Karanas

KARANAS
•
CO MMO N DANCE CO DES
OF
INDIA AND INDONESIA
VOLUME - II
A DANCER'S PRESPECTIVE
D r. PADMA SUBRAHMANYAM, M.A., Ph.D.,
NRITHYODAYA
Chennai, India
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Karan• as
Comm on Dance Codes of India and Indonesia
CONTENTS
VOLUME II
A DANCE R'S PRESP ECTIV E
Chapter Title Page No.
X The Elements of Karana

XI Practical Reconstruction of the 108 Karai:ias 41
XII A Performer' s perception of Recaka 238
XIII Angaharas 245
XIV Mandalas 264
xv Pind1bandhas 274
XVI Intellectual or Emotional ? 291
XVII Conclusion 303
Bibliograp hy 323
THE ELEMENTS OF KARA~A
CHAPTER-X
THEELEMENTSOFKARANA
•
Angika Abhinaya
Abh.ipurvastu ¢fidhaturabhimukhyarthanirr;iaye
Yasmat prnyogarp nayati tasmadabhinaya~ Slllfta~
- Natyasastra
It is said that the term "Abhinaya" is derived from "Abhi", the verbal root " ni ", and the
suffix "a " , attached to these two; the root "ni " preceded by "Abhi " , means carrying the
performances (Prayoga) of a play to the point of ascertainment of its meaning. The word made
up of these components becomes Abhinaya. Angika Abhinaya, or physical expression, could
be Sarira, i.e. with actions of the limbs of the body, mukhaja or actions of the face, or C~~ta
is what we see normally in modern skits and plays, or even in cinema, based on realistic
expression. Sarira and mukhaja imply training of the Angas and Upangas, as well as the face
for the sake of stylistic expression.
Though Bharata's Natyasastra speaks of Ailgas (major limbs) and Upangas (minor limbs),
certain later authorities tend to classify limbs of the body under three categories, namely
Angas (major limbs), Upangas (minor limbs) and Pratyangas (subsidiary limbs). The
classification of Angas and Upangas of the face are enlisted in the Natyasastra as follows:
Lasya Sirohastorat_i parsvakatipadatat_i ~ac;langani

Netrabhrunasadharakapola cibukanyupangani
The head, hands, chest, sides, waist and feet are the major limbs. The eyes, eyebrows, nose.
lower lip, cheek and chin are the minor limbs of the face.
2 KARAT'~AS - VOL 11
Ailgas
Sira (Head)
Akampitarp Kampitarp. ca dhutarp vjdhutameva ca
Pruivahitodvahitakamavadhutarp tathaiicita.rp.
Nihaficitaip. paravrtta mut~ipta rp capyadhogatarp
Lolitrup caiva vijfieyarp. trayodasavidharp Siral:i
Akampita
Moving the head slowly up and down (not more than twice).
Uses: giving a hint, teaching, questioning, addressing naturally, and gjving an order.
Kampita
The A.kampita movemen t is to be performe d quickly and copiously.
Uses: anger, argument, understanding, asserting, threatening, sickness and intolerance.
Dhuta
The head is turned slowly from side to side.
Uses: unwillingness, sadness, astonishment, confidence, looking sideways, emptiness and
forbidding.
Vidhuta
Dhuta is quickly and repeatedly performed.
Uses: an attack of cold, terror, panic, fever and the first stage of drinking.
Parivahita
The head is alternately moved to the sides in a zigzag manner.
Uses: demonstr ation, surprise, joy, remembe ring, cognition , concealm ent and amorous
sporting.
Udvabita
The head is turned up sideways.
Uses: pride, showing or measurin g height, looking up, self-estee m etc.
THE ELEMENTS OF KARANA 3
Avadhuta
The face is lowered on the side.
Uses: conveying a message, invoke a deity, conversation and beckoning someone to come
near.
Aiicita
With the face in front, the head is tilted on one side.
Uses: sickness, fainting, intoxication, anxiety and sorrow.
Nihaiicita
The two shoulders are raised up, and the head is pressed in.
Uses: used by women in pride, amorousne~s, light heartedness, affected indifference,
hysterical mood, silent expression of affliction, pretended anger, paralysis and anger in
jealousy
Pariivrtta
The head is turned away or backwards.
Uses: turning away, looking back etc.
Ut~ipta
The face is turned upwards.
Uses: indicating lofty objects and application of divine weapons.
Adhogata
The face is turned down.
Uses: shame, bowing in salutation and sorrow.
Lolita or Parilolita
The head is rolled in all directions.
Uses: fainting, sickness, power ofintoxication, being possessed by an evil spirit, drowsiness
and the like.
Bharat.a says that apart from these thirteen movements of the head, there are many other
movements, which are based on popular acting. Those are to be also used according to popular
practice. It shows the importance that the Sastra gives to practice.
4 KARA~AS . VOL II
Ural} (Chest)
Abhugnama tha nirbhugnarri tatha caiva prakampita rp
Udvahitam
. samam. caiva urah. paficavidharri srnrtarp
Abhugna
(Slightly bent) A slight hunch.
Uses: hurry, despair, fainting, s01Tow, fear, sickness, broken heart, touching of cold objects,
rain and being ashamed of some act.
Nirbhugna
(Unbent) Chest stiffly raised along with shoulders unbent and not raised.
Uses: paralysis, resentment, look of surprise, assertion of truth, mentioning oneself haughtily
and excess of pride.
Prakampita
(Shaken) The chest is incessantly heaved up and down.
Uses: In laughter, weeping, weariness, panic, asthma, hiccupping and misery.
Udvahita
(Raised). The breast is raised up.
Uses: deep breathing, viewing something lofty and yawning.
Sama
(Natural). All the limbs are in the Caturasra (beautiful) posture, along with Sau~thava
(symmetry) .
Parsva (Sides):
"Natarp. samunnatarp. caiva prasaritaviv artite

Tathapasrta mevarp. tu parsvayo}:l karma paiicadhn"
Nata (Bent)
The waist is slightly bent, one side slightly bent, with one shoulder drawn away slightly.
Uses: approachin g somebody.
THE ELEMENTS Of- KAR/\NA 5
Unnata (Raised)
When the above-said limbs are rajscd slightly, it is called Unnata.
Uses : going backwards.
Prasarita (Stretched)
The sides are stretched in their respective directions.
Uses: joy and the like.
Vivartita (Turned around)

The Trika, i.e. the sacrum, which is the last part of the vertebral column, is to be turned
around.
Uses: turning about.
Apasrta (Drawn)
The turned side is returned to its original position.
Uses: returning.
Kati (Waist):
"Chinna caiva nivpta ca recita kampita tatha

Udvahita ceti Kati' natye nrtte ca paficadha"
Chinna (Breaking)
The last bone of the spine is motivated to twist backwards and is turned.
Uses: For exercise and looking around.
Nivrtta (Re-turn)
This is to get back to the original position from that of chinna.
Uses: Turning around
Recita (Move gracefully).

The waist is rotated, as for hula-hoop exercises.
Uses: In graceful dance.
6 KARA~AS - VOL II
Kampita (Shaken)
The waist is moved forward and backwards.
. portraymg
Uses: In gaits . hunch bac ks, dwarf: and persons of inferio r type.
s
Udvahita (Raised)
The waist is raised to the sides.
Uses: to portray corpul ent characters and amorous movem ents of women.
These are the five movements of the waist.
Padal} (Feet):
" UdghaH.ital:i samalc aiva tatha agratalasaficaral)

AficitaQ.a kuficitasca.iva padal) paficavidaha smp:al )"
Udghatpta
With the toes in contac t with the floor, stan1p the heel.
Uses: Udgha!!ita Karai:ia and other such movements perform ed in all three speeds.
Sama
(Natural) Stamp with balanc e on both the soles evenly, with the nails pointin g forward
.
Uses: the natural positio n of the body in various Karar:ias, but in the case of Pada Recaka
,
they should be suitabl y moved .
Agrata lasaiic ara

(Moving on the floor using the fore part of the foot) With the big toe put forward and other
toes well plante d, the foot strike s the groun d with the heel lifted up.
Uses: urging, breaking, standin g posture, kicking, strikin g the ground , walking, throwing
away someth ing, variou s Recak a movements and walkin g with a wound ed heel.
Aiicita
(Bent upward) Strike with the heels, with the fore part raised.
Uses: a wound in the fore part of the foot and turning around in variou s Bhramar1 or
reeling movements.
,.,
Kuficita
(Bent in) The middle of the sole is well curved inwards; the toes are also bent inwards with
the heel raised.
Uses: Udatta Gati, i.e. aristocratic walk, turning around to the right and left, as well as in
the Atikranta Can.
The above five are the ways of striking or moving with the feet.
Udghattita Agratalasaiicara
Sama
Aiicita Kuiicita
8
KARA~AS - VOL JI
POSITIONS OF THE FEET
Parsva
Tryasra
Svastika
Siici
Upailgas
According to the Na!yasastra, as already seen in the Sloka, the Upailgas include the
eyes, eyebrows, nose, lower lip, cheek and chln. These Upailgas belong to the mukhaja
category, i.e. expressions originating in the face. Hence, Upailgas can be classified as Mukhaja
Upangas and Sarfra Upangas, i.e. belonging to the rest of the body. The mukhaja Upangas
will now be described in detail.
Eyes: The eye movements are categorized as those of the eyeballs (Dr~!i) and eyelids
(pa!a): an extension of these is seen in the eyebrow movements. Apart from the basic number
of positions - eight for the eyeballs, nine for the eyelids and seven for the eyebrows-a combination
of these give rise to eight glances for the Rasas, eight for the Sthayi Bhavas, and twenty one
for the Vyabhicari Bhavas.
Tl fE ELEMENTS OF KARAN A 9
Dr~ti (Eyeballs):
"Sanmm sacyanu v!11e tu ruok.it.avilokite
pralokilollok:ite capyavalokitameva ca"
San1a
(Levelled) The eyeballs arc at the natural level and al rest
Sad
(Sidelong) The eyeballs are fi xed towards the side and are half covered by the eyelashes.
Anuvrtta
(Inspecting) the glance, which carefully observes any form from top to bottom and vice
versa.
Alokita
The eyeballs are rotated (as in self-defence in a battle).
Vilokita
Looking back (as for self-defence).
Pralokita
The eyeballs are moved to the sides.
Ullokita
The eyeballs are moved upwards
Avalokita
The eyeballs are moved downward.
The above eight are the basic gestures of the eyeballs in relation to all the Rasas and B havas.
The glances in relation to the Rasas and Bhavas will be given in the relevant chapters.
Puta (Eyelids):
Unme~asca nime~asca prasrtarp kuficitarp sama~1
Vivai1itarp prasphmitarp pihitarµ savita9ita111
10
KARA~AS - VOL [I
Unme~a
Separating the eyelids
Uses: anger
Nime~a
Bringing together the eyelids
Uses: anger
Prasrta
Eyelids widely separated
Uses: wonder, joy and heroism
Kuficita
Contracting the eyelids.
Uses : experiencing undesired sense
Sama
Eyelids in their natural position
Uses: love
Vivartita
Widening and contracting the eyelids repeatedly.
Uses: anger
Sphurita
Throbbing of the eyelids
Uses: jealousy
Pihita
Eyelids at rest, i.e. closed
Uses: dreaming, fainting, eye disease, collyrium, an affliction due to smoke, storm or rain
Vita<Jita
Suddenly closing and opening in reflex action
Uses: accidental injury
Bhrii (Eyebrows):
Utk~epa~ patanarµ caiva bhrukuF caturarp tatha

kuficilaJTl recitarµ caiva sahajarr ceti saptadha
Utk~epa
Raising the eyebrows simultaneously or alternately
Uses: anger, deliberation, passion, sportiveness, in seeing and hearing only one eyebrow
is raised, and in surprise, joy and violent anger, both the eyebrows are raised.
Patana
Lowering the eyebrows simultaneously or alternately
Uses: envy, disgust, smiling and smelling
Bhriikuti .
Raising the foot of the eyebrows
Uses: In objects of anger and dazzling light
Catura
Raising and lowering the eyebrows in a pleasing manner.
Uses: love, sportiveness, pleasing (objects), (pleasing) touch and awakening
Kuiicita
Contracting the brows simultaneously or alternately
Uses: manifestation of affection, pretended anger and hysterical mood
Recita
Raising one eyebrow in an amorous way
Uses: dance
Sahaja
Retaining the natural position
Uses: simple (anaviddha) conditions
I/ KA RAN AS - VOL II
Niisikii (Nose):
Nata nianc.lft vik.f~\il en socd 1vasatlw vikuryili:i

Svfl bhavika ccti budhai~ ~a9vidha niisika srnftii
Nufa
I ,oht:s cli ng for :1 w hil e to lite base
l Jses : sligh t weeping al i11l cr vuls
Munda
I .ob<;,"! urc at rest
l Jscs: discourngc nicut , impatience and anxiety
...
Vikrs(a
I ,o hcs arc blown .
Uses : strange s mell , breathing anger and fear
Socchvasfi
LohL·s when air is clrawu in
l lscs : swccl smell and deep breathing
Vikii~ita
I ,ohcs in the contracted nose
Uses : laug ht e r, disgust and envy
Svahhiivika
l .tihrs in natural position
llscs : other situalions
Adhnra (lower lip):
Vi vartanrn11 kampanaip ca visargo viniguhanm11

Sa11da~~::ika1!1 smnudga1nca ~at kannn1:i.yadharasya tu
·n -IE ELEMEN TS OF KAR A~ A
13
Vivartana
Drooping lip
Uses : envy, pai n, contem pt, laziness and the like
Kampana
Trembli ng
Uses: pain, cold, fear, anger, japa and the like
Visarga
To spread out the lip
Uses: women's amour, affected indifference and painting oflips
Vinigii hana
Concea ling or drawing in the lip
Uses: in making efforts.
Sandas..taka
Biting the lip with the teeth
Uses: manifes tation of anger
Samud gasca
Joining or moving the lips together
Uses: pity, kissing and greeting
Gand
• •
am
•
(Cheeks):
~amaq i phullaqi ca pun:iaqi ca kmnpitaqi kuncita qi samaJ11

~a<;Ividhaqi gan<;Iamuddi~tamasyala~a~amucyate
.
Ksama
Pulledi n
Uses: in sorrow
Phulla
(Blown) Raised
Uses: in joy
14
KARAt:IAS . VOL II
Piirl]a
(FuJI) Expanded
Uses: in energy and anogance
Kampita
Throbbing
Uses: in anger and in joy
Kuficita
Contracted
Uses: in horripulation, sensitive to touch, cold, fear and fever
Sama
In natural position
Uses: in other conditions.
Cibuk (Chin):
Kuttanaq1 khanc;lanaiµ chinnaqi cu~itaiµ lehanaiµ samaqi

D~!aqi ca dantakriyaya cibukaiµ tviha lak~ayate
..
Kuttana
Upper teeth chatter with the lower ones
Uses: in fear, cold, old age and sickness
Khandana..
Lips repeatedly come together
Uses: in muttering mantras,japa, studying, speaking and eating
Chinna
Lips closely meet each other
Uses: in sickness, fear, cold, exercising and looks of anger
.
Cuksita
Lips are held wide apart
Uses: as in yawning
Lehita
Licking the lips with the tongue
Uses: in greed
Sama
Natural
Uses: in natural conditions
..
Dasta
Biting the lower lip
Uses: to portray anger
Mukaraga (Mouth):
Vibhutarp. vinivrttarp. ca nirbhugnameva ca

Vivfttarp. ca tathodvahi karmai:iyatrasyajani tu
Vibhuta
Obliquely open
Uses: envy, anger, contempt and coyness
Vinivrtta
Spread out
Uses: restraint, negation etc
Nirbhugna
Crooked.
Uses: looking at depth and the like
Bhugna or Vyabhugna
Slightly spread out
Uses: being ashamed, despondency, impatience, anxiety, summoning. It is natural for
ascetics.
16
KARA~AS - VOL II
Vivrtta
Lips kept apart
Uses: laughter, sorrow and fear
Udvahi
Turned up
Uses: in sportiveness, pride of a woman, in saying "go away" and "so, indeed", in
disregard and angry words.
Griva (Neck):
Sama natonnata trayasra recita kuficitaficita

Valita ca nivrtta ca gr1va navavidharthata~
Sama
Natural position
Uses: in meditation, natural poses and muttering of mantras.
Nata
Face bent down.
Uses: in wearing ornaments, putting one's arm around someone's neck and the like.
Unnata
Face upturned.
Uses: loolcing up
Trayasra
With the chin protruding towards the corner.
Uses: carrying weight on the neck and in sorrow
Recita
Gracefully moving the neck to both the sides.
Uses: in expressing emotions, churning and in Nrtta.
THE ELEMENTS OF KARAf':-JA 17
Kuficita
Bent down.
Uses: in pressure of weight and protecting the neck.
Aficita
With the face extended out.
Uses: in hanging, ananging hair and looking up.
Valita
Face turned to one side.
Uses: to look around.
Nivrttii
Face turned from side to front.
Bharata adds that the gestures of the neck are all to follow the gestures of the head, and those
of the head are reflected in the gestures of the neck, as well.
Sarira Upailgas
Udaram (Belly):
~amarp. khalvarp. ca piin_1.arµ ca samprokta mudararp. tridha
~ama
Flattened belly.
Uses: in laughter, weeping inhalation and yawning.
Khalva
In-bent.
Uses: In sickness and tapas.
.
Piirna
Full belly.
Uses: Inhaling breath, corpulence, disease and too much eating.
18 KARAl';JAS - VOL II
Oru (Thighs):
Kampunai~1 valanm11 caiva stambhanodvartane tatha

Nivart anm11 paficaitanyfirukarmar:ii karayet
Katnpnna
(Shaking) Raising and lowering of the heel repeatedly.
Uses: to depict fear of persons of inferior type.
Valana
,Jltrnjng) Drawing the knees inwards.
Uses: in the movements of women at ease (when one thlgh is in Valana)
Stambhana
(Motionless) Suspension of movements.
Uses : when perturbed and in despair.
Udvartana
Turrung out from Valana with force.
Uses: In Nrtta.
Nivartana
Rounded.
Uses: in hurrying.
Jangha (Shanks) :
Avartitaip nata111 k~iptaqmdvahltamathapi va

parivfttaip tathacaivajanghakarmfuµ pancadha
Avartita
(EncircJed) the left shank is turned towards the right and the right is turned towards the
left.
Uses: In the gait of a jester.
Nata
The knee is bent (shank flapped).
Uses: In assmning Sthanas and Asanas, i.e. postures for dance and yoga respectively.
~ipta
The shank is thrown out.
Uses: In Vyayama or exercises and in Kara9as .
Udvahita
The shank is raised.
Uses: in movements like AviddhacarI.
Parivrtta
The shank is turned back.
Uses: In Karanas.
Other Upailgas from Sangita Ratnakara

Sangita Ratnakara is a Samslqta work on the three aspects of Sangita - namely Gita (Vocal
Music), Vadya (Instrumental Music) and N;tta (Dance). It was written in the 12th century by
Sarngadeva a Kashmiri who had moved to South India. His chapter on Nrtta can be taken as
a poetic version of the prose commentary of Abhinavagupta on Natyasastra . The following
are the Slokas all taken from Sangita Ratnakara with regard to other Sama Upangas.
Janu (Knees)
Samhatam
. kuficitam. cardhakuficitam. natamunnatam.
Vivfttarµ samamityukte janu saptavidham budhai9
Samhata
One knee in contact with the other.
Uses: In shyness, anger and jealousy.
Kuiicita
The thigh and shank are in contact.
Uses: in full sitting or bent positions.
20 KARANAS _ VOi_ fl
Ardha Kuficita
l-lal f s itting or bent.
Nata
The knees :_u-c o n the ground a.s in pros trating or foilin g.
Unnata
(Same ::is Ordvajanu) The knees are raised to the ches t.
Vivrtta
The knees are turned to the sides as jn sitting on an cJephant.
Sama
Natural position.
Par~J.li (Heels):
Utk~iptii patitot~iptapatitantargata tatha
Bahirgata lllltoyuktii viyuktangulisangata
Par~i:iiritya~tadha padacaristhane~u dr~yate
Ut~ipta
Raised heels.
Patita
Fallen heels.
Utk~iptapatita
Raised and fallen heels.
Antargata
Heels are turned in.
Bahirgata
Heels are turned out.
Mitoyukta
Heels are joined together
21
THEELEMENTSOFKARA~A
Viyukta
Heels are separated
Angulisaligata
The heels and toes are joined.
These are the positions of the heel seen in the Caris and Sthanas.
Gulpha (Ankles):
Gulphavangu~!}lasamsli~tavantaryatau bahirmukhau
Mitoyuktau viyuktau ca paficadha sthanakadi~u
Ait~thasamsli~ta
Touching the big toe
Antaryata
The ankles are in-turned
Bahirmukha
The ankles are turned out.
Mitoyukta
The ankles are joined together.
Viyukta
The ankles are separated.
Caral}ailgulyal} (Toes):
Adh~iptastatho~iptfil:l kuficitasca prasarital:i

Samlagnasceti caraJ_J.ailgulyaQ paficadha matfil:i
Adhak~ipta
Pressing the toes repeatedly.
Uses: In haughtiness, indifference and amorous agitation.
22 KARAl'~AS - VOL n
Utk~ipta
Raising the toes repeatedly.
Uses: Bashfulness of a newly married girl.
Kuficita
Contracted toes.
Uses: In cold, fear, fainting, and the spell of evil planets.
Prasarita
The toes are straight and motionless.
Uses: In stupefication, sleep and the cracking of limbs.
Samlagna
The toes are close together in line with the big toe.
(These variations are all for the big toe, also).
Tala(Soles):
Patitagrarµ udvfttagrarp bhiimilagnamatodvfttruµ
Kuficitamadhyarµ tirascinamiti ~oc:Ia talarµ vidu~
Patitagra
The fore part is fallen.
Udvrttagra
The fore part is raised.
Bhiimilagna
The soles touch the ground.
.
Udvrtta
The soles are raised from the ground.
Kuiicitamadhya
The soles are arched or curved.
Tirascina
Transverse.
23
THE ELEMENTS OF KARANA
The practical understan ding of the KaraQ.as depends on a mastery over their sub units namely:
Sthanas Postures of the body

N!tta Hastas Hand gestures for dance and
Cans movements of the leg
While there are the main elements of the Karai:ias, these sub units themselves depend on
the exercises prescribe d for the various major and minor limbs of the body. The concept of
Karal)a has already been explained as the correlated movemen ts of all the limbs of the body
with cogency. The prelimina ry exercises for each major and minor limb of the body are dealt
with in a nutshell. Only the three major elements are being enumerat ed in detail. These are of
utmost importan ce even for describin g the Karal).aS. The pedagogy system which the
Naguvanars (dance teachers) are following will have to be drastically re-oriente d if the Karal).as
are to be taught. The contempo rary teachers start teaching the steps (Ac;lavus) right at the
beginning . Bharata' s technique involves the exercises of every limb, starting from head to
foot. These are very relevant for the learning of the Karal).as. These will have to be taught
before going ahead with the steps. Moreover, the hand gestures used in contempo rary styles
are based only on Nandikes vara's Abhinaya Darpal).am. In this text, these gestures which are
meant for abhinaya are included for Nftta also. The Natyasastra details out 30 Hastas exclusively
for Nrtta, apart from the Abhinaya Hastas.
The Abhinaya Darpa:c:iam is the text which is followed in many contempo rary styles and
sub styles. This text is far from adequate for the study of Kara:c:ias. Even technical terms described
in this work differ from their original meaning. For example, the term Ma99ala , is one of the
Sthanas according to Natyasas tra. But in Abhinaya Darpa9arp. there is a confusion . The term
Mal)c;iala denotes Sthana. Thus we see that the terms are interchanged. The Caris are also
different from those ofNatyas astra. But for the Abhinaya Hastas , the Abhinaya Darpa.i:iam is
not of any use in relation to the reconstru ction of Bharata' s dance technique. The following
enumerations are based on the study of Natyasastra, Abhinava BharatI and Sangtta Rntnakar a.
The Sangita Ratnakar a faithfully follows Abhinava Bharatf in its treatment of the older dance
tradition.
KARAJ:,1AS - VOL II
24
STIIANAS
"Sthana" denotes the "Sthiti" or the static aspect. It is a definite poS ture of the body
which decides the physical lines and the space the body occupies. The Sthanas in tum, depend
on the positions of the feet. The Pada Bheda or feet variations are the fol1owing according to
Sangita Ratnakara and other post-Bharata works: -
1. Sama - The feet are to be placed in norma1 position, close to each other, with the
nails pointing towards the front.
2. Parsva - The toes are tmned to the sides, thus creating a clear horizontal line -
Samarekha through the feet.
3. Tryasra - the toes are turned towards the corners, thus forming a 'V' shape.
4. Aiicita - The heel is placed on the ground with the toes stretched up. It is called
Nagudal in the Sadir style.
5. Agratala Saiicara - The heel is raised and the toes are all firmly placed on the
ground.
6. SucI - The big toe alone is made to touch the. ground with the rest of the foot
raised.
7. Kuiicita -The heel is raised with the sole arched through the bending of the toes.
This is obsolete in most of the contemporary dances. The name Kuiicita Pada
associated with Lord Nataraja is because of the fact that the raised left foot in His
Ananda Tar:ic;Iava form is in the Kuiicita shape. Older bronze icons of Cola period
portray the Kuiicita foot most fascinatingly. If the sole is arched, it is called Kuficita
irrespective of its being on the ground or lifted up.
8. S vastika - The feet are crossed in S vastika.
9. Udghagita - while the toes are already in contact with the ground, the heels strike
the floor.
10. Tac;lita - While the heels are already on the ground, the forepart of the feet strike
the floor.
11. Mardita - The sole rubs against the floor a little crosswise. Its still in use in Sadir,
popularly called Ta tai taita Ac;lavu.
25
THE ELEMENTS OF KARAt:,lA
Sthanas are the postures of the entire legs, unlike the Pada Bheda which involve the feet
alone. The knee also plays a prominent role in the Sthanas. The KaraJ)aS are performed in
specified Sthanas. In other words, these Sthanas are the positions from which the Caris are to
be motivated. Bharata has given six Sthanas for men in Chapter XI. This does not mean that
they are not to be used by w01nen, for, most of the Karal)as are built on these Sthanas. Apart
from these six, Bharata has given three other Sthanas particularly suited for women in the
Chapter XIII. In addition to these standing postures, Bharata has also given a list of nine
sitting postures (Asanas) and six reclining postures in Chapter Xill. Sarngadeva has given a
list of 50 Sthanas including the Desi postures. The Sthanas of Bharata and Samgadeva do not
include hand gestures . They only relate to the position of the body. But later works like the
Natyasastra Sangraha prescribe hand gestures for the Sthanakas. The description of Bharata' s
Sthanas for men and w01nen are given below.
Sthanas for men are Vai~Q.ava, Samapada, Vaisakha, MaQ.<;iala, AII<;iha and Pratyali<;iha.
Vai~Qava Sthana:
One foot is in Sama position while the other is to be kept at a distance of two Talas
(about two spans) in the form ofTrayasra. Vi~Q.U is the presiding deity of this Sthana.
Uses: Both superior and middle type of characters can be represented in this Sthana. It may be
used to depict releasing the Cakra (disc), holding the bow and in conversation. It may be
suitably used for contrasting situations involving anger or even stately patience. When the
Sthana is reversed i.e. with left as Sama and right as Trayasra, it can also be used to depict
love, distress, rebuking, envy, recollection and such other moods.
The Vai~Q.ava Sthana is one of the main Sthanas in contemporary Kathak~i and Mohini
Agam with a slight variation in the placement of the feet.
Samapada sthana:
The feet are in the normal position in the Samapada. The body n1ust be natural - with
knees unbent, with a maximum space of one Tala between the feet. The Sau~thava nmst be
maintained by the chest and shoulders. Brahma is the presiding deity of this Sthana.
KARA~AS - VOL II
26
· · · 1 ki t the sky moving in an ariel vehicle,

Uses: It is used to depict rece1vmg blessings, oo ng a '
· · · · .· L' · (a
mnmcking brrds and representing e mgas a sect of the Saivites), and also at the time of
th th
·
making a vow. Samapa-d a sth-ana ts·
used m · all the contemporary dance styles. Yet, it is the
. .
· K .h .
k h ·
mainstay of the at a tee mque. ena It bles the dancer to gain enormous speed m thetr steps
'
because of the unbent position of the knees.
Vaisakha Sthana:
The thighs are to be three and a half spans above the ground, while both the feet are
obliquely kept as Tryasra at the same distance away from each other. Vaisakha- Kartikeya is
the presiding deity of this Sthana.
Uses: It is said to be useful in depicting huge birds, riding horses (elephants and chariots),
leaving a place and also for a display of Pada Recakas in dance.
The Vaisakha Sthana is the main Sthana on which the entire contemporary Kathaka!i
technique is built.
..
Mandala Sthana:
The feet are turned on the sides as Parsva and kept at a maximum space of one span
away from each other. When it relates to Indra it is called Aindra Mal).<;iala and then, has_a
distance of four spans between the fee( The thighs are to be two and a half spans away from
each other, with the knees bent systematically. Indra is the presiding deity of this Sthana.
Uses: It is used for depicting the handling of weapons like the bow and thunderbolt, representing
huge birds and riding the elephant. The Ma~<;Iala Sthana is popularly called the Araimal).c;ii in
Tamil. It is the most important Sthana for the Sadir dance - now popularly called Bharata
Natyam.
.
Alidha Sthana:
If the right foot is drawn five spans from the Mal).<;iala Sthana, it is called Allc;lha. Rudra
is the presiding deity.
27
THE ELEMENTS OF KARA~ A
use
Uses: It is used in all the acts relating to the furiou s emotion, jealous y and in depicti ng the
of weapons.
This Sthana is met with in all the dance styles. It is used in sculptu res and paintin gs
vur
portraying Trpura ntaka. There is a beautiful representation of A.II<;fha Sthana in the Thanja
fresco of Cola period in the form of this deity.
Pratyali<Jha Sthana :
This is just the reverse of the AIIdha, i.e. the left foot is drawn, instead of the right. In
other words, the left knee is bent, while the other is stretched.
Uses: It is used in fightin g scenes .
Sthana s for women are Ayata Sthana, Avahittha Sthana and Asvak ranta Sthana .
Ayata Sthan a:
The right foot is to be in Sama, while the left is Tryasr a at a distanc e of about a span
loose
from each other. The chest must be raised with the side slightl y bent with the hands let
the
to hang near the waist. (Anoth er interpretation is that the right hand is on the waist while
ng
left hand is left to hang gracefu lly). According to the Natyas astra Sangra ha, the presidi
deity of this Sthana is La~m I.
Uses : It is used in invoca tion, dismis sal, observ ing carefully, contem plation and even during
g the
the first appearance on the stage for Pu~paiijali, anger and jealou sy due to love, twistin
at the
fore finger, prohibition, pride, profoundity, silence, fit of resentm ent (Mana) and lookin g
horizon.
This Sthana is often met with in the DevI figures of Cola bronzes. TI1e posture is commo n
to many of the presen t dance styles.
Avahit tha Sthana :
This Sthana is the reverse of Ayata. According to the Nawas astra Sangraha, its presidi ng
deity is Durga.
28 KARA~AS - VOL II
Uses: Like Ayata, Avahittha can also be used for many similar situations to bring out the
character of women .
Asvakranta Sthana:
One foot is to be in Sama position while the other must be placed as Sud at a distance of about
a span. It literally means mounting a horse. (The Siici foot seems to imply that it may be placed
in front. The respective knee may protrude in front or even be turned to the side according to
the suitability of the situation. According to the Natyasastra Sailgraha, its presiding deity is
Bharafi.
Uses : It may be used in taking hold of a branch of a tree, plucking flowers and taking rest. A
dancer must maintain this Sthana till any movement begins.
- -
CARIS
As already mentioned, the CarI is the simultaneous movement of the foot, shank, thigh
and hip. Two such Caris make a Karai:ia (CarI Karai:ia - vide Chapter oConcept of Karai:ias as
illumined by Abhinava Bharatio). This Karai:ia is different from the Nrtta Karai:ia. Three Carls
make a Khai:ic;Ia and three or four Khanc;Ias make a Mai:ic;Iala. The Natyasastra deals with the
Carls in Chapter X. The Can Karai:ias and Khanc;Ias are not enumerated. The Carls are used in
both Nftta Karai:ias and Natya Mai:ic;Ialas.
The Caris are classified as Bhii Caris and Akasa Caris. In Bhii Caris the feet involve a
stronger affinity with the ground. In Akasa Caris they involve movements off the ground.
Hence these Carls are ariel in nature and pertain to actions like leaps, jumps and lifting the
legs . The extension of the legs is quite common in these Carls. Bhii Caris have gaits and steps
with the feet more firmly planted on the ground. While the Akasa Caris are more ephemeral in
nature like the movements of the Western Classical Ballet, the Bhii Caris are n1ore earth
bound like all the contemporary classical dances of India. Bharata has described 16 varieties
in each of these two groups. These 32 Caris form the basis for the movements of the Nrtta
Kara9as . Unless these are mastered, it would be impossible to perform or even understand the
Karai:ias. The description of the 32 Caris given in the following pages is based on con1bining
the information obtained from the Natyasastra, Abhinava BharatI and Sangita Ratnakara.
29
Bhiimi Caris
1. Samapada CarI: Moving in the San1apada Sthana is called Samapa da CarI. The
contemporary Kathak uses a lot of this CarT. It enables to gain an enormo us speed in
executing the steps.
2. Sthitavarta CarI: One foot moves from its side as Agratala Saiicara and crosses the
other foot. This crossing (Svastika) must be through the inward turning of the knee
with Valana Dru and Jangha Svastika and not merely through the foot. Then, the
other foot is separated and brought to its own side. These actions are repeate d on the
either sides thus forming the Svastika and releasing it.
3. Sakatasya Ca.rI: One foot is stretched forward with the other in Agratal a Saficara while
the chest is slightly raised (Udvahita) and the whole thorax is held pushed forward.
This is called Sakatasya, which literally means throwing forward (A.sya) the Cart
(Sakata). It actually amounts to transferring the weight of the body with effort, on the
foot, which moves forward. It is used to denote the pushing of the cart forward. While
the body is pushed forwards, the leg, which is retained behind, has its knee straightened
without being bent. The movement gains beauty through the slipping of the foot
forwards. It resembles the Sarukkal A<;favu of Sadir.
4. Adhyardhika CarI: The left foot is placed near the right heel. Then the right foot is
moved one and a half spans away and placed on its side as Trayasra. Then the n1ovement
is repeated on the other side.
For practical reconstruction, it would help the performer to have the balance of the
body each time on the foot, which rests slightly behind. This moven1ent is still seen in
Mohini Attam of Kerala in a somewhat similar way. The reverse of this is seen in
Ma9ipuri where the foot, which is placed near the other heel itself, moves forward
instead of the other. But the space between the feet is n1uch less in 1\1aiµpuri . They do
Vyavarta Parivartita of the hands along with this CarI. It is interesting to note that the
Natyasastra Sangraha presc1ibes the same Hasta Karm:ms for this CarI. Since the Sthfma
has not been speci fied, the same CarI is performed in Ayata and Avahitta Sthanas in
30 KAR A~A S - VOL II
Mm;lipuri, while it is don e in Ma99ala Sthana

in Sad ir and in Vai~9ava Sth ana in
Mohini Anam. The apparent differences are only
due to the use of these Sthanas.
5. Cill?agati Cari: The right foot is put forward one
span away from the left; the sam e foot
is drawn back by two spans. Bot h the feet unite
now thro ugh a jum p. The n they may
or may not get sepa rate d. Thi s is called Casagati.
This movement is even now seen with slight cha

nges in Kuc hipu 9i style. In the Sadir,
we com e across the sam e moven1ent, but devoid
of the jum p. It is one of the Sarukkal
Adavus.
6. Vicyava CarI: The feet are alternately lifted

and land ed on the toes. The stam ping by
the toes in Sam apa da Sth ana is called Vicyava Can
. Thi s Can is seen in man y of the
contemporary classical styles. It is not seen in the
traditional Sadir.
7. Elakakri<;lita Cari: In this Cari, the feet are alte
rnately raised a little and plan ted forward
on the fore part. It is a gait with spring like acti
on. It is ofte n met with in our folk
dances.
8. Bad dha Cart: The thig h is mad e Valana (ben

t) inw ards with the sha nks cros sing . The
leg, whi ch is Valana, is to have the toe on the grou
nd, whi le the othe r rest s on its sole.
The n the thigh is turn ed again to its own side thro
ugh twisting the hip. Sim ulta neo usly
the Sva stik a of the Jan gha (legs) gets released.
The who le mov eme nt is repe ated on
the othe r side . Thi s graceful serpentine wal k is
call ed Bad dha Car i. Thi s gait is a
com mon feature in the dan ces of the Mid dle Eas
t. Tho ugh not the who le gait, the
Orissi dan ce uses the last part of the Car i in som
e of its poses.
9. Oru dvr tta CarI: One foot as Agratala Safi.cara
is plac ed beh ind the hee l of the other.
The one in front has the kne e bent. The sha nk of
the leg at bac k sho uld also be in line
with the one in front. It is employed to show shy
ness and jeal ous y. It is seen as a part
of one of the "Tat tai tam" (Korvai) A~avus of
Sad ir with a slig ht variation.
10. A99ita Can : One foot is to rest on the gro und
as Sam a. The othe r rub s its fore part and
heel thro ugh its toes. The action is don e with alte
rnat e foot. Thi s Car I is out of vogue
now.
31
TI-IE ELEMENTS OF KARA~A
the other
11. Utspandita Cari: (also called Utspandita) - One foot has to be steady while
has to
foot alternately touches the ground with its big toe and little toe. The movement
also
be a graceful (Recaka) type of movement. Recita or Ardharecita hands are
ssly.
prescribed for this movement by some authorities. Spanda means to fall down carele
es the
This CarI must be done very lightly without any tension. It automatically involv
waist and creates Tribhanga on either side. This CarI is also out of vogue.
respective
12. Janita CarI: One leg is to move as Agratala Saficara with the hand of the
a or
side holding Mu~ti in front of the chest. The other foot moves as Sama, Parsv
dance
Tryasra on its sole. This Cari is in vogue in almost all the classical and a few folk
styles.
thigh; the
13. Syand ita Cari: The left foot is planted firmly as Sama with a motionless
in the
other is extended crosswise, five spans away from the former. It is still seen
Saruk kal A9avu of Sadir.
14. Apasy andita CarI: The reverse of Syandita is Apasyandita.

