2.2. Hand Postures (a): Asaṃyukta-hasta

The term Asaṃyukta denotes that which is not connected.^[1] Asaṃyuktahastas are the dancing postures made only by single hand. It may be called as single hand gesture.

In the Viṣṇudharmottarapurāṇa, twenty two kinds of asaṃyuktahastas are mentioned. These are—

1. patāka,
2. tripatāka,
3. kartarīmukha,
4. ardhacandra,
5. arāla,
6. śukatuṇḍa,
7. muṣṭi,
8. śīkhara,
9. kapittha,
10. khaṭakāmukha,
11. sūcyāsya,
12. padmakośa,
13. ahiśīrṣa,
14. mṛgaśīrṣa,
15. kāngūla,
16. kolapadma,
17. catura,
18. bhramara,
19. hamsāsya,
20. haṃsapakṣa,
21. sandamśa and
22. mukula.^[2]

But in the Abhinayadarpaṇa twenty eight kinds of hand gestures are accepted.^[3] The hastamudrās viz., ardhapatākā, mayūra, candrakalā, siṃhamukha, tāmracūḍa and triśula are not mentioned in the Viṣṇudharmottarapurāṇa. But the Abhinayadarpaṇa accepts these varieties. The Nāṭyaśāstra again accepts twenty four kinds of single hand gestures.^[4] In the Viṣṇudharmottarapurāṇa, twenty two types of single hand gestures and there applications in Dance are elaborately explained which have been taken up here for discussion.

1) Patāka:

The word patāka indicates dhvaja in Sanskrit^[5] which means flag or banner.^[6] According to the Viṣṇudharmottarapurāṇa in patākahasta, all the fingers are straightened and thumb is bent.^[7] Abhinavagupta comments in the Abhinavabhāratī that this hand posture is looked like a flag and that is why it is named as patāka.^[8] The Viṣṇudharmottarapurāṇa states that the dancer uses the patākahasta to obstruct prahāra i.e., stike or beat in a Dance performance. Moreover, to show the blowing of wind and raining, this hand posture is used in Dance. Sometimes eagerness is also denoted with this hand posture.^[9] In the Abhinayadarpaṇa, it is said that the patākahasta is used to denote the beginning of a drama. Moreover, this hand posture is used to symbolize some natural phenomenon like cloud, forest, bosom, river, wind etc.^[10]

2) Tripatāka:

The word tripatāka itself identifies the importance of the number three. According to the Viṣṇudharmottarapurāṇa in tripatākahasta, three fingures should be straightened in a patākahasta where the ring finger is bent.^[11] Abhinavagupta also keeps his view point in the same way.^[12] The Viṣṇudharmottarapurāṇa states that this posture is used to denote some activities like calling a person, putting crown on head, wipe off tears, auspicious touch on head, covering of ears, movements of serpent and bees etc.^[13] According to the Abhinayadarpaṇa, the tripatāka hand is used to denote some objects like crown, arrows, tree, the ketakī flower, lamp etc. This hand posture shows the action of writing letters. Indra along with his weapon i.e., vajra, is also shown with this hand posture in Dance.^[14]

3) Kartarīmukha:

The word kartarī means scissor^[15] and along with the word mukha, it means mouth of the scissor. The Viṣṇudharmottarapurāṇa suggests that in the kartarīmukhahasta, the hand should be in tripatākahasta and the forefinger is kept in the back of the middle finger.^[16] Here the point is to be noted that, though forefinger is kept in the back of the middle finger in kartarīmukhahasta, the forefinger should not touch the middle finger. The inclusion of the word avalokinī in the definition of kartarīmukhahasta proposed by the Viṣṇudharmottarapurāṇa indicates it. Abhinavagupta clearly explains it in his book.^[17] Moreover, when forefinger is kept in the back of the middle finger and when it does not touch the middle finger, it literary looks like the mouth of a scissor. But the view point of the Abhinayadarpaṇa is totally different from that of the Viṣṇudharmottarapurāṇa in this regard. According to the Abhinayadarpaṇa, only two fingers i.e., forefinger and the ring finger should be spread and strainghtened in kartarīmukhahasta^[18] and the rest of the fingers should be bent. So, it can be said that, according to the Abhinayadarpaṇa, the middle finger is bent in kartarīmukhahasta where as in the Viṣṇudharmottarapurāṇa, it remains completely straightened. Some activities like travelling, cutting and falling are projected with this hand gesture.^[19]

