Hastabhinaya - Interpretations on Dasavatara Hastas  

Natyasastra is more generic in terms of the hastas – they are independent probably due to the drama aspect. But later texts are more evolutionary - like Abhinaya Darpana authored by Nandikeswara which also categorises Hastas into Asamyutha and Samyutha but there are major differences in their usages. There is progress in terms of positions and directions of palms, fingers, wrists etc. Bharata also mentions three positions of palms and 4 categories of wrist joint. Sarangadeva of the text Sangeetaratnakara describes 15 positions of hands in terms of plane, dimension and direction.  Comprehensive Hastabhinaya including wrists, palms, and shoulders have evolved in later texts of Natya Sastra Sangraha and Hastalakshana Depika including Sangeetaratnakara. [1]

The idea of evolution trailing back from catastrophe (Pralaya) is described in Pralaya Payodhijale from Gita Govindam[2]. Pralaya is a hymn offered to the ten incarnations of Visnu starting from Matsya, Kurma, Varaha, Narasimha, Vamana, Parusurama, Raghurama, Krishna, Buddha, Kalki. It has ten slokas which talk about each avatara or incarnation.

This literature has scope of studying both Dasavatara Hastas (Table I) and Ashtadikpalaka Hastas at length. It’s interesting to study choreographic work of doyen of Kuchipudi, Dr. Vempati Chinasatyam on Pralaya Payodhijale , vyastha nrithyamsham with reference to hand gestures. Here, the first two slokas of each avatara are explored in terms of Hastas while last two lines are repeating with just the avatara as the new one – Kesava Drta (avatara) Jaya Jagadeesh Hare. The composition by the Master himself shows Sanka Cakra Hastas on either side and then each Avatara is introduced indicating that all ten forms are that of Visnu. More than exploring the main Avatara Hasta, the study researches on the nuances within each Stanzas and how accurately and intricately the Hastas are presented in the famous choreography.  

Table I

Dasavatara

Hastas

Matsya

Two Pathaka Hastas on each other with thumbs stretched

Kurma

Right Pathaka Hasta faced downward and Left Sukhtunda Hasta

Varaha

Both handa held at the side of the waist

Narasimha

Right Hand is Tripathaka and Left is Simhamukha

Vamana

Left Hand in Mushti held upwards and Right Mushti held downwards

Parashurama

Two Pathaka Hastas together held on the left shoulder upwards

Rama

Left hand as Shikhara held high and right is Katakamukha held near right shoulder

Balarama/Krishna

Right hand is Pathaka and left is Mushti(Balarama)/Both hands in Mrugaseersha Hastas held near face and shoulder(Krishna)

Buddha

Dola Hastas

Kalki

Left Pathaka and Right Tripathaka

 

 

Matsya Hasta: Lord Vishnu takes form of a fish (Matsya) to save vedas from calamity. Dr. Vempati Chinasatyam employs pathaka hasta to show ocean and the pralaya in different ways. Abhinaya Darpanam of Nandikeswara by Prof. PSR Apparao[3] also gives the same explanation - Matsya Hasta is when palms of pathaka hastas are on each other with thumbs stretched out. Another fascinating usage is that of vahitra (ship) is by uniting two Bana hastas.

Kurma Hasta: “Dharani dharana kina cakra garisthe”[4] is profoundly explained in the choreography. This one line is described as Visnu taking form of tortoise while Devas and Asuras churn the milky ocean. Hastas are Padmakosas trying to pull to and fro showing devas (Kartari Swasthika Hasta) on one side and Asuras (urnanabha) on the other. Visnu who takes the Earth on his back with Mrugaseersha Hastas has sored ring.

Varaha Hasta: Two Mrugaseersha Hastas moving from down to up to explain “Vasati Dashana Shikhare. Dharani Tava Lagne” is the marriage between the Earth and the Varaha (Visnu took the form of a boar) where Kartarimukha is employed. “Sasini Kalanka Kalaniva nimagna”[5] is beautifully shown by Ardhachandra on the left hand and moving Hamsasya showing the scar on the moon. Metaphorically, earth resting on the tip of the curve of Varaha’s tusk as if it’s a scar on the bright moon could also be depicted with left hand as Mrugaseersha Hasta (tusk) and right as Padma Hasta over the tip of Mrugaseersha’s Kanishka (little finger).

