Image title: Figure 48. Talasanghattita Karana

The dancer is in Avahittha Sthana. The right leg is kept at ease with the Janu slightly bent. The left leg is in Sama. The Siras is in Sama. Parsva is bent on left and is in Nata and is raised on right and is in Samunnata. Urah [uras] is in Sama. Kati is in Udvahita on left. Right hand is on Uru in Ardhacandra and right hand is near chest in Musti maybe ready to perform a Recita. The body is bent to the right side. This is an Abhanga posture.

But exact identification and classification of the Karana is difficult. It is not clear. This position can be before Mandala Sthana is assumed. It becomes Talasanghattita if the hand is stretched in Recita. Talasanghattita is Karana no. 93. According to the description of this Karana in the Natya Sastra, “Dolapada Cari is performed with clapping of hands in Pataka pose followed by left hand performing Recita. Then Vaisnava posture is assumed with right hand placed on hip.”

Gallery information:

Kumbakonam is considered as one of the holiest places in Tamil Nadu and is known for its temples and Mathas (monasteries which were centres of Brahmanical learning). These photographs depict the connection between the sculptures in the temples and Natya Shastra and related texts dealing with iconography.