4) Ardhacandra:

The derivation of the word ardhacandra is found in the Śabdakalpadruma as- ardhaṃ candrasya, candrakhaṇḍaṃ^[20] which means half of the moon. The Viṣṇudharmottarapurāṇa suggests that in ardhacandrahasta, the ring finger touches the thumb.^[21] But according to the Abhinayadarpaṇa, if the bent thumb of patāka hand is stretched out, it is called ardhacandrahasta.^[22] It is important to note here that, patāka hand with strengthened thumb looks like a half moon which justifies the present hastamudrā called ardhacandra. But ardhacandra hand, as narrated in the Viṣṇudharmottarapurāṇa, does not identify the hand posture which denotes half moon. In spite of it, the posture of ardhacandrahasta, as stated in the Viṣṇudharmottarapurāṇa is similar with the mayurahasta as found in the Abhinayadarpaṇa.^[23] According to the Viṣṇudharmottarapurāṇa, the ardhacandrahasta is used to show growing moon. Moreover, it also identifies a child, a tree named Tāla, the waist part of a person etc. The acting of putting ear-rings is also showed with this hastamudrā.^[24]

5) Arāla:

The word arāla means bent or crooked.^[25] According to the Viṣṇudharmottarapurāṇa, the forefinger is slightly bent like a bow. The thumb is bent in this hand posture and the remaining fingers are strengthen and slightly curved.^[26] This posture shows some states like depth, entity, heroism etc. With the help of this posture, the dancer can do the acting of assembling hair and wiping of sweat.^[27] But, in the Abhinayadarpaṇa, the arāla posture is said to use in the acting of drinking poison, nectar etc. Moreover, in this book to show the heavy storm, this posture is suggested to be used in Dance.^[28]

6) Śukatuṇḍa:

The word śukatuṇḍa is the amalgamation of two words viz., śuka and tuṇḍa. Śuka means parrot^[29] and tuṇḍa means head^[30] . So, the word śukatuṇḍa denotes the head of a parrot. In the Viṣṇudharmottarapurāṇa, the ring finger is suggested to be bent in the position of arālahasta to make the śukatuṇḍahasta.^[31] When the forefinger and the ring finger are curved in arālahasta, the two bend fingers make a curve shape which looks like the head of a parrot. Thus it justifies the name of this hand posture. According to the Viṣṇudharmottarapurāṇa, with this posture, one can express the individuality.^[32] The Nāṭyaśāstra also gives its viewpoint in the same spirit.^[33] But in the Abhinayadarpaṇa, this hand gesture is said to be used in shooting of an arrow or a spear. Moreover, it is used to do the acting of recollecting home or the violent mood. This book also establishes that through this posture one can present spiritual topic.^[34]

7) Muṣṭi:

The word muṣṭi denotes the clenched hand.^[35] According to the Viṣṇudharmottarapurāṇa, in muṣṭi posture, the fingers are bent towards the palm and the thumb is set on them.^[36] This hasta is used in some activities like striking, hard press of the breast, holding sword, strick and spear etc.^[37] In the Abhinayadarpaṇa also, the muṣṭi posture is said to be used in holding things. It speaks that to do the fight with hand this postured is adopted.^[38] In the Śabdakalpadruma also, the meaning of the word muṣṭi as a technique of fight has been used.^[39]

8) Śīkhara:

The word śīkhara means the peak of a mountain.^[40] The Viṣṇudharmottarapurāṇa states that in śīkharahasta, the thumb is lifted in the position of a fist.^[41] This posture is used to hold rein, goad and bow.^[42] According to the Nāṭyaśāstra, apart from holding rein, goad and bow this posture is used to represent the acting of painting of lips and feet. According to the Nāṭyaśāstra, to show the raising up of hairs, this posture is adopted.^[43]