d the other
15. Samo tsarita Matta llI Cari: One foot as Agratala Saficara is crosse d behin
leg and
foot. Then the cross is released through a graceful circul ar move ment of the
g as
the cross is again formed through the alternate foot. Thus the feet keep on movin
cation.
comin g closer and getting away from each other. It is a walk denot ing intoxi
form of
The foot which is releas ed from the crossed position must be dragg ed in the
Kuficita. This gait is out of vogue.
16. Mattalli Cari: The feet are kept with soles touching the groun d. They are
to be crossed
with a
at the shanks slight ly obliquely. They come closer and move away alternately
e of the
circular movement. This can be taken to mean a forward moven1ent. The releas
This
foot from the crosse d positi on must be through the dragg ing of the Kuficita foot.
the
Cari must be perfor med with Parsva Pada in Ma1-:i9ala Sthana. This is known from
in the
sculptures repres enting the Karal).a of the same name . This Cari is still in vogue
of the
Kuchipu9i tradition, in which it is perfor med with Sama Pada and flappi ng
soles in a more or less rustic manner.
KARAl':,TAS - VOL II
32
- - - -~
AKASA CARIS
l. Atikrantfi Cari: One foot is raised to the level of the other ank.Je as Kuncita. It is then
lifted forward and thrown at a distanc e of four or five spans . The lifting must f1ow
naturally. The landing of the foot may give rise to the lifting of the other foot at the
back. The gait is contin ued this way.
2. Apakranta CarI: From the Valana posture of the Baddh a Cati, the foot of the leg that
is crossed is lifted as Kuficita and then dropped on its own side. Then the action may
be perform ed on the other side too.
3. Parsvakranta CarI: Raise up one Kuficita foot on its own side; then bring it down on
the ground as Aficita. Before landing it on the ground with the heel, the leg is stretched
on its side and then dropped. This CarI covers space on the sides and also in front. It is
called Parsvakranta . Some authorities call it Parsva Da9~apada. Others say that in this
CarI, the foot must be raised to the level of the other thigh and then brough t dowu as
UdghaTTita. This would mean the raising of the Kuficita foot stretch ing it out, followed
by landin g it on the ground with the toes and then finally thump ing with the heel.
4. Urdhvajanii Cari: One foot is to be lifted as Kuficita, with its knee in level with the
breast. The other foot has to be steady and motionless. From the sculptu res we are
able to see that the foot on the ground must maintain its Mm::i~ala ~thana posture .
5. SiicI Cari: One foot is lifted as Kuficita and then stretched to the level of the other knee
or thigh. Then the big toe alone is made to fall on the ground .
6. Niipurapadika CarI: An Aficita foot is lifted backward and is made to touch the hip
with its heel. Then, the shank is raised, followed by the toes falling on the ground
(behind the steady foot). This is still seen perform ed in Orissi dance. This CarT has a
backward movement.
7. Pola pada Cari: One foot is raised as Kuficita and made to swing from side to side.
Then, it is brought down on its own side and placed on the ground , with its heel. Both
Tryasra and Parsva positions for the other foot seems to yield pleasin g res ults.
33
8. Ak~ipta CarI: The Kuficita foot is lifted up at a height of three or four spans on its side
and then made to fall on the other side thus resulting in a cross of the shanks. The foot
should be placed on the ground from above as Aficita (heel). It would be better to have
the leg on the ground with its knee bent on the side when the other foot is lifted. The
knee 1nust be straightened when the other foot crosses this leg. This seems to add
grace for this Cart.
9. Aviddha CarI: Fron1 Svastika posture of the foot in front, it is lifted obliquely (in front
of the knee) as Kuficita and then brought to its own side and then placed on the
ground as Aficita by the side of the other heel. While the feet are Svastika, they should
not touch each other. Both the feet are to be Parsva.
10. Udvrtta CarI: With one foot raised as Aviddha, the body whirls and then the raised
foot is dropped through a jump. The same action is repeated on the other side. of the
soles in a more or less rustic manner
I l. Vidyudbhr anta CarI: One foot is stretched backwards from the thigh region towards
the head. Then the body whirls round in all directions. Bharata uses the term
Mai:ic;Ialaviddha. Mai:ic;Iala means reeling. In this context, the word Aviddha should not
be taken to mean the CarI. This word literally means, to be thrown, cast, pierced,
swing, stir up, crooked, whirled and in short excite or agitate. Vidyud means lightening.
Hence, this CarI must be performed by whirling and throwing the limbs sharply and in
split second, like the streaks of the lightening. Both the feet may be off the ground
while whirling. This Carl is highly ephemeral in nature.
12. Alata Cart: The Kuficita Pada is inwardly lifted, stretched out, moved on side and
taken to the back of the other thigh. Finally, it is placed on the ground on its own side
with the heel. It is close to the movement called the "Sn1all Ronde jambe" in the
Western Classical Ballet. While they do it with the steady foot in Sama, this CarI
should be done with the steady foot kept as Parsva with its knee also bent.
13. Bhujangatrasita Cart: One Kuficita foot is raised to the root of the other thioh
C,
and its
heel faces the hips. The knee must be lifted on its opposite side, but the body n1ust not
be turned. Now the foot is stretched QUt from the knee and then turned to its own side.
KARA~AS - VOL II
34
_. .· the leg on its own side . .The hip and

It resemb les the Natara_Ja posture before tunung
· • d Now the knee ·
is brough t lo its own side ·
knee are twisted while the sole 1s upturn e •
· way in fear of some cobra, which is,
The name of this CarI literally means runmn g a .:.
~ alterna te legs, or coveri ng space in the front
chasm. g. This - - may b e per1orm
• Can ed with .
. ing space on the side.
or, contin uously with the same 1eg, cover
14. Harit:1apluta CarI: Simult aneous ly with a jump, a Kuficita foot is thrown out, when
it is
brough t down. The other foot is raised as Aficita and kept at the back of the shank of
the former. It denote s the darting deer. It is also used for the clown.
15. Dai:19apada CarI: First the Niipura (Padik a Cari) is perfor med for gainin g momen tum.
The sole of the same foot is thrown forward. The body has to be natura l and graceful.
The leg is stretch ed like a stick (Dal)9a) and hence the name. Some author ities also
allow a crossw ise throw of the leg. Sarilgadeva says that the tip of the knee of the lifted
~
leg should be close to the body.
16. Bhram arI CarI: The foot goes throug h the action of Atikra nta CarI. The thigh , which
is obliqu e, is twisted and throug h the twistin g of the sole, the entire body rotates .
HAST AS:
Hastas are hand gesture s, which can be broadly classif ied as those of comm unicat ive
latter
value and others of mere aesthet ic value. The former is called Abhin aya Hasta and the
also
type, connec ted with dance is given the name Nrtta Hasta. The Abhin aya Hastas are
ed
subjected to two classif ication s viz. Asamy uta - single hand gesture s and Samyu ta - combin
Hastas .
hand gestures. Bharat a has given a list of 24 Asamy uta, 13 Samyu ta and 30 Nrtta
Indian
Except in Kathak ap , Bharat aJEs Abhina ya Hastas have been in vogue throug hout the
us
dance history, with some slight additions, subtractions or variations. In Katha k~i , an enormo
ka
addition and changes in the already existing names have taken place. For examp le, the Tripata
hi nay~
gesture is called Pataka in Kathaka!i. In most of the region s where Nandik esvanv Es Ab
case of
Darpai;iam is followed, there is a fair amoun t of adhere nce to the Natyas astra in the
of last
Abhina ya Hastas. But BharataJEs Nrtta Hastas have been compl etely lost in the course
fi ve centuri es. These form a major part of the Karal)a techniq ue, and therefo re it is but
natural
THE ELEMENTS OF KARA[':JA 35
that they have moved into oblivion aJong with the Karar:ias themselves . The traces of the Nrtta
Hastas can be seen in some of the hand .movemenlc; of the contemporary Mai:iipuri dances.
The main difference between the Abhinaya Hasta and Bharata's Nftta Hasta is in their
static and dynamic qualities. The original form of the Abhinaya Hasta is static, and involves
just the fingers only. This static form of a Abhinaya Hasta is motivated in severa] ways to bring
out several ideas. For example the first Has ta of the Asamyuta series is called Pataka - literal] y
meaning flag can be moved in various ways to depict ideas such as you, me, sky, floor, waves,
clouds , opening or closing doors, welcoming or driving out and in many other such contrary
situations. All the Abhinaya Hastas are still in vogue. These can be studied from contemporary
primers like my own syllabi oriented book- "Bharatakkalaikotpac;Iu" (Tamil)
Unlike the Abhinaya Hastas, each of Bharata's Nrtta Hastas has a specified course of
action involving the entire arm and just not the fingers alone. These cannot be easily
photographed or drawn, because of their dynamic nature. Like the Karai;ias, each Nftta Has ta
is a movement and not a static pose. Thirty such actions form the Nrtta Hastas. The Hasta
fonns a major part of the Kara9a. These hand movements are to be performed on the principle
of being embellished through suitable subtle actions of the eyes, eyebrows and the face in
general. This reminds one of the famous verse from Bharata and repeated in Nandikesvara's
Abhinaya Darpal).am which means -
"Where the hand goes there go the eyes

Where the eyes go there goes the mind
Where the mind goes there goes the feeling
Where the feeling goes there follows the aesthetic essence"
This verse proves that even mere dance of non-representative nature must be capable of
evoking Rasa - aesthetic pleasure. Nrtta, when enjoyed by the performer, automatically radiates
this enjoyment and evokes an aesthetic satisfaction. The first step towards such an achievement
is to train the eyes to be moved along with the actions of the hands. When the nli nd is set on
these movements, feeling is naturally created. The hand gestures, when perfonn cd wit h such
embellishment s have the potentiality to create the in1pression of dance, even if the legs are not
moved. That is why these hand gestures are given the name Npta Hastas. i\'loreover the N!·tt;i
KARAN/\S - VOL II
36
Hastas have to be perform ed with suitabl e movem ents of the entire torso. Thal is why
in the
definition of Karana as a con1bination of actions of Hasta aD<l Pada, Abhin avagup ta

has
th torso
insisted that by Hasta, the actions of all the limbs of the upper part of e body from the
The
is meant (Vide. Chapte r - "Conc ept of Kara1:ws as j]lumin ed by Abhin ava Bharat f").
,
thirty Nrtta Hastas are based on the four Basta Karm:ias namely Udves~itarp, Apavestitarµ
va
Vyavartitarr and Parivartitarp. (Vide. Chapter - "Conc ept of Karru:ias as illumin ed by Abhina
the
Bharafi"). The following enumeration of the Nrtta Hastas are based on the 9th chapte r of
a
Na!yasastra and also the relevant verses of the San.gila Ratnak ara whi ch seems to be only
versifi cation of Abhinavagupta's comme ntary on the Natyas astra.
l. Caturasra (Quadrangle): Both the hands are to hold Khatak amukh a Hastas. The hands
and elbows are to be at the level of the shoulders. The palms must be facing the front
and be about a span away from the body. It is used to denote pulling garlands.
2. Udvrtt a (Waving): From the Caturasra position, the hands are to be changed as
Hamsapak~a. One hand which has the palm upturned is lowere d while the other with
the palm facing down is drawn near the chest. It should resemb le a palm leaf fan . (It is
also called Talavrnta by some authorities).
3. Talamukha (Palms facing): The hands face each other in Catura sra postur e in the form
ofHain sapak~ a. The hands may be held obliquely also. The moven1ent may also start
from Udv~tta posture. The hands must be lightly waved to denote the soundi ng of the
Madda la (a double faced drum).
4. Svastika (Cross): Hamsa pa~ah ands are made to cross at the wrist with palms facing
any direction .
5. Viprak in:ia (Scattered): If Svastika hands are separated, it is called Viprak inp can be
obtaine d through the use of the Hasta Karar:ias.
6. Arala Kha~k amukh a: The hands are crosse d at the wrist as Pataka ; then, they are
made to whirl inwards and outwards as Vyavarta Pariva rtita Ha.,ta Karana s. This is
· hr·
fo ll owed by their assmni ng Padmakos" a H,as tas, wit · mgers upturn ed; aga.in . they m·e
rotated as Vyavarta Parivartita alternately·, one of th e .I·ian d s, t hen assum e .Aw-1a wll· l1
37
THE ELEMENTS OF KARA!':-lA
palm facing upwards and the other assumes Khatakamu kha, facing downwards . Both
the hands are now to be in Caturasra position. The other variations are as follows: - At
the end both hands assume Arala and then Khatakamu kha. It may end as one hand
facing forwards in front of the chest as Khatakamu kha, while the other is moved as
Arala on the side with fingers pointing up. There should be a space of about a span
between the hands . This Nrtta Hasta denotes deliberatio ns with ministers and
merchants . It can denote even the use of a balance.
7. AviddhavaktTa: This is often seen in contempora ry dances as a serpentine movement.

The hands perform Vyavarta Parivartita in the form of Pataka or even Hamsapak~ a
along with a simultaneo us movement of the shoulders, elbows and arms. Sarngadeva
adds that some authorities criticize it when performed in haste because it might be
crooked to look at.
8. Sucimukha (needle point): The thumbs touch the middle fingers with the hands as
Sarpasrr~a. Some authorities prescribe even Pataka instead. Vyavarta Parivartita rotations
are done and then the hands are held in Caturasra posture with the fore fingers pointed
outwards, i.e. with the palms facing down. The thumbs must be in contact with the
middle fingers. This Hasta is still in vogue in the MaQ.ipuri dance.
9. Recita: The hands are spread above the shoulder on the sides with the palms facing
down. The fingers must be relaxed and natural. They must be whirled in the form of
Hamsapak~ a and moved out from the region of the chest get raised on sides and then
fingers are dropped downwards . It is used for denoting Nrsimha tearing open the
abd0111en of HiraQ.yakasipu. This Hasta is very often used in KathakaF.
10. Ardharecita : One hand performs Recita while the other stays in Caturasra position.
1I. Uttfinavaficita (Deceiving the upward trend): Tripataka hands are held facing each
other obliquely either near the shoulders, cheeks or forehead and then turned upwards .
The shoulders and elbows undergo a slight graceful shake. The elbows ::md shoulders
must also be lightly lowered in this process. Movements similar to this are in vogue in
the folk dances of Punjab and also in certain dances of the Middle East.
KARAi'.'iAS - VOL Il
38
tr tched upward s through Vyavarta and

12. Pallava (Spro ut): Two Pataka hands are s e . . ..
• t·t to be crossed at th e wnsts. WhJle rais1ng, the hands
bro ught back throug I1 P an var I a .
d then get turned near the s hou]der s . Instead of
may reach the level o f tI1e I1ead an
,., . _ p~d akosa may also be used .
Pataka, 1 npataka , or even a 1oose a m
nd
13. Nitamba (Hip) : Pataka hands facing upwards are turned dow n a brought downwards
from the reoion of the shoulde rs to the region of the hip and made to perform Recaka
b
t
(wavy or whirling moveme nts). This can be obtained through the HaS a Karar:ias. This
Nrtta Basta is still in vogue in the Mai:iipuri dances.
14. Kesaban dha (tying the hair): The hands (Pataka ) rise up from the sides and reach the
head and then alternately do Nitamb a repeated ly; one hand proceed s out as the other
movesm .
15. Lat.a (creeper): Pataka hands are let loose to hang on the sides and m ade to swing. The
fingers n1ust be relaxed without precisio n i.e. they must be natural without tension.
16. Karihas ta (Elepha nt trunk ): One hand swings as Lata on either sides lik e the trunk of
an e]ephant. The other hand is held near the ear as Tripata ka or Khatak amukha.
17. Pak~ava ficita: The hands are to be placed on the top part of the hip in the form of
Tripataka.
18. Pak~apradyotak a: If the palms face the sides in the Pa~ava ficita Hasta, it is called
P~apra dyotak a. The fingers may also be pointing upward s or dow nwards with the
palms facing any side.
19. Garu<;lapa~a (Garu9a wing): Pataka hands are placed near the hips with the fi ngers
pointing downwards. They are moved up and down quickly like the wings of the
Garu9a bird.
20. Dai:ic;tapa~a: Hamsapak~a hands are stretched as Latu alternately on the sides. It would
resemble the Ardharecita movement. When one hand is near the chest. the other is
rounded and moved out and then dropped. The progres s of one hand and the regress
of the other must be sim ul taneous. ._
39
THEELEMENTSOFKARANA
21. Ordhvamandali (circled above): Pataka hands are moved out from the chest towards
theii- sides through Vyavarta rotation; they are then taken near the forehead and again
encircled and finally stretched either in front or on the sides. According to some
authorities it is said that if the movement ends near the head it is called Cakravartanika.
'
22. Parsva1nandali (circled at the sides): According to the Natyasastra, Parsvama9c;lali is
perfonned by involving Uromar:ic;lali Nrtta Hasta for one hand at a time. But San.gila
Ratnakara says that it is the placing of the Pat.aka hands facing each other from their
respective sides. It is said that, according to certain other authorities it is performed as
arms 1noving around frmn their respective sides through Avestita rotation . It is also
called Kaksavaficita.
23. Uromar:ic;lali (circled at the chest): The hands are moved out from the chest towards
their sides either in the form of Pataka or Hamsapa~a. One hand does Udve~!ita
while the other does Apaves!,ita simultaneously. They are brought back with Apavestita
and Udve~!ita in the reverse order. It is called Urovartanika.
24. Ural)parsvadhamaQc;lali (Half circle at the chest and the sides): Both the palms are
upturned with one hand near the chest and the other stretched on its side. The hand
near the chest performs Vyavartita moves to the side as Alapallava (Alapadma); the
other hand moves near the chest through Udve~!ita rotation, holding Arfila gesture.
The movements are repeated on the alternate sides.
25. Mustikasvastika:
.. One hand does Avestita
. in the form of Arala while the other does
Udve~tita with Alapallava (Alapadma). After several rotations they get crossed at the
wrists in the form ofKhatakamukha, Kapittha, Sikhara or Mu~ti.
26. Nalin1pad1nakosa (Lotus bud): The Natyasastra simply says that this is perfom1ed
through Vyavarta Parivartita Hasta KaraQas. But Sarngadeva gives the following
varieties based on different authorities. Padmakosa hands are crossed and then separated
through Vyavarta rotation and then made to turn away from each other. Padn1akosn
hands are crossed at the wrists; they are to face each other and then get separated
through Vyavarta and Parivartita. After crossing, the hands m·e to perforn1 Pnrivartita
rotation in order to reach the knees. The hands, through Vyavartita n1ay reach the
shoulders, breasts or knees.
KA RJ\l'~A S _ VOL II
40
27. Alapall ava (also caJled Alapadma) : Both the ha11 <ls asSum c Alapadma. From the region
of the chest, they approach the shou lders and perfonn th e Udve~ti ta rotation between
the shoul ders and the neck.
28. Ulbar.m (strong): AJapadma Hast.as are stretched near the shoul ders and made to qui ver.
The palms may either face the cheeks or be in tu rned .
29. Lalita (delicate): Alapallava hands reach the region of the head or above the head.
They must be placed on the head lightly and loosely. It may be performed by
Khatakamukh a hands getting hooked at their tips after slowly reaching the head. It is
still in vogue in the Orissi dance. It is often met with in the sculptures of Central India.
30. Valita (bent round) : Lata hands get crossed at the elbows. It is also performed through
the whirling action of Mu~tikasvastika (Nrtta Hasta 25) over the head. It may also be
performed as hooking of the Khatakamukha hands and stretching them up wards,
followed by a backward bend. This movement is also still seen in the Odissi dance.
When we relate the contemporary practice with the elements of the Karar:ias, it is possible
to clearly see how the traces of the various aspects of Bharata' s dance technique can still be
seen scattered in the so called different styles of dances. It is most obvious that the various
regions have been able to preserve only a few aspects of the Natyasastra. Bharat.a' s work must
have been the basis for all the different styles. None of the present styles can claim a total
adherence to the Natyasastra, nor can any of them be declared as totally isolated from the
influence of this work. A reconstruction and collection of all the elements ofBharata's dance
technique is bound to create an illusion of mixing up the present so-called different styles of
dance. Only knowledge of the Natyasastra can unveil the fact of their genetic relationship.
41
PRACTICAL RECONSTRUCTION OF THE 108 KARA~AS
CHAPTER-XI
PRACTICAL RECONSTRUCTION OF THE 108

KARANAS
•
The present chapter has been the very life of this work, acting as a leverage and lodestar
in the formation of the preceding and following chapters. It has been an arduous, yet ardent
attempt to resurrect a lost and forgotten technique of dance. The methodology of reconstructing
every one of the 108 Karar:ias has been firmly based on a correlated study of the text,
commentary, sculptures and inscriptions and the product has been recorded after a subjective
experience through actual practice. Mere theory has no value, unless it aids practice. Hence,
every subtle aspect of the performance of the Karar:ias has been given due importance. Each
Karar:ia has been dealt with elaborately enough to guide a practical reconstruction of the
movement, so that it may be of use to at least a few interested performing artistes and
choreographers, at some point of time, in some comer of the world.
The enumeration of each Karai:ia is given in the following manner: -
I . Definition of the relevant KaraQa quoted from Natyasastra
2. Transliteration ofBharata's couplet defining the KaraQa
3. Translation of Bharata's couplet(* 1)
4. A note on Abhinavagupta's commentary (*2)
5. Description and comparison of the respective Karai::ia figures of Thanjavur,

Kumbakonam, Chidambaram, Satara and Prambanan ternples.
6. A practical reconstruction of the KaraQa
7. The uses
8. Comn1ents if any
9. Significance of the background colour chosen along with nny designs added in
relation to each Karar:ia in the present layout seen in Volume III - (Karat~a
Illustrations)
KARAl~~AS _ VOL })
42
- ,, _ t and the Abhinava BharatI, a literal translation has

In both the cases o-f th e N atyasas ra
•• hi d th 1 finiti on and commentary has been tak
been deliberately avoided. The sp1nt be n e ce . . en
. . . . _ t· 1 int of view. Details regardmg the eleme ts
mto cons1derat10n, particulad y from a prnc tea po n
~
of K aranas can b e re1erre d to from Chapter IX of Volume I. These details are not repeated
along with the enumeration of the Karai;ias in this Chapter.
Illustration:
The descriptions of the sculptures are supported by relevant photographs of sculptures

in miniature size in black and white. Volume III has all the photographs of the available
Karar:ias from six temples along with the related photographs of myself. These pages have the
names of the Karar:ias and their respective serial numbers with the alphabets indicating the
following:
"T" for Thanjavur
"K" for Kumbakonam
"C" for Chidambaram
"S" for Satara - SS for Satara Siva and SD for Satara DevI
"P" for Prambanan - Pl, P2 and P3 for three Prambanan figures from the readers' left to right.
There are 81 figures ofThanjavur, 105 ofKumbakonam, 108 of Chidambaram, 108 of

Satara and 53 of Prambanan and 124 photographs of mostly my disciples and myself.
Text: Only one text has been followed throughout this Chapter. It is the Fourth Chapter
of Bharata's Natyasastra with Abhinavagupta's Abhinava Bharafi, edited by Ramakrishna
Kavi, Volume I, Edition II of the Gaekward series. (Pages 92 to 138) Since fortunately Bharata's
text and the commentary of the respective Karal)as are in the same pages, the special references
for Abhinavagupta are not separately given. The sloka number is quoted along with the definition
itself. Other references are mostly from Infra Chapter X of Volume II.
43
PRACTICAL RECONSTRUCTION OF THE 108 KARAI".JAS
The list of the 108 Karar_1as, accordi ng to the serial order found in Bharata 's Natyasa stra is
given below: - (Nafyasastra, Chapter IV, Lines 34 to 55)
1.Ta1apu~papufarµ 30.Pada paviddh akarp 59.Avar tarp
2.Vartitarp 31.Valitarp 60.Qola padarp
3. Vali torukam 32.Ghu mitam 61.Vivµ tarµ

4.Apavi ddharp 33.Lalit am 62.Vinivµtarµ
5.Sama nakham 34.Dar_19apak~arp 63.Parsv akrantar p
6.Linarµ 35 .Bhujangatrastarecitarµ 64.Nista mbitarµ
7 .Svastikarecitarp. 36.Nupurarp. 65. Vidyud bhranta rµ
8 .Ma99al as vastikarp. 37. V aisakhar ecitam 66.Atik rantarµ
9.Nikutta}carp 38.Bhra marakam 67. Vi vartitak arµ
10. Ardhani kuttakar µ 39.Catu ram 68. Gajakrl<;litakarp.
11 .Katicch innarµ 40.Bhujangaficitakarp. 69. Talasam sphotita rµ
12.Ardh arecitak am . . akarecit am.
41.Dand 70.Garu<;faplutakarµ
. . svastika m.
13. Vaksah 42. Vrscika
. kuttitam
.. . 71. Ga99aS ilci
14.Unm attam 43.Kati. bhranta m
. 72.Pariv rttam
15.Svastikan1 44 .Latavrscikarµ 73.Pars vajanu
16.Pr~thasvastikarµ 45.Chin narµ 74. Grdhrav alinaka m
17 .Diksvastikarp. 46. Vrscikarecitarµ 75.Sann atam
J 8.Alatakarp. 4 7. Vrscikarp. 76.SucI

48.Vyam sitarµ 77. ArdhaS ilcI
. amam
19.Katis .
20.A~ iptarecitarµ 49 .Parsvanikuttakarp. 78.Suci viddham
2 1.Vi~iptfilq,iptak arµ 50 .Lalaµttilakarµ 79 .Apakrantarp.
22. Ardhas vas tikarµ 51.Kran tarµ 80 .Mayura lalitarp.
23 .Ancitam 52.Kuficitarµ 8 l.Sarpi tarp.
24.Bhuj angatrasitarµ 53. Cakramru)<;ialarp. 82.Da9~ apadaq1
25 .Ordhva janu 54. U roma99 alarµ 83 .Hari9ap lutarµ
26.Nikuficitam 55.~ip tarµ 84Prenk holitam
27 .Mattalli 56.Talavilasitarµ 85 .Nitamb arn
28 .Ardha Mattalli 57.Arga larµ 86.Skha litmn
29.Reci ta Nikugit arµ 58.Vi~i ptarµ 87.Kari hastmn

KARANAS _ VOL//
44
l02. Vi~kambharp.
8 8.Prnsarpi takaryi 95 .Avahitthak,Hfl
103 .UdghaHitarp
89.Si ml1avikri<;Ji takarp 965 .Ni vesarri
l 04. Vrsabha
.. kriditam
. .
90.Simh akaqitar p 97.Elakakri~itarp.
105 .Lolita[!l
91.Udvrttarp 98. Orudv~1tarp
l 06 .Nagapa sarpi tarp
92.Upasrtaka111 99 .Madaskhali ta111
J 07.Saka tasyarp
93.Talasanghagitarp 100.Vi~i:ttdcrantarp.
108.Gangavatararyarp.
94.Janitam 101.Sambhrantarp.
Sarngad eva , in his Sangita ratnaka ra seems to have followe d Abhinav agupta 's
commen tary faithfully. In fact, his work is only a versific ation of Abhina vagupta 's prose as
far as these Karai:ias are concern ed. But, the serial order differs from that of Bharata in·
Sarngad eva's work. The same Gaekwa rd Edition, which has been folJowe d here, contains
even Sarngad eva's verses on these Karai:ias in the Append ix. It was very useful for a cross
reference. When there are more than one readings , only those which are most suitable for
dancing , have been utilised. The Chidam baram inscript ions have also been compar ed for this
purpose (Vide Archaeo logical Sources).
It must be admitte d that inspite of any amount of writing, it is not possible to bring out
the full dimensi on of the subtletie s of a perform ing art. This record is just like a mere notation
of music. The ideal way to record the Karai:ias is only through a movie film. The arts of music
and dance are best learnt either directly from a Guru or atleast through an Audio-Visual
medium.
REFERENCES
The English translati on of Bharata 's Natyasa stra by Dr. Manmo han Ghosh is rather
literal. Hence, I have given my own translation with Late Dr. T.N. Ranrnch andran's invaluable
guidance. It is mainly based on a practice of the Karai:ias.
No translation was availabl e for Abhinav a Bharati. It was possible to grasp its contents
only because of the enormo us time that my revered Guru Dr. T.N. Rarnach andran could
patiently spare for me in studying this work. It made me realize that it is easier to go through
Bharata 's work than the commen tary.
45
PR ACTICAL RECONSTRUC TION OF THE 108 l<ARANAS
1. TALAPUSPAP
•
UTAM
• •
(Ref: Volume III Page 1,2)
qfq Y,&iY,c.: qr.ij qf?JJSJJd&l-i ?iR : I

~~ -=q ~ qrSbf d&~&iY}~- ~ II
"Vame pu~paputal:i parsve pado.agratalasaficaral:t

Tatha ca sannatarµ parsvarµ T ALAPU~P APUT Afy1 bhavet"
-Natyasastr a - IV - 61
When the hands hold Pu~paputa gesture on the left side, with
the foot in Agratalasaf icara, and also with the side bent, it is
called Talapu~paputarµ.
ABHINAV AGUPTA says that Sannata means to raise the shoulder on one side, thus
enabling the side to be bent. He also advocates the Adhyardhik a Cari to be performed with
Vyavarta Hasta Karai:ia on the right side. On the left side, the Cari must end with one leg in
Agratalasaf icara with the hands uniting to form the Pu~paputa Hasta through the Parivartita
Hasta Karai:ia. The Agratalasaf icara is for the right foot only. The body should lean towards
the left. But Sausthava must be gracefully and smoothly linked up.
SCULPTURES: -
The Thanjavur figure has a clear depiction of Bharata' s definition. In both Kumbakona m
and Chidambar am , we can see suggestion of the Adhyardhik a Cari. Both these figures have
the right foot placed slightly backwards. The Agra foot is not as clear as at Thanjavur. While
the Thanjavur fig ure has the Pu~paputa in front of the chest on the left side, the other two
show the course of the movement, thus having them in the centre.
"
SATARA: The figure of Devi depicts the beginning while that of Siva portrays the
end. The right leg of Devi in Tryasra pada depicts the course of adhyardhik a CarI. The hands
depict the inward rotation of vyavarta. The body is seen bent on the right in nata. In Siva's
figure, the secondary hands depict the continuation of parivartita, while the primary hands show
KARA~AS _ VOL II
46
t marking the comp letio n of the movement.