Narasimha Hasta: Lotus like hands of Visnu who takes form of Man-Lion are depicted with Padmakosa and they have these sharp claws which tear Hiranyakasipu’s (demon) body as if it were a bee depicted by Bhramara Hasta. The process of killing is fiercely shown with Urnanabha Hastas. In the end, Narasimha stands tall with Tripathaka on the right and Simhamukha on the left.

Vamana Hasta: Visnu outwits Bali King in the form of Vamana by measuring the paces of Earth with Chatura Hastas moving ahead one over the other. When Vamana joins the Yagna, there is a Sanchari performed showing the rituals of the Yagna. Kamandalam is kept aside using Shikhara Hasta horizontally, Kolam is drawn on the sacred site with Katakamukha and also Shikhara Hastas with the right and bowl with wide Padmakosa and horizontal Tripathaka on the left. Breaking of samidha sticks is with two Mushti Hastas, pouring of sacred oil into the fire is done with Katakamukha. The most beautiful in the whole sanchari is the oblations to Vamana’s feet through Padmakosa Hasta with the right hand rested while Pathaka on the left is directing the water on to the feet.

Parasurama Hasta: Parasurama cleansed the earth by killing its oppressors with Mushti on the left and a blowing Pathaka on the right. He bathed the sins with holy water starting with Bhramara Hasta slightly under the nose and two Padmakosas from down to up while Abhinaya Darpana of describes Sarpaseersha Hastas.

RaghuRama Hasta: “Vitarasi Diksu Rane Dik Pati Kamaneeyam” in Abhinaya Darpana is indicated by Suchimukha Hasta all directions. Rama scattered severed heads of Ravana across 10 directions as an offering to these dieties. Dr. Vempati Chinasatyam’s choreography also mentions Suchimukha for all directions but what makes it special is inclusion of all Dikpalaka Hastas as a sanchari.

 

Ashtadikpalakas and their Hastas

Dikpalakas (Deities of Directions)

Hastas

Indra (East)

Two Tripathakas are crossed in Swasthika above forehead

Agneya (Southeast)

Right Hand holds Tripathaka and Left holds Kangula Hasta

Yama (South)

Left holds Pasa and Right holds Suchi Hasta

Nirriti (Southwest)

Taking Left as Ardhachandra and Right as Pathaka above the head and bringing down with Khatwa Hastas

Varuna (West)

Right is Pathaka Hasta and Left is Shikhara

Vayu (Northwest)

Right and is Arala and Left is Ardhapathaka Hasta

Kubera (North)

Right is Mushti Hasta and Left is Padma Hasta

Ishaanya (Northeast)

Left Pathaka horizontally placed and on it Shikhara Hasta is placed with Right (Shambhu Hasta )

Compiled from Prof. PSR Apparao, “Abhinaya Darpanam of Nandikeswara”, 1997

 

Balarama Hasta: When Balarama reckons Yamuna river for water, the river did not respond. Balarama strikes his plough to make a trough and the river was forced to flow. Striking of the plough was portrayed with two Tripathaka Hastas (Right strikes over the left hand).

Buddha Hasta: “Sadaya sahrudaya Darshita pashu ghatam” is the crux of the whole avatara describing empathetic values. The performer holds Simhamukha Hasta with left hand depicting animals and striking of such animals with Soochi Hasta.

Kalki Hasta: Visnu is going to come as Kalki like a comet and carry a sword for bringing about the eradication of the terrible barbarians at the end of the Kaliyuga. Comet is depicted with Ardhachandra (right) towards the sky and Suchi (opening from mukula) with left hand.

 


[1] Vatsyayan, Kapila, “Classical Indian Dance in Literature and the Arts”, Sangeeta Natak Academy, 1968

[2] Gita Govindam is written by Vaisnava poet Jaideva during 12th Century. Pralaya is the first Ashtapadi (Sanskrit hymns).

[3] Prof. PSR Apparao, “Abhinaya Darpanam of Nandikeswara”, 1997

[4] Sharda Narayanan, Sujatha Mohan, “Gita Govinda of JayaDeva” April 2016

[5] Sharda Narayanan, Sujatha Mohan, “Gita Govinda of JayaDeva” April 2016

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