9) Kapittha:

In the Śabdakalpadruma, the word kapittha is explained as a kind of tree where kapi i.e., monkey comes due to the greed of fruit.^[44] The word kapittha again denotes the fruit called wood apple.^[45] Abhinavagupta states that due to the shape of a wood apple, this posture is named as kapittha.^[46] According to the Viṣṇudharmottarapurāṇa, in kapitthahasta, the thumb is inside the fist.^[47] But in the Abhinayadarpaṇa, it is said that, when the forefinger is bent over the top of the thumb in the śīkharahasta, this posture is called kapitthahasta.^[48] In the Viṣṇudharmottarapurāṇa, this posture is used to hold a disc or an arrow.^[49]

10) Khaṭakāmukha:

The word khaṭakāmukha is an amalgamation of two words khaṭaka and mukha. The word khaṭaka denotes a half closed hand^[50] and mukha means mouth.^[51] The term mukha also denotes beginning as it is used in the usage of mukhasandhi. According to the Viṣṇudharmottarapurāṇa, in khaṭakāmukhahasta, the thumb remains inside the fist, and the ring finger and the small finger are lifted and bent.^[52] This posture is used to denote sacrifice, holding of an umbrella or a garland or rope, dragging and fanning.^[53] Apart from holding a garland and necklace, the Abhinayadarpaṇa also suggests the use of this posture to show the activities like picking flowers, offering betel leaves, preparing paste, applying perfumes etc.^[54]

11) Sūcī:

The word sūcī means a tool which is used for stitching.^[55] It refers to the niddle. According to the Viṣṇudharmottarapurāṇa in sūcyāsyahasta, the tarjanī finger is extended in khaṭakāmukha hasta.^[56] When the tarjanī is extended in sūcī posture, it looks like pointing something with the forefinger. The Viṣṇudharmottarapurāṇa says that the natural phenomenon like day and night are denoted with this hand posture. It is also used to denote the eyes of Śakra and Maheśa.^[57] But in the Abhinayadarpaṇa, numbers like one and hundred are shown with this posture. Paramabrahma i.e., the Supreme Entity is also indicated with this hand posture. Moreover, this hand posture also indicates the sun and a city.^[58]

12) Padmakośa:

The word padmakośa means the calyx of a lotus.^[59] According to the the Viṣṇudharmottarapurāṇa, the top of all fingers are brought together in padmakośahasta and it looks like the nails of a swan.^[60] In this regard the Viṣṇudharmottarapurāṇa seems to take a suggested meaning of the word padmakośa and not its etymological meaning which denotes the internal portion of a lotus but not the nails of a swan. The uses of this posture are not mentioned in the Viṣṇudharmottarapurāṇa. But according to the Abhinayadarpaṇa, this posture denotes some round shaped objects like breast of a woman, ball, round shaped cooking pot, egg and bell. This posture is also used to show the blowing buds of flowers like marigold, lotus etc. Some kind of fruits like mango and wood apple are also portrayed with his hand posture.^[61]

13) Uragaśīrṣa:

The name of this posture itself identifies that the hand posture should look like the head of an uraga i.e., a serpent^[62] . In this posture the thumb should be in clinching form and the middle part should remain hollow.^[63] According to Abhinavagupta, this posture looks like the head of a snake and that is why this posture is named as uragaśīrṣa.^[64] According to the Viṣṇudharmottarapurāṇa as well as the Abhinayadarpaṇa, this posture is used to show some activities like offering of water, giving information, sprinkling, nourishing and wrestling. The Abhinayadarpaṇa states that to easblish the picture of a snake, this hand posture is used in Dance.^[65]

14) Mṛgaśīrṣa:

