This translation was first published in the appendix of Kutiyattam: Sanskrit Theater of India (CD-ROM). Ann Arbor: The University of Michigan Press, 2002.

The gestures mentioned in this document are illustrated beginning with the Gestures page.

In Hastalakshanadipika

Salutations to Hari, Sri, and Ganapati

The first section

Let there be no impediments

1 After bowing down to Sri Krishna of brilliant form
2 I shall describe the gestures in detail.
3 The gestures pataka, mudrakhya, kataka, musthi,
4 Kartarimukha, sukatunda, kapitha,
5 Hamsapaksha, sikhara, hamsasya, anjali,
6 Ardhacandra, mukura, bhramara, suchikamukha,
7 Pallava, tripataka, mrgasirsa,
8 Sarpasiras, vardhamanaka,
9 Arala, urnanabha, mukula, katakamukha.
10 Twenty-four hastas like this are accepted by pandits.
11 The ring finger is bent in the middle, it is called pataka mudra.
12 Sun, king, elephant, lion, bull, crocodile, arched gate,
13 Creeper, flag, waves, path, netherworld, earth,
14 Hips, vessel/pot/cup/plate/receptacle, storied house, evening, midday, cloud,
15 Ant hill, thigh, servant, moving/roaming/wandering/performing/practicing, wheel, seat,
16 Indra’s weapon, tower, cold, vehicle, mildness, humpback,
17 Door, pillow, trench, foot, bolts in a door.
18 These thirty-six hands are to be shown by both hands says Bharata.
19 Day, going, tongue, forehead, body,
20 Like, and, messenger, sand bank/shore, tender leaf,
21 These ten are to be shown by one hand in pataka mudra.
22 When the ends of the index finger and the thumb meet
23 And the rest are kept without touching it is called mudrakhya.
24 Growth, movement, heaven, ocean, close/compact/thick, forgetfulness,
25 All, information/respectful statement/communication, matter, death, meditation,
26 Sacred thread, straight in mudrakya
27 These thirteen items are to be shown by both the hands, say the experts in natya.
28 Mind, thought, desire, self, remembrance/memory,
29 Knowledge, creation, breath/breath of life/vital air, defeat/discomfiture/humiliation/contempt/disregard,
30 Future tense, negation, the dative case.
31 These twelve mudras are prescribed by the sage [Bharata] to be shown by one hand in mudrakhya.
32 In the mudrakhya gesture, if the middle finger is made
33 To touch the base of the thumb it becomes kataka mudra.
34 Vishnu, krshna, balabhadra, arrow, gold, silver, female fiend/goblin/evil spirit/a woman going out at night,
35 Sleep, chief, principal or main woman, lakshmi, vina, star, garland, blue-lotus,
36 Rakshasa, crown, iron or wooden bar used for shutting a gate or door/bar/barrier/hindrance/an iron club, a particular thing, chariot,
37 With. These twenty items are to be done with both hands in kataka.
38 Flower, mirror, female, offering oblations in the sacred fire, perspiration, little,
39 Sound/word, quiver, fragrance. These nine are to be shown with one hand in kataka.
40 So say the experts in natyasastra.
41 That gesture is mushti where the thumb
42 Touches the side of the index finger and the other fingers are also closed.
43 Charioteer, boon, beauty, holy, spirit, binding,
44 Deserving, staying/situation/remaining/sit, ankles, pulling, chowrie, yama,
45 Mud/clay/mire, plant/medicinal plant, curse, swing, gift, circumambulation,
46 Digging, renunciation, spear, valour, heating/burning/anguish,
47 Thrown/piled up/scattered, begetting/child birth/offspring/source/flower. These twenty five are to be shown by two hands.
48 In mushti says the sage.
49 In vain, superlative, to despise, minister
50 To surpass, to tolerate, donation, permission/to agree with, victory, bow,
51 I/me, one, old age, to take away/remove/deprive/seizing/grasping, to eat.
52 These fifteen are to be shown by one hand in musti..
53 The little finger should be uplifted, the remaining three should be slightly bent.
54 The thumb should be made to touch the side of the index finger
55 Then, “Oh Bull among actors”, the gesture is called kartarimukha by people who know the art of dance.
56 Sin, exertion, brahmana, fame, pitcher/waterpot/frontal globe on the forehead of an elephant, house, penance,