flow ers from the Pu~p apu~ a H as a .
the dropping of the
• wit
. of the feet
. 1on · h the Je ft I1eel raise d as the body 1s also bent to the Ieft
We see the final pos1t
side.
PRA CTI CAL REC ON STR UCT ION : -

Bhar ata, or by adhering to
This Kamna could be perfo rmed either by directly folJo wing
Adh yard hika Cari. He mentions
Abhinava Gupta 's com1nentary. Bharata does not ment ion the
invo lve this Pada Bheda are
onl y that one foot must be in Agratalasaficara. The Carts that
, Janit a, Samotsaritamattall,,
Sthitavarta, Sakatasya , Yicyava, Elakala19ita, Badd ha, Drudv~tta
MattalH, and Nupu rapad ika.
. In Janit a, the waist is
Amo ng these , the Than javu r figure suits the Janit a Cari most
But at Than javu r, the right foot
bound to be raised on the side which has the foot place d flatly.
is likel y that, on the left side the
is Agra and the wais t is also raised on the same side. Henc e it
nt with the right
Aviddha Ca1i is to be perfo rmed followed by the Agratalasaficara mov eme
raise d wais t with Agra foot
foot. The spac e cove red woul d be only on the left side. The
mov en1e nt is repe ated till the
suggests the link for repe ating the Cari on the same side. The
stage . A mere Janit a Cari also
flo wers in the hand s are drop ped in the ante1ior corn er of the
may be used for this purp ose.
a Kara nas chancbres the
Abhi nava gupt a's addit ion of Adhy ardh ika Carl and the Hast .
be by the left foot placed as

shape of this Kara1Ja. By follo wing this, the first step wou ld
sra. The weig ht of the body
Parsv a followed by the right foot in front of it at an angle as Trya
done simu ltane ousl y with the
would rest on the left, with the waist raised on this side. This is
or may not be joine d at the
hands perfo rmin g Yyav arta rotation inwardly. The hand s may
transfeITed on it, with the waist
w1ists . Then the right foot is made Agra with the body weig ht
there fore the body leans on the
being raised on this side now. The left shou lder is raise d and
away froni the right, on its own
left side. This is followed by the left foot being place d a little
Pariv artita or outw ard rowtj on
side as Tryasra. Thes e two steps are to be synchronized with the
oveinent.s are repeated till the
of the hands. It finally ends with the Pu~paputa gesture. The 111
d to the niov einen t can be learnt
desired com er of the stage is reached. The Recakas to be adde
directly from the Guru.
47
PRACTICA L RECONSTRUCTION OF THE 108 KARAi;JAS
USES: -
This Karana is to be used for Pu~pnfijali. Abhinavagupta has illustrat ed how Kararyas
can be used to br:ing out the Vakyartha or the general idea of a whole sentenc e. He cites the
example of using this Talapu~paputa Karai:ia for the NandI sloka of Srihars ha' s drama,
"Ratnavaff" which starts as "Padagra". This gives us an idea of how Karai:ias are used in
Na~ya. This sloka conceives ParvatI DevI as walking on her toes due to her coishness, leaning
forward due to the weight of her beautiful breasts, approaching Her Lord to offer flowers ,
drops them at His feet, in a bashful fright. The entire sloka can be depicte d through the mere
action of the Talapu~paputa Karm~a.
Pu~papu~a Hasta is to be used to offer flowers, water or food to God, manes and even
saints . For the Gods, the offering should be through the tips of the fingers ; for the ~~is, it must
be through the lowest digital space of the little finger and to the manes through the lowest
digital space of the first finger.
COMMENTS: -
We are able to see the evolution of this Kara9-a that had taken place during the period
that had lapsed between Bharata 's and Abhinavagupta's. Three interpre tations hav,,e 'been
possible for this Karai:ia . It is significant that the movement is recomm ended only on the left
side. This is obviously because, it is meant to be used for Pu~pafijali, or even Nandi. The stage
was said to be only East facing according to the Sastra. The presidin g deity of the Northea st
direction (Isanya) is Rudra. Therefore this Kara9-a has to cover the space on the left side, thus
enabling the dancer to reach the anterior left corner to make her offering in that direction.
Even in the case of NandI, in which the manes have to be propitiated, the same direction is to
be follow ed. On every auspicious occasion of the Hindu tradition, the NandI is perform ed.
The obstacles likely to lurk in the Northeast comer are expected to be ren1oved by scatte1ing
flowers , or ~ata (Raw rice) or Lajas (Puffed rice) in that direction. It is to satisfy the thirsting
ancestors (Pitr) who have the faces like Nandi - Bull (Nandimukhanfu11 pitf9-arµ trrtyarthffi!l).
The Pu~paputa Hasta is commo n to both theatres as well as for rituals . Talapu~paputa
Karai:ia proves the link of an unbreakable strength in matters of Na~ya and Yajna.
KARA ~AS - VOL II
48
. . , d me have been taken against a special
.hs of my d1sc1p 1es an
h
Almost all the P otograp · . _. O f Chid am baram as well as Sata ..
. h R _ ta.
stage decor created to capture the th1·ee- tllres ho]d shnn e l express10n to suit t e atnavalj
.
. . . ure with the facia
Than Javm fig f.'· . fl t d 't• p
M y photograph recaptures . _ . . d wn deno tes o tenn g ower s o e1 1es. age 2
. b k d 1 .h
sloka. Puspaputa hands w1th fmge1s pomtrng o e cream colou r ac grou n a ong wit the
. . d S 'ti1 a seren . .
has the sculptures of T, K, C an Wl
draw mgs portr ay dropp ing of
. . • beginning . The
Pranava mantra OM deno trng an ausp1 c10us
flowers .
2. VARTITAI\1
(Ref: Volume III Page 3)
"Kuiicitau mm;ibandhau tu vyav artap ariva rtitau

Hastau nipatitau corvorVARTITAl\1 Kara l)aqi tu tat"
-Nat yasa stra - IV - 62
If the hand s that are bent (Kuiicita) at the wris ts unde rgo
Vyav arta and Parivartita and then get drop ped sudd enly , it is
calle d Vartitarµ Karal)arµ.
turne d towa rds the chest
ABH INA VAG UPT A explains Kuiicita as the palm s bein g
Hast a KarUI)as i.e. Vyavarta
and crossed at the wrists. The crossing is achieved through the two
ctive thigh s as Uttana (palms
and Parivartita. They are then separated and dropped on the respe
Pata ka hand s are 1nade to rub
upturned) or Adho mukha (down turned). In case of the latte r,
be utiliz ed. Som e are said to
the thighs. Khat akam ukha, Sukatul)c;la or any other Hast a may
prescri be Agratalasaiicara for this Karal).a.
SCULPTURES: -
. The hands follow the
Thanjav ur has a Mal)c;lala Stha na with the tight foot as Agra
l)a. Kmn bako nam has a perfect
Adhom ukha Patak a theory. It denotes the last part of the Kara
49
PRACTICA L RECONSTRUCTION OF THE 108 KARA~AS
Ayata Sthana. The hands show the beginning of the action at the level of the chest. They
depict the course of the Vyavarta turn and hence the left hand is slightly above the right. The
left is seen as Kha~akamukha while the right is Sukatm~9a. lt ta1lies with the views of "others"
quoted by Abhinavagu pta. The Chidambar am has a perfect Mai:i9a] a Sthana with Uttana
Pat.aka hands let loose. The waist is slightly raised on the right because the left foot is placed
a little forward.
SATARA: The starting of the movement is seen in Devi's posture. The right foot is in
Agratalasaficara and the hands in front of the chest are showing the course of rotation. The
Agratala foot can strike either on the side or at the back of the other foot. The body is bent on
the right side. The two secondary hands of Siva depict the next stage namely stretching the
arms to continue the wrist rotation. The movement may be finished either in that posture or
continue to move and end as resting on the thighs as seen in the primary hands . The feet are
•seen in the V ai~i:iava Sthana with the right foot in Tryasra and the left in Parsva, caused by the
stiiking of the right foot.
PRACTICAL RECONSTRUCTI ON: -

Bharat.a has not mentioned anything regarding the Sthana and also the Cali. He mentions
the action of the hands alone. Abhinavag upta is equally silent about the Sthana. He gives the
opinion of some 'others' when he mentions even the Pada bheda as Agratalasaf icara. Judging
from two of the sculptures namely Thanjavur and Chidambar am, we may use the Mai:i9ala
Sthana. Thanjavur also depicts the Agra foot. But the CarI is not kno wn. Based on
Kumbakonam, the Ayata Sthana can also be used. Since Agratalasaiicara is seen in Thanjavur,
we can assume that it involves a static movement of Agratalasaficfua. B y this , the body does
not cover any extra space.
1. The foot strikes the floor on the toes and then the sole. This is repeatedly perforn1ed
on the same spot with the alternate feet. This can be done in M a.99ala Sthana.
2. The Ayata Sthana can also be used as an alternative.
3. The hands may perform their action even without the fee t moving.
Thus we are a11owed to obtain three interpretations for this Karm_ia.

50 KARA~AS - VOL JI
The hands involving the cross of the wrists and their separation can be taken to mean
the two Nrtta Hastas namely Svastika followed by Viprakin~a. The second ends suddenly on
dropping the hands . The Adhomukha Pataka can be used only for the Ma,:i<;Iala Sthana. The
out turned Pataka hands can be used for both Mal)c;iala and Ayata Sth anas.
USES: -
Abhinavagupta himself says that Adhomukha Pataka action, with the rubbing on the thighs
denotes anger, while the Uttiina Patak.a would denote jealousy. In cases of extremity of emotion,
it would probably be better to avoid any movement of the feet. The action in Sthana would be
more meaningful and imposing.
COMMENTS: -
The commentary that Abhinavagupta gives for this Karal)a is a clear proof of the existence
of various traditions and interpretations in the actual practice of this Kara9a. Depending on
the situation, it would do well to use a wavy movement of the upper half of the body along
with the rotation of the hands. It is permitted by Abhinavagupta to use the discretion of the
teachers in handling this KaraJ)a. This license has made the movement much more hazy and
hence difficult to be comprehended.
It is interesting to note that while the rubbing action of the hands on the thighs takes this
Karai:ia closer to Kathaka!i , the Uttana Pataka action shows its influence on Mar:upuri. It is
called Vartitarp. probably because it depends mainly on the Karavartana. My photograph
follows the Chidambaram version. The background colour has been chosen to suit the
psychological state of jealousy and anger.
3. VALITORUKAM
•
(Ref: Volume ill Page 4)
~q;~ugj ~ ~
c41ctd4RctfdJI I
~ ~ ctf&d1 ~ ctfMdl~ch~-blld II
"Sukatur:ic;lau yada hastau vyavartaparivartitau
uru ca valitau yasmin VALITORUKAmucyate"
-Natyasnstra - rv - 63
51
PRr\CT ICAL RECONSTRUCTIO N OF THE 108 KARAT~AS
When both the hands as SukatuQ9a Hastas get involved in

Vyavarta parivartita rotations along with the twisting of the
thighs, it is called Valitorukai11.
ABHINAVAGUPTA explains Valilaf!l or Valanarp as the twisting of the thigh . This is

to be achieved through the Ak~ipta CarI ending in the Baddha Cari posture.
SCULPTURES: -
Thanjavur depicts the twisting of the thigh through its right leg, which is bent at the
knee, with an in turned attitude. This foot is on its toes. The hands are also seen holding either
the Pasa chord or may be a serpent. This is possibly to denote the twisting and curving nature
of the entire action. The Thanjavur figure actually represents the link between the actions of
the Karai:ia on one side to be followed by the other. The right leg depicts dragging of it back
to its position after the final Baddha Cari pose. The hands also depict the stage of having
released their cross, so as to continue or begin the same set of actions again. The secondary
hands in spite of being incomplete depict the first half of their action.
The Kumbakonam figure shows the end of Baddha Cari posture and thus the last part
of the Karai:ia. When perfmmed on the left side, the hands show the beginning of lowering
the Udve~!ita rotation, after Viprakin:ia. There is a clear label of the name.
The Chidambaram figure shows the beginning. The Mar:ic;lala Sthana is seen with the
right leg just about to be lifted for the Ak~ipta Cari The hands are in the process of the
Vyavarta action, to be raised near the shoulders.
SAT ARA : The DevI figure shows the beginning of the Alqipta Can with the right
foot lifted fr01n the Mar:ic;lala Sthana. The hands are seen bent as Kuiicita in Sukatm:ic;la Hasta
as mentioned by Bharata. The face is also turned towards the right. The figure of Siva shows
the nex t stage of A~ipta Cari with the right heel on the ground and with the cross of the
shanks. The firs t two hands are seen in a posture to correspond with the respective ac tion of
the leg. The secondary hands are spread to cmrespond with the onward action of the release
of the cross of the legs through Baddha Cart.
KARANAS - VOL II
52
PRAMBANAN: Prrunbanan relief has two figures though quite corroded showing
anunation. In Pl, the right foot is lifted as Kuficita near the left ankle. This depicts the beginning
of Ak~ipta Can. The next stage is seen in DevI figure of Satara. In Pl , the right hand is near
the thigh and traces of left hand can be seen neru- the head as in Satara DevI. The second
fig ure has Mar.H;lala posture. The right hand is seen almost touching the left elbow. The left
hand is lowered near the waist with the palm turned to the left. The figures suggest Hasta
Karana rotation. The left leg of Prru11banan figures is common for both Pl and P2, i.e. depicting
Ma:r:i~ala Sthana for first and Valita Oru (twisting thigh) for the second. The next stage is seen
in Satara Siva.
PRACTICAL RECON STRUC TION: -

The hands as Sukatm:ic;la are said to be moving as Vyavarta and Parivarti ta. Vyavarta
parivartita in Sukatui:ic;la shape can be performed through Pallava Nrtta Hasta. The actions
will be in the following order. Lift the right foot as Kuiicita from Mai:ic;Iala posture as at
Chidambaram. The hands now undergo Vyavarta and are raised near the shoulder s with the
knee raised as in Satara Devi and my photo. Then tum the lifted knee to its opposite side with
the foot close to its thigh. Simultaneously twist the wrists with fingers pointing down. Now,
lower the foot and place it as Aficita, forming a cross at the shanks. Simultan eously, lower the
hands in Parivartita and also cross them in front of the chest. As in Satara Siva, the Aiicita foot
is then made Agra along with lowering the hands still retaining a cross, but now with the
fingers pointing down as in Thanjavur. Before repeating action on the other side, twist the
right foot to its side and release the cross of the hands too. This stage is shown as end of the
movement when it is performed with the left leg.
USES: -
It is a very graceful Kara9a for Nrtta. It may be used for bashful, ,young characters
(Mugdha Nayika).
COMMENTS: -
The inclusion of the Pallava Nftta Hasta was surmised through Chidamb aram figure.
This Kara1_1a is a combination of two Nrtta Hastas and two Caris. It is very graceful, but quite
complicated. To suit the coishness of the Mugdha Nayika shades of green pervades the page
culmi nating in the blushing pink of coy.
53
PRACTICAL RECONSTRUCTrON OF THE 108 KA RAl~./AS
4. APAVIDDI-IAM
•
(Ref: Volume m Page S)
~,ct?-f ~~ct~osRo'..ll-Jl'iB f::tq1ail1__ 1

ctll-feR'.rj~ cfal:~SQ..lqfct:g: ~ a~~q__ II
"Avartya sukhatm::i~akhyamurupr~!he nipatayet

Vamahastasca vak~a}:istho.py AP A VIDDHAlyi tu tadbhavet"
-Natyasastra - IV - 64
When S ukatmJ~a Has ta is whirled and dropped at the back of

the thigh, it is called Apaviddharµ, in spite of the other hand
being static at the region of the chest.
ABHINAVAGUPTA says that the movements start from Caturasra (Nrtta Hasta)
posture. Along with ~ipta Cari, one hand rotates as SukatuQ.9a and falls at the back of the
thigh. The left hand is static as Kha!3kamukha at the chest, at a distance of 8 Angulas from the
body. The 1novement of the right hand is not specified, but it is to be presumed that the falling
of it should be synchronized with the landing of the foot. The whirling and the intensity of the
same must be a skilfully continuous process. Hence the name Apaviddhruµ . In spite ofBharnta's
defini tion, due to various interpretations, the KaraQ.a changed its original form .
SCULPTURES: -
The Thanjavur figure has a Sthana similar to the previous Kara1_1a, obviously because
this Karar:ia also involves the same A~ipta Cari. The right hand is at the back of the twisted
thigh, holding a Trisula. The left hand is near the chest as specified. The weapon suggests the
space between the hand and the body. The right secondary is behind the thigh ~nd the le ft
hand is lifted up.
The Kumbakonam figure has the left hand as Khatakfunukha and right placed on the
thigh. 'T'he left foot is crossed in front, still retaining a rhombus between the knees . The \Naist
is raised on the left itself.
KARA~AS - VOL II
The Chidambar an1 figure has a Mat?-<;lala posture. T he hands are same as in the
Kumbakonam figure.
SATARA: _ DevI's figure portrays Apaviddharp CarI through the left foot; the left
hand is in Caturasra posture~the body is turned backwards and the fac e is turned towards the
tight hand which is extended in Sukatut)<;la behind the right thigh. My photograph follows
this figure. In the figure of Siva, the regressed half-turn is seen completed with the left heel
raised in front of the right, which is seen in Parsva. The rhombus between the knees is
maintained. The two secondary hands show the course of action while the primary hands
depict the final stage with the left hand in front of the chest in Khatakamu kha and the right
hand placed on the respective thigh. The figure is naturally in the Tribhanga posture. Satara
Siva and Kumbakon am have similar postures.
PRACTICAL RECONSTRUCTION: -
This Karat)a can be performed in two ways.
1. The right leg performs A~ipta Can. The left hand is in Caturasra posture. The right
hand does Vyavarta near the shoulder and gets lowered with fingers pointing down as
Sukatui:i<;fa. When the foot lands as Aficita, the fingers tum pointing the thigh at its
back. Then the foot does Baddha Can, for releasing the twist of the thigh. At that
stage, the hand is placed on the thigh as in Chidambaram. The fingers may also be
turned towards the opposite direction, without being placed on the thigh.
2. From the Kumbakon am figure, it is possible to surmise that the action of ~ipta Carl
should be through a half tum. The body returns through Chinna Kati. The end of the
Kara9a when performed on the left side is seen in Kumbakon am. The former is closer
to Thanjavur and Chidambaram. It is also a variation of the previous Karai:ia viz.
V alitorukarp. The feet have the same action. Only the movements of the hands differ.
USES: -
Abhinavagupta recommends this Karal)a for depicting jealousy and anger. However, it
depends on the facial expression for its effect. It can form part of Nrtta of a grnceful nature.
55
PRACnC AL RECONSTRUCTION OF THE 108 KARA~AS
COMMENTS: -
Abhin avagup ta himsel f says that this Karm:ia has lost its origin al form. Hence , more
than authenticity, we have to go only by the beauty the interpretations offer.
Shades of red and grey have been used to indicat e the Bhavas of anger and jealou sy as
tes
well as the purpos e of neutral Nrtta. The Trisula design across the Thanja vur figure indica
of
the forceful nature of the movem ent apart from the fact that we see a Trisula in the hands
Siva in the figure of Thanjavur.
5. SAM ANA KHA M

•
~ 8¥1'1(~ ~ cfrn ~ q0~ Ji I

ey: ~ ~ l-l~ct-ll-Fi(~ ~ ~ II
"Sli~ta u saman akhau padau karau capi pralam bitau
Dehal). svabha viko yatra bhavet SAMANAKHA.fy1 tu tat"
-Natya sastra - IV - 65
Where the feet are placed togeth er touchi ng each other on the sides, with the nails in
the Sama positio n with the hands hangin g down naturaIIy, it is to be unders tood as
Saman akham
ABHIN AVAG UPTA specifi es that the hands must be Lata and not J?ola, for it would
spoil synune try.
SCULPTURES: -
The figures of a11 the four temple s as well as my photog raph tally with the above
descrip tion.
They al] depict the Samap ada Cari. This Cfui is still preval ent in all the presen t regional
Desi (neo c1assical) dances of India.
56 KI\Rl\~I\ S - VOL 11
USES: -
.
This Kanu:w rnvolves , · Samn 1-, 0 .st.urc. It is lo be used in the beginning of Nrua.
steps ll1 .. l · • •
. •tr . cdilalion Thi s posture heJps lo gam enormo us speed in

Abhinavagupla disapproves 1 101 111 ·
footwork in the Kathak style.
COMMENT:
•
Smee · to be used in U1c beginning the auspicious Pun:iakumbha along
th'1s K ru.m:ia 1s
with face of Lord Gm:iesa have been included in thi s page.
6.LiNAM
•
qa1cf>1§1f& cr&T:~ q~uRa ~ 1

Pi6fildlJ.fl~e: ~ ~ cf><Uj ~ II
"Patakafijali va4aI:istharµ prasarita sirodhararµ

nihaficitamsakutam
. . ca taILiNAM. karanam
. . smrtam"
. .
Linmµ is to be remembered as that Kara9a in which the hands

do Patakafijali in front of the chest with shoulders raised so
that the head is in the Nihaficita form (i.e. buried into the
shoulders).
ABHINAVAGUPTA advocates Ordhvamar:i9ali Nrtta Hasta to be ended as Afijali .
Padmakosa must be carefully avoided, for it may become Laukikafijali (i.e. Afijali as in day to
day life).
SCULPTURES : -
AH the three figures are in Smna posture with Afijali Hastas in front of the chest.
SATARA: -Both the figures represent Afijali in Samapadii Cfu-1. It cnn alsn he performed
57
PRACTICAL RECONSTR UCTION OF THE 108 KARN:JAS
as a reeling movement, along with the feet sta1nping to keep time. This is often seen in the
Chakkars of Kathak. Satara Siva' s secondar y hands portray Ordhvamai:i<;lali Nrtta Hasta.
PRACT ICAL RECON STRUC TION: -

The Srunapada Ca.ti or even the static Sama Sthana is used along with the Ordhvamar:i<;lali
Hasta, ending as Afijali at the level of the chest.
USES: -
This Kar31).a is used to depict an ardent, endurabl e request. If it is prayer to God,
Abhinavagupta says that Aiijali Hasta must be held above the head. The last part of the Alarippu
ofBharataniityarµ tradition seems to have evolved from this Karai:ia.
COMM ENTS: -
When the Ordhvam31).<;lali Hasta ends at the region of the chest it is called Cakravartanika.
According to Abhinay a Darpa9arµ, Afijali above the head is for propitiat ing God, while in
front of the forehead and chest are for showing respect to teacher and Brahmin respectively.
(Refer N andikesv ara' s Abhinay a Darpa9arµ edited by Manmoh an Ghosh - Lines 17 6 -177)
7. SVASTI KARE CITA M

•
t6tf@ct,1 ~f¾al~W ~ ~ I
~ d~(Oj ~ ~: tqf@ct,~ ~d II
"Svastika u recitaviddhau visli~tau katisamsritau
Yatra tatkara9arµ jfieyarµ budhai~ SV ASTIKA RECIT Afyl"
-Natyasa stra - IV - 67
When the hands are in the forms of Svastika, Recita and Aviddha
and then separated to be placed on the waist, the learned people
call it Svastikru·ecitam.
ABHlNA V AGUPTA gives the order of the hand movemen ts, which are to be chained
j n this Kararya. The hands start from Caturasra posture and then proceed as Recita. Then they
reach Lhe region of the head through Vyavarta. They are to be lowered as Aviddhav aktra to
KARM~AS _ VOL II
.58
c. 11 eel by Viprakirna. This separation is obtained

form the Svastika in front of the chest, to be 10 ow ·
. - • .p k dyotaka He is against the view that the feet must be
through either Palq;avanc1ta 01 a ~apra ·
as in Samanak.ha.
SCULPTURES: -
The Thanjavur figure is in Sama Sthana, which is against Abhi navagupta ' s _theory. The
hands are as P~ avaficita on the thighs. The Kumbakonam figure is also in San1a Sthana
with the hands crossed as Svastika. Since the palms are out turned, they denote the beginning
of Viprakirr:ia and the final movement oflowering. The Crudambaran1 figure has the rhombus
between the knees. It is in Vai~r:iava Sthana. The Tribha11ga is clearly noticeable. Hands are
Pa~avancita on the thighs.
SATARA : - The action starts in MatJ<;iala Sthana wi th the right foot brushing once and
landing at the back to form the PratyfilI<;lha Sthana. This should synchronize with the Recita
Hasta , as seen in Devi's figure. Through Aviddhavaktra, the hands are to be crossed as seen
in Siva's primary hands . At this point, the legs are to assume Sama Sthana. Siva is seen in the
Vai~i:iava Sthana in Tribhanga with the secondary hands placed on the thigh and waist, depicti ng
the end of the acti on. The actions of the hands seen in this Kara9a seem to be performed in a
more simplified fas hi on in the present Mar:iipuri tradition.
The feet movement not being clearl y stated by both the authorities is a handicap. Two
sc ulptures arc in Sama posture, which Abhinavagupta disapproves. The series of hand
movements would go better with a combination of Caris and Sthanas. It may avoid the monotony
of using any one Ca.rI or one Sthana. One line of Abhinavagupta's commentary is unfortunately
missing . S5n1gadeva, who usually follows Abhinavagupta, states that this KaraJ)a must have
some suitable Caris and fi nally end in Avahittha posture. Since he also does not specify the
Caris. here is a suggestion: -
The hands start in Caturasra in Ma9c;Iala Sthana with Adhyardhika Ca6 fo r the right
side as in my photo. That is, the first step is with left, followed by the right with the waist
rnj sed on the left. My photo portrays the movement on the other side. Recita Has ta fo llows this
59
PR ACTICAL RECONSTRUCTION OF THE 108 KA RANAS
sim ultaneously with Alic;Iha Sthana. For this, the right is made to take one more step, bu t this
time with greater force , so as to enable the raising of the left foot as -Ordhvajanu. The left foot
is then placed either in front. or side as in Pratyaltc;Iha Sthana, as in Satara Devi. From this
Sthana, the hands undergo Ordhvama99ali fo llowed by Aviddhavaktra through whlch they
get crossed as Svastika in front of the chest (as in Kumbakonam and Satara Devi). For
Ordhvama99ali the knees gracefully turn on the left side as Samhata. Duri ng the process of
crossing, the left foot must be dragged gracefully near the right to form the Sama Sthana as in
Kurnbakonain figure . Then the hands get separated (Viprakin:ia) and get settled on the thighs
suddenly as in Chidambaram. This must synchronize with the changing of the Sthana either
as Ayata, Avahittha or more preferably as Vai~9ava as in Chldambaram figure.
USES: -
It is to be used in moments of joy and display of beauty.
COMMENTS : -
This Kara9a has the characteristics of Kathakali, Mal)ipuri and Orissi through the
involvement of the Recita, Aviddhavaktra and Pak~avaficita respectively.
8. MANDALASVASTIKAM
• • •
tqf@q;l ~ cpfl ~ ql?s~11~~ya61 Bllr I

d~ T.f S4U?5& ~ S4U?5c>5~r@4; ~ ~ II
"Svastikau tu karau lqtva pranmukhordhvatalau samau

.. . sthanam. MANDALASVASTIKAM
tat.ha ca mandalam .. . tu tat"
Ma99alasvastikarµ is that movement in which the palms are
turned away from the body after having crossed through the
Ordhvatala action, while in the Ma99ala Sthana.
ABHINAVAGUPTA clarifies Ordhvatala to be taken to mean -Ordhvaina99ab Hasta.
The feet undergo Vicyava Cari in Ma9c;lala Sthana.
( ,( ) h A I<ANN, \. <1I I I
S( '. U Ll'TIJ IU<S: -
J\ 11 th t:. 11111 :1• f 1g 11 u · ,, rind 1:n y rhotograph are m Mam.µ1 la Sthuoa \\·1th Svas1ika llru, tas
SATA UA : -·1II,: r>c v1 f 1gt11 c h in Mru_1 cJala ~tha 11a \v ith bo th the fed m r'\grn ta las uiknrn
T l1c · li :11 1< 1'. :11 c •., ho w lll}' l he c..our:,c of being spread and rui ~cd. Siva·s --.cc0 ncJary hnnds show
tltc c.. ow :,<· of I lr dh vatal:1 ,no vc rn c n t with th e hand<.; near th e chee ks. H i~ primary hand~ show
th <.: , 10 :\:1 :,1 tl 1c d 1c.: til , w hi ch will c., umpl ctc lhc Alapallavaacti o n. The feet n.rc 1n Mandala
S th ,1 11:1 i11 hot l1 f 1g 1irc:--i, dcpi clrng Agrata Ja.5afidira and UdghaHjt a. Thi s Karm:ia is see n in a
more sitnpJd ic.d form in th e Kudittum enu A9avu of the present Bharata Na~yam.
PRACT I CAL RE CONST RUCTI ON: -
Th~ fee t arc to keep o n stamping wi th the alternate toes in Mar:i<:1al asthana . T he Pataka
han<..ls continuou sly move o ut on the sides, up ward, downwar d, and then get crossed . AgJi n
th e CJrdhvama,:i<)ali acti o n s tarts.
USES: -
T hi ~ Kara,:ia is recomme nded by Abhinava gupta for depictin g slighting , ins ulting or
ignoring . It depend<; on the force of the movement. It can also be used in mere Npta gracefully.
C<>MM ENT: -
It is likely that the Kudittum enu Ac;lavu of the Sadir and also Kuchipuc;li styles evolved
from thi s Kararya. These Ac;lavus use the toes and heels alternatel y instead of the toes. The
movemen t of Ord hvamar:ic;laJi has changed slightly, also using Alapadm a and Khatakamuk.ha
I Ja.stas instead of mere Pataka. The dark colour used for the backgrou nd indicates the Rajo
Gur:ia of the focJings to be portrayed as mentione d above. The designs of the musical instruments
j ndicatcs thnl it is a lso useful in plain Nftta.
61
PRACTI CAL RECONSTRUCTION OF THE 108 KARANAS
9. NIKUTTAK
• •
AM
"Nikuttitau yada hastau svabahusiraso.anta re

Padau nikugitau caivajfi.eyarp tattu NIKUTTAKAfy'l"
-Natyasa stra - IV - 69
When both the hands move as Nikugita at the region between

the head and shoulder, with the feet stamping , it is calJed
N ikuttakarp..
ABHINA V AGUPTA has given the most lucid commen tary for this Karar:ia. After
quoting Kohala, he declares that Nikugita of feet is to have Udghagit a Pada Bheda for striking.
The stan1ping with the heels must be in Mai:uJala Sthana. The hands undergo Alapallava Nrtta
Hasta alternate ly. This is for Nikugita of hands. When one hand does Alapallav a near the
shoulder, the respectiv e foot has to be stamping. The other hand is in Caturasra posture. Then
the first hand is lowered through Aviddhavaktra. Simultaneously, the second hand must start
doing Nikugita i.e. Alapallav a, now with the other foot stamping .
SCULP TURES : -
All the three figures are in Ma99ala Sthana. The Thanjavu r figure shows the NikuH.itn
of hands beautifully, with the head tilted as Afi.cita on the right and looking to wards the left
while the weight of the body is resting on the right foot. There is a majestic curve suggesting
the gait of pride. The Kumbak onam figure shows Udghagi ta of the left foot. The inseti ption
is partially clear. The right hand shows the process of Aviddhav aktra while the left hand is
depicti ng the transition stage. It is just about to be n1oving fron1 Caturasrn to Alnpnllav,1. T he
right foot has settled, and the head shows the end of the mov ement on that side. The
Chidamb aram figure has Alapallav a hands in Mat)c;iala Sthana.
62 KARA~AS - VOL II
SATARA: - The action of the feet could be a simultaneous UdghaHita for both the feet
or on the alternate sides. The drawings for the Satara temple depict the latter. If both feet
perfom1 together, both the hands are also moved at the same time. For the latter interpretation,
the Pallava Nrtta Hasta is performed with the Sukatm:ic;la Hasta moving up and the Lata Hasta
performing Aviddhavaktra. The Caturasra Hasta is used as a linking movement to perform the
same action on the other side. DevI's figure shows a lifted right heel, suggesting UdghaWta.
My photograph portrays the same for the right side but the left hand is lowered as in the case
of Kumbakonarn figure. This is meant for indicating Aviddhavaktra for the left hand as Hasta
Recaka. The right hand, in Sukatui:ic;Ia, is in the process of reaching the shoulder for Alapallava
action. The body rests on the left foot, which is in Parsva, with the respective waist raised.
The left side is bent and the 1ight shoulder and elbow are raised, with the hand in the Caturasra
position. In the Siva figure, the left heel is raised, denoting action on the other side. One of the
right hands is in Lata, showing the continuity of the movement from the stage depicted in
DevI' s figure. Here, the Lata hand denotes A viddhavaktra. The raised left hand denotes the
action on that side. The other two hands in Caturasra show the beginning, as well as the
transition of the action from one side to the other.
PRAMBANAN: The main figure (P2) has two figures on the sides. But they are badly
corroded, and hence not very useful to understand the animation. P2 is in Vai~i:iava with the
left waist raised, and the right side having Unnata Parsva with the respective hand bent near
the head. The head is tilted as Aficita to complete the Tribhanga. The left hand is placed on
the thigh. The figure is depicting the movement on the right while figure of Satara Siva shows
the same on the left. The J?ola Hasta of Satara Siva is seen as Dru Hasta at Prambanan.
Abhinavagupta himself has made the movement visual to the mind. The only additional
point to be mentioned is that Dvibhaiiga would be of help in performing this Karai:ia. Moreover,
when the hand has the palm turned inwards, the eyes must follow it. When it is ou t turned, the
face and eyes must be turned towards the audience. The body must bend on the res pee ti ve
side. Recaka of the neck must accompany A viddhavaktra. The transition of tl1e nltcmnte
hands must be very smooth, yet clear. The Prambanan figure suggests Dru Hasta inste3d of
Dola.
63
PRACTICAL RECONSTRUCTION OF Tiffi 108 KARAf:JAS
USES: -
Abhinavagupta recommends this Karm~a to express self-conceit, ego, pride and
haughtiness.
COMMENT: -
This apparently easy Karal).a. is in fact difficult to achieve, because of the subtle beauties
involved in the hand gestures along with Recakas of the neck and sides. The colour of the
page has been chosen to depict the Bhavas mentioned above.
10. ARDHANIKUTTAKAM
• • •
"Aficitarµ bahusirasI hastastvabhimukhailguli}:l