The word mṛgaśīrṣa is the union of two words viz., mṛga and śīrṣa. The word mṛga means deer^[66] and śīrṣa means head.^[67] So, it can be said that the hand posture which is called mṛgaśīrṣa identifies a posture that looks like the head of a deer. According to the Viṣṇudharmottarapurāṇa, in mṛgaśīrṣahasta, all the fingers are bent downwards and only the small finger and the thumb go upward.^[68] At this position, the hand looks like a head of a dear with two horns. Abhinavagupta also keeps his view point in the same way and accepts mṛgaśīrṣahasta as a hand gesture which identifies the head of a deer with two horns.^[69] This posture is used to denote piercing, cutting, and moving upward of the powerful weapon.^[70] In the Abhinayadarpaṇa, this posture is used to denote various things. This book states that-this posture is used to show woman, cheek, wheel, limit, terror, quarrel, attire and to call someone or the beloved, the lute, foot massage, female organ, holding umbrella etc.^[71]

15) Kāngūla:

In kāngūlahasta, the middle finger is set between the forefinger and thumb while the ring finger is bent and the little finger is quite upward.^[72] According to the Viṣṇudharmottarapurāṇa, this posture is used to denote fruits.^[73] In the Abhinayadarpaṇa, this posture is said to indicate things as fruits, bell, birds like cakora and cātaka, coconut etc.^[74]

16) Kolapadma:

In kolapadmahasta, starting from the little finger in the hand other fingers are separately spread.^[75] But this hand is portrayed as alapadmahasta in the Abhinayadarpaṇa.^[76] In the Nāṭyaśāstra also it is known as alapadma.^[77] In the Viṣṇudharmottarapurāṇa, it is said that to say no, to denote void and non existence, this hand posture is used. In the Nāṭyaśāstra, this posture is suggestive of indicating prevention, sense of the sentences like “of whom are you” and “it is not”. Moreover, in case of a women’s reference of herself, this hand gesture is used.^[78]

17) Catura:

The Viṣṇudharmottarapurāṇa says that in caturahasta, the middle finger of the hand remains vertical, the thumb should be kept in the middle and the rest of the fingers are stretched out.^[79] According to the Viṣṇudharmottarapurāṇa, some colours are pointed with this hand gesture. When the hand is raised in catura posture, it denotes white colour. When the hand moves in circular way and in semi-circular motion in caturahasta, it denotes yellow and red colour respectively. In compacted form it shows blue colour. When the hand is kept in normal position with caturahasta, it denotes black and the other remaining colours.^[80] Instead of showing colours, in the Abhinayadarpaṇa this posture denotes some metals like gold, copper and iron. This posture also shows the application of some greasy substances like oil, ghee etc on the face.^[81]

18) Bhramara:

The name of the posture bhramara itself identifies the shape of a bhramara i.e., a black bee.^[82] Abhinavagupta also admits it.^[83] According to the Viṣṇudharmottarapurāṇa, in the bhramarahasta, the tip of the middle finger of the hand and the thumb should be joined together. Then forefinger is curved and the rest of the fingers are separately raised.^[84] This posture is used to show the position of holding a lotus. The acting of putting earrings is also prescribed through this hand gesture.^[85] In the Abhinayadarpaṇa, this posture is said to denote bee, parrot, wing, crane, cuckoo etc.^[86]

19) Haṃsavaktra:

The word haṃsavaktra is the union of two words viz., haṃsa and vaktra. Haṃsa means swan^[87] and vaktra means mouth.^[88] So, the word haṃsavaktra denotes the mouth or beak of a swan. It is worth mentioning that, in the Viṣṇudharmottarapurāṇa the term haṃsavaktra is used where as in the Abhinayadarpaṇa the term haṃsasya is used to denote this hand gesture. According to the Viṣṇudharmottarapurāṇa, in haṃsavaktrahasta, except the ring and little fingers of the hand, all the three fingers of the hand are placed together without any interspace. In this posture, the ring finger and the little finger are kept spread.^[89] But According to the Abhinayadarpaṇa, the tip of the thumb and the forefinger are placed together and rest of the fingers should be spread in this hand posture.^[90] According to the Viṣṇudharmottarapurāṇa, this posture is used to show some qualities like slimness, lightness, weakness and softness.^[91]

