L A T E R D E V E L O P M E N T S O F

DRAMATIC TECHNIQUES

ABHINAYADARPANA - THE BASIC LAY OUT

The AD is a small text describing the various aspects of

abhinayu which is the basic concept of Indian dramaturgy. More than

300 Jla'kas are there i n the AD. Nandikeivara, one of the followers of

Lord Siva, is said to be the author of the AD. Aligik5bhinaya with its

special aspects and varieties is mainly described here. The text starts with

the sa lu ta t ions to Lord S iva fo l lowed by the o r ig in of Ndtya

(Nic{ydtpatti). The propagation of N&ya (Nt i~yapraci irucari tam), the

nature of N&ya and N y t y a , the lord of assembly (sabhanayuka),

assembly (sabha) , stage (rarigarnandapom), danseuse etc. are then

described. Next, the fourfold abhinaya - Arigika, VGcika, Ahiirya and

Sdtvika is described. In theAfigikiibhinaya, aiigas, prutyangas, upZngas,

Nine types of head gestures, movements, eight types of abhinaya through

t h e e y e s , f o u r t y p e s of n e c k - g e s t u r e s , 28 a s a m y u t a h a s t a s ,

23 surnyutahastns - all these are described in detail.The deities like

BrahmB, the ten incarnations (of Visnu), . . the castes like Brahmin, the

genders like male and female and relationship are also shown through

different hand gestures. Then he describes five hastagatis, 13 nrttahastas

and the hastcrs to denote the navagruhas. The definition of the mandalas,

the sthdnakas, the utpiavanas, bhramuris, ciiris and gutis are then given.

Thus the AD is a text which explain the fourfold abhinaya in general

and Arigikiibhinaya in particular.

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AUTHORSHIP AND ANTIQUITY OF THE AD

Nandikehvara, the author of the AD, is known through legends

only. He is known as the follower of Nataraja, h a . He appears in the

legends as the authentic teacher of tala, rasa, Y d g a , Tuntra, Kdmaihstru,

Purvamimamsa, Lingayatusaivadarsana etc. The three works on tala viz.

TBlalaksaqa, T513dilaksana and Talabhinay alaksapa are said to be written

by Nandikeivara . Riijaiekhara in his ~ 2 v ~ a r n ~ r n ~ m s a considers him as

the rasdccirya. A text on Ycga, YGgatHravali, is also attributed to him.

Nandikeivaratilakam is said as one among his works. Some opine that

the Nandi mentioned i n Paiicasiyaka and Ratirahasya i s none but

~ a n d i k e i v a r a himself. The other works attributed to ~and ikebvara are

Tg!iidhyBya, B haratgrgava and Ngty Bmava. As ~ a n d i k e i v a r a is a deity

famous in south India, it is assumed by Dr.Ghosh that the author must be

a South Indian.

Like other Sanskrit works the date of the AD is also under

controversy. In the SR hri igadeva quotes the first twenty four slokas of

the A D as such. The SR was written around 1247 B.C.. Dr.Ghosh says

that hgrbgadeva quotes ~ a n d i k e i v a r a , the author of the AD.

To substantiate this he puts forward the following arguements:-

1. hrfigadeva mentions Nandikeivara as the 'Sangitiiciirya'. From this I

i t could be assumed that Ssriigadeva has got acquaintance with

Nandikebvara ' s works such as the AD, Taiabhinayalaksana,

Talalabsana -and Bharatarnava.

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2 . The AD is handlingAngik5bhinaya in a fashion which differs from

the NS. But the SR fully depends on the NS in this case. If the AD

had a modern text i t also would have followed the NS. From this it

could be concluded that the AD is an ancient work which follows'

an ancient tradition.

But later, some evidences have been found which refute

Dr.Ghosh's conclusions. By comparing the AD and the SR Dr. Kufijunni

R i j i concludes that the AD is a modern work. His points of arguments

are as follows.

1 . Bharata in the NS considers ~and ike iva r a as an authentic writer or

teacher himself. But it is well-known that the AD depends on the

NS in its contents.

2. I n t h e A D t h e a u t h o r s a y s - ~ ~ T f % @VM~#?T*$ T ~ I I This

statement itself points out the indebtedness of the AD to its earlier

works.