Nikutritardhayogena bhaved ARDHANIKUTTAK.AM"
If the tips of the fingers are turned towards the face in the region
between the shoulder and head and thus perform half of
.. .
.. it is called Ardhanikuttakam.
Nikuttita
ABHINA VAGUPTA explains NikuHita to be taken to mean Alapallava. He

disapproves the opinion of Sailkuka and such others that the body n1ust be bent forward.
SCULPTURES: -
All the three figures have Mat:1c;lala Sthana. Thanjavur figure has both the mai n hands
above the shoulders. The left lower hand carries bow and the right lower hand has arrow,
sword or stick. The head is in Udvahita posture with the chin tilted and raised on the right.
Both the Kumbakonam and Chidambaram figures have the right hand in Alapallava pose
KARAl';JAS - VOL II
. / . . . _ din Chidamb aram figure. The Kumbakonam

with the left m Caturasra . The left mm 1s damage . .
. • ·t1 the left heel , about to be started. The mscnptio n is
figure suggests the action of stan1p111g w1 1
clearly seen.
. ·e ·n perfect Mandala Stha na with the left foot depicting
SATARA: - B ot h t he f1gures ai 1 ; . ·
th nd
Udghagit a action to be performed by alternate feet. In DevI' s figure , e left_ ha is raised
th
above the shoulder with the face looking at it and w ith the bod y bent to e nght. The right
hand is in the Caturas ra posture. The next stage of the movemen t is seen in Siva's figure
through the primru·y hands , which ru·e in almost the same posture as D evI' s . The opposite side
of the part of the movemen t is seen in my photograp h. The body is bent on the right side; the
other two hands depict the action on the other side. In this Karai:ia, the fingers are to be
pointing at the cheeks , with the palm in turned. The fingers may also be shaken as for Ulbai:ia
and brought back to the chest. The action is for alternate hands.
This Karai:ia is a ticklish problem because of no informati on on the foot work to be
involved. Since the previous Karai:ia Nikugaka has been explained as Udghatti ta, we can
presume that the same is applicabl e for this Karai:ia. The "Half of Nikugak a" suggested by
the phrase "Nikuqita rdhayoge na" is to be taken for the hands. While the prev ious Karar_rn
involves Alapallav a, Aviddhavaktra and Caturasra hands, this Karai:ia has no Aviddhav aktrn
Hasta. Moreover, the fingers are always to be pointing at the cheeks. The palm could also be
in turned, with the fingers slightly shaking as for Ulbai:ia. The action is for the alternate hands.
USES : -
It is meant for self-adula tion, self-respe ct and also recitation s of difficult nature
(Sabdajfilam).
COMMENTS: -
This Kara9a resemble s some movemen ts meant for Stnvesam (w0111en character s) in
.. · This Karai:ia mus t be beauh'fi1ed with
Kathakali. and also in Mohini Attam · proper movements
of eyes, eyebrows and neck.
The Natyasast ra verse quoted here is based on the Chidamb aram inscriptio n.
65
PRACTICAL RECONSTRUCTION OF THE 108 KARA~AS
The diagram of the percussion instrument edakkai is introduced in this page to show its
affinity with dances of Kerala. However edakkai is the most often seen instrument along with
the dance sculptures of Tamil Nadu belonging to the Cola period .
11. KATICCHINNAM
• •
9414~1: chR:~-d:§i:tl ~ : ~ ~~ I
lf{:lff~ cf,(Oj chR:RM~ ~ - II
"Paryayasa9 Katiscchinna bahvo9 sirasi pallavau

Puna}:lpunasca Karai::iarp. KA TICCHINNAM tu tadbhavet"
Repeating again and again the alternate movements of the
Chinna of the waist and the Pallava of the arms near the head
. . Karanam.
is called the Katicchinnam . .
AB HIN AV A GUPTA explains Chinna as the turning of the waist from its central point
(i.e. the sacrum). (This is one of the basic exercises of the hips.) The movement starts with the
BhramarI Cari on both the sides involving the Atikranta Carl. Then, in Mai;i<;fala Sthana both
Pataka and Alapallava hand gestures are performed. The entire set of actions are repeated
three or four times.
SCULPTURES: -
All the three are in Mai::i<:fala Sthana. Their hands show the various parts of the 111ovement.
Kumbakonam figure shows almost the beginning~ Chidambaram figure shows the spreading
of the hands on the sides and the Thanjavur figure shows its action near the head. These three
figures , in the above said order suggest the animation of Pallava Has ta. Kumbakonan1 figure
suggests that the hands involve the actions alternately. But Thanjavur and Chidan1baram
figures depict a simultaneous action of both the hands. Both Thanjavur and Ku111bakonam
figures have the waist raised on the right, suggesting the completion of Atikranta on that side.
KARANAS - VOL 11
66
. d . • the fom1 er is seen causing the twist of the waist in the

The left foot that 1s to follow an JOlll
. Th' • the stage that is seen in my photograph. It also portrays the
Kumbakonam f1gure. 1s 1s
. . . _ t th right The side which involves a bend on the left side at
begmnmg of Chmna movemen on e · .
·gure) is also seen. The same movement becomes Tnbhanga
that moment (Kum bakonam fl
• figure) with the tilting of the head. The final cross of the hands is not
aft erthe tum (Th anJavur 1 ,
depicted in any of these. But the lowering of the hands for this is suggeS ted by the position of
the lower left hand in the Thanjavur figure.
SATARA: _Devi's figure portrays the stage just after Atikranta Cari and the beginning
of the Chinna type ohurning the waist on the left. Siva's figure shows the process of beginning
the Karar:ia again, after the reeling is completed, thus depicting the requirement of repeating
the movement a few times.
PRAMBANAN: - Though the Prambanan relief is highly damaged, three figures can
be seen. As usual the animation is worked out in the order of 1,3 and 2. Pl shows the beginning
of Atikranta Cari' with the right leg lifted. The right hand is in the process of performing
Recita. P3 indicates lowering of the right leg before the left leg is lifted backwards as Atikranta.
The next stage is seen in Devi figure of Satara, which depicts the beginning stage of Chinna
rotation. The main figure of Prambanan shows end of the rotation through the Chinna waist
movement. The hands are in the process of becoming Svastika. The left hand is already near
the chest, while the right hand is extended depicting the transition from Recita. The left foot is
either Kuficita or Agratala in front. The right Parsva is bent as Nata with the head tilted on the
side as Aficita. All these indicate the Chinna type of reeling. Satara Siva also portrays the
beginning of the movement on right as at Prambanan. Both Satara and Prambanan reliefs
clearly indicate the repetition of the action.
PRACTICAL RECONSTRUCT ION: -
The movement starts with Atikranta CarI on the right with the left leg thrown as Vrscika
Pada. For this the hands , either both or the respective hands is moved as Recita followed by
Chinna waist movement leading to either half-turn or full turn. While reeling, both the hands,
which are Recita, undergo Pallava Nftta Hasta and get crossed at the chest. If only one hand
is thrown out, the same band is lowered to the chest through Vyavarta Pari vartita and settles
down as Caturasra in front of the chest. The other hand is kept as Caturasra ready to be thrown
67
PRACTICAL RECONSTRUCTIO N OF THE 108 KARAt;lAS
out on the other side for the repetition of the movement. Since Bharata uses the word
"Paryayasa~" , we should understand that it is a movement repeated at least thrice.
USES: -
Abhinavagupta recommends this Karm:ia to depict wonder.
COMMENTS: -
This Karai_rn is a very important one for the Angaharas. All the Aii.gaharas end with
Katicchinnarµ only. It is the predecessor of the contemporary Makuta A9avus popularly known
as used for rhythmic phrase Tadingil).atom and Kitatakatarikitatom. These A9avus are always
used at the end of the Jatis and Korvais. On a closer examination, both these A9avus seem to
have evolved from this Karal).a only. In both these A9avus, the twisting of the torso is a
prominent feature. This obviously, is a simplified form of the twisting of the sacrum. Pallava
Hasta is performed either with Pataka or Tripataka. Abhinavagupta says that the hands must
be both Pataka and Alapallava. The Kitatakatarikitatom is a modification of this, with alternate
hands rounding as Pataka above or at the region of the head. In some Sadir styles , the torso is
bent at the end of this A9avu. The Tadingil).atom involves the reverse action of Pallava with
Tripataka hands. Both these A9avus are stiffened and widened forms of the original flowing
character of the Karal).a Katicchinnarp.. The still more simplified form of the same is the
Tadingil).atom Ac;Iavu of Kiichipuc;li style.
12. ARDHARECITAM
•
"Apaviddhakar al) siicya padascaiva nikuttital)

Sannatarp. yatra parsvarp. ca tadbhavedARD HARECIT~r ·
-Na!yasiistra - IV - 72
KARANAS _ VOL II
68
. .. n etit wherein one hand is Apaviddha

Ardharec1tam 1s t11at move1
- ~ kh . hiJ e the foot perform s NikuHita and the
and also S uc1mu a, w
side is also bent.
ABHINAVAGUPTA adds that the other hand has to be Kh atakamuk.h a at the chest. It
· M at).d a1u. . . Stl1a- 11 u. . . . Sausthava
· per f.ormed 111 must be maintained though the side is bent. The
1s ..
Sucimukha Hasta must be well stretched .
SCULPTURES: -
Both Thanjavur figure and Chidambar am figure are in Mai::i~aJa Sthana. While Thanjavur
fi gure has the left hand bent in front of the chest, the Chidambar am figure has the rig ht hand
in this posture. The other hands are stretched out as Sucimukha . The Thanj av ur figure has it
stretched out in line with the shoulder whereas the Chidainbar am figure has a perfect
'
Ardharecita Nrtta Hasta. The two figures showing action on two sides prove that the Karai:1a
can be repeated on either side. The correspond ing figure at Kumbakon am was missi ng when
I wrote my thesis and I had suggested that it might be available behind the brick wall. Recently
the brick wall has been removed and the beautiful sculpture has been revealed. It is in MaJ?.~ala
Sthana with the right foot as Agra. The left hand is seen as Khatakamu kha in front of the chest
and the right hand is also seen near the chest with the palm facing up suggesting the begi nni ng
of the Recita stretch.
SATARA: - Devi's figure is in perfect Ma1.,1~la Sthana with the right heel lifted showing
UdghaHita. Both the hands are exactly like that of the Kumbakon am figure (I had designed
this before the Kumbakon am figure was revealed). The right hand denotes the begi nni ng of
Udve~tita rotation. Siva's figure has the legs at the same position as DevI' s. The torso is
slightly bent on the left~ the first two hands show the completion of the action. The left secondary
hand retains the same position as DevI's, while the right is stretched in the process of Recita in
Sudmukha form . The other two hands suggest the same course of action on the other side.
MY photograph has the feet like what is seen in Chidan1baran1 and hands seen as in
Satara Siva fi gure.
Apaviddha is the movement of the hands proceeding out from the regio n of the chest.
69
PRACTICAL RECONSTRUCTION OF TI-IE 108 KARAt:,JAS
While one is in Caturasra, the other hand moves out as SucTmukha. This can be taken to mean
the Ardharecita Nrtta Basta in consonance with the name of the Kara9-a. The respective foot
has to perform Udghagita. This information is added by Sarngadeva. The body must be
gracefully bent on the opposite side as in the figures. It gives room for both Dvibhanga and
Tribhanga.
USES: -
Abhinavagupta recorrunends this for representing an improper attitude of an idiot.
COMMENT:
Though it is a very beautiful movement for dance, the usage of the Karar:ia as given by
Abhinavagupta is perplexing. Hence combining the concept of graceful dance and the idea of
ignorance, light and dark lines are seen as background.
13. VAKSAHSVASTIKAM
• • •
tqf@&;I ~ ~ ~ qa:TfB ~f¾~ I

fric&f@a cf~ q8fl qa:J:€cff@ct, t:!cf ml_ II
"Svastikau carai:iau yatra karau v~asi recitau
Nikuficitam. tatha vakso
. VAKSAHSVASTIKAM
. . . eva tat"
Va~a~svastikarµ is that movement wherein the feet cross and

the hands perform Recita from the chest, which is already bent.
ABHINAVAGUPTA says that after doing Recita, the hands perfonn Svastika, when
..
the chest leans forward with.the shoulders relaxed. But Sausthava n1ust still be maintained .
Hands and feet cross simultaneously. The cross of the legs n1ust be due to bending of t11e
shanks and ankle. (Janghanugulphavalana)
KARA~ AS - VOL II
70
SCUL PTURES: -
Al l three have Svastika of feet and hands obtain ed fr0111 Mar:ic;Iala Sthana. Kumbakonam
. . fi·gures have Pataka hands while Thanja vur figure has Hamsa sya
d Cl11·dam baiam
f 1gure an
ic,
Hastas that are clearly noticeable. As in most cases, the Thanja vur figure is most dynf}m
a,
suggesting even the leaning of the ches t forward. The 1ight foot is crosse d in front as Kuficit
The
with the sole upturned. It is one of the rme beauties portray ed in sculptu re and dance.
other two have a cross of the foot at the back.
SATARA: - In Devi's figure, the right foot is in front as Parsva and left is as Kuficit
a
the
behind it, suggesting Samot sarita MattallI or MattaJH Ca1is. Since the waist is raised on
on
left, it suggests that the right leg is to be moved in front with the weight of the body thrown
the
the right heel. The left side is bent and head is also tilted to the left. In Siva' s figure, we see
on
next part of the movem ent in the legs when the weight of the body has been transfo rmed
a in
the left heel with the sole placed flat as Parsva. Now the right sole is flappe d up as Kuficit
the process of it being dragge d to get encircled behind . The waist is raised on the right,
causing the sculpture to be in A.bhasabhailga, which implies the reflect ion of a movem ent
in
such
its transitory stage. In other words, it shows the midway action. It is not possib le to take
ing
a stance, but the sculpture denotes the continuity of the movement. This is the style of portray
Karm:ias as seen in the sculptures of the Chola period, which I have follow ed faithfu lly in
my
waist
design for Satara. If the sculpture is to denote a stance, and not the course of action , the
should have been raised on the left. The main hands show the course of action of being
lowered after Recita movem ent and prior to the formation of Svastik a. The second ary hands
are in Svastika.
Both the authorities do not mention the CarI. Since the cross of the feet is mentio ned,
and
we may take it to mean the Sthitavmta, MattallI or Samot sarita Mattal li Carts. The hands
feet must get separated and crosse d respectively in the suitabl e manne r.
USES: -
Abhinavagupta recmrunends this Karar:ia for depicti ng coy, sympathy, repentance and
such other softer attitudes.
71
PRACTICAL RECONSTRUCTION OF THE 108 KARAI';JAS
COMMENTS: -
This Kara9a resembles some conte1nporary movements rn th Orissi and Kuchipudi
· b
° ··
traditions. .
111e green shade merging into light magenta is in tune with Spi.gara Rasa. The diag~am_po~ayrng
the swan couple in the lotus pond adds to the Vibhava of the Rasa as wel1 as 1nd1cating the
necessity to use Hamsasya Hasta for crossing the hands. My photograph is self-explanator y.
14. UNMATTAM
•
3-1fi181 ~ ~ ~ ~ cnfl ~ I
3ri-Jtj cp(Oi. ~ ~ 1+1cf,1Fcta: 11
"Aficitena tu padena recitau tu karau yada

UNMATTAM Karal).arp. tattu vijfieyaqi llfUakovidai}:i"
According to experts in dance, Unmattaqi is that Karal).a in

which the foot is Aficita and the hands are Recita.
AB HINAVAGUPTA interprets Aficita of the foot to mean the Aviddha CarI to be

performed by the feet alternately.
SCULPTURES: ..
Thanjavur and Chidambaram figures are in Mal).<;iala Sthana. This figure at Thanjavur
is obviously incomplete. Yet, the Aficita foot, with toes raised is seen for its right foot. The fee t
are yet to be chiselled clearly. Two hands are spread out. The lower right hand holds the
Trisula and there is something else, which is not clear in the bent left hand. The four hands
symbolically represent the inward and outward move111ents of the Recita Nrtta Basta.
Kumbakonam figure shows the beginning of the hand movement, while the Chidan1bar[lm
fi gure shows its end. The Chidambaram figure shows that the Aviddha Car1 is just complete
on the right side, for the waist is raised on this side. The Kumbakonam figure shows a violent
KJ\R ANA S _ VOL rI
72
forc e of whic h automatically give s

d mov eme nt . Th e 1.1·ght c100 t has already land ed, the
·ct
s 1 ewar
1
•
nam
· l 1·f · f LI I ft ]eg .
It seems to be like a sea-saw moveme nt. The Kumbako
I tmg o 1e e
n se to t 1e
_
figure gives room for another interpretation .
Aviddha Car t with the righ t foot
SATARA: -De vi's figure shows the beginning of
hand s are near the chest show ing the
flapped above the left knee in the Mm)c;lala Sthana. The
before the righ t leg lands on the ground
beginning of Recita. Siva 's figure portrays the stag e
begi nnin g of Rec ita whjle the primary
with the forward thrust. The seco ndary hands show the
hands depict the fina l stage.
fron t and the righ t side is bent as
PRA MB ANA N: - Pl has the righ t foot cros sed jn
lder. Trus show s the beginni ng of the leg
Nata with the right ann bent as Kuficita near the shou
missing. From the frag men t of leg and
movement as for Avi ddh a Cart. The left side of P3 is
begi nnin g of Rec ita han d though tbe
hand on the right we can perceive Aviddha Cari with
show s the righ t arm now proc eeding as
elbo w is still in Kuficita form . The main figure (P2)
cour se of Rec ita. This figu re has the
Aficita with the elbow lifted wruch is required for the
foot. The tors o is beau tiful ly ben t on the
right knee lifted with the weight balanced on the left
thru st as seen in my pho togr aph. The
left. This position allows a greater force for a forward
I;)ola. The nex t stag e is seen in Satara
left hand of the mai n figure of Prambanan is seen as
oga , Pram ban an, Sata ra Siva and
Siva. Whi le Sata ra Dev i port rays Suk uma ra Pray
sam e mov eme nt. The end of such an
Kumbakonam portray the Uddhata Prayoga of the
Uddhata Prayoga is seen in my second photograph.
Three interpretations are possible for this Karal).a.
. It may or may not have followed

I. Thanjavur figure seems to follow Bha rata directly
though, it ineans a n1ere striking
the opinjon of including the Aviddha Cari. It seems as
na and acco mpa nyin g it with
of the grou nd with one heel, standing in MaQ.~ala Stha
the Recita Np:ta Hasta for both the hands.
· ·
'
2. The Chidambaram figure seem s to 1i:0 II ow Abhmav agu pta' s com ment ary. The raisrng
- T he whi. rhng
h-a c-an. . .
of the waist sugg ests the A- v'dd
1 of Ham sapak~a hands 1s
ANAS - VOL II
126 KAR .
. the beginning
SATARA: -The left foot in the Devi's figure is raised inwards marking
- -
of S uc1 c-an.- ·
The h an d s are b ent 1nwards 1n · ·
· th e b eg1nn1ng
· d'1cating of the Garudapa~a
·
. ,, . . . • Agratala with the
movement. The side is bent to the left. The left foot 1n Siva's figure 1s 1n
waist raised on left, showing the Chinna type of reeling. The secondary hands are like J?ola,
nd
marking the continuity from Dai:isJ.apa~a. The right main hand is near the head i icating
Parivartita and the left is near the chest in Khatakamukha, i.e., to end as in Caturasra.
PRAMBANAN: - The Recaka of the elbow characteristic of the Garuc;Iapak~a, as

recreated by me is clearly seen in the main figure. P2 has a Ordhvajanu on the left with the
side bent on the left with J?ola Hastas. It is very close to SD. Pl seems to be having a stringed
musical instrument in hands. It has a straight left knee and the side is bent on the left. Only the
left hand is seen holding the instrument. P3 has a clear Svastika Pada somewhat like what is
seen in K. The animation seems to be as follows: T, SD, P2, Pl, C, SS, P3 and K.
My photograph shows the end of the action as in K.
The SucI Carl is performed through the left foot with the raising of the arms as
GarusJ.ap~a as in the Thanjavur figure. Then, when the right foot is drawn, the hands reach
the chest. When turning on the left, the left hand rotates near the chest, while the right goes
near the head as Parivartita and settles as Caturasra.
USES: -
It is said to be useful in completing cross-rhythmic patterns of the Ta.la Gati and Yati. It
may also be used for the Alcara, i.e. vowel extensions in singing.
COMMENT: -
Just because ~tis the waist that causes the rotation of the entire body, it is called
Katibhrantarµ. Reelmg movements may obtain momentum through the legs .c. t ·
· , 1ee , waist or
even the hands, particu1arly through the elbows. These give rise to various kinds f Bhr -
. o amans.
Abhinavagupta recommending this Karana for Tala Yati reveals a continuity 0 f th
. · ought that
exists as seen 10 the present Kathak dances in which the whirls are parti . .
cu1ar1Y used 1n Y at1
patterns.
PRACTICAL RECONSTRUCTI ON OF THE 108 KARA~AS 127
44. LATAVR
•
SCIKAM
•
"AficitaI:i pr~thataI:i padat:i kuficitordhvatalangulil:t

Latakhyasca karo vamastalLATA.V~SCIKAfyl bhavet"
One foot is bent backwards with its toes bent upwards; the left
hand is to be Lata Hasta and this is called Latavrscikarµ.
ABHINAVAGUPTA' s commentary denotes that when the right foot is Vrscika, the left
hand is to be Lata. Like Bharata, he also does not mention the movement of the other hand.
SCULPTURES: -
All the three have the right foot lifted as Vrscika. The Thanjavur figure shows the course
while Kumbakonam and Chidambaram figures have them much more raised. All the figures
have Caturasra Nrtta Hasta for the right hand and Lata Hasta for the left hand in a raised state
(almost like Recita), depicting the stage before being lowered. The Chidambaram figure has
Pataka hand for the Caturasra posture.
SATARA: -Devi's figure shows the beginning of the movement, viz., a light jump on
the toes in Mandala Sthana. The hands are in Ardharecita, with the left hand near the chest.
Siva's figure shows the left leg raised with the main right hand in Lata. The other hands show
the animation.
The Vrscika or Nikuficita Karai:ia is performed with the Lata hand moving downwards
from Recita state. Since it is to show falling from the sky, it can be done on one side, by
continuously moving on one leg and lowering the Lata hand. It may depict a smooth landing
by having a glidingly soft movement or, falling through a forceful and quick action.
KARA ~AS - VOL II
128
COM ME NT: -
. . hr0 ugh the sky. The
The 1ayou t inclu des sugge stion of Apsaras landi ng by traversing t
. in · the photo graph
.
d 1agra m of the scorp ion is inclu ded as in the case of Karal_la 42. The artist e
are my disci ples Jayas hree Rajagopalan and Sang eetha Sridhar.
45. CH INN AM
• (Ref: Volu me III Page 50)
~&9c;.l: ~ ~ ~ 9414~1: ~ I
~~ll {cl~ l1cf; ~iR1 ~ci cf><_Uj ~ II
"Alap adma l) ka!I dese chinn a paryayasal) kaµ

vaisa khast hanak eneha tacCH INNA M . karan. am. bhav et"
-Naty asast ra - IV - 105
With Alap adma hands in the region of the waist, the wais t is
moved on the sides as Chinna in the Karar:iruµ calle d Chinnarµ..
and move d on the
ABHINAVAGUPTA says that the waist is broken (Katicchedarµ.)
Sthan a. The Alapadma
sides through the alternate raising and lowering of the heels in Vaisa kha
hand s must be lightly moved.
SCULPTURES: -
a and the other in
All three figures portray the Vaisakha Sthan a with one Pada in Parsv
e has one hand on the
Tryas ra, with hands near the sides of the waist. The Than javur figur
The waist is raised and
waist, another moving towards it and the other two lifted near the head.
the torso is also bent on the right side.
left and Siva' s
SATARA: - Devi 's figure shows the comp letion of the rotati on on the
kha Sthan a with the
postu re sugge sts the end of the reeling on the right. Both are in Vaisa
to be used along with
hand s in the regio n of the waist, implying the Hasta Karal_las, which are
the reelin g throu gh the Chin na type of waist.
trace s of the left
PRA MBA NAN : -The face of the main figure P2 is broken. Only the
PRACTICAL RECONSTRUCTION OF THE 108 KARAI';JAS 129
elbow of Pl is seen indicating its existence originally. Only the face and legs of P3 are seen.
The main figure has the perfect Ma9~ala Sthana with the left heel raised. The hands are close
to what is seen in SD and SS though the left hand is broken. Both the hands suggest Vyavarta
action. The left hand of P2 and SD are exactly similar with Chinna of the waist recognised
beyond doubt. It also resembles C.
My photograph relates to C .
This Kara9a can be performed in two ways.
1. Standing in Vaisakha Sthana, the foot in front (Tryasra) is to raise its heel and drop it
repeatedly causing the sideward movement of the hip. It is caused by the transfer of
weight on the alternate sides. The torso also must get twisted in a wavelike fashion as
the hands move lightly.
2. The feet from Vaisakha Sthana are twisted through the toes by raising both the heels
simultaneo usly. The same Sthana is done on alternate sides, thus causing a vertical
figure of eight through the movement of the waist and torso.
USES: -
It is said to be useful in the ramificatio n of the rhythmic patterns.
Cf)MMENT: -
Movements akin to the above two interpretati ons of this Kara9a are still seen in Orissi
and MaI,lipuri styles respectively.
~
46. VRSCI
•
KA RECITAM
•
(Ref: Volume Ill Page 51 & 52)
. cara])arµ krtva svastikau ca karavubhau

"Vrscikam
.
recitau viprakin:iau ca karau V~SCIKAR ECITA!yf"
-Natyasast ra - IV - 106
I{ARA:r:,TAS - VOL II
130
When the foot perfor ms Vrscik a with the hands as Svasti ka

follow ed by Recit a throu gh Viprak irl).a, it is called
. arecitam.
Vrscik .
ABHI NAVA GUPT A quotes the definit ions of the above -menti oned terms.
SCULPTURES: -
All the three figures have the right foot lifted as Vrscikarp.. As usual, its course is seen in
m
Thanja vur and the fully raised leg is portrayed in the other two. Thanj avur and Chida mbara
figures have the last part of Recita Hasta spread out on the sides. The Kumb akona m figure
has
bent as
the earlier stage, Svasti ka portrayed. The Thanja vur figure has the other two hands
Kuficita to show the course of action to form or release the cross.
SATARA: -DevI' s figure shows a light jump on the toes in Mal).9ala Sthan a with the
next
hands in Svastika; the head is slightly tilted on the right to add to the mome ntum of the
stage, viz., lifting the left foot in Vrscika with Recita hands, as eviden ced in Siva's figure.
The
ng
movement can be wholly repeated on the other side, or it can be a movem ent sideways, balanci
one leg gracefully, so as to sugges t gliding on air.
My photog raph as well as that of the other artistes relate to T, C, K and SD.
PRACTICAL REC ONST RUC TION : -
1. The Vrscika can be achieved as in the simila r Karan as like Nikufi cita with the
hands
as Svastika, Viprakifl,la and Recita.
2. The same can be per{ormed each time after a light jump on the toes to gain mome ntum
for raising the foot. The jump is synchronized with Svasti ka hands.
3. After reaching the final posture, the foot on the ground hops and moves with Recita
hands, with the body torso turning slightly on the sides and also Iooki ng around .
USES: -
.
It is to be used in suggesting moving in the air. The third interpretati on w ill be part.Icu
. larlY
suitable for this.
131
PRACTICAL RECONSTRUCTION OFTHE 108 KARAr~AS
COMMENT: -
such
It is most suitable for showing Hanuman crossing the ocean , Garu<;Ia and other
Pu~paka Vima na in
birds flying, Gandharvas and Kinnaras traversing in the air and also the
ion is for the same
motion. The background colou r and the inclusion of the diagram of a scorp
by my discip les,
reason as in Karai:ia 44. the flying Gandharva and Apsara are portrayed
Skanda Kumar and Gayatri Kannan.
47. VR• SCIKAM

•
(Ref: Vol. ill Page 53)
ci-O~~fi~ff@Jl ~ qr-a:: 9_,eJIF@ cl@~ I

~tt~a9_,ei ~ ~ a~cf;)faa l-( 11
"Bahus1qaficitau hastau padal). Pf~!}laficitastatha

Diirasannatapr~!}laip. ca V~SCIKAfy.1 tatprakirtitaip."
When the hand s are bent as Aficita from the regio n of the
shoul ders and head with the foot as Vrscika lifted quite away
from the well bent back, it is called Vrscikai:µ.
asta. Bend ing or

ABHINAVAGUPTA takes the movement of the hand s to be Karih
).a that involves the
lifting'the leg away from the ha.c k is an essential feature of any Karal
the tail of the Vrsci ka
Vrscika Pada. This name is given to the Karal).a because it resembles
(scorpion), which is bent backwards.
SCULPTURES: -
quite
All the three figures have the right foot lifted as Vrscika. The thigh is exten ded
hand s near the sides
away from the body and also from the shank. Thanjavur figure has two
chest with Patak.a out
and two near the shoulders. Kum bako nam figure has them near the
turned. The Chid amba ram figure has them bent near the shoulders.
on
SATARA: -Dev i's figure shows the begi~ning of the movement with a light jump
lifted with the
the toes, with the arms in Aficita near the head. Siva' s figure show s the left leg
KARA~ AS - VOL II
132
. .h sta with the right in

side al b ched to the right in Kart a
so ent towa rds 1t. The left hand is stret
vem ent is similar to
A~ ·t Th e othe r two hand s show the proc ess of this mov emen t. The mo
nci a.
t.
the prev ious Karar:ia, with a varia tion in just the hand mov emen
to i ndicate th at the
SD but perfo rmed on the oppo site side
My phot ogra ph relat es to
actio n can be on eithe r sides .
PRA CTICAL RECONSTRUCTION: -

the othe r foot or even by
The Vrsc ika Pada is moti vated eithe r throu gh the strik ing of
Abh inav agup ta thou gh none of
jump ing on the toes. The hand s are taken to be Kari hasta by
or Ulbai:ia follo w ed by lowering
the sculp tures portr ay it. Prob ably they are to be Alap allav a
as Kari hasta . Only the first stage is seen in the sculp tures .
USES: -
It is reco mme nded to portr ay traversing in the air.
COMMENT: -
The inclu sion of the diagr am of flying birds and the scor pion
as well as the colo ur of the
back grou nd is self-explanatory. Refer Kara na 44.
48. VYAMSITAM
•
(Ref: Vol. III Page 54)
~,&'Id ~ ~ ~ cfalfa ~~J, I

~ "=q' bq~d cf,(Oj ~ ml_ 11
- "Afic;lhai:µ sthanakai:µ yatra karau vak~asi recit au

ca VYAMSITA 1\/f K
Urdhvadhoviprakirnau . ruy.1 ara-9-ruµ tu tat"
__ _ . -Na! yasa stra _ IV - 108

In Alig.ha Sthana, if the .
hands do Recita from th e regio n of the
.
ches t follo wed by V1prakirl).a with the palm s t urne d up and
also down , it is calle d Vyamsitarp..
PR ACTICAL RECONSTRUCTION OF THE 108 KARAI':-JAS 133
ABHINAV AGUPTA says that the Viprakiqia is done as both Ordhva and Adhomukh a
through Udve~titarµ and Parivartita Hasta Karai:ias.
SCULPTURES: -
Thanjavur and Chidambar am figures have a perfect Alic;lha Sthana. In Thanjavur, two
hands are stretched out with the right as Recita and the other with the palm upturned. The
lower right hand is bent inwards, holding the trident. The other left hand is not seen clearly, for
it is incomplete. There is a large cleavage in the slab. Perhaps the adjacent slab is yet to be joint
or filled properly. The Chidambar am figure has a cross of the hands. The palms are not clear.
The Kumbakona m figure is in the Pratyalic;lha Sthana and not in Alic;lha. It has the cross of the
upturned palms.
SATARA: - Since the movement can be performed on both sides, the relevant sculptures
at Satara portray Pratyilic;lha Sthana, with the action starting on the right leg landing backwards.
DevI' s figure shows this stage of the movement when the right leg is about to be landed. The
weight of the body is already on the sides with the respective hand in Recita. The left hand is
in Lata. In Siva's figure, a perfect Pratyalic;lha Sthana is seen. Through Aviddhavak tra the
hands have to be crossed at the chest with the palms upturned. The next stage is seen in Siva's
figure where the palms are facing down. ViprakirI).a means release of the cross. The secondary
hands are in the Caturasra posture, showing this further course of action. The movement has
to end with the left leg dragged in Agratala towards the right.
PRAMBANAN: . Three figures are clearly seen. All of them have Aficita head tilted
on the right. p 1 has a drum, it is in perfect Pratyalic;lha Sthana. P2 has the right foot raised as
Urdhvajanu. This foot is seen in between the left knee of P 1 and the left knee of P2. The left
leg of P2 also becomes the right leg of P3. The left hand of P2 is on the thigh. Left leg of P3
is more or less standing posture with a slight bend at the knee, thus causing an illusion of
Asvakranta posture for P3. Pl is close to SS and P2 is close to SD. My photograph also
portrays Pratyalic;lha Sthana with Recita hands. The left hand of the d..run1111er is in a playing
attitude. The other hand is half-broken . P2 seems to be handling the cy1nbals.
This is a Karal).a of a static nature, giving importance for the Sthana. The movement is
I(ARA~AS - VOL II
134
ed with
be beautifi
on1Y fior the hands through the series of Nrtta Hastas. Hence it has to .
'bl · - ds perfonn Rec1ta
suita e moveme nts of the torso, head and eyes. In Alidha Sthana, the han svastika through
. · h
starting from the chest. After moving them out, they are to form t e .
- 'ddh . . al The cross 1s released
avaktra. The actual cross 1s obtained through the upturned p rns.
Av1 . . • ·th Pratyali dha Sthana or
as Rec1ta WI
through d own turned palms. They can either continue
·
get frozen in Caturasr a posture as palms out turned.
USES: -
It is said to be used to suggest mental agitation. Abhinav agupta even recomm ends it for
depicting Hanuma n searching for Sita in Lanka.
COMMENT: -
The inclusion of the figure of Hanuman in Pratya.li<;fha Sthana is to relate to the usage of
the Karal).a as seen in Abhinava Bharafi.
- ,I'
49. PARS VANI KUTT