20) Haṃsapakṣa:

The word haṃsapakṣa consists of two words viz., haṃsa and pakṣa. The word haṃsa is already explained in the context of haṃsavaktrahasta. It means swan. The word pakṣa means wings^[92] . So the word haṃsapakṣa denotes the wings of a swan. In the Viṣṇudharmottarapurāṇa, this hand posture is described as one where the little finger of the hand is lifted crookedly and the thumb is bent.^[93] In the Abhinayadarpaṇa it is instructed that the theme of using haṃsapakṣahasta, the hand should be kept in sarpaśīrṣahasta.^[94] The remaining instructions of this work are same with the Viṣṇudharmottarapurāṇa. According to the Viṣṇudharmottarapurāṇa, some activities like touching, anointing and shampooing are denoted through this hastamudrā. According to the Abhinayadarpaṇa, the number six is denoted by this posture. Some activities like building of a bridge, putting nail marks and covering something are also indicated through this hand posture.^[95]

21) Sandaṃśa:

The word sandaṃśa means kaṅkamukha^[96] i.e., a pair of tong.^[97] Tong is a kind of tool which is used to hold something. According to the Viṣṇudharmottarapurāṇa, when the tip of the forefinger and the thumb are pressed together like the mouth of a tong and the middle portion of the palm is curved in arālahasta, this posture is called sandaṃśahasta.^[98] This hand posture involves the closing and opening of fingers. The Viṣṇudharmottarapurāṇa speaks of three kinds this form viz., agraja, mukhaja and pārśvakṛta^[99] and it gives detailed discussion of the usages of each one clearly. The agraja sandaṃśahasta is used for holding and extraction of thorns or splinters. The mukhaja is used to show the activity of plucking flowers. There are many uses of pārśvakṛta type of sandaṃśahasta viz., colouring of picture, pressing of breast, showing of head etc.^[100] According to the Abhinayadarpaṇa, sandaṃśahasta is used to show the action of offering something to gods. The belly portion is also indicated with this hand posture. Besides, this posture is also used to indicate something like injury, worm, terror as well as number five.^[101]

22) Mukula:

The term mukula has been defined clearly in the Śabdakalpadruma. It is said that the state of a bud during blooming refers to mukula.^[102] Thus, when the bud starts to bloom, it is termed as mukula. The Viṣṇudharmottarapurāṇa suggests that the tips of all fingers of the hand should be joined together to make this posture.^[103] When the tips of all fingers are joined together, it makes a shape of a blooming bud. Thus, it justifies the name of this posture. Abhinavagupta also gives his view in the same way.^[104] According to the Viṣṇudharmottarapurāṇa, this posture is formed to show the activities like worshiping of deities and offering oblations. Moreover, to show the lotus flower this hand posture is suggested to be used in dance performance in the Viṣṇudharmottarapurāṇa.^[105] In the Abhinayadarpaṇa, this posture is suggested to be used to denote flowers like water lily and the flower of kadalī i.e., banana.^[106] It says that, the holding of five arrows by Kāmadeva and a signet or a seal are also identified through this hand posture. The action of eating is also shown with this hand posture.^[107]

Footnotes and references:

[1]:

asaṃyutāstāvadete bhavanti/ natvete’saṃyutā eva/ Abhinavabhāratī, p.363

[2]:

Viṣṇudharmottarapurāṇa, 3.26.1-3 341 Abhinayadarpaṇa, 81-92

[3]:

Abhinayadarpaṇa, 81-92

[4]:

Nāṭyaśāstra, 9.4-7

[5]:

Śabdakalpadruma, Vol.2, p.22

[6]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.311

[7]:

prasāritāgrā sahitā yasyāṅgulyo bhavanti hi/ kuñcitaśca tathāṅguṣṭhaḥ sa patāka iti smṛtaḥ// Viṣṇudharmottarapurāṇa, 3.26.14

[8]:

[...] Abhinavabhāratī, p.343

[9]:

[...] Viṣṇudharmottarapurāṇa, 3.26.15-16

[10]:

[...] Abhinayadarpaṇa, 94-100

[11]:

[...] Viṣṇudharmottarapurāṇa, 3.26.17

[12]:

[...] Abhinavabhāratī, p.343

[13]:

[...] Viṣṇudharmottarapurāṇa, 3.26.18-20

[14]:

Abhinayadarpaṇa, 101-102

[15]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.136

[16]:

tripatākā yadā haste bhavetpṛṣṭhāvalokinī/ tarjanī tu tadā jñeyaḥ kartarīmukhasaṃjñakaḥ/ Viṣṇudharmottarapurāṇa, 3.26.21

[17]:

avalokinīti asaṃśliṣṭa iti yāvat/ Abhinavabhāratī, p.343

[18]:

[...] Abhinayadarpaṇa, 105

[19]:

[...] Viṣṇudharmottarapurāṇa, 3.26.22

[20]:

Śabdakalpadruma, Vol.1, p.106

[21]:

anāmikā tu sāṅguṣṭhā ardhacandre kare bhavet/ Viṣṇudharmottarapurāṇa, 3.26.22

[22]:

[...] Abhinayadarpaṇa, 111

[23]:

asminnāmikāṅguṣṭhau śliṣṭau cānyāḥ prasāritāḥ/ mayūrahastaḥ kathitaḥ…// Ibid., 108.

[24]:

[...] Viṣṇudharmottarapurāṇa, 3.26

[25]:

[...] Śabdakalpadruma, Vol.1, p.84

[26]:

[...] Viṣṇudharmottarapurāṇa, 3.26.24

[27]:

gāmbhīryasatvaśauṃḍīryakeśasaṃgrahaṇādiṣu/ svedasya cāpanayane śeṣe caiṣa karo bhavet// Ibid., 3.26.25

[28]:

…..arālakaḥ/ viṣādyamṛtapāneṣu pracaṇḍapavane’pi ca// Abhinayadarpaṇa, 114

[29]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.558

[30]:

tuṇḍaṃ mukhaṃ/ Śabdakalpadruma, Vol.2, p.632

[31]:

arālaḥ śukatuṇḍaśca vakritānāmikāṅguliḥ/ Viṣṇudharmottarapurāṇa, 3.26.26

[32]:

nāhantvamityathaitena nityaṃ cābhinayed budhaḥ// Ibid., 3.26.26

[33]:

[...] Nāṭyaśāstra, 9.53

[34]:

[...] Abhinayadarpaṇa, 115-116

[35]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.443

[36]:

aṅgulyo yasya hastasya talamadhye’grasaṃsthitāḥ/
tāsāmuparitāṅguṣṭhaḥ sa muṣṭiriti saṃjñitaḥ/ Viṣṇudharmottarapurāṇa, 3.26.27

[37]:

eṣa prahāre vyāyāme nirdayastanapīḍane / sandhāraṇe’siyaṣṭyośca grahaṇe kuntadaṇḍayoḥ// Ibid., 3.26.28

[38]:

sthire kacagrahe dārḍhye vastvādīnāṃ ca dhāraṇe/ mallānāṃ yudhabhāve’pi muṣṭihasto’yamiṣyate// Abhinayadarpaṇa, 117.

[39]:

muṣṭi prahāraviśeṣaḥ/ Śabdakalpadruma, Vol.3, p.753

[40]:

śikhara, parvatāgraṃ, śṛṅgaṃ/ Ibid., Vol.3, p.71

[41]:

urdhvāṅguṣṭho’yameva syātkaraḥ śikharasaṃjñiteḥ/ Viṣṇudharmottarapurāṇa, 3.26.29

[42]:

eṣa raśmigrahe kāryaścāpāṅkuśadhanurgrahe// Ibid., 3.26.29

[43]:

adharoṣṭapādarañjanamalakasyotkṣepaṇaṃ caiva/ Nāṭyaśāstra, 9.57

[44]:

kapitthaḥ kapiḥ tiṣṭhati phalapriyatvāt lobhāt vā yatra/ Śabdakalpadruma, Vol.2, p.23

[45]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.132

[46]:

kapitthākāre'smin aṅguṣṭhatarjanyāvaṅgulī/ Abhinavabhāratī, p.352

[47]:

[...]