3. The interpreters like Simhabhfipala and Kallinatha attribute the

authorship of the above stanza to hrdgadeva which is seen both in

the AD and the SR Simhabhfipala interprets the rnahgajail5ka 3 i

y e F$g like this F$aqq

XTRT~~?TI Kallingtha interprets the same s'lbka like this.3TY

.rimmdmr;rd+t~r$'~rRv*~qyd ~ $ 3 srPdmd%aa: agf%+zbawi

. m d % f ; r 3-1 From t h e words of these t w o

92 t

interpreters it is clear that the author of the ilbka is Sarligadeva

himself. Thus Dr.Riij5 concludes that the AD is a modern work

whose authorship is attributed to the PurZpa character NandikeSvara.

i.e. the AD is written after the SR.

But it is remarkably noted that the modernity of the AD does

not decrease its value or authenticity. It is an accepted fact that the NS

got its present form through a series of innovations and additions made

by many scholars in different time. But the AD is relevant even now,

being unchanged, in the sense that it is a handbook which gives a com-

prehensive picture about all aspects of abhinaya.

RELEVANCE OF THE AD

The technique of the abhinuya in the A D is not the true copy of

that of the NS. Bharata gives the mode of abhinuyu which is based on the

dasarupakus whereas the author of the AD tries to explain the hand

gestures, ahhinaya through the eyes and gaits which are often seen in

Nrtta and Nytya. The discussion on the rcpakas is not given importance

in the AD.

~ a n d i k e i v a r a refers to the two divisions of Nyttu and N q y a

- Tsndava and Lfisya. Tiindava is for men and Lnsya is for women. If the

karanas and angahiiras in a dance are very vigorous and complex and

Arabhatlvrtti is used, it is Tapdava. When the anguharus and Liisyus are

simple and soft and the vrtti is Kaibik?, then the dance is Lisya . The

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harmonious movements of the hands and feet is karancl. Two karanas are

joined to form a mdtrkd and the union of two, three or four matrkas is an

angahura. Nandikesvara is not going into the Tandava and Lasya in detail.

It is already mentioned that Aizgiklibhinaya is the main theme

of the AD. The description of Aligik5bhinaya in the AD is more clear

than that of the NS. For example, Bharata divided Arigikdbhinaya into

three - Mukhaja, h v ~ r a and Cestakyta. .. But the reason or the base of this

division is vague. As said earlier, the AD gives a detailed description of

hastiibhinaya or hand gestures. The AD describes 32 asamyutaha.rtas out

of which 23 are same as i n the NS. Nine additions are there. The

asamyutahastas are enlisted as follows.

1. Pataka

3. Ardhapatika

5. Mayiira

7. ArBla

9. Musti

11. Kapittha

13. snci

15. ~ad rnako i a

17. Mlgakirsa

19. K'lngula

2. TripatHka

4. ~a r t a r imukha

6. Ardhacandra

8. kukatunda

10. kikhara

12. Kakakiimukha

14. Candrakala

16. ~arpabiras

18. Simhamukha

20. Alapadma

21. Catura

23. HamsZsya

25. Sandamba

27. Tamracfida

29. Vyiighra

3 1. Kataka

22. Bhramara

24. Hamsapak~a

26. Mukula

28. Triiiila

30. Ardhask i

32. Palli

There are 23 samyutahastas in the AD. In the NS the number is

13. Nandikeivara says that all of these samyutahastas are said by Bharata

also. They are:-

1. ~ C j a l i

3. Karkafa

5. Q61Z

7. Utsafiga

9. KapJdvardhana

11. sakata

13. Cakra

15. P5ia

17. Matsya

19. Vakra

21. Nagabandhaka

23. B herupda.

Kap6ta

Svastika

Puspaputa

Sampufa

~ i l a k a

Karma

Garuda

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Even though some mudr5s bear the same nomenclature as in

the NS they differ in their definition and application.

The NS mentions about 30 nrttahastas. But the AD does not

refer to this aspect. Instead, it simply mentions that the 13 mudriis PatZka,

Svastika, DGla, Afij ali, Katak'imukha, Sakaca, pika, Kilaka, Kapittha,

t

Sikhara, Kiirma, Hamsiisya and Alapadma are useful in Nrttu.

The AD describes the mudrzs for the deities like Brahmg, Visnu

etc. Such a description is not seen in the NS. The four-caste system, male

and female, relationship, nuvugrahas - all these have rnudriis in the AD.