57 Sanctity/purity, bank, race/family/dynasty/lineage, hunger, the act of hearing, speaking,
58 Pregnancy, conclusion, hunting. Sages learned in natya
59 Say that these sixteen by two hands are to be done in kartarimukha.
60 You (singular), the act of speaking/speech/words/sentence/text/rule, order of time,
61 Plural, we, man, face, enmity,
62 Child, mongoose.
63 Those who know acting say that these ten are to be shown in one hand in kartarimukha.
64 The index finger is to be bent like the eyebrows. The ring finger should be folded and the thumb be placed on that.
65 The rest of the fingers should be bent on the upper part.
66 This is called sukatunda. Bharata and other acharyas say so.
67 Elephant goad, bird. [These] are the only two items shown by this.
68 The ring finger is to be bent and the thumb should touch its back.
69 The little finger is to be well bent.
70 Such a one is called kapitha by learned dancers.
71 Net, doubt, peacock feathers, to drink, to touch, revolution/turning around/rolling back/an altered condition,
72 Outside/external, behind, to descend, pacing.
73 All these ten are to be shown with both hands in kapitha mudra.
74 All fingers are stretched in this natural position.
75 It is called hamsapaksha by Bharata and others.
76 Moon, wind, kamadeva, gods, mountain, peak/summit/ridge/table land,
77 Always, relatives, bed, stone, pleasure, chest, breast of a woman,
78 Cloth, to take/vehicle, falsehood, lying down/a bed/sexual union/bed chamber, to fall, people,
79 To beat, to conceal, to spread, to establish,
80 To come, bowing down/bending/stooping/a salutation, sinking underwater/plunging/immersion/innundating/bathing/drowning, sandal paste,
81 Embrace, to follow, to protect, to reach/deliver, club/mace,
82 Cheek, shoulder, hair, obedient, to bless, sage/holy man/saint/devotee/an aescetic,
83 Like that, fish, puja, tortoise.
84 These forty-two items are to be shown
85 With both hands in hamsapaksha, so say the sages who know natyasastra.
86 You (plural), sword, anger, now, I, in front of,
87 Type of axe used by Parasurama, flame, calling a person near/inviting/invitation to a diety, reaching the lap/embrace/contact, to ward off.
88 These eleven are to be shown in one hand in hamsapaksha.
89 Holding kapitha mudra if the middle finger is kept forward
90 And the index finger is kept backward, it is called sikhara mudra.
91 To walk, two legs, two eyes, to see, pathway, to search for,
92 Two ears, to drink. These eight items are to be shown with two hands in sikhara mudra.
93 The index finger, the middle finger and the thumb (should be touched at their tips) and the ends are shaken.
94 The rest of the fingers are kept up. It is called hamsasya.
95 The eyeballs, smoothness, powder/dust, whiteness, blue, red,
96 Sympathy, line of hair growth. These eight only are to be shown
97 With both hands in hamsasya say the sages.
98 Beginning of rains, hair, line, three folds of skin on the upper part of the belly (especially of a woman, regarded as a beauty mark).
99 These four are to be shown with one hand in hamsasya mudra.
100 Fingers kept apart. The palm is slightly bent.
101 This is called anjali.
102 Heavy rain, vomiting, fire, flow, terrible noise light/splendour/lustre/effulgante/radiance,
103 Hair locks, ear ornaments, heat/inflamation/distress/suffering, worries, always,
104 River, bath, flow, blood. So say the natya experts,
105 These fifteen are to be shown by anjali with two hands.
106 By singlehanded anjali only,
107 Branch of a tree, anger, say experts in the art of dance.
108 Barring the thumb and index finger, if the rest of the fingers
109 Are bent slightly, it is ardhacandra.
110 If, what/which, helplessness/exhaustion, sky,
111 Blessed, god, memory, grass, a man’s hair.
112 These nine are to be shown in ardhacandra with two hands.
113 To start, smile, what, abuse/contempt/reproach.
114 These four are to be shown with one hand in ardhacandra.
115 If the middle finger and ring finger and the thumb are bent
116 So that their ends are about to touch, it is called mukura.
117 Fangs, separation, ankle, waist, vedas, brother,