• •
AKAM
•
( PARSVANIKUTTITAl\f)
~ ~ tqf@6P7 tfT~ ijeTI tflGJ Pic&~a: I

~ a~( 0 i ~ ~: tfTWPic&~a~ 11
"Hastau tu svastikau parsve tatha pado nikuttita h

. . TAM"
yatra tatkaral).aqi jfieyaqi budhail). pA.RSVA NIK~~i .
A . -Natyasa stra - IV - 109
ccordmg to scholars Parsvanikuttitaqi is that wherein the
hands get crossed at the side with the foot performing Nikuttit
movement. .. a
/:.
t is to be periorme
ABHINAVAGUPTA says that the Nikuttita · · movemen d b b O th the
. . Because of the movements b . y
feet alternately. The hands also undergo Nikuttita. ·
on the sides, it is called Piiclvanikuttitam. emg performed

.. .
PRACflCAL RECONSTRUCTION OF THE 108 KARANAS
135
SCULPTURES : -
The Thanjavur figure is the loveliest of the three representations. It radiates dynamism
and majesticity. The right foot is flatly placed as Parsva in Ma99ala Sthana. The left foot
indicates Nikuttita. But the torso is leaning on the right side where the hands are crossed. The
other two hands are near the head. The Kumbakonam figure is the reverse of the Thanjavur
figure. The Chidambaram figure is facing the front with hands crossed.
SATARA: -Devi's figure shows the Udghattita of the right foot in Ma99ala Sthana
with both the hands raised above the shoulders near the head. The torso is bent on the left with
the face turned towards the right. Siva's figure has the feet placed flat in Ma99ala Sthana. The
secondary hands are lowered near the waist with the palms facing their respective sides,
denoting the stage before forming the cross. The main hands are crossed in Khatakamukha
near the chest marking the end.
My photograph is a copy of the posture in T.
Two interpretations are possible for this Kara9a.
1. The right foot does U dghartita in Ma9c;lala Sthana twice or four times. It may be striking
the floor with toes and then with the heel alternately. The body leans on the left with
the hands crossed. They may undergo Udve~titaiµ and Apave~titaiµ in the form of
Alapadma and Khatakamukha. The movements are then repeated on the other side.
2. The hands may also undergo ,Pallava Nrtta Hasta in which they go to the region of the
neck and then get crossed near the chest.
USES: -
It is used in Nrtta in varied tempo.
COMMENT: -
. c1osest to the contemporary Kudiccumettu
The K arana 1s .. Adavu
· of the Sadir technique ,
as well as its co~responding A9avu in Kuchipu9i stY1e.
NAS - VOL II
I(AR A ·
136
50. LALATATILAKAly.I ~, Ill Page 56)

• (Ref: "o1·
"Vrscikam caral).arµ lqtva padasyangu~thakena tu

Lal~te tila~arµ kuryal LALATATILAKAI\1 tu tat" ,,_
· -Natyasastra - IV - 110
. · of applying the Tilaka

Through the Vrscika foot, an 1mpress1on .
on the forehead with the big toe is created. That IS
Lalatatilakam.
ABHINAVA~UPTA .adds that it is the impression of such an act that is created and
hence the name.
SCULPTURES: -
All the three figures have the right foot lifted with the toe touching the forehead. The
Thanjavur and Kumbakonam figures represent Vrscika Pada with more clarity than the
Chidambaram figure, which could easily be mistaken for Dar:ic;lapada i.e., lifting from a forward
throw and not backward as in Vrscika. The Thanjavur figure has Afi.jali Hasta; Kumbakonam
figure has Pataka for left and Kha!akamukha for right. The Chidambaram figure has the right
foot held by the left hand. The other hand is seen as Pataka near the chest.
SAT ARA: -DevI' s figure shows the beginning of Vrscika pada, with the left leg stretched
backwards and the left hand in Qola and the right hand above the head. The body is bent
towards the lifted leg. In Siva's figure, we see the completion of the movement with the
flapping of the shank and curving of the sole so that the big toe touches the forehead. The face
is turned towards this foot. The second left hand is in Qola, showing the process of the action;
the main left hand is in Kha!,akam~kha marking the end. The right knee is slightly bent as in
M andala Sthana. The secondary nght hand is lifted near the side of th h d . h
.. . . . e ea showing t e
. d
Co urse of action. The pnmary nght hand 1s almost holding the lifted toe w1.th the elbow rruse
PRACTICAL RECONSTRUCTION OF THE 108 KARANAS 137
above the head.
PRACTICAL RECON STRUCT ION: -
It would be more aesthetic to start the lifting with Recaka by using the beginning of
Alata Cari and then continue to extend backwards. The hands can assume any pose convenient
for the performer.
USES: -
It is advocated to depict the gait of the Vidyadharas - a group of celestials.
COMMENT: -
This Karana. is often mistaken to be Ordhvatand . . ava of Siva. Ordhvatand . . ava is to be
identified with Vi~I).ukrantarµ and Dal).<;lapadarp. and not Lalatatilakrup.. In the latter, the foot is
raised backwards as Vrscika whereas in the other two, it has to be raised in the form of
Dal)~apada. The backgroun d colour and design are chosen to show traversing on the air in
twilight. The diagram of scorpion is included because the movement involves Vrscika Pada.
The artiste portraying this Karal).a is one ofmy disciples Janaki Rangarajan.
51.KRA NTAM
•
(Ref: Vol. ill Page 57)
"Pr~!hata~ kuficitarp. kftva vyatikrantakramaqi tat~

~iptau ca karau karyau KRANTAke karm-:i-e dvij~"
-Natyasastra - IV - 11 1
Oh Brahmins! The Atikranta is performed with a bend at the
back along with the throwing action of the hands in the Karru_1a,
Krantarµ.
ANAS - VOL II
138 KA R ·
. th Kuficita Pada
with e
ABHINAVAGUPTA says that the Atikranta CarI is perfo rmed . . ded (in fron t) to
.
b eing landed. The othe r foot beco mes Kuficita at the back and this 1s roun
erfor m Vyavarta
. Hand s are to P
cont inue the action on the other side, through its being stretched.
. . . This actio n is to end as
gh Par1v art1ta.
and mov ed away from the body and then drawn 1n throu
sides.
Kha taka muk ha. It is to be performed by the limbs of the alternate
SCU LPT UR ES: -

The Thanjavur figure shows the forward movement in profi le.
It show s the transition
on the other. The right foot
from the end of the action on one side to the beginning of the same
is as Kha taka muk ha near the
is throw n forward and the left is about to be raised. The left hand
n out, a little downwardly.
chest. The other left hand shows its course of action by being throw
arta actio n. The lowe r right
The raised right hand is showing the upward course of the Vyav
the right . The Kumbakonam
hand is holding the "Ma zhu" weapon. The torso is turned towards
abou t to be lifte d on the right.
figure shows the beginning of the Karai:ia. The Kuficita foot is
the two Hast a KaraQ.as. The
The right hand is thrown out and the left is drawn in representing
. The righ t hand deno tes the
Chidambaram figure shows the landing of the right foot in front
The tilte d head adds grace to
Hast a KaraQ.as while the left shows the static Khatakamukha.
this frozen moment.
in prof ile, with the
SATARA: -Devi's figure shows the beginning of the Atik ranta Cari
to the side, with the respective
right Kuficita foot on the verge oflanding; the body is also turne d
ukha . Siva 's figur e shows the
hand stretched out. The left hand is near the chest in Khat akam
cita. The body is turne d back
end of the movement with the left leg lifted at the back in Kufi
red. The left hand s are in
with the profile of the face facing the right hand, whic h is lowe
s the proc ess of moving it
Khatakamukha near the chest, while the seco nd right hand show
. Stha na .
from front to back. The right knee is also bent as for Man. dala
This Karai;ia can be performed in two ways.
Sthana . The .
1. The Atikranta Cari is performed from Man· dala
· · respe ctive hand moves
_ .
forward as Vyavarta. The Kuiicita foot must involve an outw ard vertical roun ded or
PRACTICAL RECONSTRUCTION OF THE 108 KARAt~AS 139
wave like action before being stretched for landing. The Vyavarta is for this action.
For landing , the hand involve s Parivar tita and comes back to the chest as
Khatakamukha. The landing must be with force, thus giving rise to the automa tic
lifting of the other foot as Kuficita at the back. The gait is carried through to the
required length of time.
2. The actions of the hands could also be of a vertical nature suggested as in the Thanjavur
figure.
USES: -
It is meant for situatio ns involving force of action. In other words it is more Ta9~ava in
effect. It is a suitable gait for Raudra Rasa and also for depicting characters.
COMMENT: -
My photogr aph relates to SS on the opposite side. Since the movem ent is suitable for
Raudra Rasa a dark shade has been used in the backdrop. This Kara9a is still seen in the
Kathak~i style with a slight variation.
52. KUNCITAM
•
3lffl: qro} -==@: ~ : 8~6@ ~ ~ : I

3-rjl-11 cti'-t91~@cy~d~d;l&:d'{ II
"A.dya}_l pado nata}_l karyal,i savyahastasca kuficita}_l
Uttano vamaparsvasthastat KUNCITAMudah~tru.µ"
The foremost action is the bending of the foot; the hand is made
Kuficita in the upturned way on the left side; that is called
Kuficita:rµ.
ABHINAVAGUPTA says that "Nata" means the bending of the knee close to the ground
and moving in that fashion. The right hand also must be bent as Kuficita, near the left side in
the form of an upturned Alapallava.
KAR A~A S - VOL II
140
SCULPTURES: -
in Mal).<;lala Sth ana wit h the rig ht han d as
The Thanjavur and Kumbakonam figures are
ed
Ku mb ako nam figu re has the fee t flat ly plac
in turn ed Pataka in the region of the chest. The
sva whi le in Tha njav ur, the righ t is in Agr a form. The Tha nja vur figu re has the torso
as Par
the
has it on the left. The Tha nja vur figu re has
ben t on the right, while that of Kum bak ona m
y.
a and Utt ana Ala pal lav a as in the com me ntar
rais ed left hand near the shoulder as Kuficit
ona m has it as Kh ata kam ukh a nea r the chest.
The lower left hand is on the waist. The Kum bak
bar am figu re is tota lly diff eren t from thes e. The wei ght of the bod y rests on the
The Chi dam
and the righ t kne e, wit h the righ t sha nk rais ed as Kuficita. The arm s are bent as
left sole
Kuficita inwardly.
alm ost a rev erse pri nt of the relevant
SATARA: -DevI's figure at Satara is designed as
n.
gro und in the pro ces s of fur the r sitt ing dow
figure at Chidambaram. The left kne e is on the
han ds are in Kuf icit a wit h the palm s turn ed out and fac ing up. Siv a's figure is
The
nce d on the righ t foo t plac ed flat in Par sva and the left leg stre tch ed out as Suc I Pad a. The
bala
rd
done in a sea ted pos ture wit h a slig ht backwa
secondary hands show Svastika, which is to be
thigh and the left is in Cat ura sra , ma rking the
ben d of the body. The mai n righ t hand is on the
end of the action thro ugh get ting up.
osite side.
My pho tog rap h relates to C figure on the opp
tha n one inte rpr eta tion s cau sed by the
This Karal).a is one of tho se which has more
the word "Pa do nat ah" h as ano th er read'1ng a5
var yin g readings. In Bha rata 's definition, .
al)'' . But non e of the figu res follow this . Abh ina vag upt a h'1mseIf+.10IIows on1y the
"Padoficit
amanena bhu tala s anc ~ - 1ak sya te" see ms to
form er. In the commentary, the phr ase "Janug aro
take n viz "Ag rata a san~car
l _ · _
den ote the cor rect read ing . If the oth er read ing is · o" the n the "Jan u
anc e. Moreover Ku~ ·ta o f the 'sha nk 1s . f
gam ana" i.e. the kne e mo vem ent has no sign ific nci one o
. . . . . . al
1n whi ch 1t 1s flap ped outwardl y, clos e to th thi h pra ct:Ic,
the Vya yam as (exe rcise) e g • Hen ce the
. . . .
ture.
exe cut ion of this Karal).a involves a sitting pos
on •t . ·
Fro m Ma nda la Sthana, the left foot is moved forward or I s sid e in a s1·1ppery way .
· · 'd Th' ·
e 1s seen in Kum bak
The torso mu st be ben t on thi s s1 e. 1s stag ona m. The slip pin g of the
PRACTICAL RECONSTRUCTION OF THE 108 KARA~AS 141
left foot causes the bending of the right leg backwa rds with the knee close to the ground . The
shank is then lifted with the knee on the ground as in Chidam baram. The shank is droppe d
down with its foot on toes. The body raises with the left foot flatly bearing the weight. The
right foot is dragged ; the foot must still be on its toes with the weight of the body on the left. It
causes the bending of the torso on the right and even the slight twisting of the same before
reaching the normal Mal).c;lala Sthana. This transitio nal stage is seen in the Thanjav ur figure.
The hands are to perform Alapall ava. For the slipping movement, they are moved up from the
chest as in the Kumba konam figure; while sitting, and lifting the shank and also while lowering
the same, they keep doing the U dve~tita near the shoulder as in the raised hands of the Thanjavur
figure. For droppin g the shank, they move down and form the cross. While getting up, the left
hand is placed on the left waist and the right is moved in along with the foot as Vyavarta to
reach the chest as in the Thanja vur figure.
USES: -
It is said to be used in extreme happiness in having satisfie d the Gods. (Reminds us of
the Dev Pral).a:tµ in Indones ian Dances) .
COMMENT: -
Dr. V.Ragh avan' s opinion that the seat~d figures in the Chidam baram temple have no
sanction in Bharata 's traditio n has already been proved as erroneo us. (Infra -Archae ologica l
Sources (Kumba konam) )
53. CAKRAMA~QALAI\f
~ ~ 4Sf-l~Ollrtd.-f ~ I
~ .:cR Iqfct:g:: f!I I-c1 ~ti -il~J-1 °sc>J-l II
"Pralam bhitabh yarµ bahubhyarµ yadgatrel).fulatena ca

abhyantarapaviddha}:l syattajjfieyarµ CAKRA MA~PA LAfyl"
-Natyas astra - IV - 113
ANAS - VOL II
142 KAR .
The limbs are let loose from the shoulders and the whole body
is well bent performin g Apaviddh a inversely. This is
Cakramal)<;ialruµ.
ABHINAVAGUPTA advocates the A<;l<;lita CarI.
SCULPTURES: -
The Thanjavur figure shows the first stage namely, either a forward or backward
movement in profile as usual. The right foot is placed on the left side with the torso turned in
front with hands as Lata. The Kumbakonam figure shows the head bent backwards , almost
touching the ground. This is the second stage. The third stage is seen in the Chidambaram
figure with the shanks hanging from the shoulders with the palms resting on the ground.
SATARA: - DevI's figure follows that ofKumbak onam. The movement starts with the
head and hands bending forwards and then lifting the legs to do a somersaul t in front. Devi's
figure shows the landing of the feet in front while the hands and head are in the· process of
getting up. Siva's figure follows that of Chidambaram, suggesting continuou s somersaulting
forwards.
My photograph relates to C figure on the opposite side i.e. bending from back to front.
The other photograph portrays the somersault performed by Bhupal.
Three interpretations are possible for this Kara~a.
This is a somersault with a wheel like rolling of the body ei'ther 1orwar
,l:, ds or b ack wards.
A couple of steps forward gives momentum to the action. Both the h and s touch the ground m ·
front and the legs are raised backwards. They move forwards , cross th e shoulders and get
.
landed 1n front of the hands. The hands are raised up through the b ac k ward bend.
If the Ac;lc;lita CarI is to be performed, it is done with the feet t urned up when the hands
. .
are bearing the weight of the body.
The beginning of the action would be a backward bend• the h d

. ' ea and hands reach the
ground and move forward 10 between the legs; then the legs raise and
perform the wheel like
somersault feat.
USES:·
This is recommen ded for dances of forceful nature.
COMMENT: -
Such acrobatic movements are met with in the Ka!aripait - a martial art of Kerala. This
Kara~a still forms part of the circus feats of both the sophisticated and rustic nature. (Pomban
Kiitta~i is the rustic acrobat of Tamil Nadu). Children playing around with such actions are
also not an uncommon sight. It is popularly called Kuttikkarai:i-aiµ in Tamil.
54. UROMANDAL
• •
AM
•
~r@cbl4~a1 41dJct4fct:g:~l-fl ~ I
3()t.f U6&cN ~@l<@'io6f&ct?-1 ~ If
"Svastikapa srtau padavapaviddhakramau yada

. . akau hastavUROMANDALi
Uromandal .. kantu tat"
When the feet get released from Svastika through Apaviddha,
with the hands performing the Uroma.r:i-~ala Hasta, it is
Uromai:i-~aqi.
ABHINAVAGUPTA says that the feet are to be crossed and released through Sthitavarta
Car1 and Baddha Cari. The latter brings about the movement in a reverse direction. The
Uromai:icµila Has ta must be synchronized with these Carls.
SCULPTURES: -
The Chidambaram figure shows the beginning in Mal)c)ala Sthana with the hands near
the sides. The Kumbakonam figure has the Sthitavarta CarI portrayed which is the next
movement. The left foot is crossed in front. Both the feet are on the toes. The right waist is
raised and the hands are near the chest suggesting the Hasta Kara9as. The Kumbakon am
figure does not seem to follow Agratala, for the feet are both on the toes crossed in Ma.r:i-c;Iala
KAR A~A S - VOL II
144
ortr ay Svastik a
Sth - h tallI actio n, prob ab1Y to P .
ana, as t oug h read y for MattallI or Samotsarita Mat
nd of the Siitr a. The Tha njav ur figu re port rays the last part of th e Kar a:a, I.e.,
a Apa srta
. Bad dha CarI. Hence the ngh
· h t t h.1gh 1n . t foot 1s . on t h e toes on it's own side and
turn ·1ng the ng
. re also suggests that the acti· on 1s · to star t on the left side
th e WaIS· t 1s · ed on the left. The figu
· rais
whi le the 0th er two are
on the toes . Two hand s are on the side s
with the righ t foot, whi ch is
ns.
nea r the head , thus show ing the cou rse of thei r actio
I on the left side with the left leg
SATARA: -De vi's figure shows the Sthitavarta Car
al).c;lala. The Pata ka han ds are pointing
cros sed in front. The han ds show the progress of Urom
nwa rd on the righ t and upw ard on the left. Siva 's figure show s the fini shin g of Baddha
dow
four han ds sho w the anim atio n of the
Car I on the left, mea nt for releasing the cross. All
rota ting mov eme nt of the Uromal).c;lala Hasta.
ing of the slab from Pl to P2
PRAMBANAN: -Th oug h 3 figures are found, the join
Cym bals can be seen in the han ds of Pl.
seem s inco ngru ous for there is no proper matching.
on the opp osit e side .
P2 is very sim ilar to SD and P3 has the same action
My pho togr aph is almost a replica of P3.
PR AC TIC AL RECONSTRUCTION: -
can be eith er
The righ t toes cross the left in Man dala Sthana. This
Bad dha (or)
• The CarI may be Sthitavarta cross rele ased thro ugh
• MattallI or Samotsarita MattallI without Bad dha .

bein g rem ove d is show n in the
The left foot stamps on its own side. The cou rse of its
The n the righ t leg perf orm s the Baddha
Kumbakonam figure, with both the feet on the toes.
bly as in Uroma1_1c;Iala.
Cad . The hands undergo the whirling movements suita
COMMENT: -
1
This Karar:ia is still seen in Man•ipuri ' with some slight variatio n. Th e typi.cal flora
. . .
desi gn ofK olam 1s used to md1 cate the curved zigzag 1novement of the legs.
55. AKS• IPTAM

•
3lrfani 6@91d; ~ ~ ~ ~ : I
3lIT8:lB ~ cf>( 0 i ~ akg,~l fttt r: 11
"Ak~iptarp. hastapadaiµ ca kriyate yatra vegata9
AK~IPTAfyl nama kara9aiµ vijfieyaiµ tatdvijottamal)''
Oh the superi or Brahm ins ! When the hands and feet perfor m
the action s of Ak~iptarp. in a fast tempo that Kara9a is known
as ~ipta rp..
ABHINAVAGUPTA says that the Ak~ipta Cari is perfor med with the hands thrown
from Khatakamukha positio n. The body should be slightly bent on the side.
SCULPTURES: -
The Kumb akonam figure shows the beginning of Ak~ipta Cari with the vertical throw
is
of hands. The right foot is Kuficita with its knee lifted at the level of the shoulder. The torso
bent on the left. The right hand is thrown up and the left is stretched down as Pataka. The
on
Chidambaram figure shows a sitting posture with the left knee and right sole on the ground
their respective sides. The left hand is Khatakamukha and the right is Pataka. The Thanjavur
figure suggests the last part of the movement namely drawing the left foot on its toes from
behind to its side. The right hand is Khatakamukha and the left is near the waist with the body
leaning towards the left. The other two hands near the shoulders show the course of action.
SATARA: -Devi' s figure is in a seated posture with the back resting on the left heel
sta
and the right foot placed on the left side. The right hand is stretched on the left in Kariha
and the left hand is in Khatak amukh a near the chest. This figure shows the landing of the
right
leg through the ~ipt a Carl. After this the right thigh is to be turned to its side with the right
is
hand in Pataka near the chest. This Hasta is in one of the left hands of Siva. The movem ent
in
to be continued with the Pataka hand placed on the respective thigh as the body rises as
ANAS - VOL U
KA R ·
146
,, . t is place d flat in
,, . foo _ ·t
Siva' s figur e. The proce ss of getting up is in Siva' s legs wher e the nght . d in Kunc1 a.
. ,, . .
front in Parsv a, while the other depic ts the dragg ing of the left from behin
. . . t ·ful mann er. P 1 has
PRA MBA NAN : -This panel has portr ayed the anim ation Ill a beau I .
_ . . h knee is furth er lifted up. .

Urdh vajan u for the right leg. The next stage is seen in K wher e t e
. . l 'k T The furth er crossing
in SD follow ed by SS whic h IS more or less I e ·
The next stage is seen
. behtn
. d·
1s seen 1·n P2. P2 has the left
of the right foot in front , with a Kuficita foot dragg ed from
. 1s. exactly how I had reconstructed th e end f the move ment though
°
hand near the head. This
. . Pram bana n panel has given • t amp of authe ntici ty to my
there is a lacuna 1n the text. This as
· · bent on ng
1s · ht · It might have indic ated the
understanding. P3 has the face broke n. The torso
but the leg is broken.
starting of the movement on the other side. The right shan k is flapp ed
and dropp ing it as
The Ak~ipta CarI involves the lifting of the foot as Kuficita on its side
has to be lifted much
Aficita on the opposite side. The Kumbakonam figure show s that it
).a namely, showing
more than usual, probably in consonance with the purpo se of the Karal
in Kum bako nam. The
the gait of the Vidii~aka (comedian). The hands are also throw n as
of the shanks. The
same right foot is then broug ht to the left side and made to form a cross
foot must quickly be
hands perform Apave~tita and proceed inwards. The landi ng of the
the right sole. Now,
followed by a sitting posture with the body resting on the left toes and
right sole is turned to
while the left hand is Khata_kamukha, the right hand does Udve~tita. The
e. This is motivated
its own side thus reaching the posture seen in the Chid amba ram figur
ng its knee on the
through a little jump and dragging the left toes inwa rdly, there by placi
ional movement of
ground. It is somewhat like the contemporary Mal).<µ A<;lavu with, the addit
body bend ing slightly
turning the right foot to its own side. The next stage is to get up with the
This is seen in the
on the left and dragging from behind the left toe from the cross ed state.
apradyo taka.
Thanjavur figure. Now the left hand is lowered as Paksa . vaficita or Paks.
USES: -
Abhinavagupta suggests this Karan. a for the Com edian 's role .
COMMENT: -
· sti·11 seen m
Toe simplified version of this Kara9a 1s · the Alanppu
• · the
of the Sadir style 1n
~orm of Mandi Adavu followed by the lift'mg of t he Ieg m
11 • • •
· a standing
• posture. Diagram
. of a
Vidii~aka (Comedian) is introduced to indicate the purpose of the Karal).a.
56. TALAVILASITAM
•
(Ref: Vol. III Page 62,63)
"Urdhvangulitalal}. padal}. parsvenordhvaiµ prasarital}.

Prakuryadaiicitatalau hastau TALAVILASITE"
The sole is upturned with its toes raised on the side along with
the palms; the hands are to be bent as Aiicita in Talavilasita.
ABHINAVAGUPTA says that the raised sole and the respective palm must be touching
each other. Since the word "Talau" is used in dual sense, the hands can be Aiicita alternately
or both at a time.
SCULPTURES: -
The Thanjavur figure is in Ma99ala Sthana with the left foot slightly in front, with the
waist raised on this side. It denotes the beginning of the movement of lifting the right leg. The
four hands denote the animation of the Aiicita arm movement, in which they move out from
and come back to the chest. Both Kumbakonam and Chidambaram figures show the next
stage namely lifting the right foot upwards with the arms bent upwards.
SATARA: -Devi's figure depicts the beginning of the lifting n1ovement; the left thigh
and shank are stretched backwards and the hands are bent near the cheeks. In Siva's figure
the left leg is lifted further up. The secondary hands show the earlier stage of the movement as
in DevI' s figure while the other two show the end with the right hand in Khatakamukha near
the chest and the left palm in contact with the respective side.
KARA.f;-TAS - VOL II
148
been adde d now for

PRAMBANAN: -This is a badly da1naged pane l. The head has
not show the head . Onl y one figure
acco rdin g to Dr. Alessandra the phot o take n in 1937 does
tion and defi nitel y not Ma9~ala
is seen. Only traces of the left leg is seen in a Sam a posi
t hand appe ars to be read y to grab
Sthana. The righ t leg is lifte d as for Drdhvajanu. The righ
orm ed with a left leg.
the foot. The next stages are seen in Sata ra pane l but perf
My photograph relates to SS.
PRACTICAL RECO NST RU CT ION : -

Car i But befo re it gets landed,
From the MaQ.~ala posture, the righ t foot perf orm s Alat a
ches t with the resp ectiv e hand kept
its shan k is lifted up further. The hands mov e out from the
g with the hand s mov ing in. The
clos e to the foot. The foot is then lowe red grac efull y alon
l).a.
three sculptures show the two different stages of this Kara
USES: -
It is said to be used by the Siitradhara of the play.
COMMENT: -
gn to indi cate the Purvaranga
The tradi tiona l temp le lamp is used as part of the desi
whe rein the Siitr adha ra has a majo r role to play.
57. AR GA LA M
•
m
~: 'ITTff: ~ ~ "=I' I (Ref: Vol. III Page 64)
elm ~ ~: 'ftdE<:tJk', <;! ~ II
"Pr~thatal:i prasrtaI:i pado dvau talav ardh ame va ca
Tasy aiva canu go hastah· puratastv ARG ALA M . tu tat"
. -Nat yasa stra - IV - 117

·
Whe n the foot 1s mov ed backwards at a dista nee of two and a
-
half Tala (spans) from the hands, which are bent ciorw ards it .
' Is
calle d Argalruµ.
RECONSTRUCTION OF THE 108 KARANAS
pRACTICAL . 149
ABHINAVAGUPTA says that the foot of the second leg must be well bent at the toes.
The hands move forward as Alapallava, with the body undergoing a bend. In such an action,
the jewels also produce sounds.
SCULPTURES: -
The three sculptures depict the three stages of this Karai:ia. The Thanjavur figure shows
the stretching of the right foot backwards and the beginning of bending forward . The
Kumbakonam figure shows the transition stage with the body on the hands and the legs
turned towards the left. The Chidambar am figure portrays the landing of both the feet, with
the hands still on the ground.
SATARA: -Devi's figure shows the stage when the weight of the body is borne by the
hands, just after bending the body down on the right and lifting the legs up. Siva's figure
shows the process of completing the somersault where the left leg has landed and the right
hand has risen from the ground. It shows the penultimate stage of the movement.
This Karana is another somersaul t movement of an acrobatic nature like the
Cakramai:ic;lalaiµ. This can be done with either a sideward or a forward movement. The hands
are placed on the ground one by one. The legs move up and get landed on the other side of the
hands. The rotations can even be continuous ly performed covering a large space.
COMMENT: -
It is more a circus feat than dance as in the case of Cakramai:ic;lalaiµ. It may be used in
the depiction of fights, children's games or even the clown's actions. The artiste seen in the
Photograph is Bhupal. The diagram indicates children's sports.
J{ARA ~AS - VOL II
150
58. VIKSIP
•
TAM
• (Ref: Vol. Ill Page 65)
"Vi~ iptar p. hastapadarµ. ca pr~!hatal). parsv ato.a pi va

Ekamargagatarµ. yatra tadVIK~IPTAMudahf1:arp."
-Naty asastra - IV - 118
Whe n the hand and foot are thrown simultaneously in the sam e
direction either at the back or on the side, it is calle d Vi~ip tmp..
conn otative and
ABHINAVAGUPTA takes the word "Va" in the first line as both
a Cans to be performed
denotative. Henc e he recommends both Vidyudbhranta and DaJ).<;iapad
at the back or side.
with Udve~tita, Apave~tita and Recita hands. The throws are eithe r
SCULPTURES: -
, denoting the
The Thanjavur figure is in Mai:ic;Iala Sthana with the right foot as Agra
stretc hed on the sides.
first part of the Dai:ic;Iapada CarI namely Niipurapadika. Two hand s are
The Kum bako nam and
One is on the waist and the other lowe red hand (left) is near the knee .
. The Kumbakonam
Chidambaram figures show the Dai:i~pada Carl on the right leg in full swing
the head. The static
figure has the right hand bent inwa rd near the chest and the left lifted near
in Mai:ic;Iala position.
left foot is in Sama position. The Chid amba ram figure has the left foot
ing as Qola .
The right hand is lifted as a parallel line of the leg. The other is hang
udbh ranta with
SATARA: -DevI' s figure shows a move ment in the air, deno ting Vidy
The torso is bent to
the right shank flapped inwards, and the left shank lifted up on the side.
abov e the head. Siva' s
the left with the left hand thrown across the chest and the right hand
Dai:ic;lapada. The main
figur e is simil ar to the Kumbakonam figure, with the right leg lifted in
is throw n up near the
hand s are in Khatakamukha on the right near the chest, and the left hand
Dand apad a Cari. The
head . This is mean t for the Nupurapadika Cari, which precedes the
the end in Recita. ··
seco ndary hand s show
.
. Th'Is IS
SD portray Vidyudbhranta Cari in the au. hr
PRAMBA NAN : - P3 and anot e
PRACTICAL RECONSTRUCTION OF THE 108 KARAI';-!AS 151
proof for my correct reconstruction of the CarI and the Kara9 a involving the CarI. P3 has the
left shank upturned. The right thigh is partly visible below the shank. The hands are not clear.
Pl shows the beginning of Daw,apada CarI i.e. through the Nupurapadika CarI on the right.
The right knee is in Urdhvajanu position. The hands of Pl are like those of SD. P2 has the left
foot crossed in front as Parsva. The right at the back is Kuficita and the waist is raised on the
left. One hand is shared by P 1 and P2, which becomes Karihasta for the left hand of P 1 and
pola for the right hand of P2. Both P 1 and P2 have a sword at the back of the right thigh. The
flow of the garment indicates the flow of the movement.
My photo portrays Da99apada Cari part of the Kara9a and hence relates to K, C and SD.
The Vidyudbhranta Cari is performed with Udve~tita and Apave~tita hands. This is
followed by Nupurapadika and Da99apada with Recita hands.
USES: -
It is used in dances and sequences of a forceful nature.
COMMENT: -
The beauty of this Kara9a lies in the elliptical nature of the throw in a forceful manner.
that too in the faster tempo. It is a jumble of the throw oflimbs and hence the name Vik?iptarp.
is given.
59.AVARTAM
•
"Prasarya Kuficit.m11 padarp punaruvartayet drutarp