The HLD also bears resemblence to the AD in the description

of the mudr?ls. The mudrZs of the AD are seen in Kathakali and

Kiitiyiittorn and other art forms which are said to follow the HLD.

Therefore i t is relevant here to compare the mudrls of the H L D with

those of the AD.

STUDY OF BALARAMABHARATA BALARAMABHARATA

Kerala - the Southern most part of India has been famous for

its cultivation and preservation of Sanskrit studies. The cultivation of

Sanskrit language has flourished in Kerala in unbroken tradition for at

least twelve centuries. The growth of Sanskrit literature in Kerala

includes almost all its branches - Vedic exegesis, philosophy, religion,

general literature, grammar, arts and architecture, Mantra and TantraSiistra,

astrology, astronomy, poetics and dramaturgy. Though there is a rich

collection of Sanskrit works in several of these branches, we have only

a few, unique works connected with the stage like the VyangyavyZkhya

on ~ a ~ a 6 s a r n v a r a ~ a and the Subhadridhanaiijaya of ~ u l a i e k h a r a Varma

the Natankuba of unknown authorship and Balaramabharata of Kiirtika

Tirun%! M a h M j a . While the Vy angyavyskhyi discusses in detail how the

Sanskrit plays should be staged and the Nat~nku"4a severely criticises

the liberties taken by the cdkydrs in their performance of Sanskrit plays

in Ktitiyattom, the Balaramabharata deals with the techniques of Indian

classical dance and drama in accordance with Bharata's Natyakgstra. Since

the work is also the result of the practical knowledge of the author about

the Kerala stage, it is a rare and unique contribution of Kerala to

Sanskrit dramaturgy. The BRB details the rules of expressive dance and

records the authors views in many places.

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The BRB brings forward a general accent on the various topics

relating to the science of Na!ya in the introductory portion of the work

and then presents a detailed analysis of the various techniques of the

THE AUTHOR AND HIS WORK

After Bharata's NS several works on dance and dramaturgy

appeared in different parts of India and at different times. The AD of

~ a n d i k e i v a r a (6th or 7th century A.D.), the SR of h r l i g a d e v a (12 10

- 1247 A.D.) the ~ ~ t t a r a t n a v a l i of Jayasenzpati (1 3th Century A.D.) the

sang;tar2ja of Kumbhakarpa ~ 5 j a (1 Sh Century A . D . ) the

~angitamakaranda of Sshaji Riija etc. are some of the major works on

Nii!ya from different regions. The BRB of Kiirtika Tirunal . RBma Varma

Mahiirgja of Travancore is a valuable contribution to the important

subject of Ndfya , from Kerala. The work is the result not only of the

study of numerous previous works but also of the practical knowledge of

the author about the subject. The work is, therefore, all the more

important for those interested in the scientific studies on Indian theatre

techniques. The work bears the significance with the title BglarZmabharata

(a treatise on dance by Biilarilma as it was composed by King BalZirama

Varma) The prefix Bala in the Balarama, the name of the author, was the

hereditary epithet denoting submission to Lord Sri Padmanabha, the

tutelary deity of Travancore Royal Family, in whom the ruling power of

the state was vested.

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From time immorial, the rulers of Travancore have been

patrons of arts and literature. Several of them have also composed works

of great merit in Sanskrit, Tamil and Malayalam. They are the descendants

of the ancient Cera kings of South India, who gave encouragements to

arts and letters.

MahBriija Kk t ika Tirunill BHlarama Varma, the author of the =

present work Bglarlmabharata, is regarded as one of the greatest and most

distinguished sovereigns of Travancore.

He was born on ShKarkajakam 899 Malabar Era (July -August

1724 A.D). As his birth star was Kyttika, he was popularly known as

KBrtika Tirunl!. His father was Kerala Varma Koyil TampurIn of

KilimEnir and mother, Rzni ~arvath; Baye. Maharaja Mirtlnda Varma,

was his materal uncle. KBrtika Tirung! Mahfiriija mastered numerous arts

and sciences even as a boy and became a votary of the poetic muse and

an equally able soldier in battle. He was a great scholar. He attained

proficiency in many languages particularly i n Sanskrit , Persian,

Hindustani and Malayalam. He studied both Portugese and English

under a tutor. He is also known to have possessed a working knowledge

of D ~ t c h .