118 Pillar, mortar, the speedy one, demon, fatness/good growth.
119 These eleven are to be shown with both hands in mukura.
120 One who disregards/dissents/differs in opinion/an enemy, beetle, sun’s rays, anger, good, bangle,
121 Neck, shoulder ornament, negation. These nine are to be shown with one hand in mukura.
122 If the index finger is bent in the middle, it is called bhramara.
123 Wings of a bird, song, water, umbrella, elephant’s ears.
124 These five are to be shown with both hands in bhramara.
125 Gandharva, birth/origin/rise, fear, cry.
126 These four are to be shown in one hand in bhramara.
127 The middle finger and ring finger are bent and the thumb is made to touch their back.
128 The little finger is also kept folded. It is suchikamukha.
129 Broken, to jump, three worlds, lakshmana, to fall, another,
130 Month, eye brows,loose/loosened/untied/fallen/weakened/decayed, tail. These ten items are to be shown with both hands in suchi mukha.
131 One, alas, dead body, another man, plural, hear, crecent or half moon,
132 Once upon a time, this man, these men, country, a little, witness, to refuse,
133 To command to come, go for fighting.
134 These sixteen are shown by single hand in suchi mukha.
135 When the thumb is made to touch the base of the ring finger,
136 It is called pallava mudra.
137 Thunder bolt/weapon of Indra/a diamond, peak of a mountain, ears of a cow, length of the eyes,
138 Water buffalo, an iron weapon, a dart, horn of an animal,coiling.
139 These nine are done in pallava with both hands.
140 Distance, a game played for a bet/stake or wager/playing with dice, smoke, tail, a cane or rattan staff, grains.
141 These six are to be shown in one hand in pallava.
142 When the thumb is slightly bent and made to reach the base of the index finger,
143 It is called tripataka by the sages.
144 Sunset, beginning with, form of address, drink, body, to beg.
145 These six are to be shown with both hands in tripataka.
146 If the middle finger and ring finger are bent
147 And the thumb is made to touch their center portion. It is called mrgasirsa.
148 Deer, supreme being. Only these two are shown by both hands.
149 All the fingers are kept close to the thumb
150 The palm is slightly cupped. It is the gesture sarpasiras.
151 Sandal paste, cobra, slow gait/sluggishness, offering of water, scattering, sage
152 The waving of the ears of the elephant, protection, gentle stroking with the palm.
153 Nine gestures with both hands are to be shown in sarpasiras.
154 Learned people are of the opinion that these are single handed sarpasira.
155 The index finger is made to touch the line in the middle of the thumb.
156 The rest of the fingers are lifted and bent in order. It is called vardhamanaka.
157 Woman’s earrings, necklace of precious stones, knee, yogi, drum/name of a person,
158 Mahout. These six are to be shown with both hands in vardhamanaka.
159 Whirlpool, navel, well. These three are to be shown with one hand in vardhamanaka.
160 If the thumb is made to touch the middle line of the index finger
161 And the other fingers are bent and kept up, it is called arala.
162 Fool, tree, nail/wedge, bud, sprout.
163 These five items are shown by arala.
164 If all the five fingers are kept like the feet of a spider
165 It is called urnanabha mudra.
166 Horse, fruit, tiger, butter, ice/snow, many,
167 Lotus. These seven are to be shown by both hands in urnanabha mudra.
168 If the ends of all five fingers are brought together well,
169 It is called mukula mudra.
170 Jackal, monkey, gloominess and forgetfulness.
171 These four are to be shown in mukula mudra in one hand.
172 If the thumb is held between the index and middle fingers
173 And the rest are folded, it is called katakamukha.
174 Armour/sleeveless or half-sleeved shirt, servant, a valorous man, a wrestler, discharging of arrow,
175 Binding/tying up. These six are to be shown with both hands in katakamukha mudra.
176 In addressing someone, the hands should be shown with both hands in hamsapaksha mudra.
177 Settlement/making sure should be shown with both hands in sukatunda.

