Final CH 4
Final CH 4
Final CH 4
4.1 MUDRAS.
The meaning of mudra (gesture) in Sanskrit is ‘mudam anandang rati dadati’ meaning
‘that which gives ultimate joy’. Mudra has been an integral part of Indian heritage and
culture since the Vedic period. It has been a part of rituals, dance and drama in India.
Mudra, in itself, is a medium of practical knowledge. In every corner of the world,
those engaged in Indian dance, yoga or Indian studies are fascinated by mudras and
their use. Dancers are particularly inquisitive about mudras. In the Vedic period, while
performing yagnas (sacrificial rites), priests and religious masters created mudras for
ahuti (offerings), they also used mudras as an element of worship while reciting
mantras.
Mythological sources say that the Natya Veda (the book on Dramaturgy) was created
by Lord Brahma. According to these sources, Brahma gave the knowledge of the
Natya Veda to Bharata Muni (or Bharata). Then, Bharata Muni, along with his 100
sons, performed three types of dramatic actions i.e. verbal, grand, and energetic.
Brahma also asked Bharata Muni to incorporate grace into this performance, for
which it was necessary to include Nataraja’s style of dance. This graceful recital gave
birth to the sentiment of love. In order to incorporate erotic and romantic subjects,
women and apsaras (celestial dancers) were included in the performance. It must be
admitted that the mere enactment of heroic emotions and tales makes performances
flat and bland. Therefore, mudras were used to portray erotic emotions, according to
the traditional account of the Natyashastra.
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asked Bharata to write the Natyashastra. Thus, according to the Natyashastra, Brahma
is the source of natya (dance-theatre), Vishnu is the source of vritti (the constituent
elements of drama), and Nataraja is the source of nritya (dance). Traditional sources
say that Shiva requested Parvati to teach the soft and feminine form of dance to Usha,
the daughter of the sage Vana. This form, known as lasya, also uses mudra.
Gesture or mudra is considered the soul of Indian classical dance. According to the
Natyashastra, ‘the experts are to use the mudras according to the popular practice and
in this matter, they should have an eye on their movement, objects, sphere, quantity,
appropriateness and mode’. The palm of the hand is a centre of expression. Showing
the palm with various positions of the fingers is characteristic of classical dance. The
wrist is the pivot for movement of the hands in any direction. The language of mudra
is based on 24 mudras enumerated in the Natyashastra and 28 in the Abhinaya
Darpana. Single-handed gestures are called asamyukta, and those that use both hands
are called samyukta. Each mudra is described in these texts, with information on how
the fingers should be extended, separated, or bent to form the specific mudra. In this
context, it must be remembered that the synonym for mudra is hastavedah.
Theoreticians, scholars, critics and artists from Bharata Muni’s time to the present age
have described mudras as the language of dance. Indeed, commentators like
Nrityabaridhi Bela Arnab (1992), Anup Shankar Adhikari (1973), Nilratan
Bandyopadhyay (1972), Gayatri Chattopadhyay (1995) and Krishna Acharya (1990)
have chosen one simple statement i.e. ‘mudra’ is the language of dance. We can claim
that the Indian classical dances like Bharatanatyam, Kathakali, Kathak, Manipuri,
Odissi, Mohiniyattam, Sattriya and Kuchipudi are repositories of mudras that invoke
emotions and objects. An essential component of the Indian heritage of classical
dances, mudras have been depicted with fervour in all ages of our creative history,
telling and retelling stories through dance.
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4.2 MUDRAS OF BHARATNATYAM
The hand gestures used in Mohiniattam are mostly drawn from Hastalakshanadeepika,
an ancient text in Sanskrit that articulates 24 mudras. The definition and usage are
distinct from those mentioned in Bharata’s Natyashastra. Mohiniattam as an art form
uses the simple mudras coupled with abhinaya to depict or express an emotion or a
feeling, it is not as elaborate with mudras as one may see in the other art forms.
These fingers are used to portray the 24 hand gestures or the Hastas which has been
codified in the Hasta Lakshana Deepika which literally means the Lamp showing the
Purpose of Hand Gestures. It should been noted that the Asamyutha Hastas (Single
Hand Gestures) classified in the Natyashastra is slightly different from those in Hasta
Lakshana Deepika. Mohiniyattam follows the Abhinaya concepts written in Hasta
Lakshana Deepika and Abhinaya Darpana (Mirror of Gesture) authored by
Nandikeswara.