The Maharaja also had an extra-ordinary talent not only in

literature but also in music, dancing and kindred arts. He was a scholar

in the philosophies of Yoga and Vedanta. Who the MahBrSja's spiritual

99

preceptor was, is not certain; but in the introductory verses to his

R3jasiiyam Kathakali, he invokes the blessing of a Reghunzthasiiri. The

same ReghunIthasClri is referred to in respectful terms by his nephew

Aivati TirunB! in his ~ ~ n ~ l r a s u d h l k a r a BhZqa. (On the basis of the above

facts it is conjectured that Reghunlthasfiri might have instructed the

MahBr5ja in Y6ga and Vedanta philsohies).

Even as a prince, Kgrtika Tirun21 R'ama Varma assisted his

uncle MGtZnda . Varma in all the wars undertaken by him especially those

agains t the Eas t India company and the RBjas of Kay lmkulam,

Ambalappuz ha, Tekkumkur and Vatakkumkur. When the RBj i of

Ambalappuzha was defeated, he collected all the ancient palm leaf

manuscripts preserved in his palace and brought them over to the capi-

tal, an incident which shows his interest in culture.

In order to make sure RBma Varma's learning in arts and

possession of noble qualities, the king asks the pandits and poets in his

court whether his nephew knows anything of the various arts that he has

learnt and they reply in one voice,

(This RBma, being the moon, possesses kalns and indeed he rises without

any kalailka (black mark). Being the light of the moon, he delights the

whole world with his qualities).

AS A PATRON OF ARTS AND LITERATURE

Kgrtika Tircnal Maharaja's reputation as a ruler was great; ever

greater was the fame that h e acquired as a patron of arts and literature,

several poets and scholars and experts in arts came to his court and he

gave them generous encouragement and suppor t . The fol lowing

descr ip t ion of Kiirtika Tifuna!'~ cap i t a l c i ty by Dr. E-EaSvaran

Nampfithiri in the introductory portion of the BRB reveals th is fact-

'His capital city shines with the scholars who are experts in the $a^stras

like VyZkarana and Tarka, with those men who are similar to the precep-

tor of Devas, (Byhaspati) as well-versed in the ArthaSgstra, with great

poets having gracious qualities and with the experts in eloquence of

speech: his exeedingly enjoyable capital city also shines in every direc-

tion with pleasing and interesting music, charming flute-playing, sound

of lute played by experts and the melodious and pleasant tunes; his court

being an abode of Rangalaksrni (Goddess of stage) is glorious-resonant

with the 'taka taka' sounds in keeping with tdla in the dance by beauti-

ful damsels with good traditional background and training, and pleasant

with their dances and gaits, with their movements of feet in accordance

with the tempo and displaying the emotions'.

All the well-known poets and scholars of this time flocked to

his court. Devargja, the author of Biilamartiindavijaya who has been

referred to as the court-poet of MZrtiinda Varrna in the introductory

portion of the BRB continued to enjoy Kiirtika TirunZi's patronage as

well. Besides him, the Maharaja's own nephew ASvati TirunZ! RPrna

Varma, one of the greatest poets of that time, Sad~diva ~ l k ~ i t a , Kalyana

S u b r a h m a ~ y a , Venka!asubrahmanya, Subrahmanya , PantaLam

Subrahmany a $as&, Kuiican Nambigr, Putiyi kkal Tampiin, Mantavappa!!i

Ittiriiriiia . - Menon, Itavettikkattu Nariiyavan Nampiitiri - the author of

~ u k m i n T ~ a r i n a ~ a r n Carnpu, the Brahmin from Tirumandhlmkunnu i n

Malabar who wrote the C~takasandeba, ~ i l a k a n t h a ~ r k s i t a - the author

of Varnanasgrasangraha, the Princess Manorama, of the Zamor in ' s

family were all patronised by the Mahsrsja.