Prayogavasagau has tau tadA.VARTAMuda.hrtffi11"
-Na~yasastra - IV - 119
KAR Ar:,JAS _ VOL II
152
d qu ick ly wi th th e ha nd s
hi rIe
· tr tched and w . bl Th at is ca lle d
A Kufi.cita foo t is s e
. h · ou rse su1ta Y·
tracing an d retrac ing t elf c
Avartaip..
th use of th e Ca ~a ga.fi Ca ri. Th e ha nd s have to
.
ABHINAVAGUPTA recom mends e Th e cJ rc hn g of th e ha nd s and feet
. 1• htl nd en d as Do la.
ave~tita ig Ya ·
perfo rm Udve~tita an d Ap
starting point.
must be away from the original
I
SCULPTURES : -
I
I
arl y I
ac tio n fro m M al).~a la St ha na . Th e Th an jav ur figure cle
All the three figur es show the
le for the rot ati on on the lef t. Th e fee t of th e Kumbakonam
figure II
indicates that it is the preamb Caturasra I
sed on the left. Th e Ch id am ba ra m fig ur e ha s th e ha nd s in

are broken. The waist is rai ral).a wh irl s with the right
an im ati on of th e Ha sta Ka
shows the
postu re. The Thanjavur figure ht
ak on am fig ure ha s th e lef t ha nd ne ar th e he ad and the rig
mb
raised and left lowered. The Ku
broken near the chest.
the pr oc es s of dr ag gi ng th e rig ht leg in Siic1 Pada in
s
SATARA: -DevI's figure show
arc is ind ica ted by th e wa ist ra ise d to the back ; the
ed in an
Ca~agafi CarI. That it is dragg
re. Si va 's fig ur e sh ow s th e cr os sin g of th e foot, suggesting
hands are in the Caturasra postu d
e rig ht ha nd sh ow s Ud ve sti
. . ta an d th e ot he r sh ow s Do. la reache
completion of the whirling . On
are in Kh ata ka mu kh a at th e ch es t. Be fo re repeating
t hands
through Apave~tita. Bo th the lef
rm Ud gh att ita in the Sa ma po sit io n to co mp let e the Cll.?agau
rfo
the movement, the feet are to pe
Cari with whirling in this case.
ure.
My photograph relates to K fig
CTION: _
PRACTICAL RECONSTRU
~ t
· t 100
b k str etc hin o of the n gh
The left foot strikes and moves ac wards, thus ca us in g the 0 d
__ t ag oe d as Su cI an d rna '
as Suc1. The hands are kept in c a ura~ra posture. Th e rig ht fo ot is dr 0
-<
d
han
to cross the lef t. This is fallowed b Ya gra. ceful reeling mo ve me nt on the left. Th. e rig ht in
. .
a up wa rd an d Ap av est ita d d en d up as Do la Th is 1s seen as
does Udve~t1t ·· own ward an · · ds
. fig ures Ch · . ts ac tio n of bo th hnn
Than1avur and Kumbakonam · idrunbaram figure su gges
.
simultaneously.
153
108 KARAI':MS
PRACTICAL RECONSTRUCTION OF THE
USES: -
d to depict the heroine app roa chi ng the
Abhinavagupta says tha t this Kara9a can be use
a nearing her her o (Ud ayana' s story).
hero with coy and fear as in the cas e of Sagarik
COMMENT: -
a lighter natu re suited for Las ya. The term
This is also a kin d of Bhr ama r1, essentially of
l
nam . The movement also involves a gra cefu
Avartatp. indicates a cycle as in Tal a Avartha
ing not in the sam e pla ce but by cov erin g space. The graceful flow of the mo vem ent
reel
cefu l reel ing is ind icat ed thro ugh a natu ral garland of creepers. The reel ing
through a gra
indicated through the natural movement of the
movement and the pur pos e of the Kara9a is
creeper in the form of a flow y garland.
60. DO
•
LAPADAM
•
(Re f: Volume III Page 67)
c:Iolayet
"Kuiicitatµ. pad amu t~ip ya parsvatparsvruµ tu
cyate"
Pra yog ava sag au hastau QO LA PAD AM tadu
-Na tyas astr a - IV - 120
ng from side to
A Kuficita foo t is thrown up and made to swi
ing in a befitting
side wit h the hands progressing and regress
man ner - that is Qolapadatp..
starts with Urdhvajanu Carl and continues
AB HINAVA GU PTA says that the movement
a.
with I;)olapada Can. The hands are to be as Qol
SC UL PT UR ES : -
moment of the swinging righ t leg . It is
The Tha njav ur figure has a beautiful frozen
both the hands as Qola on the left side . The
stretched horizontally across the left with
as
dam bara m figu re sho ws the land ing righ t foot with the left han d as Pataka and the righ t
Chi
KARANAS
.
_ VOL II
154
- . h ·t· from the end of the Karana on the ·

I;>ola. The Kumbakonam figure shows t e transl wn · nght
side and the beginning of it on the left. The right leg is stretched and placed on its side and lhe
left is just lifted to be brought closer to the former as Ordhvajanu. The hands are near the
chest.
SATARA: -Devi's figure is similar to that ofThanjavur, but the hands are swinging on
the opposite side. The right leg is stretched out on the le'ft side, and the hands are swinging on
the right. The movement has to start from the Mm_1"ala Sthiina. Siva's figure shows the next
stage, viz., swinging the right leg on its own side; the figure indicates that the leg has to be
landed in Aficita. The main hands are swinging on the left side. The secondary hands are in
:Qola on their respective sides, which will be the position while landing the legs. The two
figures show the entire animation of the movement.
My photograph relates to SD on the opposite side.
c The right foot does -Ordhvajanu and then gets stretched for Dolapada
. c-ar1.- Thean
h ds
per1orm
_ _ the same Hastas and move on the opposite
· sides.
· The leg is dropped in Vaisakha or
Pratyahc;lha Sthana as in Chidambaram figure · The movement is
. repeated on the other side.
The hands have to move out again from the chest.
COMMENT: -
It was difficult to identify this Karana

. at Kumb ak onam beca th . . . h t
completely corroded. Since Preilkh l't ( . use e inscnpt10n as go
o i atµ No. 84) involv th d
in a similar fashion. Hence the id t"f' . es e same CarI, it is also portraye
en i ication of this fi u
layout includes all the photograph . hi . g re was based on that sinularity. The
s wit n a diagram of . .
J;)olii as well as the characteristic . a swmg suggesting the meaning of
swaying of the lin1bs.
155
PRACTICAL RECON STRU CTIO N OF THE 108 KARAI;-lAS
61. VIVRT
•
TAM
•
"A~ iptar µ hastapadarµ ca trikarµ caiva vivartayet

Recitau ca tatha hastau vivrtte karar:ie dvijal)."
Oh Brah mins ! The hands and feet are thrown as Ak~i pta and
the sacru m is turne d with Recita Hasta in the Karana called
Vivrtta.
with the whirling of
ABHINAVAGUPTA says that the throw must be on the left side
ng movemen t. The hand s
the hand away from the body, whil e the body undergoes a reeli
m, they have to do Recita.
perform Vyavarta and Pariv artita and with the turning of the sacru
SCULPTURES: -
right side, when the left
Kumbakonam sculpture shows the last part of the reeling on the
the floor and left is lifted
hand would move in as Kari hasta with the right knee touching
ing beginning of Reci ta to
slightly in that mom entu m. The right hand is near the chest show
na with the torso and body
continue the movement. The Thanjavur figure has a Mai:ic;lala Stha
hands are inwardly bent and
turned backwards and the face seert in profile on the left. Two
Chidambaram figure has the
two are stretched out, then suggesting the course of Recita. The
hed Recita hands .
body resting on the right sole and left knee and toes with out-stretc
ded down in the Ak~ipta
SATARA: - The right hand is stretched up and the left is exten
Cari of the right leg. The next stage is seen in Devi 's figure.
The body is resting on the left
s are crossed at the chest
heel and the rigl}t sole, which is turned towards the left side. The hand
left. The next stage of the
with the torso facing the onlooker, along with the side bent on the
the body resting on the
movement is seen in Siva 's figure which is turned backwards with
sides. The secondary hands
right sole and right heel~ the knees are turned to their respective
movement in Recita. For
are in front of the chest while the main hands show the end of the
~ip ta Cari.
completion of the reeling, the whole action is to be repeated from
KARAN AS _ y 01· II
156
. ·s shown on the left side by Sata1a.
. turning action 1
PRAMBANAN: - While the entire . . h Prambanan panel. The turning in both
.n on the nght in t e
panel the same is portrayed as turm g t rning from back to front. Pl has just
- . . C figure portrays u re
are towards a backward direction. . f. are visible. The identity of the owner
·1 t d For the 3 figures, ive 1egs
the left leg. Rest are muti a e · . h. back to the viewer. His hair tuft is clearly
. ver clear P2 is seated turning IS
of these IS not y . . kn Kuiicita close to the ground but not in contact
seen The left foot is Agratala with the ee as
· ·d ·th knee very close to the ground as though in
with it. Right leg is extended backwru s w1 . .
. . • h ·d lifted as Unnata. His left foot IS 1n Agra .suggesting
.
Garuda Sthana. P3 IS seen with ng t st e as
· - . - - - Th · f will work out as P3 to P2. The SD figure 1s the
the beginning of Ak~1pta Can. e aroma I 00
reverse of P2.
My photograph relates to C.
As in the Kara1_1a Bhramarakai:µ (No.38), the Ak~ipta CarI is performed with the right
leg on the left side, ending in a sitting posture. Instead of turning the right thigh to its own side,
the left thigh is turned on its own side, thus resulting in a half round with the body turning
backwards. This turn is performed with the Recita Nrtta Hasta. The body is raised again to
Mar:i~ala posture. Again the right leg repeats the action. The Thanjavur figure portrays this
transition stage; the left waist is seen raised, indicating the moment that precedes lifting the
right leg. When the Kara1_1a is repeated again, it ends in the posture seen in the Chidambaratn
figure. This Kara1_1a Vivrttai:µ, which means turning, is not a complete circle. Its form is that of
a mere broken arc.
Instead of using the same leg while repeating, if the other leg is used, it would result in
zigzag turns. Its course will be in the form of progress a nd regress.
USES: -
Abhinavagupta says that this is a movement ·h. h •d nd

,w IC could suggest strength, pn e a
self-confidence.
157
PRACTICAL RECONSTRUCTION OF THE 108 KARAI'~AS
COMMENT: -
The evolution and simplification of this Karar:ia can be seen in some of the Korvai
A~avus (Tat tai tam A<;lavu) of the Sadir style where there is a movement of turning and
sitting.
62. VINIVRTTAM
• •
"Siicividdhruµ vidhayatha trikarp. tu vinivartayet

karau ca recitau karyau VINIV~TfE dvijottamal:i''
Ye best among Brahmins ! In Vinivpta, there is a gliding
movement from the SiicI followed by the returning of the sacrum
with Recita action of the arms.
ABHINAVAGUPTA takes SiicI to mean either the SiicI Cari or the Baddha Cari. If it is
SucI, the second foot must be tending to move on its heel to accomplish a Svastika. Then the
sacrum is turned and then re-turned. If it is Baddha Carl the whirling is motivated through the
thig.
h
SCULPTURES: -
The Thanjavur and Kumbakonam figures are in Mai:ic;Iala Sthana with the right foot as
SucI and the waist raised on the left side. The Thanjavur figure has two hands bent inwards
suggesting the Apave~tita tum and the other two raised. They show the course of Recita. The
head is tilted on the left denoting the turning on the left. The Kumbakonrun figure has both the
hands as r;:>ola on the left. The Chidambaram figure is seen seated with the back resting on the
heels and with the right knee raised. The left hand is Khatakfunukha and the right is Lata.
KARANAS - VOL II
158
. . SiicI Cari with both the hands held

. t. s the nght leg in
SATARA: - DevI's figure por iay h t land flat and the body undergoes a
Th tended right foot as o /
like a stick as Dm-:i-c;lapak~a. e ex dary hands of Siva portray the Recita
. 00 the ground. The secon /
rotation with both the knees . Th imary hands and the posture of Siva
. £ ed during rotation. e pr
hands, which are to be per orm . . th right sole and the heel and knee of the
· 1 The body 1s resting on e
show the end of the actlm · . .d The left hand is near the chest in
left le The knees are turned to their respective st es. . . .
g. . . D i- . t near its respective knee. The face 1s slightly
Khatakamukha, and the right hand is in . o a JUS .
• d . dt ds the left an essential factor for the force of
turned towards the right with the hea ti1te owar '
the reeling movement.
My photograph relates to K showing the end of the reeling on the left side.
Abhinavagupta gives us two alternatives. If we are to take it as Baddha Carl, the
movement will be almost like the Karai:ia Avartatµ (No. 59). Hence, it is better to take it as
SiicI Cari itself. Even in this case, a mere SiicI Cari will result in a Karal).a very similar to
Katibhrantam
. . (No. 43). Hence it is more fruitful to interpret the SiicI Cari in relation to the
sculptures as well as the previous Karai:ia. The previous Karal).a is Vivfttam meaning turning.
This is a ser.:licircle movement. Vinivrtta, meaning re-turning must be taken as a completed
version of the previous half turn. The movement can therefore be conceived in the following
manner. The right foot performs the SiicI CarI. The definition of the Karal).a implies the action
of Kara Recaka and not the mere Recita Hasta. Hence, it denotes the subtle bends and curves
of the entire arm. As in the Thanjavur figure, the movement starts in Mandala Sthana with the
lifting and stretching of the SiicI pada. The hands have to do Udvestita and be spread on the
left as in the Chidambaram figure for the SiicI Cari. This will enable a graceful lifting of the
right leg. The torso could also bend on the left. After landing the foot, the heel is also lowered,
thus transferring the weight of the body on the right. Now, the left foot is dragged as SiicI near
the right in a gliding ~anner, with the body gradually attaining a sitting posture. The right foot
is crossed by the left m front and then the whole body rotates on both the knees. The bands
move out, helping to maintain the force for reeling. Finally the left hand rests near the chest
and the right is hung freely on its side as in the Kumbakon r·
am 1gure.
159
PRAC TICAL RECO NSTR UCTI ON OF THE 108 KARANAS
USES: -
It is said to be used for the same purp ose as in the case of Vivrtta.
COMMENT: -
agana Nata kas of Sout h
Such a turn on the knee s is still a com mon feature in the Yak~
play the impo rtant roles.
and North Canara. Several such turns are perfo rmed by men who
63. PA.RSVAKRANTAM
•
"Parsvakrantakramarµ kftva purastadatha patay et

Pray ogav asag au hastau PA.RSVAKR ANTA¥ tadu cyate"
Whe n ther e is a thro w in fron t thro ugh the actio n of

Pars vakr anta alon g with the hands progressing and regre ssing
suitably, it is calle d Parsvakrantarµ.
must suita bly move
ABHINAVAGUPTA says that the hands and every part of the body
with the drop ping of the foot.
in the Parsvakranta Cari . Ther e shou ld be a forward movement
SCULPTURES: -
The right foot is just
The Kum bako nam figure shows the beginning of the Karal).a.
of the body rests on the left
about to be lifted as SiicI from the Mm:,i<;Iala Sthana. The weig ht
is abou t to end its actio n as
with the waist raised. The left hand is near the chest and the right
profile as in the case of othe r
Recita. The Than javu r figure shows the forward movement in
on its own side before landing.
such Kanu:,ias. The right foot is in the process of being stretched
are near the chest; one right
The four hands show the progress and regress of their action. Two
The Chid amb aram figur e
hand is raised on its side and the lower left is seen extended as Lata.
weight of the body is still
shows the end of the Kara1:_1a. The right foot is already landed. The
KARA1':-f AS - VOL II
160
. d· en han ging as Lat a whi le the other

is se
on the left foot with the waist raised. The ngh t han
'
hand is near the chest.
th e righ t kne e lifted
i's figu re shows the begi nnin g of Pars vak rant a with
SATARA: - Dev
Kuficita Pad a. The tors o is ben t to the left
at the side along with the respective shank flapped in
nded in pol a to its side . Afte r stretching
with the Patalrn hand near the chest; the right hand is exte
of abo ut five span s. Thi s stag e is seen in
the righ t leg up, it is to be landed in Aficita at a distance
be landed. The righ t mai n han d is lowered
Siva 's figure. The right leg is stretched and is about to
hands sho w Rec ita, whi ch is a linking
in Lata. The left hand is in Patalca, while the othe r two
the othe r side .
movement to continue the gait through to the action on
l).a says that the han ds are to
PRAMBANAN: - The Natyasastra definition of this Kara
mov ed in a suit able man ner. Tak ing clue s from C with Lata han d and T with a :Qola hand ,
be
for Siva. The mai n figu re of P2 of Pis
I had combined in Satara, Qol a for Devi and Lata
ing larg e pac ing with a forw ard thrust.
similar to SS; the Ati bhaiiga is very suggestive show
han d are also very sim ilar in P2 and SS.
The dropping of the righ t han d and lifting of the left
hvajanu as in SD. The anim atio n will
P3 has the righ t foot raised showing the process for 0-rd
earlier, T sho ws the forw ard movement
be as follows - K, P3, SD, P2, SS and C. as mentioned
on the side.
My photograph captures the posture of SS.
th d R . d
The righ t foot gets lifted as Urdhvajanu with the righ an as ec1ta. The left han
·t .
performs Apave~tita near the chest as Pataka. The Rec1 a mov eme nt end s sync hron izin g with
R ·
the stretching of the right foot forwards at an angle · The ec1ta han d mus t be lifte d parallel to
•
foot is dropped the h and al so is
the stretched leg. When the . ' drop ped as Lata . The gait is
. .
continued with alternate hmbs.
USES: -
Abhinavagup ta recommends this Karana for . •f' . on of rh th .
. . . . Iaffil 1cat1
. Y m and also to bnn g
out the charactenst1c gait of roles like those ofB hImasena. It Is suit ed for Raudra Ras a.
161
PRACT ICAL RECON STRUC TION OF THE 108 KARA~ AS
COMMENT: -
rity with
The Thanj avur figure is bound to confu se becau se of its strikin g simila
own side may
Bhujangatrasita CarI. The stretching of the shank with a straight knee on its
sculpt or has
resemble the Dai:ic;lapadarp., becau se it is only a base relief sculpture. Hence the
Chida mbara m
chosen a profile version of the forward movement. The Western Gopu ra of the
knee with the
temple shows this last part of this Karai:ia with a stretched shank and straig ht
heel on the groun d on its side. This reminds us of the Nattac;lavu of the Sadir style.
It is likely
for the heel.
that this Ac;lavu evolved from the Parsvakranta Karai:ia, which gives importance
te rhythmic
The diagrams of cymb als and m.rdangarp. suggest the usage of this Karai:ia for intrica
whose gait this
patterns and the diagram of Gada is indicative of characters like Bhlmasena
movement can portray.
64. NISTAMBHITAM
•
. . . atah. kuficitah. pado va~as caiva samun natam.

"Prsth
Tilake ca karal) sthapyastanNISTAMBHITAMucyate"
-Naty asastr a - IV - 124
When a foot is bent as Kuficita at the back with the chest raised
as Samu nnata and with the hand on the forehead, it is called
Nistambhitarp..
forme r.
ABHINAVAGUPTA says that the secon d foot is bent behin d the heel of the
hand must be
Samunnatarp. means the raisin g of the chest and holdin g the breath. The
the forehe ad.
Khatakamukha with the middl e finger in the attitude of applying the Tilaka on
Some other scholars take the Kuficita Pada to mean the Vrscika foot.
KARAf;,!AS _ VOL II
162
SCULPTURES: -
. . • h .c. f the Apa syan dita CarI. The righ t foot is·
The Thanjavur figure 1s almo st 1n t e 1orm o th th
nce of mor e than five span s, with bo e knee s bent. The
placed behind the left heel at a dista
nwa rd. The two othe r hands are
right hand is near the forehead, whil e the left is bent dow
the righ t leg lifte d as V rscika with
raised. The Kumbakonam and Chid amb aram figures have
the left hand near the chest and righ t on the forehead.
ch the weig ht of the body is
SATARA: - Devi's figure shows Apa syan dita CarI in whi
righ t leg is lifte d up in Vrscika. In
shifted from left to right and again to left. At this poin t the
near the fore head . Dev i's left hand
both the figures we see the right hand in Kha taka muk ha
t. Siva 's left han d is alre ady on the
shows the process of bringing the left hand near the ches
h is mea nt for the Apa syan dita and
chest. His secondary hands show the Recita action, whic
Syanditii Caris.
I
angarp. in Prat yalf<;lha Sthana I

PRAMBANAN: - Only two figures are seen. P 1 has a mrd I
hand s in Kha taka muk ha _ with the
with the weight of the body on the right foot. P2 has the I
le figu re incl udin g the graceful I
right.near the chest and the left near the forehead. The who
bendmg of the knees is like a reverse print of SD. I
I
My photograph relates to SD, as well as to T.
PRACTICAL RE CO NST RU CT ION :_
. This Karar?,a has another reading , giving its nam e as N", ISum bhit Th K bak
. . . mp.. e um onam
mscription follows this reading. The Chidambaram msc nption is unfi0 rt I oded
. , unat e y, total ly corr .
Nisumbhana means to tread d own upon something. The Th . . .
. aUJavur figu re follows this.
N1stambhita means to hold the hreath . Abbi navagupta has . .
. . men tion ed thIS with rega rd to the
raising of the chest. The Vrscika p-d a a interpretation is follow
. . . ed by the Kum bako nam and
Ch1dambaram figures. Since there is . ti
another read. in th phra se "Ku.ficita PadaJ:i" as
u", it can involve th g or e
"Kuficitau Pada 1
e a terna te legs , thus resu l . . .
. . . ting in a gait. In the light of all
thi
this, two 1nterpretat10ns are possible tior s Karana.
I. Syandita and Apa _ are perf· ormed w.
syandita c-:-ar1s
. 1th e alon g with the hands
alternately movmg towards the tiorehead and chest. Whe forc
n the left foot moves forward,
163
PRACT ICAL RECONSTRUCTION OF THE 108 KARA~AS
. This may also

the right hand shoul d be near the Tilaka. The chest must be raised
on.
resemble the Saka tasya Cari. This is according to the Than javur versi
raise d slowl y a nd
2. The feet alternately perfo rm the Vrscika Pada with the chest being
other near the
steadily. The corre spond ing hands are to move to the forehead, with the
ram figur es.
chest. This interp retati on is based on the Kum bako nam and Chid amba
USES: -
Abhinavagupta recom mend s the Nistambitatµ for depic ting Siva.
COMMENT: -
myth ology along
It is interesti ng to note that there is a demon Nisu mbha ment ioned in
the Budd hist panth eon.
with his broth er Sumb ha. Nisum bha is also one of the inferior Gods of
this Kara9-a is mean t to
The forceful gait woul d suit the depiction of such characters. Since
ya Hasta .
portray Lord Siva the diagr am includes Trisiila, Dama ru and the Abha
65. VIDYUDBHRANTAM
•
(Ref: Vol. ill Page 72 & 73)
"Pr~thato Valitarµ padarµ sirogdhf~!arµ prasarayet

Sarva to ma1_1<;lalaviddhatµ VIDY UDB HRA NTA ¥ taduc yate"
The foot is bent backwards near the regio n of the head and
then every limb has to undergo the actions of Ma1_1<;1ala (circli ng
outwardly) and Aviddha (moving inwardly).
circli ng way and

ABHINA V AGU PT A says that the leg must be lifted and taken back in a
be fron1 the root of the
lifted up to be in conta ct with the hand. The extension of the lin1b must
d in all direc tions .
thigh. While the throw of the leg takes place, the hand s must move aroun
perfo rm Avid dh- •
The limbs are spread on all directions and then broug ht back. The arn1s a 1.e.
KAIV\~ AS _ VQ1, II
164
. ,, sture The spreadi ng of the limbs must be

moving inwardly, and then halt 1n Caturas ra po ·
. force and speed so as to rese1nbl e th e streaks of lighting .
with
SCULPTURES: -
The Thanjavur and Kumbakonarn figures have the right foot touchin g the head. The Thanjavur
figure has the arms stretched on all directions suggest ing MaJ?.4ala Gati. The Kumbakonam
figure has the right hand holding the lifted foot on the head. The left hand is as Khaµkamukha
near the chest. The Chidambaran1 figure shows the Aviddh a part of the KaraI).a with the
right foot crossed behind the left with the hands in Caturas ra posture .
SATARA: - The movement starts with the Akasa Bhram arI as portray ed in DevI's
figure, which suggests the whirling in air. The lower part of the body is turned backwards
with both the knees well bent. The upper part of the body is turned towards the front
suggesting the whirling on the left. Both the hands are stretche d out showin g Mal).~ala
action. After landing in front on the toes, the right leg is lifted up in Vrscika Pada. Siva's
figure portrays this stage of the movement; both the legs are in the air, with the left in Kuficita
Janu and the right foot near the head. The four hands suggest the MaJ?.4ala action.
My photograph shows the high jump that this Akasa CarI require s. Vidyudbhrantii
Cari is involved in KaraIJa 58 Vik~iptarµ and P3 in Vik~iptarp. (Refer Vol. III Page 65) has
already proved my reconstruction to be correct.
This KaraIJa must be performed as a flash of 11·ghteru· ng. Th e streak s must b e deno ted
th
through the lines of e body. Bhrantarµ involves a reeling movem ent. It would be wise to
g ain momen tum with a fast whirling movement of th e b ody followed by a quick lifting of the
leg near t~e ~ead: The ha~ds _mu~t- move out and in accordingly. The lifting of the leg
backwa rd 1s 1n V1dyudbhranta Can. It is an Ak-" c- _ . . .
asa an, which also denotes lightning.
. ·1 to
Hence it would do well to have both the feet off the ground whil e stn'ki ng a pose sum ar
165
~AS
PRACTICAL RECO NSTR UCTI ON OF THE 108 KARA
s it an appe aran ce of the flash es and

the Kum bako nam figu re. The jum p auto mati cally give
as in Chid amb aram figure, the Karal)a
streaks of light enin g. Afte r regre ssing the hands and foot
can be repe ated on the sam e or alter nate sides.
USES: -
hty temp eram ent.
Abh inav agup ta reco mme nds this for a depi ction for a haug
COMMENT: -
wn flyin g figures of Gan dhar vas
The moveme nt on the air wou ld rese mble the well -kno
lar to this are met with in the
and Apsa ras in Indi an scul ptures and painting. Mov eme nts simi
a rare extra ordi nary phot ogra ph of a
Russian class ical balle t. The back grou nd on Page 73 has
powerful light ning .
66. ATIKRANTAM
•
31 f2t~1.:a ij;tj ~ if!@l~Jl;f6R 4~ I

l,FlflJlct~IJ~ Q@lctRt~,~ qc(;)RfJl II
"Ati kran ta kramarµ lqtva purastatsamprasarayet

Pray ogav asag au hast avA TIK RAN TE prak irtita u"
(Cari)
Whe n there is a forward movement through the Atikranta
said to
with the hand s prog ressi ng and regre ssing suitably, it is
be Atikrantarp..
ng mus t caus e cove ring spac e,
ABH INA VAG UPT A says that in Atik ranta CarI, the paci
body. It is used in Gati varia tions in
with limb s mov ing freely away from the main line of the
ble way as per the imag inati on of the
the sens e of both rhyt hm and gait, or in any othe r suita
performer.
SCULPTURES: -
forw ard mov eme nt in prof ile.
Both the Than javu r and Chid amb aram figu res show the
KARA f:,IAS - VQJ, Ii
166
ng is quite clear ly suggested .

The Thanjavur figure has the right foot in front of the left. The paci th nd
tion s of e ha s of lhc
The torso is thrus t forward and turne d to the right . The posi
show ing their prog ress a nd regress
Chidambaram figur e are doub led in that ofTh anjav ur, thus
nd
e has the right leg lifted back ward s with the righ t ha as Reci ta and
The Chid amba ram figur
, i.e. betw een the end of the
left as Lata. The Kum bako nam figur e shows the trans ition stage
the left leg. The hands are
Kara9a with the right leg and the begi nnin g of the same with
wed by raisi ng and getting
therefore at the chest, ready to undergo a quick turn, to be follo
dropped on the respective sides.
Kuii cita and land ed at a
SATARA: - For the Atik ranta Cari one foot is exte nded in
left foot. The righ t hand is in
distance of five spans. Devi 's figure shows the land ing of the
front . Siva ' s figur e shows the
Qola and the left is in Recita, with the torso twisted towa rds the
t leg is lifte d in Vrscika, and
end of the movement; the prim ary hands are as of Devi 's. The righ
as in Ma1.11ala Sthana. The
the left is firmly plan ted on the grou nd with the knee still bent
ating the link in continuing
secondary hands are cross ed with the torso turned to the front, indic
the gait on the othe r side.
large spac ing as in T and the
. . My phot ogra ph comb ines the hand action as in C and the
b d · g can
d th e 1arge pacin
hftmg of the foot as in SD. The action of the upper part of the o y an
portray climbing mountains.
PRACTICAL REC ONSTRUCTION: -

• amb aram figure.
· t h e Chid
The Atikranta Cari is perfo rmed with the hand s as in
COMMENT: -
.. .
This Cari is seen often used in the Terukkuttu t
Nadu , particularly while portray· al .' he tradi tiona l folk thea tre of Tanul
ing m e characters with ma. estic . .
.
layout showing a mountainous terrrun • . . di . ~ ity. The back grou nd of this
IS In cative of this.
167
PRACTICA L RECONSTRUCTION OF THE 108 KARA~AS
67. VIVARTITAKAM
•
"~ipta rµ. hasta padam ca trikarp caiva vivartitarp

Dvitiy o recito hasto VIV ARTIT AKAM eva tat"
When the hand and foot are thrown as Alqipt a and the sacrum
is turned along with the second arm as Recita, it is called
Vivartitakam.
AB HIN AV AGUP TA says that because of specifying the movem ent of the second
hand as Recita , the first is to be A~ipt a.
SCULPTURES: -
The Thanjavur figure has the left foot crossed in front. Both the feet are flatly placed as
Parsva. The right hands show the course of whirling in Hasta Kara.Q.as. The left hands show
the course of Recita. The Kumbakonam figure has the right foot crosse d in front as Agra.
The right hand is on the waist and the left hand is near the chest. The head is tilted on the right
as Aficita. The Chidam baram figure is a seated posture with the body resting on the right sole,
left knee and toes. The left hand is Karihasta and right is Pataka over it.
SATARA: - With both the knees on the floor turned to the right, Devi's figure is in the
.
process of whirling on the knees. The right hand suggests Udve~tita and the left is in Recita
at
Thus, whirling is sugges ted on the right side. Siva's figure is simila r to that of DevI's
Chidambaram. It shows the end of whirling with the back resting on the back heel and knee
and the right sole with the knees turned to their respective sides. The second ary hands are
same as those of Devi's at Satara. The main right hand is in Pataka near the chest, and the left
is in Karihasta, marking the end of the action.
My photograph recaptures the posture in C suggesting the end of the Janu Bhraman on
the left.
KARA!':JAS - Vo Lu
168
Two interpretations are possible. wi
th
out the foot being
ipta Cari follo wed by the bod y rota ting
I. The left foot does Ak~
lifted. The rotation ends with the right foot crossed in front
as seen in the Kumbakonarn
sugg este d by the Thanjavur
figure. The course of the whirling with cross of the feet is
the Alq,ipta Can. The right
figure. The left hand does Udve~tita upw ard alon g with
in Kum bako nam .
perfo1ms Recita. It may end as Karihasta and Catu rasr a as
the Ak~ ipta of hand and foot '
2. Like the KaraJ).aS Vivp:ta and Vinivp:ta, whi ch invo lve
es follo win g the ~ip ta
Vivartitaka also involves a whirling mov eme nt on the kne
Cari. The hands end as in the Chidambaram figure.
COMMENT: -
defi nitio n of this Karana is.
The commentary of Abhinavagupta is as vagu e as the
the scul ptur es. Since the move~ent
Hence swmising the practical application depends totally on
is con stan tly clos e to the ground, a
i~ ver~ e~th y and the action of the lower part of the bod y
nch npe nee field is used as a backdrop.
68. GAJAKRil)ITAKAM
•
(Ref: Volume ill Page 76, 77)
cf;UTsfwa: ctm qp:ff &alQ@~ ~ : I

~C'? IYIG.@en- ~ JFsldi)1%aci; 1l¾_ II
"Kafl).e.aficitah. karo vamo lat;.1-. t ,,

- - auas asca dak sina h
:Qolapadastatha caiva GAJAKRIDIT · · ·
. AK A¥ bha vet"
8
-Na tyas astr a - IV - 12
When the left hand · b .
Is ent near the ear w.1th
moving as Lata Hasta alon g WI'th the feet. ' the ngh t han d
' · ·
way as i;>oliipiida, it is called Gajakriditak mov10g ID the same
aql.
.
169
!';lAS
PRACTICAL RECONSTRUCTION OF THE 108 KARA
ta is mentioned, it wou ld be take n

ABHINAVAGUPTA says that though the Lata Has
. Both the hands are to be Trip atak a.
to mean the Kar ihas ta in which one hand moves as Lata
placing the heel on the ground. This is
The I;)olapada swa y mus t be com plet ed each time by
ests.
to capture the gait of the elep han t as the name itsel f sugg
SCULPTURES: -
ile. Tho ugh the pola pad a Car i
The Tha njav ur figure show s the forward action in prof
figure denotes the land ing of the foot
involves the oscillation of the leg from side to side, this
of the torso. Three hands show the swa y
on its own side . This is seen from the forward thrust
The Kum bak ona m and Chi dam bara m
of the elephant 's trun k with one left hand near the ear.
t hand as Lata and the left hand near the
figures show the land ing of the righ t foot, with the righ
ear.
and hand s. The hands suggest

SATARA: -Th e movement requires the oscillation ofle gs
ws the proc eedi ng stages.
the ear and trun k of the elephant. The whole action follo
left han d is in Tripataka near the
1. Raise and flap the shanks from Mai:H;lala Sthana. The
ear and the othe r is extended out in pola .
2. The righ t leg is exte nded to its side.