[48]:

[...] Viṣṇudharmottarapurāṇa, 3.26.30; [...] Abhinayadarpaṇa, 121

[49]:

anenābhinayaḥ kāryo madhye cakre śare tathā/ Viṣṇudharmottarapurāṇa, 3.26.30

[50]:

khaṭakaḥ kuñcitapāṇiḥ/ Śabdakalpadruma, Vol.2, p.271

[51]:

V.S Apte, The Student’s Sanskrit English Dictionary, p. 441

[52]:

utkṣiptavakrā tu yadānāmikā sakanīyasī/ asyaiva tu kapitthasya tataḥ syātkhaṭakāmukhaḥ// Viṣṇudharmottarapurāṇa, 3.26.31

[53]:

hotre chatragraha caiva karṣaṇe vyajane tathā/ stragdāmadhāraṇe kāryohyasaṅkocosyasaṃgrahaḥ// Viṣṇudharmottarapurāṇa, 3.26.32

[54]:

kusumāvacaye muktāstragdāmnāṃ dhāraṇe tathā// śaramadhyākarṣaṇe ca nāgallīpradānake/ kasturikāivastūnāṃ pe aṇe gandhavāane// Abhinayadarpaṇa, 125-126

[55]:

[...] Śabdakalpadruma, p.361

[56]:

[...] Viṣṇudharmottarapurāṇa, 3.26.33

[57]:

[...] Ibid., 3.26.33

[58]:

[...] Abhinayadarpaṇa, 128-129

[59]:

[...] Abhinavabhāratī, p.356

[60]:

asy gulyastu vipul sah gu hena kuñcit / urdhvāhaṃsanakhasyaiva sa bhavetpadmakośakaḥ// Viṣṇudharmottarapurāṇa, 3.26.34

[61]:

[...] Abhinayadarpaṇa, 135-136

[62]:

Śabdakalpadruma, Vol.1, p.231

[63]:

śliṣṭoṅguṣṭho nimnamadhyaḥ patākohiśiro bhavet/ Viṣṇudharmottarapurāṇa, 3.26.35.

[64]:

nimnaṃ talaṃ madhyasyābhimukhasya, sarpaśirastulyatvāt vāsyedaṃ nāma/ Abhinavabhāratī, p.356

[65]:

[...] Abhinayadarpaṇa, 138-139

[66]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.445

[67]:

Ibid., p.557

[68]:

kaniṣṭāṅguṣṭhakā cordhvā tadā syānmṛgaśīrṣakaḥ/ Viṣṇudharmottarapurāṇa, 3.26.36

[69]:

mṛgaśīrṣakamāha mṛgasyeva śirasthe śṛṅge yasya/ Abhinavabhāratī, p.357

[70]:

[...] Viṣṇudharmottarapurāṇa, 3.26.37

[71]:

[...] Abhinayadarpaṇa, 140-141

[72]:

tretāgnisaṃsthitā madhyā tarjanyaṅguṣṭhayoryadā/ kāṅgule nāmikā vakrā cordhvā kanīyasī/ Viṣṇudharmottarapurāṇa, 3.26.37-38

[73]:

anena khalu kartavyaṃ phalānāṃ tu nirūpaṇaṃ/ Ibid., 3.26.38

[74]:

lakucasya phale ghaṇṭikārthake / cakore cātake nārikele ca kāṅgulo yujyate karaḥ/ Abhinayadarpaṇa, 144-145

[75]:

āvartyante karatale yasyāṅulaḥ karasya vai/ pārśvāgatavikīrṇāśca kolapadma iti smṛtaḥ/ Viṣṇudharmottarapurāṇa, 3.26.39

[76]:

[...] Abhinayadarpaṇa, 146.