THE MAHARAJA AS A POET

KBrtika TirunBj Mahargja was also a poet of distinction. In

Malayalam he is the author of s ix Kathakali works, ( c i~ tukka tha )

Rijasi iyam, Subhadrgharanam, Bakavadhom, Gandharvavijayam,

P ~ f i c a l ~ s v a y a ~ m v a r a m and Kalyii~asaugandhikam, all based on the epi-

sodes in the MahBbhBrata. W h i l e a seventh Kathakai i w o r k ,

Narakiisuravadhom, based on a story in the Shmad BhBgavata, was in

progress of composition, Ahvati Tirung] became assosciated with it to

its dinstinct advantage. On seeing his talent, MahlrZija allowed him to

complete , the remaining portion of Narakfisuravadhom .

The golden age of Kathakali art commences with the reign of

K2rtika Tirun31 Mahiirgja. Among his works already mentioned above

are some which are duplications of stories composed by Kbttayattu

Tampur In . T h u s the Bakavadhom, Kalygnasaugandhikam and

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Subhadrsharanam of K2rtika Tirung! are known today as 'Southern

stories' to differentiate the first two from those written by KBItayattu

Tampuriln and the third from the one written later by Mantretattu

NampOtirippZid. As regards the literary aspect, his Kathakaji works are

not on a par with those written by Koftayattu Tampursn. But they are

suitable for acting on the stage in accordance with the technique of

ubhinayas. His Narakiisuravadhom is a popular play even today and is

very often staged as it presents a few interesting scenes.

Like ni indi in a Sanskr i t drama, in Ka thaka i i a l so an

invocatory part is seen in the beginning. This is called TGfayam. An

actor in a female role comes to the stage and stands behind the curtain

facing the musicians and performs the preliminary dance of invocation.

The actor resorts to different forms of foot-steps, the rhythm of which is

based on the beating of the drum being played. The song technically called

the pada extols the greatness of God: In the Kathakali works of

Kogiirakkara Tampuriin there is no totayam being performed. It was first

introduced by K6tfayattu Tarnpurgn. Following him Ksrtika Tirun2! also

composed another T6tayam for his Kathakali works

>' Kartika Tirun81 Mahariija gave generous encouragement not

only for the Kathakaii performance but also for other forms of art.

Tradition says, though not fully substantiated, that once Maharaja witnessed

the D5siy21tom performance which came from Tamilnadu and pleased

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with .it, he introduced in Kerala a similar art from in the name of

MohiniyBttom. No wonder, therefore, being a devotee and expert in such

forms of art accompanied by facial expressions and various physical

attitudes combined with hastamudriis, the MaharBja thought it fit to

compose a treatise on the Nutya called the B R B , in his own name.

CONTENTS AND SOURCES OF THE BRB

The work contains the ahhinayas of various parts of the body

such as nngas , updrigas and pratyarigas, as the main divisions.

Accepting rtiga and td ja as the external means of expressing bhivus, the

author deals in detail with the various gestures giving definitions and

applications to one and all of them.

DIVISION OF CONTENTS.

1. PORVAPITHIKA

At the beginnig of the work the author gives us an introductory

portion, which contains the mangaliicarana or invocatory performance

in verse in praise of UnnatanyttaVinByaka, Natarija, ~ 2 r v a G in dancing

posture and k r i PadrnanBbha, who appeared as a dancing child before

DivBkaramuni. The granthiirambhapratijiiri or the statement of the

beginning of the work, praises Vanci kingdom with reference to the

author's remote ancestors as already been referred elsewhere and a

r e f e r ence to the author himself , and his accomplishments

(grunthukrtpraSasti). This kind of introductory portion at the beginning

of a work is gener-ally called piirvap:!hikii.

2. UPODGHATA

The work proper opens with an invocatory verse in praise of

the Goddess ~ a r a s v a 6 . After a discussion on hhizva, raga and tZ ja a

scientific definition of the Bharata or Niiiya is given as the next topic. In

addition to i t , a discussion on the anubandhacatu,ssaya, which is an

essential part of the treatment of sustra in Sanskrit, has also been made.

This portion is the up6dghdta and is the second division of the work. The

author treats the topics in this section as a mixture of prose and verse.

3 . UTTAMANGABHINAYA

After the up6dghCta portion every topic begins with an

introductory verse and ends with a concluding verse. This indicates the

particular division of the topic. Thus the author gives an introductory

verse for uttamiiigiibhinaya (in the s'irzbhedas) and, at the work by king

Riima Varma of Vafici. This may be considered as the third division of

the work

4. HASTABHINAYA

The next topic is the hastabhinaya (hand-poses movements).

