Image title: Figure 72. Atikranta Karana

The dancer is in Pratyalidha Sthana, Siras is in Ancita, Parsva is in Nata on left side and Samunnata on right, Urah [uras] is in Sama, Kati is raised on left side, hands are at the chest in Pataka with the palms facing up. Right leg is stretched with the Uru in Stambhana, right Janu in Sama, right Jangha unbent and right Pada in Sama. Left leg is in bent, left Janu is in Ardhakuncita, left Jangha is in Nata, left Pada is in Sama but turned to the side in Parsva. The body is bent to right as if the right leg is going to be folded. The hands seem ready to be moved in Recita or Dola.

This can be identified as Karana Atikrantam [Atikranta] which is no.66 according to whose description, “Observing the Atikranta Cari the two hands are stretched in a manner befitting the dance.” If we look at the above sculpture it does not exactly indicate the stretch of the leg forward as in Atikranta.It captures a stage where the stretched leg is dropped down and is getting ready to lift the other leg.

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.