In this manner the first section of Hastalakshanadipika is ended.

Prosperity

Then, the second section

178 Nearness and time are the same, also asura and rakshasa,
179 Lake and water are the same, also varuna and ocean,
180 Beauty and adornment are the same, also mind and intellect,
181 Cruel person and enemy are the same, also soldier and working class,
182 Class of celestial beings and feet are the same, also deep breathing and speaking in a shaking voice,
183 Victory and strength are the same, also merit and goodness,
184 Darkness and night are the same, also fixed/firm/strong and fixed opinion/firm conviction,
185 Milk pudding and nectar are the same, also little and droplet,
186 Flame and smoke are the same, also elder brother and bhima,
187 Nakula and bharata are the same, also arjuna and lakshmana,
188 Satrughna and Sahadeva are the same, also protecting/guarding/keeping and duty,
189 Flag/banner and stick are the same, also haughtiness and youthfulness,
190 Swooning and tiredness are the same, also netherworld and cave,
191 Month and fortnight are the same, also assembly and country,
192 Rope and whip/prick are the same, also touch and reason,
193 Blessed person and great one/deep are the same, also sound and musical instrument,
194 Worship and devotion are the same, also friend and recipient/that on which anything depends on/an asylum/dependence on
195 Expanse and bed are the same, also full of impurity and troubled,
196 Spy and travel are the same, also wealth and gold,
197 Icon and kind of weapon are the same, also doubt and opposite,
198 Earth and getting done are the same, also long ago and so it is,
199 Cow and south/”gift giver” are the same and also washerman and servant,
200 Eyelash and bust are the same, also stake/nail and needle,
201 Smallness/lean/slim/delicate and faded/withered are the same. All of these pairs are shown in the same way so say experts in the arts of dancing.
202 Master/owner/lord, father and teacher, playfulness, dancing and festival,
203 Bravery, beginning and class of celestial beings, sign, fruit and new,
204 Friendship, love and faith,
205 Sin, mistake and fault are the same, garuda, swan and jatayu,
206 Delay, in proper order and slow are the same,
207 Grief, illness and sorrow. These sets of three mudras are to be shown in the the same way.
208 Widowhood, sexual play, fighting, rama and giving away in marriage.
209 These five are to be shown in kataka and mushti.
210 Indra is to be shown with sikhara and mushti, lover is to be shown by hamsasya and mushti,
211 Brahma by kataka and hamsapaksha and siva by mrgasirsa and hamsapaksha.
212 Vidyadhara is to be shown by kartarimukha and mushti.
213 Yaksha by hamsapaksha and mushti and waist/middle portion by ardhacandra and mushti.
214 Science is to be shown by kartarimukha and kataka and dawn by hamsasya and pataka.
215 Month is to be shown by pataka and kataka. In the same manner do cow.
216 Maiden is to be shown by kartarimukha and kataka and the mark on Visnu’s chest by sikhara and anjali,
217 And lips by vardhamanaka and hamsasya.
218 Killing is to be shown by pataka and mushti and the same way impediment.
219 Sugriva, angada and bali should be shown by pataka and mukura mudras.
220 Hanuman and other monkeys of this class should be shown by hamsapaksha of both hands.
221 City and also ten necked/ravana should be shown by pataka and kartarimukha.
222 Sacrifice should be shown by anjali and kataka. Pallava and mushti
223 Are used for truth and rightousness. And remembrance by kataka and mudrakhya.
224 Father and commander-in-chief by mudrakhya and mushti.
225 Mother and lady friend by kataka and hamsapaksha.
226 Sign is to be shown by mudrakhya and pataka, that which gladdens should be shown by hamsapaksha and pataka.
227 Matter, wife and marriage are to be shown by mukula and mushti.
228 Garuda is to be shown by a variation of sikhara and food by a variation of mukula.
229 Gem by vardhamanaka and anjali, play by kataka and anjali.
230 Wonderful is to be shown by suchikamukha and anjali grandson and son
231 are to be shown by katarimukha and mudrakya and daughter is to be shown by kataka and suchikamukha.
232 Nectar by vardamanaka and hamsapaksha
233 Hand means/rose by mudrakhya and pallava.
234 Feminine nature is normally shown by kataka.
235 Beautiful woman is shown by kataka and mukula.
236 Destruction is shown by a variation of mushti mudra and middle by sikhara and hamsapaksha.
237 Prince/heir apparent by pataka and katarimukha.
238 Grief is to be shown by a hamsapaksha of two hands. Pleasure by
239 Hamsapaksha and mudrakhya. Valour by mushti of two hands.
240 Conch, steps and flute, these are to be shown by kartarimukha of two hands.
241 End of a cloth tied with a knot in front by mudrakhya of two hands and nose by vardhamanaka.
242 Pavilion by hamsasya and curly hair on forehead by hamsapaksha.
243 Water weeds is also to be shown in the same way.
244 Two in all occasions is to be shown like suchi mukha
245 And sikhara.
246 Most of the mixed (misra) mudras have been mentioned according to sastra.
247 The rest should be learned by watching the dramas.