Though the NS and other works like SR of Sarngadeva and ~ ~ t t a r ~ t n a v a f i

of Jayasenspati classify the hastas into three, namely asamyutahastu (sin-

gle-hand pose), samyutahasta (combined hand pose) nrttahasta (the hand

pose used in pure dance), the author of the BRB discusses only the first

two varieties and points out that some of these hastas may be used in

Nrtta also. This i s the fourth division of the BRB.

105

5 . OTHER PRINCIPAL LIMBS

The author elucidates the other ahgas, namely vaksas (the chest)

pizrivas (the sides of the torso), kati (the waist), sthirapiidas and

asthirupiidas (the feet in two varieties) in one division.

The rasas or the sentiments are essentially to be understood

for the discussion on the upringas. This rusuniriipana portion has been

handled by the author in prose following the sastraic method of elucidation.

7. UPANGABHINAYA - DQSTIBHEDAS

This section begins with the discussion on the upiifigizbhinayu

or the ahhinaya of the minor limbs. Since the dr,stis are extremely

important so far as facial expression is concerned, the author gives a

separate section for a discussion on the dyssis.

8. OTHER UPANGAS

All the other minor limbs namely bhruku!i, ntisika, kapala,

cibuka, adhara, danta, rasana, vadana, mukhardga and the sanccirihhiivas

or the transitory states are dealt with in this division.

Among the pratyangas such as udara, prstha, u'ru and jZnu are

dealt with in one division.

Thus, it could be seen that the xitgikdbhinaya or histrionic

representation is the main subject of the BRB. As the expressin of bhiiva

is conveyed through the movements of the body, the ,&igikhhhinaya or

histrionic representation is very important and it forms a separate unit

due to its technical nature. The NS gives two types of Aligikibhinaya,

one being the movements of different parts of the human body and the

other being the discussion on the combination of these primary 4

movements. Unlike the other dance treatises such as S~ngiiraratnskara,

Bharatarnava etc. the BRB deals only with the first type of histrionic

representation as the main topic. The author refers to other technicalities

such as cari, mandala etc. in the context of the viniyagas (uses) of the

particular limbs. Many of the other topics relating to NEiya are summed

up in upGdghcita portion which is mainly devoted to a definition of

Bharata h . ~ t y a on the model of other j ls tras. Thus, an attempt is made

here to give a detailed analysis of the contents of the upcdghiita portion of

the BRB.

SOURCES

Many earlier texts and authors became the source of the BRB.

Among them the prominent text is Adibharata.

~ D I B H A R A T A : - M.R. Kavi in his preface to the first edition of the NS

(Gaekwards Oriental Series) says that there is an earlier work called

~vadaSasilhasrT, which is the source of the present NS and that this work

is simply called Adibharata, which is in the form of a dialogue between

kiva and ~ i i rva t i . He also says that there are fragments of this work. The

author of the BRB mentions the Adibharata on two occasions. In the

107

discussion on bhdva he says,(p.7) 'it is said that the importance of

bhHva is discussed in the Adibharata - Viiy$% &: &d

r*y-$%-ly Here the remark %m denotes that the author had

not himself seen the Adibharata. Again, while explaining the relation of

the hastamudrzs with the rasas, he quotes the well-known stanza - Wh

mr@: etc. and says that it is given in the Adibharata (p.80). This

stanza is found in the AD of Nandikekvara and is quoted by several

authors in their works. This might perhaps, originally have been in the

Adibharata. Authors l ike Kbhala, Bharatamuni and the works like

Tandavarn, ~abdaratnZivalT (both are manuscripts) and the SR of

krl igadeva became the sorces of the BRB.

A discussion on the hand-gestures of the BRB is relevant here.

In hand-gestures the BRB follows the NS. But some deviations are also

there. The NS describes 24 asamyutuhustus, 13 samyutahastas and 29

nyttahastas 66 varieties in all. The BRB mentions 40 usumyutahustas \,

a n d 27 s u m y u t a h a s t a s a l t o g e t h e r 6 7 i n n u m b e r - . A m o n g t h e

40 asamyutahastas the names of 24 hastus are Bharata's and seven are

based- on the AD and the remaining nine are based on other sources.

The BRB does not enumerate all the nrt tahastas of Bharata, but

mentions down that some of the hastas can be used as nrttuhastas also.