in Dev i's figure.
3. Sway the sam e leg on the left. This stage is seen
; the left palm is waved out and the
4. The righ t leg is swu ng back to its respective side
left han d is swayed inward in Karihasta.
is again flap ped in. Siva 's figu re
5. The righ t leg is land ed in Aficita. The left palm
shows this stage of movement.
t leg with the body swaying on that
6. The weight of the bod y is transferred to the righ
d. Siva 's four hands show the
side and the righ t han d moved out and slightly raise
animation of the movement.
tiful one with extraordinary
PRAMBANAN: -Th e main figure of Ppa nel is a very beau
y broken, the face, part of the left han d
dynamism and flow of body lines. Though Pl is badl '
KARA ~ AS - VOL I I
170
·
i:. A- ·t tilted on the right . Left hand ·Is
•
left side and the left leg can be seen clearly. The 1ace 1s nc1 a,
k of its left leg. The
Karihasta, right foot is PiirSva in Mru.u~ala Sthiina. P3 has just the shan
as Afici ta to the left. The
main figure is well preserved with all the nuances. The head is tilted
Karih asta. The Mai:i<;iala
left hand is near the ear, and the right hand is swaying maje stica lly as
portr aying the beginning
Sthana is prominent with the right foot lifted near the shan k as Kuficita
or Kari hasta with the
of I;)olapada Cari. The left side of the torso is Nata. The use of the J?ola
is a featu re one often
paln1 facing out through an inward and outward move ment of the wrist
is a Reca ka that I have
encounters in South Indian sculptures of the Pallava period. This again
a mode l. It is heartening
used in my reconstruction, in both my performance as well as the Satar
stylis tic term s. See the
to notice that the Pram bana n sculptures also thoug ht on these lines in
out turned palm in SD.
Sway inwards
The animation works out as P2, stretch out the right leg on its own side,
as in SS, C, Kand my
as in T and SD and my photo on Page 76, stretch out again and land
Page 77.
photo (above) in Page 77 and end it as my secon d photo (belo w) in

of the Lata Hasta.
The Qola pada CarI is performed with a corre spon ding oscil latio n
l f h
This hand is to resem ble the movement of the eleph ant's trunk . Th e e t and must flap near
the ear to denote the anim al's ear. Both are to be in Trip aCka a. Th e Reca kas of the neck and
.
hands along with a sligh t sway of the torso are also impor t ant .c.iacto rs to add maJest1c1ty to this
• . .
Karana.
COMMENT: -
.
Karai:ia is still in vogue in K-udiya .
A modi fied version of this
. _ _ ttarp and Kath akah . Instead
- - - -- ·
• . _ _ .
of the Qola pada Can, the Atikranta CarI is being us ed · In O nssi, Pola pada itsel f is used with
. -
Tnpa taka hands; but the knees are not stretched wh en th e shan ks are thr Th I
. . own. e ayout
sprea d has the grey tone at backdrop. The illustrati ' on inc1udes drngran1 0 f L ,,
n '- ord Gane sa as
well as Eleph ants, indicating the usage of the Kru·a " ' . a.
171
PRACTICAL RECONSTRUCTION OF THE 108 KARA!';lAS
69. TALASAMSPHOT• ITAM

•
(Ref: Volume ID Page 78)
"Drutamutk~ipya carar:irup. purastadatha patayet

. u hastau TALAS AMSPH OTITE
talasam sphotita . matau"
The rule for Talasamsphotita is to swiftly lift the foot and drop
it in front, simulta neously clapping the hands.
ABHINAVAGUPTA says that the lifting of the foot may be in Atikran ta Cari or
Da9c;lapada Cari too. The droppin g of the foot and clapping must synchro nize. The clappin g
must be through the Pataka hands.
SCULPTURES: -
The Thanjav ur figure denotes the Atikranta Cari with a large pacing. The right foot is
seen as getting landed with the clappin g of the hands. Both Kumbak onam and Chidam baram
figures are in Mal).c;lala Sthana. They denote the clapping with fingers pointing down at the
end of the Dal).c;lapada Can.
SATARA: -The forward movement is shown in profile. Devi's figure shows the right
leg lifted for the Dal).c;lapada Cari, with the torso bent backwards and the hands swaying
behind. Siva's figure shows the stage when the right foot has landed, giving way to the left
foot to be thrown up in Vrscika. While the secondary hands show the course of action, the
main hands indicate clapping.
PRAMBANAN: _ All three figures are well preserved. Pl is holding the cymbal in
both the hands _left hand is near the chest and the right is near the ear. The left foot is crossed
in front. Both the feet are in Agratala. This cross indicates Niipurapadika. The main figure is
KARANAS - VOL II
172
· - ·- · b c- - The right hand which is stretched

m Urdhvapnu showmg the process of the a ove an. ' as
:i;>ola, is broken. The left hand is lifted above the head and the torso is bent on the right. The
head is tilted on the right. P3 had Ordhvajanu with Aiicita foot. The hands portray clapping.
Behind the right thigh of the main figure the sole can be seen. TIJis adds to the martial character
of this forceful movement.
My photograph portrays clapping in a posture which succeeds that of SS.
The two Caris suggested by Abhinavagupta give room for the performance in the following
ways.
l. Dal).qapada Cari" with Recita hands is to be followed by clapping while the foot is
made to fall in Mal).qala Sthana. This causes a zigzag movement.
.
2. Atikranta Cari" is performed with the clapping of the hands . Thi s causes a straight
movement in front.
USES: -
Abhinavagupta' s Pralqt example is not understandable It . h
importance for rhythm. · IS owever useful in Nft(a giving
COMMENT: -
. This Karal).a is useful in reconstructing the ob soIete form "K:0 d 1, .,,

kinds of dances mentioned in the Tamil e . S . . . Ul\.otti , one of the eleven
,, . pie i1appadikaram It i d .
by Siva through clapping his hands and . . · · s a ance said to be performed
. moving wildly in a ab nd . .
the three demons (Tnpurantaka story). g Y a on after his victory over
PRACTI CAL RE CONSTRUCTION OF THE 108 KARANAS 173
70. GARUDAPLU
•
TAM
•
(Ref: Volume Ill Page 79)
l£Mqt11Ra: qre:: 0a1~f¾ach1 cfrn 1
B~i=id'i<~ Jl~6~4; ~ II
"Pr~thaprasa1ita~ pad~ latarecitakau karau

S an1unnatamurascai va GARUDAPLUT
. . bhavet"
AKAM
The foot is stretched backwards with the hands as Lata and
Recita; the chest is also raised. That is called Garu9aplutam.
ABHINAVAGUPTA just mentions that the stretching of the leg must be as Vrscika
while one hand is as Lata and that the other is to be Recita.
SCULPTURES: -
The Thanjavur figure has the right leg as Vrscika while the Kumbakonam and
Chidambaram figures have the left raised. The Thanjavur and Chidambaram figures suggest
the simultaneous actions of both the hands as Lata followed by their action of Recita. But the
Kumbakonam figure has the left as Recita and the right as Lata.
SATARA: - Devi's figure shows the hands in Kufi.cita, which is the starting point for
the Garu9Up~a Nrtta Hasta; the right foot is flapped in as Urdhvajanu from MaI,19ala Sthana.
The face is turned and torso is bent to the right. The foot is swayed out and landed with the left
leg raised in Vrscika. This is seen in Siva's figure, which is similar to that of Thanjavur; the
two secondary hands show the course of action while the primary hands are in Recita suggesting
the wings .
My photograph follows the K version, but on the opposite side.
Two interpretations are possible.

1. Though the Cari has not been specified, il can be presumed that it involves the Atikranta
Cari. The hands would denote the fl apping of the wings when they are inade Recita
KARAf:,JAS _ VOL II
174
g has the word Kuiicita for ha nd s, it ca n be interpreted

an d La ta . Since the ot he r readin
as Garuc;Iapak~a Hasta.
floor
ce in At ik ra nt a Ca ri, th e sa m e fo ot is m ov ed on the
2. After the foot moves on stu re . Th e he el sh ou ld cause
other is ke pt in th e lif ted po
without being lifted , while the
th e to es . Th es e lig ht ju m ps ca n be be au tif ie d by one
ting
th e fo rward thrust without lif
La ta po stu re s as in th e Ku m ba ko na m figure. It would
in
hand in Recita an d th e other
fly in g Ga rU <;I a on th e sk y. Th e fir st in ter pr eta tio n would
denote the turn in g of th e
on th e gr ou nd .
suggest the ho pp in g Ga ruc;Ia
COMMENT: -
ar e of te n se en in the present
arched sole of the lif te d le g
Such movements without the
da nc es . Th e di ag ra m of the bird is self-explanatory.
Indonesian
71. GAN DASUCI

• •
ft <'.U . ii]
~-q 91 ";@' CJT cf> l cf a fm : ~: I
~ ~ l~ d l ~ Jl 06t[-cfi d~-o?.48 11
o vak~asthitah karah
"Siicipado natam parsvamek
o ga nd e GAND . ya te :,
ASU-CI- t ad uc
Dv iti ya sc aii cit ·• . .
-N aty as as tra - N - 131
nnatam.
Another reading is Siicipado
e
on e foot as SiicI, th e sid e is be nt wi th on e ha nd on th
With
an d the ~th er bent ne ar the ch eek - this is called GandasiicI
ches t
is l'f t ed up as Su-c1-. ..
Anot he r re ad in g - On e fo ot 1
b d. ap all ava or
ABHINAVAGUPTA takes the en in g of th e ha nd to n1 ea n ei th er Al
Su cim uk ha Nrtta Hast
. as or even the SiicI_Abh.inaya HaSla. Th e foot 111ay be Su cI Pada of the
f ·f .
feet variations or even the l"f . h .
I mg o the Su cI pa
.
da
" neru t e re gi on of th e ch ee k. Th ese are all
mentioned by Abhinavagu pt a on the basis of a few h . ..
tie s on th e su bj ec t, whose
ot et au th on
names he has not mentioned .
PRACTICAL RECONSTRUCTIO N OF THE 108 KARANAS 175
SCULPTURES: -
The Thanjavur figure is in Mal).c;lala Sthana with the right foot as SucI and with the torso
bent on that side. The left hand is on the chest, while the right hand is near the cheek. The other
right and left hands are lowered and raised respectively. They have no weapons. The
Kumbakonam and Chidambaram figures are in a seated posture with the right and left legs seen
lifted respectively. The corresponding hand is near the cheek. The other hand is on the chest.
SATARA : -DevI's figure is in the MaQ.c;lala Sthana with the right foot in Agratala. The
torso is bent on the right; the left hand is in Khatakamukha , while the right hand is near the
cheek in SucI. Siva' s figure portrays the Siicipada CarI on the right with a stretched knee and
with the big toe touching the ground. The main hands are as DevI' s, while the other two show
their pose.
PRACTICAL RECONSTR UCTION: -

Two interpretations are seen in the sculptures based on the two readings of the definition.
1. The Thanjavur figure follows the first reading. The SucI CarI is performed with the
corresponding hand doing the Sucyasya action. The other hand remains at the chest.
The action is repeated on the other side.
2. From a seated posture, the foot is thrown up with pointed toes. With the back resting
on the ground and one foot flapped in, the other foot rests on the floor flatly in Sama
position. The knee is bent. From this posture, the shank is lifted up and down with the
corresponding hand as Alapallava. The action may be repeated on the other side too.
The SucI Abhinaya Hasta may be used to point out the Gal).c;la (cheek).
USES: -
It may be used to indicate some decoration on the cheek. This purpose is served with the
first interpretation. The second may be used in acrobatic and forceful dances.
COMMENT: -
The Thanjavur interpretation has a better aesthetic appeal than those of the other two,
which looks more, like a feat than dance. To indicate the usage of the Kara9-a, the hand mirror
and cosmetic caskets have been added in the layout.
KARA~AS - VOL It
176
72. PARIVJ.{TTAl\1
"Urdhvapave~titau hastau sucipado vivartita~

Pruivrtta trikam caiva PARIV~TT A¥ taducyate"
· · -Natyasastra - IV - 132
The hands are raised to perform the Udve~tita action while the
foot in the fmm of SucI is turned back along with the sacrum.
This is called Pari vµ:tarµ.
AB HIN AV AGUPT A says that the hands are to perform the -Ordhvamar:i<;lali Nftta
Hasta. One foot performs Sud Cari and the other does Baddha Can. The body turns with a
movement of rare beauty by keeping the knees close to each other. Because of the turning, it
is called Parivfttarµ.
SCULPTURES: -
The Thanjavur figure has a back view in Mal).<;iala Sthana with the right foot as Suc1.
The four hands, which are spread out in different directions, suggest the action of the
Ordhvamal_l<;fali Hasta. The Kumbakonam figure has the right foot crossed with a straight
knee. It actually shows the dropping of the right foot in Siic1 Car1. The forward movement is
suggested in profile. The hands above the head show the Ordhvamar:i<;Iali action. The
Chidambaram figure has the frontal view of the san1e posture seen in Thanjavur. The hands
are near the head.
SA TARA: - The movement starts with the Suc1 CiirI; the other foot is dragged near the
former; the knees get closer to each other, as in DevI's figure; then through Baddha Cad, n
half turn of the body takes place. To return (i.e. Parivrttarri), the action is repeated by startjng
the SucI CarI with the other leg. DevI's figure has both the knees tunled on the right with both
the hands at the level of the head. The heels are raised with the knees bent. Siva •s fi gure
PRACTICAL RECONSTRUCTION OF THE 108 KARAr';JAS 177
shows Baddha CarI performed with the left leg, showing the process of turning backwards.
The secondary hands are at the chest showing the course of action, while the main hands are
above the head indicating Udvestita.
My two photographs portray turning and returning.
PRACTICAL RECONST RUCTION: -
This Kara:r:ia must be performed in the form of turning and returning. The retracing of
the rounding movement is meant by the very name of the Karai:ia.
The right foot does SiicI CarI. The Chidambaram figure shows the beginning of the
li fting m ovement. The end of the movement after starting with left foot is seen in the
Kumbakonam figure. The right foot is moved on the right as SiicI. The beginning is seen at
Chidambaram. Then the left is moved near it with both the knees touching each other in a
slightly bent posture. They both turn backwards through the left foot performing the Baddha
CarI. Both the feet are turned on right with knees crossed and stretched. The next part is seen
in the Thanjavur fig ure . Now the retracing of the action must be done. The right foot itself
performs the SiicI with the body turned backwards. The left is dragged near it. Then the left
foot turns to the front in the form of Baddha CarI. The hands keep performing the
Ordhvamar:ic;lala Nrtta Hasta. When the action starts with left foot doing Siici, thus turning, the
end of returning will be like what is seen in Kumbakonam figure.
COMMENT: -
This is a lovely, graceful Karai:ia ofLasya nature. It must be adorned with Recakas .
- ~ -
73. PARSVAJANU
(Ref: Volume III Page Q .!
"Qq;: ~ : qre: ~ ~So/: I
'!fei1@~ cf~: 1:JT~ cl<1~d II
"Ekal:t samastrutal~ pada urupr~!he sthito.aparaJ~

Mu~tihastasca vak~astha~ PARSVAJANU taducyate''
-Na~yasastrn - IV - 133
KARA~AS - VOL II
178
. ·s kept at the back

When one foot is flatly placed and t h e oth er 1
. .h h d s Musti near the chest, it
of the respective thigh wit one an a ..
is called Parsva Janu.
ABHINAVAGUPTA says that the foot is to be raised to touch the root of the thigh with
the other foot placed flatly. The knee wi ll be raised on the side. The other hand is placed on
the waist as Ardhacandra.
SCULPTURES: -
The Thanjavur figure shows the initial stage in lifting the left foot from Mai:i<;lala Sthana.
It may also portray the course of the same leg just before being landed. The right hands are on
the side, perhaps as Mu~ti . The left hands are seen raised and lowered. The Kumbakonam and
Chidambaram figures have the right knee lifted at the level of the shoulder, with the right as
Kuficita. The Kumbakonam figure has Mu~ti and Chidambaram figure has Pataka for the
right hand. Both the figures have the left hand in :Qola or Recita postures, spread on the side.
The Kmnbakonam figure has the torso bent towards the lifted knee, whereas the Chidambaram
figure has a straight torso.
SATARA : - With alternate lifting of the knees on their respective sides , the
corresponding hand moves out in Mu~ti, while the other hand is in Lata, pola or Recita or
even gets placed on the thigh. DevI's figure shows the right knee lifted, while that of Siva
shows the continuation of the action on the left.
PRAMBANAN: -This panel has only Pl and P2 figures. The feet of Pl are broken, the
face of Pl is turned towards its left, it has a smiling expression revealing the teeth. The character
sports a beard. The main figure has a very clear Parsvajanu on the right, with the torso and head
bent on the same side. The right hand is on the chest, in the process of changing it to Mu~µ and
left hand is on the respective knee placed as Aralarp. The relief has a victorious martial flavour.
The face of P2 has a moustache and also has a smiling face revealing the teeth.
My photograph portrays the next stage after what is seen in ss. The hand is extended
forwards as for boxing. The other photograph of dancers _ Ravi an d Skan d a K umar, capture s
the end of this Karai:ia to depict a combat.
r R.ALl !CAL RECONSTRUCTION OF THE 108 KARAl';lAS 179
PRACTICAL RECONSTRUCTION: _
The foot is alternately lifted as in the Kumbakonam and Chidambaram figures. While
the corresponding hand is Pat.aka or Mu~ti, the other hand could either be placed on the thigh
as Ardhacandra or moved towards the lifted leg as Qola, Lata or Recita. The former arm may
hold the knee as in the Chidambaran1 figure or be in front of it as in the Kumbakonam figure.
USES: -
Abhinavagupta recommends this Karal)a for fighting scenes.
COMMENT: -
Chidambaram figure does not follow the reading Mu~ti Hasta. We are not aware of any
other reading to suggest Pataka Hasta. This movement is seen in Kalaripaitu .
74. GRDHRAVALiNAKAM
• •
l{BlAtuRa: qre:: Fch~af@a ~11cf>: 1

~ 'AtflRJi ~ cl~I~ "JJ,'<-Jlcl&l1cf-> II
" PrsthaprasaritaJ:i padaJ:i kificidaficita janukaJ:i
. .. - - "
yatra prasaritau bahii tatsyat G~DHRAVALINAKAM
A foot is extended backwards with the knee slightly bent. When

the arms are extended as well, it is called GrdhravaHnakaqi.
ABHINAVAGUPTA says that the foot can be extended on the side. The knee must be
bent near t he ground . Th e h an d s ar e held as Lata on the sides. The Karana
· obviously denotes
the eagle.
180 KAR ANAS - VOL It
SCULPTURES: -
The Thanjav ur fi gure shows the course o f exten d ing
. the right foot either at the back 0
. . r
· · d . ·
on its side. Two han s are 1aise an d d th e other two are lowere d hke the wings . The
Chidam baram figure shows the second stage. The right foot is slightly behin~ th ~ left_and is
· St about to be ex ten d d backwards The left hand is hangin g down and the nght 1s raised as
JU e •
Recita. The Western Gopura of the Chidam baram temple has anothe r part of the Karai:ia
portrayed. The right leg is lifted as Vrscika while the hands are same as in the Eastern Gopura.
This is the fourth stage of the Karal_la. Finally, the knees are bent near the ground as in the
Kumbakonam figure with the hands on Lata. The knees are seen depicti ng the stage just prior
to that of bei ng landed.
SATARA: - The action starts with one leg backwa rds with its knee in Aficita. This can
be achieve d through an Atikranta CarI or even by gliding one foot forward. The body may
undergo an outward reeling (Bahya Bhramarl), after which the lifted leg is landed as seen in
the left leg of DevI' s figure. The hands perform GaruC,apak~a. Then the body gets lowered to
a seated posture with the knees close to the ground. This is seen in Siva' s figure. It resembles
the relevant Kumba konam sculpture; but the action is shown with the left leg lifted instead of
the right.
PRAMBANAN: - P3 has the right leg in Mal).C,ala Sthana , the foot is absent, rather
broken. The left leg is lifted for a reeling, backwards. The left forearm is missing ; from the
available part of the hand it is easy to conclude that it should have been Recita or a part of
Garuc;iap~a. The right hand is near the cheek in the process of Recita. The final stage seen
in SS must have been in P2 if it had not been broken. Though the lower part of the body is
broken, the height of the upper part of the body in relation to the other two figures akes it.
01
beyond doubt that it should have had a Janu Kuncita as in SS. The left hand is lifted near the
belly of P3 and the right hand is lowered. This shows the process of flappin g it inwards to
indicate the landing eagle. The forearm is also missing. This figure is another proof fo r such
seated figures having been part of the Marga tradition as against the view of Dr. Ragbavan.
(Vide Vol. I Chapte r 6 Page 136 Fig. 48). Pl is a standin g figure with a slight bend of the
knees. The hands are holding cymbals. This is another Pramba nan panel, which has prove-d
my practical reco nstruction of the movement as authentic.
My photograph depicts the last part of the movement.

pRACflC'AL RECONSTRUCTl ON OF THE 108 l<ARANAS
18 1
PRACTICAL RECONST RUCTION : .
The above description of the sculptures themselves shows the animation of the entire
I(aral)a.
COMMENT: -
Linakarp means to be close to something. Here Avalinakarµ means landing in a gliding

way. It is significant that the action of the hands do not show the flapping wings, but just their
coming to the rest. The Karar:ia depicts a landing eagle. This Karai:ia is depicted in the
Kailasanatha temple at Kancipurarp. as being performed by the multi-armed Siva. (Fig.48 -
Vol.I). The diagram of an eagle is self-expl anatory.
75. SANNATAM
•
3~~ ~ cf>l4ftjJJd: ~f@cf>~-al I

~ ~ d'~ ~ ~ dW::l&dt{ II
" U tpl utya carai:iau karyavagrata}:l svastikasthitau

Sannatau ca tatha hastau SANNATA!yt tadudahftarµ"
-Na!yasastra - IV - 135
Through a jump, leap forward and cross the foot in front with
Sannata hands for the movement called Sannatarµ.
ABHINAVAGU PTA says that the Harit:3apluta (Mfgapluta) Cari must be performed followed
by the cross of the shanks. Sannata an d D. ola Hastas are to be used.
SCULPTURES: -
left. _The
.
The ThanJavur figure has th e cross of the shanks . .right palm placed on the
with the
.
Chidambararn · ht ti0 ot crossed as Kufic1ta m front from the Ma99ala Sthana.
fi.gure has th e ng
KARA~AS _ VOL II
182
. y scika with the hands on the left side with the