[77]:

[...] Nāṭyaśāstra, 9.6

[78]:

[...] Ibid., 9.91

[79]:

[...] Viṣṇudharmottarapurāṇa, 3.26.40-41

[80]:

[...] Ibid., 3.26.42-43

[81]:

[...] Abhinayadarpaṇa, 150-152

[82]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.414

[83]:

tadākṛtitvādbhramaro hastaḥ/ Abhinavabhāratī, Nāṭyaśāstra, Vol 1, p.359

[84]:

madhyamāṅguṣṭhasandeśo vakrā caiva pradeśinī/ ūrdhvamanyāḥ prakīrṇāśca bhramaraśca tadā bhavet/ Viṣṇudharmottarapurāṇa, 3.26.44

[85]:

padmādigrahaṇe kāryaṃ karṇapūre tathāpyayaṃ/ Ibid., 3.26.45

[86]:

bhramare ca śuke pakṣe sāase kokilādiṣu/ bhramarākhyaśca hasto’yaṃ…..// Abhinayadarpaṇa, 153

[87]:

haṃsaḥ…pakṣiviśeṣaḥ / hāsa iti bhāṣā/ Śabdakalpadruma, Vol.3, p.466

[88]:

[...] Śabdakalpadruma, Vol.3, p.242

[89]:

tarjanīmadhyamāṅguṣṭhā tretāgnisthā nirantaraṃ/
bhaveyurhaṃavaktrasya śeṣā hyanyāḥ prasāritāḥ/ Viṣṇudharmottarapurāṇa, 3.26.45-46

[90]:

[...] Abhinayadarpaṇa, 154

[91]:

[...] Viṣṇudharmottarapurāṇa, 3.26.46

[92]:

[...] Śabdakalpadruma, Vol.3, p.2

[93]:

[...] Viṣṇudharmottarapurāṇa, 3.26.47

[94]:

sarpaśīrṣakare samyak kaniṣṭhā prasṛtā yadi/
haṃsapakṣaḥ karaḥ so’yaṃ tannirūpaṇamucyate/ Abhinayadarpaṇa, 157

[95]:

[...] Abhinayadarpaṇa, 158

[96]:

sandaṃśaḥ kaṅkamukhaḥ/ Śabdakalpadruma, Vol.3, p.236

[97]:

V.S Apte, The Student’s Sanskrit English Dictionary, p.127

[98]:

tarjanyaṅguṣṭhasaṃdaṃśastvarālasya yadā bhavet/
nirbhugnatalamadhyaśca sasandaṃśa iti smṛtaḥ/ Viṣṇudharmottarapurāṇa, 3.26.49

[99]:

sandaṃśastrividho jñeyastvagrajo mukhajastathā/
tathā pārśvakṛtaścaiva tasya karmāṇi me śṛṇu/ Ibid., 3.26.50

[100]:

sandaṃśagrahaṇe kāryaḥ śalyoddhāre tathāgrajaḥ/
ālekhārañjane caiva tarjanīpīḍane tathā/
pārśvasthaḥ śiraḥ saṃdarśane tathā/ Ibid., 26.41-42

[101]:

udare validāne ca vraṇe kīṭe mahābhaye/ arcane pañcasaṃkhyāyāṃ sandaṃśākhyo niyujyate/ Abhinayadarpaṇa, 160

[102]:

mukulaḥ muñcati kalikātvam / īṣad vikasitakalikā, Śabdakalpadruma, Vol.3, p.726

[103]:

samāgatāgrāṅguliko muktalaḥ padmakośakaḥ/ Viṣṇudharmottarapurāṇa, 3.26.52

[104]:

[...] Abhinavabhāratī, p.362

[105]:

[...] Viṣṇudharmottarapurāṇa, 3.26.53

[106]:

Monier Monier Williams, A Sanskrit-English Dictionary, p.248

[107]:

bhojane pañcabāṇe mudrādidhāraṇe/ nābhau ca kadalīpuṣpe yujyate mukulaḥ karaḥ/ Abhinayadarpaṇa, 162-163