The BRB describes 40 asarnyutahastas taking all those

mentioned in t h e NS, the Ardhapataka, MayDra, B l n a , Simhasya,

Udvestita and A p a v e ~ i i t a from the ~ a n ~ i t a s u d h ~ k a r a and ten other

108

varieties namely ( I ) Triifila (2) Kutila (3) BB1ac::andra u (4) ~ i G k ~ a ? a

(5 ) P ra lamba ( 6 ) PurBnnata (7 ) Ca tu runna ta (8) P f i r ~ a c a n d r a

(9) k i l h u k h a and (10) Bhadra based on oral and other sources.

The BRB takes all the 13 sumyutahastas of Bharata and adds

14 others. They are

LIRGABHEDA (DIFFERENT GENDERS) OF THE HASTAS

The author of the BRB divides these asamyuta and samyuta

hastas into three groups namely pullingu, str:liriga and napumsakaliriga.

1) ~ ;? ja l i

3) Puspaputa

5) Tiidanapat&a

7) Dbliihasta

9) Abhayavaradahasta

1 1 ) Gajadantahasta

13) Garudahasta

15) Katakzvartahas ta

17) Vardhamsna

19) kubhabdbhanahasta

2 1) Mallay uddhahasta

23) ~artarkvastika

25) Sarnyutapallava

27) Vistrtapallavahasta.

2) Kap6ta

4) Sankalpahasta

6) Utsangahasta

8) Upaciirahasta

10) Makarahasta

12) Kfirparasvastika

14) Bharatahasta

16) Karkatahas ta

18) Kalahahasta

20) Padmamuku!ahasta

22) Patakasvastika

24) Gajamukhahasta

26) Avahitthahasta

4

Among the asamyutahustas, the fifteen hastus - the Patjka, Sikhara,

M u ~ f i , S k i , ~ r ~ a b i r ~ a , HarnsHsya, Mukula, Bana, Bhadra, Ar'aia,

Apavestita, k i lhnukha, TLmracUda, May'ura and Ardhapat'aka are

pulliAgahastas; the twelve hastas namely, Tripatska, Hamsapak~a, art ah,

Katakimukha, Triliriga, piirnacan4, Bglacandra, Ardhacandra, Udvestita,

~arpaki ras , Kufila and Bhramara are str;lirigahastas and the remaining

thirteen hastus namely Padrnakoia, Sandamda, firQanabha, Alapallava,

Pur6nnata, Catura , Kapit tha, Caturunnata, Simhanana, KPrigula,

kukatur)da, ~i;k$a?a and Pralarnba are the napumsakalihgahastas.

Among the samyutahastas, Azjali, Garuda, D61a, Gajamukha,

Vist~tapallava, KGrparasvastika, TZidanapatIka, Sankalpa, Gajadanta,

Varadlbhaya and Kapbta - these eleven hastas are pulliligahastas; the

nine has tas namely Puspapufa, ~ h ~ r a t ; , Patgkasvastika, Utsahga,

Padrnamuku!a, Ka!akIvarta, k u b h a k ~ b h a n a , Sarnyuktapallava and

Vardhamgna are s t r ~ ~ i r i ~ a h a s t a s and the remaining seven namely Makara, I

Mallayuddha, ~a r t acsvas t ika , UpacHra, Kalaha, Karkataka and Avahittha

are nupumsakaliigahastus.

It seems that this kind of classification of the hastas on the

basis of gender is not mentioned elsewhere. The AD speaks of the hastas

for sage (ysi), race (vams'a), colour (vauna) and the guardian deity (devutii)

etc, and in this way he gives a religious colouring to the hastas. It is

perhaps, keeping this in mind that the author of the BRB imparts gender

to the hastas namely the lirigabhedu. This attribution of the lirigahheda

110

to the hastas is more appropriate than the attribution of rsi, devatd etc.

because the hastamudriis are the words of the comprehensive gesture lan-

guage. Thus like the words of Sanskrit language, the hastamudrns be-

ing the words of the entire gesture-language are also classified into three

l ingas or genders . The BRB is mainly intended for t h e u s e of

Mohiniyiittom, Bharatanstyam and Kathakali which were encouraged

by the author in his time.

A comparison of the mudriis of the HLD and those of the BRB

has been done here and is tabulated along with the rnudriis of the NS and

the AD.