In this manner the second section is completed.

(The following section of the Hastalakshanadipika is only found in Manuscript C. It is reproduced here in its entirety.) The beginning section refers to svaras appropriate for the chanting the verses of the plays (called raga in this section).

Hasta Mudra Deepika

Third Chapter

Salutations to Hari

1 For roles of heros whose character is good
2 The raga Indala is prescribed by musicologists.
3 For middle characters also sometimes it is Indala itself.
4 Also sometimes it is Chetipanchama raga, so say wise men.
5 For low roles and also for the roles of children
6 It shall be Chetipanchama itself and others are never seen.
7 In some conditions raga Anthari is prescribed by the wise
8 Also Veladhooli in haste and in the rasa fear.
9 In extreme joy raga Bhinnapanchama is used.
10 In unexpected joy raga Srikamara is prescribed.
11 In sringara rasa mostly the raga Aarthan is used.
12 When it intensifies, it is Pourali (raga).
13 Pourali is used in intense stage of Vipralambha sringara.
14 In the sringara rasa of rakshasas raga Mudda is used
15 For the intense vipralambha of them it is Muralindala.
16 In the sambhoga sringara of Sri Rama it is Muralindala.
17 In hasya and bhibhatsa rasas Kaisika is mentioned.
18 In krodha (anger) and raudra rasa Tarka raga is prescribed.
19 In veera rasa the raga Veeratarka is remembered by the wise.
20 In soka and karuna rasas the opinion is in favor of Dukhagandhara raga.
21 Daana raga is for athbhuta and sometimes for bhayanaka also.
22 For the news of the killing of evil people Ghattanthiri is used.
23 The raga Thondu is for santha rasa and is also mentioned in the bhakthi bhava.
24 The raga Korakkurunji is for monkeys.
25 In the description of the season………..
26 Also in the description of the dawn is mentioned by musicologists…
27 At the end of an act Srikanti, as also is killing/troubling evil people,
28 In the description of sunset and the description of noon,
29 Also in the bhava of bhakthi learned musicologists say. (The concluding section of Manuscript C refers to talas.)
30 In Muddan Aarthan and Veeratarkan, in Chetipanchamam and Daanam
31 In Korakkurunji raga also Dhruva tala is prescribed.
32 In Srkanti, Thondu, Poranir, Kaikika and Indala
33 Eka tala is prescribed also in Bhinnapanchama and Dukha (ragas)
34 In Ghattanthari raga, in Tarkan, and Anthari
35 Only Triputa tala is to be used in slow tempo
36 Triputa of medium tempo
37 Knowers of tala say in Veladhooli. And by other in natya Dhruva (tala) is sometimes used..
38 In Srikamara and Pouralai very vast Triputa (tala) is remembered.
39 In Muraliandala raga Dhruva tala of slow tempo.

Like this, the Third Chapter of Hastamudra deepika is ended.

Let it be good.