in a position
to arrive at an adequate understanding of the function of the mudriis of
the Narnpiitiri SBrnaveda.
From the above discussion it could be noted that the system of
the mudriis in Kerala theatre also is a combination of Rgvedic mudrzs
which give importance to the position of fingers and Samavedic mudriis
which give importance to the position of hands or proximity. In Kerala
Bharataniityam exactly follows the system of Vedic rnudrzs. In Kathakali
and Ktiriyattom the rnudriis are more stylised.
RGVEDA MUDWS
PLATE 4
A. Hrsvamudrii
B. Miirdhany amudr3
C. GhosamudrSi
D. Dirghavisargamudrii
E. UdattarnudrB
F. TithimudrZ
RGVEDA M U D U S
PLATE 5
RGVEDA M U D U S
PLATE 6
SAMAVEDA MUDRAS FOR THE INITIAL '0' OF J.G.G.I.1
PLATE 7
A. Matakki, malartti, upari
B. Matakki, malartti, madhyam
C. Malartti, adhah
D. MaEartti, upxi
E. Malartti, madhym
F. Mahat t i , adhah
SAMAVEDA MUDRAS FOR THE INITIAL '0' OF J.G.G.I.1
PLATE 8
A. Matakki, madhyaln
B . Kamiltti, upari
C. Kamiltti, adhah
D. Cericcu, kamiltti, daksina, upari.
E. Cericcu, k d t t i , rnadhyam
F. Kamiltti, adhah.
' i - ._. I..,.. ? _ .
!?;= .c
COMPARISON OF VEDIC MUDMS WITH THE MUDR&S USED IN KOTIYATTOM AND KATHAKALI
Ardhacandra
REMARKS
If the thumb is extended away from the
fingers in the plane of the palm
In A r d h a c a n d r a , t h e l i t t l e , r ing a n d
the middle fingers are also bent some
what at the first and second interphalangeal
joints
No remarks
The thumb held straight touching the bent
index finger. Not used as such in theatre
forms.
MUDMS IN KDTIYA'OM
AND KATAKWI
Hamsapaksa
VEDIC MUDMS
1.
- 2.
3.
4.
Hrasvamudr3
Ghb~amudra
~ i r ~ h a v i s a r g a m u d r ~
Udattamudra
3
w M
REMARKS
If the tip of the thumb rested on the first
interphalangeal joints of the ring and the
middle fingers rather than the tips of the
fingers.
In Bhramara the index finger is bent only
at the first interphalangeal joint. -
If the thumb rested on the outer edge of
the first interphalangeal joint of the index
finger rather than upon its tip.
The opening of the ring formed by the
thumb and the index finger is not an integral
part of Mudriikhya.
MUDRAS IN KD~YATTOM
AND KATAKAGI
M~gakirsa
Bhramara
~ar ta r imukha
Mudriikhya
VEDIC MUDRAS
5 .
6.
7.
8 .
Tithimudra
Simudrii
Ukiirarnudrii
Hrasvavisargamudra
COMPARISON OF VEDIC MUDMS WITH THE M U D ~ S USED IN KUTIYATTOM AND KATHAKALI
REMARKS
If the ring finger were flexed at the
first interphalangeal joint rather than the
metacaropophalangeal joint.
No remarks
If the tip of the thumb met the tips of all
the fingers.
In Musti . . the little, ring, middle and the in
dex fingers are bent at all joints and
curled in toward the palm as in a fist.
MUDMS IN KUTIYATTOM
AND K A T A W I
Pataka
VEDIC MUDMS
9.
10.
1 1 .
12.
AkaramudrB
~2lavyadirghamudrii
~ ~ t h ~ a d i r g h a m u d r a
Anusviiramudrii
200
This comparison is done by Mr.Clifford R.Jones. The comparison
drawn between Anusvararnudra of Rgv-edic reictation and Musti of the
HLD according to Mr.Clifford R.Jones does not seem to be logical. If
this sort of comparison is to be accepted, there are many more gestures
which could be compared. For example, Nakaramudra of Rgveda - if the
thumb is moved to the tip of the middle finger it would form Bhramara
of the NS and the AD used in Kathakali, not mentioned in the HLD.
~rasvikaranamudri - Like Bana of the BRB with semi-pronation movement.
TANTRIC MUDRAS OF KERALA
As an extension of the Vedic mudrcis, the Tantric tradition of
Kerala also accepted a system of gestures. If Vedic mudriis were intended
to the correct implication of the meaning while chanting, the Tantric
mudras were used to please the deities at the time of worship. The mudrds
formed the medium to communicate with the proposed powers. The
ultimate aim is to please the deity. That is why the word mudrd got its
name which is really meaningful. As mentioned elsewhere in the thesis,
mudrd is
Tantric mudrds are highly symbolic. One mudrd can comunicate
a lot of meaings. Each mudrd is a complete perfect entity. By closely
examining the Tantric rnudrds one could see the pattern in which a rnudrd
20 1
is originated as said by 34 Bharata i.e. shape, nature, proximity etc. May
be, Bharata got the idea of the mudrns from the Tantric treatise of the
mudriis.
I n Indian theatre, in Krsnanattom . . the mudrns are used as
symbols but not upto the level of Tantric mudriis. In Bharatanatyarn the
mudrds are shortened and the rest of the nbhinaya is compensated by
Vdcika. But in Kd[iyattorn and Kathakali the mudrds developed into a
level which communicate any idea even without the help of Viicika i.e.
the development of the language of gestures reached its peak.
Here the Tantric mudrns and the mudrds of the HLD or those
used in Kerala theatre are compared and tabulated. The Tantric mudriis
are got from PBtmasamhitii which is a book about Vaispuvu Tantra.
RECOMMENDED USE
Not used as such
To live
Not used as such
SIMILAR MUDRA IN THE HLD/K.T.
Aiij ali
sikhara (AD)
~artarimukha (Approx)
NOMENCLATURE OF THE MUDM IN PATMASAMHITA
4. Brahmamudrii
5. Rudramudrg
6. Ganghudrii
RECOMMENDED USE
To show Brahma
To show Rudra
To show the river Ganges
h, 0 V1
NOMENCLATURE OF THE MUDM IN PATMASAMHITA
10. ~ a h k h a m u d r ~
11. Padmamudra
12. Paiamudra
RECOMMENDED USE
Conch
The seats of Goddesses like ~aksrni etc.
Nil
SIMILAR MUDM IN THE HLD/K.T.
Aiijali and Sikhara (AD)
Variation of Aiijali in samyuta form
Bana (B.B)
C
RECOMMENDED USE
Conch
Lotus and relatively large flowers.
Several uses in practice
RECOMMENDED USE
Nil
To perform sacrifice
For h6ma
C
,@ I , ., -l
I
SIMILAR MUDRA RECOMMENDED USE IN THE HLD/K.T.
NOMENCLATURE OF THE MUDRA IN PATMAS AMHITA
1 3. Angubamudra
14. Mustimudra
~ukatunda
Musfi
~rgakirsa 15. KrOdarnudra
Not used as such
Not used as such
Not used as such
RECOMMENDED USE
Not used as such
Not used as such
Not used as such
NOMENCLATURE OF THE M UDRA IN PATMASAMHITA
19. Tatvarnudra
20. ~ a j iicipav~tamudr~
2 1. &alpamudr8
RECOMMENDED USE
Nil
Nil
Nil
SIMILAR MUDM IN THE HLD/K.T.
M u d r w y a
Mayfira (BRB)
TribGla (AD)