Image title: Figure 67. Kuncita Karana

This sculpture is in Mandala Sthana with the feet turned to the side in Parsva. Both the Jangha are in Nata and both the the Janu are in Ardhakuncita. Kati is in Udvahita on the right side. Body is bent to the left, Parsva is in Samunnata on right and Nata on left, the Urah [uras] is in Sama and the Siras is bent to the left in Ancita. Right hand is near the shoulder in Pataka and the left hand is in Katakamukha. Bend of the body to the left and the lift of the right hand suggest a movement.

This can be grouped under the Karana 52 -Kuncita according to which, “The right hand in the Alapadma pose is kept at the left side, palm facing upwards and the left foot takes the Agratalasancara pose.” The torso bent to the left side suggests that a movement is taking place on that side like slipping of the foot or bending of the knee to touch the floor. The right hand seems to be moving from the chest area and seems to be making an Udvestita movement. If we take the commentary of Abhinavagupta, he explains Nata as bending of the foot close to the ground. So we have to assume that the final ending of the Karana is on the ground involving sitting posture.

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.