Image title: Figure 76. Unmata Karana

Siras is in Udvahita (looking up to left as if in pride), Parsva is in Nata on right and Samunnata on left side. Urah [uras] is in Udvahita, Kati is in Udhavahita on the right side. The whole torso is bent to the left as if he is moving forward left side. Right leg is straight without a bend at the knee. Right Uru is in Stambhana, right Janu is in Sama, right Jangha is unbent and right Pada is also in Sama. The left foot is raised. The left Pada is in Ancita, left Jangha is in Udvahita, left Janu is in Unnata, left Uru is in Nivartana. Hands are in front of the chest as if being moved out–we can say performing Recita.

This movement fits into the description of Unmata - Karana no. 14 according to whose description “The feet are to be in Ancita and the hands perform Recita.” According to Abhinavagupta, Ancita is explained as Avidha Cari. The foot lands in Ancita. This s eems to be a slight variation of the typical Avidha.

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.