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Comparison between the Hastas / Mudras
Sl.No Bharatnatyam Mohiniattam
1. Pathaka Pathaka
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2. Tripataka Tripataka
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Method: Mukha Mudras are Method: The little finger is
also used in Bharatnatyam to pointed up, the index finger,
symbolize certain things while middle finger and ring finger
dancing. One such Mukha is folded down like showing
mudra is the Kartarimukha number 3 and the thumb is
mudra, which means the placed on the side of the index
Arrow-Shaft face or the finger
Scissors Face. In dance, this
mudra is used to symbolise
many things like separation,
distress, death or disagreement.
4. Ardhachandra Ardhachandra
5. Araala Araala
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Method: It is done when the Method: The index finger is
Index finger is bent while doing held straight with the thumb
the Pataka Mudra. Here the and the middle finger touching
index finger is bent along with either sides of the index
the thumb, while the other finger. The little finger and
fingers are held straight. The ring finger is bent.
Aral Mudra is a simple yet
meaningful hand gesture,
achieved by a bend of the index
finger towards the thumb.
6. Shukathuda Shukathuda
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Method: Shukatunda literally Method: The index finger is
means a Parrots Head. held up folded like a hook.
Banaprayogaye: A shooting of Rest of the fingers are folded
an arrow. kuntarthay: A spear. into the palm with the thumb
aalayasya smriti kramay: kept on top of the fingers.
Remembering one’s Abode.
marmoktyam: Saying of Mystic
things. mrugabhaveshu: A
violent mood
7. Mushti Mushti
8. Shikhara Shikhara
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Method: In this mudra all the Method: Hold the Kapitha
fingers are bent and pressed Mudra and bring the middle
against the Palm except the finger forward & index finger
thumb. The thumb is raised and back. Like showing scissors
held erect (like the thumbs-up
sign). It is used to denote an
armour, a bow, to say no,
questioning, sound of bells,
drinking.
9. Kapitham Kapitham
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Method: This Mudra is called Method: Hold the index
Kapittha which means Goddess finger and middle finger up
Lakshmi and Saraswati. In together. The ring finger &
Bharatanatyam, Kataka Mukha middle finger is folded with
is the only Mudra that is done the thumb over the folded
in three ways. fingers.
10. Katakamukham Katakamukham
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Method: Suchi The Middle Method: Only the index
finger, Ring finger and Little finger is pointed up like
finger is pressed against the showing the number 1 and rest
thumb, while the forefinger is of the fingers are folded with
held straight. Suchi mudra is a the thumb across the folded
yogic hasta (“hand”) gesture fingers.
and one of a series of
therapeutic mudras believed to
have healing properties.
Method: This mudra is like the Method: All the fingers are
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snakes hood. When the Hand is held close together with its tip
held in Pataka Mudra and the slightly bend on top
fingers are bend from the tip to
form a hollowed palm we get
Sarpashirsha Mudra. Woman
hand showing Sarpashira hasta
(hand gesture, also called
mudra) (meaning “Snake
hood”)
13. Mrigashirsha Mrigashirsha
Method: Fingers are bent from Method: The index finger and
the knuckles except for the little little finger is pointed up. The
finger and the thumb which is ring finger and the middle
held straight. There are four finger are folded straight with
Mrigashira Nakshatra Pada’s its tips touching the tip of the
thumb.
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Method: The first index finger Method: The index finger is
rolls inward between the two folded and rest of the fingers
fingers- thumb and the middle are pointed up.
finger, and then the little finger
and ring finger should be
placed in outward positions.
15. Hamsasya Hamsasya
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Method: Touch the thumb with Method: The tips of the index
the index finger and all the finger and middle finger are
other fingers are placed in an placed on the tip of the thumb.
outward position from the The other two fingers are held
inside. up.
16. Hamsapaksha Hamsapaksha
Method: All the fingers except Method: All the fingers are
the little and thumb should be held up
placed in frontward direction,
while little finger should be
placed perpendicular in the
respect of other fingers and
thumb should be placed as
closed beside the index finger.
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Method: Same as Padmakosha Method: All the fingers tips
but it should look thinner than touch each other
the Pamakosha.
18. Anjali Anjali
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1. Sama Pada Sama Pada
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2. Anchita Pada Anchita Pada
The heels on the ground, the fore This is a foot position where the
part of the feet raised and all the heel touches the ground while
toes spread. the forepart of the foot and the
Uses- It is to be applied in toes are raised.
representing a movement with
wound at the fore part of the
foot,turning round in every way,
bhramari movements.
3. Kunchita Pada Kunchita Pada
The heels thrown up toes all Just the contrary to Anchita , the
bent down and middle of feet heels are raised up while the toes
too bent. touch the ground , bending the
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Standing on the fore part of the Standing on the ground with the
feet and then touching the fore part of the foot and toes and
ground with the heels. tapping the ground with heels
The heels thrown up, the big Here , both the heels are raised
toe put forward and other toe up while the toes touch the
bent. ground and moving with toes
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