The Kumbakonam figure has the nght leg as f
root of the palms touching each 0th er.
. t- Carl cross the shanks, with the Samputa Abhinaya
SATARA: - After the Harn;iap1u a , .
. the right side with the left knee protrudm g to the
Hasta. Devi's figure shows the Jutnp on ' . ,.
. . . fl • f th hank close to the thigh. The hands are 1n Samputa. Siva's
nght, along with a app1ng o es .
. h
figure 1s almost t e same as Th a nJ· avur except that the moveme nt 1s shown
.
on the left side.
The secon dary han ds sh o W th e course of forming Samputa . The main hands are hanging
down showing the end of the action.
My photograph relates to the posture in T with an expressi on meant for this Karar:ia.
This Karar:ia can have two interpretations.
1. The Harir:iapluta Cari is performed with J?ola Hasta followed by landing the feet with
a cross of the shanks and with Samputa Hasta.
2. The Karar:ia called Harir:iapluta has the Aficita Jangha i.e. a bent shank interpreted as
Vrscika Pada in the Kumbakonam Karai:ia series. Though the inscripti on is missing, it
was possible to identify the figure given for the illustrati on of this Karana as Sannata.
The Harir:iapluta Cari is performed through a leap causing the raising of the second
leg. The hands get turned, while they are in contact with each other. They hold each
other as Samputa when the legs cross.
USES: -
It is said to be used for depicting flattery of and by inferior men.
COMMENT: -
Sannata means closing. Hence the Abhinaya Hasta Sam
PU!a may be used as suggeste d in
Thanjavur and Chidambaram figures.
PRACTICAL RECONSTRUCTION OF THE 108 KARANAS
183
76. suci
~~~~ I
q4lJ,ct~,J~ ~BT ~ 4Rr.Afaa, 11
" Kuncila.J11 padan1ut~i pya kuryadagrasthitam bhuvi

Prayogavasagau hastau sa sOcI parikirtita"
When a Kuncita foot is raised and thrown and put forward
along with the hands progressing and regressing, it is called
SucI.
ABHINAVAGUPTA just indicates the SiicI CarI.
SCULPTURES: -
The Thanjavur and Chidambar am figures are in Mal).c;lala Sthana. Thanjavur figure has
the right as Suc1 Pada. Chidambar am has both of them in that posture. The Chidambaram
figure has the beginning and Thanjavur has both the beginning as well as end of Recita
hands. The Kumbakon am figure has both its thighs, shanks and feet spread on the ground on
the respective sides. The torso rests on the left leg with the right hand holding the left foot. The
other hand is on the chest.
SATARA: - Dev!' s figure shows the hands in Recita with the right foot extended and
landed forward in Suc1; the torso is leaning to the left. Siva's figure shows the next stage with
the left foot in Suc1 Pada in the Mal).c;lala Sthana. The main hands are hanging in Qola wi th the
other two indicating Saivite symbols - the deer and the Mazhu weapon.
My photograph relates to Kand therefore the second interpretation.
lwo interpretations are possible.
1. Tt e SiicI Cad is performed with Recita hands.
KARAt:,lAS - VOL n
184
- . h torso also in a lying posture. Th

- . formed with t e is is
2. The Sa ma Suet Sth ana is per Th . h s bee n descri be d in the San. - -
a Desi Sayana (lying) pos ture. is ru g1ta Ratnakara.
COMMENT: -
. • i: t wi th the entire bo dy restJng on the .
The Kumbakonrun fi.gure loo ks hke a Yogtc iea left
elb ow .
77. ARDHASiJCi
(R ef: Vo lum e ID Page 86)
"Alapadmal:i sirohastal:i Siicipadasca da~

iQaJ:l
yatra tat Ka ra~ ~jf iey am ARDHASUC
lti namatal:i" ·-
-Na~yasastra - IV - IJ
ArdhasiicI is that wherein the right foot
is performi ng Su c1 wi th
one hand as Alapadma near the head.
ABHINAVAGU PTA says that the han

d can be in the reg ion of the head.
Su d Clri
itself is the Kara~a, but performed only
on one side.
SCUL PTURES: -
Bo th the Thanjav ur and Chidambara
m figures are in M ~9 ala Sth ana , sug
gcs un~ tl11.~
lifting of the right foot as SiicI. ln the
Thanjavur figure, the four han ds sho
w that wh ik lh.:
Su d Pada is stretched, the right hand
goes nea r the head as Alapudn1a und the
left ~Lx:s d L)\.\ 1'
as Nit..amba. Wh en the foo t lands and
the oth er foot is dragged near, the t\h
l(K\dnm h::mJ fall:,
on the thigh wi th t.hc left hand rui sing
as Rec itn . Th~ rni sed rig ht him J and
low er~l teft ha nd
of the Chidamhar:.un f 1gurc aJso portJ uys
the sam e movem ent. The Kmnbaku n:uT
l figure inl~rpret5
Ardhas uc1 as halt Sf1c1. Suc.: 11,us bee
n int erpreted ns the c:x tcnllin g of bo
th the l~gs 0n thell
respec tive sides. I (al f ot Suc1is ~x lcnsio
n of nne leg . ll is twn c~ interprt"kd lik
e the Ga1_,Ja_st1(l
of the Chiclambu1aw fig u, e.
SATARA: · From the Ma9~al a Sthana the SiicI Cari is performed. Devi's figure portrays
this on the right side. The tight hand is in Alapad ma near the face with the arm in Kuficita; the
left hand is in Recita. The final stage is seen in Siva's figure, where the left foot is drawn near
in SucI Pada; the right hand is resting on the thigh while the other hands depict animati on .
My photogr aph shows the last part of the movem ent as per the K interpre tation.

The two possibl e interpre tations are clearly underst andable from the descript ion of the
sculptures.
COMMENT: -
While the SiicI involve s a for. ward movement, the ArdhasiicI would cover the space on
any one side only. The Kumba konam interpretation is almost of a static nature.
78. SiJCiVIDDHAM
•
"Padasu cya yada pado dvifiyastu pravidhyate

taducya te"
. . tau hastau SUCIVIDDHA.M
. sahsthi
Kativak
-Natyas astra - IV - 138
When a foot perform s the SiicI Pada and joins the other with
the hands on the waist and chest respectively, it is called
Sucivid dham.
ABHIN AVAGU PTA ·clarifie s that the word "Pravidhyate" refers to the action of the
SiicI Pada only. The heel of the second foot must be exposed . The hand on the waist is
_ . or Ardh acandra
Paks.avanc1h • mukha at the chest.
. . The other is Khataka
KARA~AS - VOL II
186
SCULPTURES: -
All the three figures follow Abhinavagupta's commentary. The right foot is SucI with
the corresponding hand on the waist. The Thanjavur figure has the left foot as sama, whereas
the Kumbakonam and Chidambaram figures have a Mar:i<;iala Sthana. The Kumbakonam figure
has the right foot crossed in front as Kuficita with the heel lifted up. The other foot is also well
exposed. In Chidambaram, both the feet are on the toes .
SATARA: -The right foot of the figures is in SucI (Pada Bheda) with the corresponding
hand on the waist. The other hand is in Khatakamukha near the chest.
My photograph relates to T.
This is essentially a slow and steady movement, almost static in nature. It is just the Sud
Pada of the feet variations and not even the CarI that is meant. A SucI Pada is steadily placed
by the side of the other or even made to cross either in the Sama or Mal).c,lala Sthana. The
hands are to be as in the sculptures. The movement need not be repeated.
USES: -
It is meant for denoting contemplation and deliberation.
COMMENT: -
The name of the Karar:ia impregnates the two important features of the action. The word
"Viddham" has in it both the roots namely "Vid" and ''Vidh" meaning to be set-in, in an
· th'.1s K arana , w hich
orderly way and "be devoid of'. The SiicI Pada is to be settled prope r1y 111
is bereft of the SucI Can. ·
PRACTICAL RECONSTRUCTION OF THE 108 KARANAS
187
79. APAKRANTAM
•
<f~(iq~cl 91~J.i9#>i~~tj ~ I
t;f'41Jlcf~IJ~ $@itj9#>F-cl dt1=o?.t8 11
"Kjtvoruvalitru-p padamapakrantakramarp nyaset

Prayogavasagau hastav APAKRANTAlyf taducyate"
-Natyasastra - rv - 139
After twisting the thigh as Valita, the Apakranta CarI is to be
perfonn ed with suitable actions, of the hands . This is called
Apakrantfun.
ABHINA V AGUPT A emphasizes that there should be a cross of the thighs with the
limbs close to each other. He quotes the definition of the relevant Cari.
SCULPTURES : -
The Thanjavur figure has the right thigh crossed in front of the left for the Apakranta
CarI. But the cross is not seen in the form of a well knit Baddha Cari as specified by
Abhinavagup ta. Two hands are lifted up and two are bent inwards. The Kumbakonam and
Chidambarain figures are in Mai:i<;Iala Sthana with the right foot as SucI. The right hand is on
the waist and let loose in the Kumbakonam and Chidambaram figures respectively. The left
hand is near the chest.
SATARA: - Devi's figure demonstrates the right knee being lifted on the right side
with the shank flapped in; the other knee is also bent with the foot in Parsva. The arms are
bent in Kuficita with upturned palms and fingers pointing towards the respective sides . Si va,s
figure shows the right foot placed slightly in froqt, with both the feet in Parsva; the knees are
also bent as for Mar:ic;lala; the secondary hands are extended a little more than those of Devr s.
The next stage is shown through the m ain hands, which are lowered with the fingers pointed
inwards and palms facing down. They show the course of the Nitainba Hasta. The righ t waist
is slightI 1 1ised and the torso is be nt on the snme side. The two figures show the course of the
Apakr11 , Cari .
188 KARA~AS - VOL JI
PRAMBANAN: - P3 show s the actio n seen in SD, but with the left leg. P 1
is missing.
The left forea rm of P2 is missi ng. P2 show s the landi ng of the right
foot as Svas tika in front
after perfo rming the actio n with the right foot. The anim ation goes
as follo ws: T, SD, P2, K,
C, SS and conti nuati on on the left side P3.
My photo graph shows the actio n with the right leg along with Hast a
Karal)aS performed
by the two hand s alternately .
The thigh is turne d inwa rds with the foot as SucI follo wed by the Apak
ranti i CarI. The
action is repea ted on the other side. The Nrtta Hasta s, whic h is most
suita ble for this Cari, is
the Kesa band ha Nrtta Hasta . The other hand may hang or be place
d on the waist .
COMMENT: -
Bhar ata leave s out the hand move ment for our gues s with a vagu
e descr iptio n as
"Prayogavasagau hasta u". Abhinavagupta also does not comm ent on
it. The sculp tures suggest
the hand move ment .
80. MAYiJRALALITAM
•
"Vrscikarp. caral)arµ lqtva recita u ca tatha karau

tatha trikarp. Vivrttarp. ca MA YUR ALA LITA iyl bhav ef'

After assum ing the Vrscika foot the hand s nr tO be R.. .
• ' . " C-u e ec 1ta
with the turni ng of the sacru m. This is Mayt- ·• Ial '
.. 11c1 , 1tam.
ABH INAY AGU PTA says that the turni ng must be al ·h

,,
• _. " L ong wit the bend ing of the thigh
in Vrsc1ka form. The Bhra man rnvolves the Atikr anta Cari.
PR ACT ICAL RECONSTRUCTION OF THE 108 KARA?':JAS
189
SCULPT URE S : -
The Thanj avur figure shows the right foot lifted as Vrscik a. Two hands are
Recita and
two are bent inwar ds. The torso is turned on the right. The Chida mbara m figure
has the left
leg as Vrscika with the torso turned on the right along with Recita hands. The
Kumb akona m
figure , which has a very clear label , is in a lying posture with the abdom en on
the ground. The
two legs are lifted slightly backw ards and the hands are near the head. The
sacrum is turned
and hence the torso and face are also turned towards the front.
SATARA : - Throu gh the perfor manc e of the Atikrantii CarI, the secon d leg
becom es
Vrscika as seen in Devi' s figure . The hands are in Recita. The sacrum is return
ed with the
entire torso twiste d as in Siva' s figure.
My photo graph shows the action on the other side in relatio n to C and Janaki 's
photograph
shows the action on the other side in relation to K. See (figure - Painti ng from
Tibet, Page 190
of Volume II) of a painti ng from Tibet region portraying the secon d version
of tllls Karar;ia.
PRACTI CAL REC ONSTRUCTION: -
This Karar:ia c an be perfo rmed in three ways.
The left foot does Atikrantii Cari causing the Vrscika Pada for the right as in the
Thanjavur
figure. Till then , the hands are near the chest as Hamsapak~a upturn ed. They
assum e the
Recita hands slowly along with the turnin g of the torso on the left, still 1naint
runing the lifted
posture of the right leg . The action is then repea ted on the other side, thus causin
g half turns ,
i.e. a turn and a return. The last part of the return ing movem ent is seen in the
Chidan1baram
figure .
After the Atikra nta CarI with the left foot, the right is made Vrscika. Now the
body turns
on the right side itself with a inome ntum gained from the lifted leg. The leg
must retain the
lifted postur e. The last part of this turn is seen in Chida mbaram. The mov1
,11ent is repea ted
with the other li mb.
The Kumb akona m fi gure is perha ps based on a different read ing of a defi
nition . It is
most likely that it is follow ing a presently unknown rending ns ··vrsci kau car~n_
1au krtva,, denoting
190
KARA!':J AS - VO i. II
· f h i: · d uaI · t d f " Vrs/ci·kam caranam krtva" denotin g singular. Thjs

the action o t e 1eet 1n , ms ea o . . . •
must be the reason for both the feet to be lifted as Vrscika , which has reSulted in a lying
posture . The Trika is turned with the chest lifted . The hands are in the process of the Recita
movement.
USES: -
The name itself suggests that it denotes the peacock. Abhi navag upta says that it shouJd
be used in the May ura Nrtta.
COMMENT: -
A dance movem ent, which is very similar to the first interpre tation, is still in vogue in the
Thai dance. It is called "Mayur at" in that style. The Vrscika Pada is not made Kuficita there.
Instead they have the toes turned downward. It shows the influen ce of Natyas astra in the
neighbouring regions. There is a painting in a monast ery in Tibet, which resembles the
Kumbakonam interpre tation. A peacock feather introdu ced as a backdr op for the layout is
self-explanatory.
Painting fro m Tib et
May urat
PRACTICAL RECONSTRUCTION OF THE 108 KA
RA!":JAS 191
81. SARPITAM
•
~~aiqqJt ~ ~~ qf{qlffi d'l 1

~ff.tJl ~ ij~ ~ a~fifa~l&:d'l II
"Aficitapas!tau padau sirasca parivahitam
Recitau ca tatha hastau tatSARPITAMudahf.tarµ"
The feet are moved away as Aiicita with the head as Parivahitam
and the hands as Recita. This is called Sarpitarµ.
ABHINA V AGUPTA says that one foot is moved away as Aficita from the other with
the head tilted also as Aficita and with the hand moved as Recita on the same side. The action
is repeated on the other side. In Parivahita movement, the head is moved on the sides glidingly
and frequently.
SCULPTURES: -
All the three figures are in the MaQc;lala Sthana. The feet and left hand are yet to be
carved out clearly in the Thanjavur figure. All the three figures have the waist raised on the
left. In the Kumbakonam figure, the hands are at the chest showing the beginning of Reci ta. In
Chidambaram, the right hand is Recita while the left is Lata. In the Thanjavur figure , the right
hands are seen lowered and raised; the left hand is also raised.
SATARA: - DevI's figure is in the MaQc;lala Sthana with the right foot in Suci Pada: the
hands are near the chest, marking the commencement of the Recita action. Siva's figure
shows the right foot pushed out in Aficita with the tight hand in Recita and the left in I;)oln.
The body and head are tilted to the left. The other hand shows the animation.
PRAMBANAN: _ Though the relief has three figures, the first two are clear and the
upper part of p3 is damaged. All of them are in Mm~9ala Sthfina with Agrntala feet. This is in
tune with my practical reconstruction involving Ancita and Agratn.b without li fting the foo t.
Pl has the left hand on the thigh with the torso leaning towards P2 in an attitude of listening.
192 KARANAS - VOL JI
T his is possible only throug h Ka!i Recaka. P2 has a Abhugna chest variation with hands
playing the Magudi (the snake charmers flute) . Symmetrical to the hand of P 1, P3 has the
right hand on its right thigh . The fac e is not clear. The Recaka of the upper part of the body
and the waist are clearly s uggested in the bodylines of these three figures.
My photograph relates to SS . The background colour and the introduction of the diagram
of the Serpent indicate the m eaning of the term Sarpita111.
PRACTICAL RECONST RUCTION: -

From Mandala
.. Sthana ' an Aficita foot is moved on its side towards the front. It should
be a gliding movement without taking the foot off the ground. The left waist is raised. The
right hand is 1noved in line with the leg as Recita. The head is also softly tilted on the same
side . The left hand is to be Lata. Before the movement is repeated on the other side , the
transition stage is also equally important. The left foot is drawn on its toes by the side of the
right , which also assumes the Agratala pada. This stage is seen in the Kumbakonam figure. At
this point, the hands move in simultaneously . The Thanjavur figure portrays the left foot as
being dragged . That is why the waist is raised on the right. This same transition stage is very
effectively and beautifully portrayed in the Chidambaram figures. The Recita of hands \\'o uld
imply the Aviddhavaktra Nrtta Hasta to suit the serpentine movement.
USES: -
It is said to be used for depicting the gait of an intoxicated person drawing someone
towards her own self.
COMMENT: -
The name of the Kara1_1a is in consonance with the gliding action of the feet without
their being lifted. It is a very graceful and soft Karana involvi·ng the Tri.bl ·
. · 1anga. It renunc
· lso ne ,
of such similar movements in the Orissi style of dance.
This Karana
· is lhe last of the Thanjavur
· series . y s 1a b s by t h e s1·ct e o t· tJ 11·::;·
· · . . · The etnpt
Karana
. are indeed a tragic sight. Its incompletenes s is a rc·il
'- loss
, to ti1e d ance \iVO r Id .
n A(1'1CAL RECONSTRUCTI ON OF THE 108 KARANAS 193
FIV' .
82. DA~ QAPADAM

•
" N upurarp carar:iarµ lq-tva Dac:i9-apadarµ prasarayet

~ipraviddhak ararp. cai va DA~J?APADJ \¥ taducyate"
-Natyasastra - IV - ]42
After performing Nupurarp., follow it with Dai:i9,apadarµ ; extend
the hand and whirl it; that is called Dai:i9-apadarp.
ABHINAVAGU PTA says that the Dal).c;lapada CarI is performed in continuance with
the Nupurapadika. The hands are also thrown to have an appearance of a Dar:ic;Ia (stick).
SCULPTURES : -
Both the Kumbakonam and Chidambaram figures have the right leg thrown with an
unbent knee. In Kumbakonam , the lifting is at an angle with the Da1)9-apak~a Nftta Hasta on
the left. The torso and the head are also bent on the left, which adds majesticity as well as
grace to the Karar:ia. In Chidambaram , the leg is raised vertically with a straight torso. The
right hand is stretched on its side horizontally. The left is hanging down inwardly, showing the
course of its movement towards the right.
SATARA: - DevI' s figure portrays the beginning of the Kara1_1a, viz. , the Nupurapadika
CarI with the right leg twisted and lifted at the back; the hands are in Recita with the torso bent
to the right. Siva' s figure is similar to that of Chidambaram with the right leg lifted up like a
stick (Dar:ic;J.a). The right hand is in fro nt of the lifted thigh. The other three hands show the
forceful course of the movement.
PRAMBANAN : _ Pl shows a forcefu l style of performing Nupurapudika CarI with

the right leg. There is a dynamic large pacing perceived in thi s figure , with a large space
between the feet. The actual feet are broken; from the knee position it is easy to surmise this
KARAf:-1AS - VOL II
194
Cari. The weight of the body rests on the left foot/leg and the waist is raised. Both hands are
extended on the left as for Dai:ic;lapak~a. The Parsva is raised showing the force of action. P2 is
in the centre, to depict the change in the torso position, which is not in the centre. P3 has the
hands as seen in p J but the knee is stretched out on its side without a bend, indicating the
course of being lifted for Dai~c;lapada. Satara DevI shows the Nupurapad ika in a more feminine
and graceful way.
My photograph relates to Chidambar am on the other side.
PRACTI CAL RECON STRUCT ION: -
The Dai:ic;tapada Carl is performed with Dai:ic;Iapak~a Nrtta Hasta. The hands may move
on the opposite side as in the Kumbakon am figure or on the same side as in the Chidambaram
figure. But the Kumbakon am version is more aesthetical ly appealing than the circus ]ike feat
of Chidambar am version.
USES: -
It is said to be used in depicting the emotion of anger.
COMME NT: -
This Karai:ia must be performed in a faster tempo.
83. HARI~APLUTAM
•
(Ref: Volume III Page 92, 93)
3ifa#3l--d#3tj ~ t i ~ Pi9ki4~ I
~~-,~dl9R fa'rnr afg'c:ll~Ru19j1'-l 11
"Atikrantakramaf!l lqtvfi sainutpluty a nipatayet
Janghancit opari k~ipta tadvidyadd HARINAP LUTAM"
. _ _ __ . -Nn~yasastra - IV - l43
.
The At1kranta Can 1s performed through a·Jump and the foot 1s
made to fall on the ground with the oth er. sh an k thrown as
Ancita. This is understood to be Harii:iaplutan1 .
PR ACTICAL RECONSTRUCTION OF THE 108 KARAI;JAS 195
ABHINAVAGUPTA says th a t 1·t is · .

completely based on the Harinapluta CarT as 1n the
case of the Kararya Sannatarµ (No. 75). ·
SCULPTURES: -
·· ht Ieg 1·r
The Kumbakonam figure has th e 11g · pada from the Mar:i<;IaJa
1 ted as Vrsc1ka
posture. The right palm is facing the chest as
Ardhacandra with the fingers held horizontally.
The other hand is held at the chest as
Khatakamukha. The Chidambaram figure is in
Mai:i<;Iala Sthana with the right foot as AgrataJa.
The hands are seen as Dai:i<;Iapak~a extended on
the left side.
SATARA: - DevI's figure shows the right

leg extended in Kuiicita Pada to its side; the other
shank is flapped in; the right hand is extended
forward in Mfgasir~a, as a parallel line to the
extended leg. The left hand is near the head, also
in Mfgasir~a denoting a horn. The figure depicts
the Atikranta Akasa Cari with both the feet off
the ground. Siva's figure shows the process of
landing on the right foot with the toes. The left
shank is bent backwards. The right hand is near
the chin in Mrgasir~a while the left hand is
extended backwards denoting the tail. The other
two hands, with the Mazhu and deer, also show
the earlier course of action.
PRAMBANAN: _Satara Siva shows the movement on the right while the centre fi gure
of this re) jcf (P2) shows the leap performed on the left. P 1 is in M~<;lala Sthana. Hands and
body are hrnken. Traces of its right hand suggest a Mrgasir~a as seen in the reconstruction.
The cen ,,. 1_. fi gure shows the Atikranta leap with the left thigh thrown up. The right foot is yet
1% KAR A~AS - VOLf)
lo be lifted backwards . Satara Devi fi gure shows the leap with the right leg outSlretched and
the left fl apped in under the thigh. The centre figure (P2) has the right hand stretched crosswise
downwards and the left is near the head about to be thrown as Reci ta. P3 shows the leap on
the right side with the right leg crossed from the thigh in fron t and the body turned from
forward and turning backwards , in fright. P3 has the right hand up as Recita and the left near
the chest in Kuficita. The animation works out as follows : DevTand Siva of Satara, P3 , Pl and
P2. P3 shows the action on the right side. P 1 shows an intermediary acti on, the centre figure
shows the leap on the left.
My five photographs show the different parts of the leaps .
The Harir:iapluta (Mrgapluta) CarI is performed with the alternate limbs. The movement
of the hands is not specified by both the authorities. The hands may be in the form of Dm~<;iap~a
as suggested in Chidambaram fig ure. The Kumbakonam figure probably denotes the stage
before ex tending the hands on the side.
USES: -
ll is to be used to depict the darting deer.
COMMENT: -
Perhaps it woul d be wise to have the Mfgasir~a hands in consonance with the purpose
of the Karar,ia. The Pran1banan portray where the leap is on one side and the facing is on the
other side reminds one of Ka!idasa's description of a deer that darts away in fear, as Du~yanta
chases it from his chariot. The sculpture looks like as though the inspiration had come from
these lines fo und in Ka!idasa's immortal Sakuntalarp. (Refer Sloka Grivabhailgabhiramarµ in
the first act). Since I had danced this Sloka my reconstruction ofHarir:iaplutarµ was influenced
by the picture Ka!idasa paints of the frightened antelope. It was exciting to relate niy Griva
movement in the P figure.
The layout of the two pages is against the photograph of a jungle.
Compare the above figure of Thai Dancer portraying Golden Deer in the Raniay:.llln
with that of SS and also my second photograph.
PRACTICAL RECONSTRUCTION OF THE 108 K
ARA~AS 197
84 • PRENKHOLITAM
•
~ ; ; ; ~ f.1qiaiJ<1_ I
15°l019i<'!jf;~
~ ~ 'd ' d'loltd II
"Qolapadakrama111 lqtva samutplutya nipatayet
Parivrttatrika111 caiva tatPRENKHOLITAMucyate''
Perform the Qolapada CarI;jump well and then land suddenly
by turning the sacrum; this is Prenkholitam.
ABHINAVAGUPTA comments that the l)olapada CarI is followed by the other leg
undergoing the leap in the form ofBhramarI.
SCULPTURES: -
The Kumbakonam figure shows the second step, i.e. just before turning after the end of
r;:>olapada Cari Both the feet, which are turned on the right and the space between them,
seems to be about five spans. The Chidambaram figure has a Ma9-<;Iala Sthana with both the
feet on the toes. The right hand is stretched across, the left side. The left hand is placed below
the elbow of the former in the form ofMu~ti.
SATARA: - The KaraQ.a commences with l)olapada CarI performed by the right leg
followed by the SiicI CarI by the left foot to gain momentum for the Akasa BhramarTon the
left. The whole action involves larger space. DevI' s figure portrays the Akasa BhrrunarT with
both the feet lifted near the back and the body turned towards the back; the hands are above
the head. Siva's figure shows the completion of whirling in the air; the body is turned in front
with the right leg in the process of landing. The torso twists to the front with the right mai n
hand tending to move in Karihasta. The left hand near the knee is in the form of Mu~~i. The
other two hands show animation. The face is also in the process of turning towards the front.
The Chidambaram figure shows the end of the movement with the right hand in Karihasta and
the left placed below it in Mu~µ.
198 KARAJ':-IA S - VOL U
PRAMBANAN: - This panel has the main figure very similar to C but on the opposite
side. The two figures on the sides are both accomp anists playing dr ums. The main figure has
a Svastika Pada, unlike in C. The figuJe suggests landing after Akasa Bhrama ri with a sideward
sway.
My photogr aph tallies more with P (P2) also showin g the last part of the movement.
PRACTICAL RE CONS TRUC TION : -

The I)olapa da Cari is perform ed with the swingin g of the foot. It is landed as Aficita.
With a momen tum gained fr0111 this long step, the other foot leaps in a sweepi ng manner on its
side or in front. This leap may also be perform ed through the SiicI Cari. Again, there is a jump
through which the body turns around and gets landed on the toes as in the Chidam baram
figure. Regardi ng the movem ents of the arms no hint is given. We may presum e that the r;:>ola
Hastas are to be perform ed with the relevant Carl. While jumpin g, one hand is near the chest
and the other turns as Udve~tita upwardly and then gets stretche d on the opposit e side while
landing . The Bhrama rI must be an Akasa Bhrama rI, i.e. a turn on the air.
COMM ENT: -
Prenkho litarµ means oscillat ion. Hence the Qolapa da CarI is the main feature of th.is
Karana.
85. NITAMBAM
•
, ~ t f¾Pt ~ ~ (Ref: Volume III Page 95)
1,~••"!~ %1 ~tt11 ~I
~~~~~Pia~~ ~ I I
"Bhuja vurdhv a vini~krantau hastau cabhidh omukhaiiguli
Baddha CarI tatha caiva NITAM BE karai:ie bhavet' '
The hands move above the shoulde rs and then get lowered with
fingers of the two hands facing each othei· alo · h t he
ng Wit
Baddha Carl, in the Karai:ia called Nitamb a.
PRACTICAL RECONSTRUCTION OF THE 108 KARAT;JAS 199
AB HIN A VAGUPTA says that the Pataka hands move up as Vyavarta. They are raised
with fingers pointed upwards. After moving towards the head, they are lowered near the
shoulders through Parivartita. Then the Hastas are made to face the body. This is followed by
the whirling of the hands , in a graceful manner. The implication is that the action is repeated
th.rice before the hands are lowered. The idea of the Nitamba Nrtta Hasta is associated with
this Karm:ia.
SCULPTURES: -
The Kumbakon am figure shows the Baddha CarI with the right leg crossed in front and
the right waist crossing the left indicating Nitamba action. The Chidambar am figure has the
right foot planted on the toes and crossed from Mai:i9ala Sthana in front. The waist is raised on
lhis side and the hands are hanging near the waist.
SATARA: - DevI's figure shows the twisted thigh and indicates the beginning of the
Baddha Cari with the right leg. The hands are near the shoulders suggesting the process of the
Nitamba Hasta. Siva's figure shows the process ofNitamba while the main hands are lowered
portraying the near completion of the rotation of the hands.
My photograph portrays the Baddha CarI with the relevant Hasta Karai:ia.
The Baddha CarI is continuous ly performed for the series of hand movements . After
performing the actions near the head and the shoulders as described by Abhinavagupta, the
Recita Ghuft:iita is performed. This is through the whirling of the hands with the wrists touching
each other. This can be done at the chest. This action is followed by Nitamba Nrtta Hasta.
COMMENT: -
This Karan a resembles some of the movements of the dances of Israel and the Middle
East.
200 KARA~A S - VOLH
86. SKHALITA1"f
"Qolapadakramarp lqtva hastau tadanug avubha u

Recitau Ghurnit au capi SKHAL IT A:ryt Karai:iarr bhavet "
-Natya sastra - IV - 146
The polapa da Cru.i is perform ed with the relevan t action of
the hands. When this is followed by Recita and Ghuri:iita, it is
called Skhalitarp.
AB HIN AV A GUPTA just says that with the swingin g of the leg, the hands also are to
be swinging from side to side as Hamsa p~a.
SCULPTURES: -
Both the Kumba konam and Chidambaram figures are in Mai:i.9ala Sthana with the right
hand near the chest and the left hanging as Lata. The Kumba konam figure has the right foot
crossed in front as Kuncita. The Chidam baram figure has the same as Agratal a without a
cross.
SATARA: - DevI's figure shows the end of the r;:>olapada Cari with the right foot
landed in Ancita and with the r;:>ola Hasta on the left. Siva's figure shows the end of Ghful.lita
(reeling) with the right foot crossed in front. Two hands are in Recita showin g the course of
action; the main right hand is near the chest in Alapad ma, while the left hangs in Lata.
My photogr aph portrays that part of the Karai:ia betwee n the end of]?ola pada Cari and
beginni ng of Ghurr:iitarµ Karai:ia when a SucI Pada is dragged to forn a cross for reeling.
1
Abhina vagupta ' s comme ntary is far from helpful with regard to this Karn.i:ia. We could
assume that the r;:>olapada CarI is performed with }?ola Hasta swingin g on either side with the
PRACTICAL RECONSTRUCTION OF THE 108 KARA~AS 201
leg · This is followed by the Ghu ri:ii·ta K araiJa (No.32) along with Recita Hasta. Both the
sculptures are suggesting the GhurQ.ita action only.
87. KARIHASTAM
•
~ q ~ ~: l;flg~a ~stR: 1
31~d~~ q4}~: cf>~6@4' II
"Eko v~asthito hast~ prodve~tita talo.aparal)

Aficitascarai:iascaiva prayojyal) KARIHASTAKE"
One hand is in the region of the chest; the other is rotated; and
the foot is made Aficita; when such actions are used, it is
Karihasta.
ABHINAVAGUPTA takes Prodve~tita action to mean a Tripataka hand getting turned

near the ear. The Karihasta Nrtta Hasta is synchronized with a gait involving the Aiicita foot.
The Karai:ia gains the name from the Nftta Hasta.
SCULPTURES: -
The Kumbakonam figure is yet to be recovered. The Chidambaram figure has a beautiful
Tribhanga . The right foot is partly extended as Aiicita. The knee is not erect and hence it adds
more grace. The Karihasta is clear with the left hand near the ear and the other stretched
across.
SATARA:. The movement involves one Agratala step behind, followed by one flat
step by the other foot, concluded with the former being tnoved out and placed in Aficita.
DevI' s figure shows the beginning of the movement with the right foot crossed behind in
Agratala. The left waist is raised and the body is tilted to the left. The left hand is near the ear,
and the right is in J?ola on its side. Siva's figure is almost similar to the respective sculpture at
KARANAS _ V(>l. II
.
202
I ft side with its pahn-facing front as th
Chidambaram. The right ann is stretched on th e e ' ough
. • • h J fPallavasculptures portraying such movem
O
ready to swing back to its side. It 1s in t e sty e ent,.
The other two hands show the animation.
My photograph relates to C.
PRACTICAL RECONSTRUCTION: ·
When the right foot moves as Aiicita, the right hand swings inwards and when the left
foot moves, the hand swings outwards. Its gait must be beautified with all the possible Recakas.
1l1e foot may also involve the "Dhititai" steps of the Sadir and Kuchipuc;Ii styles for this Kara~a.
COMMENT: -
This Karal).a is still seen in Orissi style with some variation.
88. PRASARPITAKAM
•
(Ref: Volume Ill Page 98J
"E~astu recito hasto latakhyastu tatha parah

Prasarp1ta talau padau PRASARPITA KAMeva. tat"
Prasarpitam is th t h' h . -Natyasastra - IV - 148

· a w IC has Rec1ta for h
the other hand al . one and and Lata for
' ong with the feet bei ng spread on the ground.
. n1ov d
.ABHINAVAGUPTA adds that th e fioot that ts J . .
that side. The feet must move with b . . e on t 1e side has the Rec1ta hand on
out emg hfted.
SCULPTURES: -
K figure was recently discovered after removing th
e wall. The left foot is Parsvn and the
pR,\(11CA L RECONST RUCTION OF THE 108 KARA~AS 203
right knee is stretched in Mru_:ic;lala Sthana. Right hand is Dola and the left hand is Khatakamukha
ear the chest. This shows that the m ovement cou 1d ·be performed either • · .'
n m this way or a
combination of Khataka mukha and Recita. The Chidambaram figure is in MaQ.9aJa Sthana
with the right foot on the toes . The left hand is Recita and the right is Lata.
SATARA: - Devi's figure shows the sliding of the left foot on its side, causing the
stretching of the right foot in SucI. The left hand is in Recita and the right in J?ola, with the
torso leaning to the left. Siva's figure shows the end of the moveme nt when the SucI pada is
drawn in Agratala near the left foot. The secondary hands show the beginning of the action
that has to be repeated on the other side.
PRAMBANAN: - Pramban anpanel has three damaged figures. Pl has the hand lifted
near the head showing the process of stretching on the sides. Both legs are broken. P2 has the
left foot in Parsva with Nata Parsva on left and head tilted as Aficita, also on the left. The left
leg bears the weight of the body. The right leg is broken, but the posture must have been
surely like SD. The waistline proves this beyond doubt. The right hand is Karihasta and the
left is lifted up near the head to end the movement as Dru:i<;iapa~a. P3, though broken, shows
the bodylines clearly. The right foot is crossed at the back. This shows that the Agra foot may
halt on the side or get crossed at the back.
My photogra ph captures SD posture on the opposite side.
PRACTICAL RECO NSTRU CTION : -

The foot is moved on the side without being lifted along with the respective hand as
Recita. The torso also must lean towards this side. The other hand is to be as Lata. Then the
second foot is drawn as SiicI near the first. This stage is seen in the Chidambaram fi gure.
These actions are to be repeated with the other limbs.
COMMENT: -
This Karana looks like the Sarukkal A9avu of the standing type in Sadir style. The
hands are extend~ as Tripataka in this Ac:tavu. It shows the evolution this KaraQ.a has undergone.
KARAN AS _ YOt.
11
204
MHAVIKRiDITAl\f Volume III Page 99)

89. SJ • (Ref:
·c mcad rutak rama m.

"Alatam ca pura~Jqtva-dVI iya .
Hastau p~danugau capi SIMHAVIKRl:QITE smrta u"
-Naty asastr a - IV - 149
One foot moves forward as Alata and the other foot quick ly
follows it with the hands moving in a befitt ing mann er; that is
called Sirnhavikri<;iitarµ.
foot is
ABHINAVAGUPTA says that after one foot perfo rms the Alata CarI, the other
lion attacking
to be n1oved like a wheel. This KaraQa gets its name from its resem blanc e to the
with its paw.
SCULPTURES: -
placed at
The Kumbakonam figure is in Vai~Qava Sthan a with the heel of the right foot
the chest. The
an angle from the left, both being Tryasra. The uptur ned palm s are seen at
ly in front.
Chidambaram figure with waist raised on the right, has the left foot place d slight
The right and left hands are above and below the breas t respectively.
SA TARA: - Devi 's figure captures the begin ning of the Alata Cari with the right sole.
is stretch ed 00
facing the onlooker, in the process of being round ed backw ards. The left hand
abha to portray
its side and the right palm is as if ready to attack; both the Hasta s are in Ornan
caused by a
the paw of the lion. Siva's figure shows the lifting of the left leg at the ~ack,
primary hands
forward thrust of the right leg. The secondary hands are near the chest and the
are stretc hed to the sides.
My photograph shows the forward thrust.

pRACflCAL RECONSTRU
CTION OF THE 108 KARANAS
. 205
pRACTICAL RECON STRUCT ION: _
One foot performs the Alata Karai~a. The other foot and hand quickly make a vertical
rounding movement. The foot is dropped with force in front. The corresponding hand makes
a sudden forceful thrust. This hand may be in the form of a loose Pataka or even On:ianabha.
This is one of the Abhinaya Hastas mentioned in the Natyasastra in which all the fingers are
to be bent well . It is used to represent holding one by hair, receiving stolen goods, scratching
ones hand, skin disease, seizing a stone, lions, tigers and such other animals.
USES: -
It denotes the attacking lion. It may be used to portray anger.
COMMENT: -
Both the sculptures show the end of Alata CarI and the transition stage of the next
movement. The introductio n of the diagram of Lion is in tune with the meaning of the
nomenclature.
90. SIMHAKAR~ITA¥
(Ref: Volume m Page 100)
l£8qtlfrfd: 91¾1~ ~ Pl1>~Jl I

~~ q;J<#i rB~lcf>~dcf> ~ : II
"Pr~thapr asarpi~ padastatha hastau nikuficitau

Punastatha iva kartavyau SIMHA.KAR~ITAke dvijal)"
Oh Brahmins ! In Simhakar~ita, the foot is extended backwards
and the hands are Nikuficita. The same action is repeated again
and again.
KAH A[:-J AS . YOI . IJ
206
UPTA ide ntifies the act ion of the foot as VrScika Piid a. Th e hands have
ABHINAVAG
on the oth er .sid e
-< -bh -
du the lef t Th e 1nov em e nt is rep ealed ·
rryana a on •
to b e Pa d m ako;::ia an
SCULPTURES: -
ws
fig ure wa s rec ent ly dis cov ere d aft er rem ovi ng the wa11. Rig ht foot sho
Th e Ku mb ako nam
iici ta with a
din g pos tur e afte r the for wa rd thr ust and the lef t foo t is see n be hin d as Ku
the lan is in
a. Th e han ds are On ;ian abh a nea r the che st. Th e Ch ida mb ara m fig ure
Jan gha Svastik
ts the beg inn ing of ext end ing the Jeft foo t bac kw ard s, for, it is seen
Maryc;lala Sth ana . It sug ges , i.e. bent
wit h the sol e alm ost tur ned bac kw ard s . Bo th the han ds are Nik ufi cita
on its toes,
n Go pur a has the beg inn ing of the ext ens ion of the rig ht foot portrayed
inwards. The Wester
a. Th e other
left han d low ere d in fro nt wit h a ben t elbow. It is in the for m of Pad ma kos
with the
is seen as Un:ianabha.
vI's fig ure sho ws the Ati kra nta Ca d wit h the lef t leg and han ds stretched
SATARA: - De
in Ornanabha.
rig ht sid e. Th e Ha s ta is Pad ma kos a. Th e rig ht han d is nea r the che st
~n the d is
ws the left foo t lan ded wit h the rig ht lift ed in Vrs cik a. No w the righ.t han
Siva's figure sho
il e the oth er is dra wn nea r the che st. Th e sec ond ary han ds con firm the
~x ~e~ded forward wh
Saiv1te cha rac ter of the fig ure.
vem ent .
My pho tog rap h sho ws the end of the mo
: _
PRACTICAL RE CO NS TR UC TI ON
Vrs cik a foo t It
.
The Atikranta Car1 is per for me d with . · · mu st be per for me d w1t h great
o d . ti
maj esticity with the tors move m ront each tim e the foot is l . .
hand can be Lata. The other h and IS . t b p ~ the beand .

ed In front. Th
. .
e cor resp ond ing
o e adm ako sa, at and transfonned
. - h '-' gin run g of act Jon
mto Un;anabha and pus hed out h .
w en t e 1oot lan ds A s one £oot lan ds, s1multaneously, the
cik ·
oth er foot is to be lifted as Vrs
. a.
.
COMM ENT: -
.
Sin ce it depicts the lion and oth e1. sueh wil d ani ma l th
t ma y be use d to r s, e han d mo vem ent mu st resemble .
the paws. This gai epr ese nt the em otio n
of anger. Th e lio n is intr odu ced 1n I
th
the layout for den otin g the me ani ng of e name and the s ir. .
it
.
1s i
P It beh ind thi s Ka ran. a. Sin ce
... Id ' I
me ant to rep res ent hot tem per the d·ir·'·" l l l 1sh sha d e Is
' L
.
use d as bac kdrop.
l
J
PRACTICAL RECONSTRUCTION OF THE lOS KARAI';lAS 207
91. UDVRTT
•
AM
•
''~iptahastrun ~iptadehruna ~iptapadakar p

Udvrttagatranl ityetadUDV~I TAM . . smrtam"
. Karanam . .
The body, hands and feet are at loggerheads with the body as
. . Karanam.
Udvftta; this is called Udvrttam . .
ABHINAVAGUPTA says that in this context the word "Ak~ipta" means to be
asymmetrical. This is obtained through the Udvftta Cari from which the Karai:ia obtains the
name.
SCULPTURES: -
The Chidambaram figure has the right foot crossed in front as Kuficita, from the Mai;i~a
Sthana. The hands seem to be one above the other, a little below the chest. The Kumbakonam
figure has the right foot bent in front of the left thigh. Both the knees are spread on the sides
with the hands stretched up.
SATARA:. Devi's figure shows the right foot swayed backwards from the Ma9c_lala
Sthana denoting a half tum. The right hand is in Recita and the left is near the chest with the
face turned to the right. Siva's figure portrays turning from back to front. With the body
turned backward the right leg is lifted to show the process of turning. The hands are spread
showing animation.
PRAMBANAN: . Pl has the left leg lifted as for Aviddha CarI, which n1otivates a
forceful half turn. The hands seem to be holding cymbals or bells. P3 is leaning towards the
right. The left leg is missing. The right foot is in Parsva. The shank is 1nutilated. The bend on
this side suggests a shift of weight. The left leg not seen now may have been like the left of P2
(the main Li e), suggesting a continuous performance of half turns fron1 front to back and
KARAN AS . Vor. 11
208
th h th
back to front. The centre P2 shows the beginning of the turnjng on e right, wil e Waist
· • hil th · ht foot is in the process of being lifted . The next two
raised to gam momentum, w e e ng
· h f' fSD and ss The centre figure's hands show the stage prior to
stages are seen m t e 1gures o ·
· · dy to be extended. The sculptor has indicated the fast gyrations by showing
th at ofD ev1, 1.e. rea
the locks of hair spread on both sides in all the figures. The turn is executed without ground
contact of the foot in Aviddha. The left hand of P2 shows a wrist rotation.
My photograph shows the posture prior to what is seen in K.
PRACTICAL RECONS TRUCTI ON: -

The movement starts in Mru:i~ala Sthana. The Aviddha Cari is performed; the beginning
of this is seen in the Chidambaram figure. The lifted foot, as seen in the Kumbakon am figure,
is stretched out at an angle. The hands may perform Recita for thls action. The same foot,
without being landed, is bent backwards, causing a turn, or a half circle movement, of the
body. Through a jump, it gets landed with the body turned backwards . The same movement is
repeated again to complete the circle. It may be broken arcs also, when the movement is
repeated with the other limb, thus causing a turn and a re-turn. The hands may be spread out
as Udve~tita for the turns.
COMMENT: -
The Kumbakonam figure of this Karal).a is found isolated from the main series at the
Sarai:igapal)i temple. This fig ure and the next one are in the Kumbhesv aras vamj temple. Ref.
Chapter 6 Vol. I) ,,,
92. UPASR• TAKAM

•
- "~iptascar al)aiscaiko hastau tasyaiva canugau

Anatamca tatha gatram tathOP ASRTAKA
· • M bhavet"
r"T'JCAL RECONSTRUCTlON OF THE 108 KARANAS 209
pRAL' .
When a foot is in the form of Ak~ipta with the hands in

accordance with it, along with the body being bent, it is called
Upas!iakaq1 .
ABHINAVAGUPTA says th.it the hands are to be brought to the left side through
Vyavarta and Parivartita in the form of Arala. The body has to bend towards the left.
SCULPTURES: -
The Kumbakonam figure is in Mai:ic;Iala Sthana. The right hand is near the shoulder,
probably as Arala, and the left is near the chest as Khatakamukha. The Chidambaram figure
has the left foot crossed from Mai:ic;Iala posture in front and placed flatly. The right is on the
toes as Kuficita. The hands are seen as Lata. They may be described as Qola Hastas too.
SATARA: - Devi's figure shows Ak~ipta CarI performed with the left leg . The left
hand is in Arala near the shoulder and the right is in Khatakamukha near the navel. Siva' s
figure shows the next stage in Mar:ic;Iala Svastika. The secondary hands show the process of
rotating the wrists before extending them in Qola, as seen in the primary hands.
PRAMBANAN: - P 1 has a broken torso with the left hand as Khatakamukha, on the
chest, with the elbow as Kuiicita. Parsva is Unnata on the left. The right leg is seen from just
below the knee. The middle figure has a beautiful Tribhailga in Ordhvajanu. The left foot is
broken, but it is raised to the height of the thigh. The left hand is on the side with a clear
inward action of Vyavartita indicated. The side is raised on the left. The head is tilted on the
right and the right hand is seen as Arala placed on the respective thigh with the elbow turned
towards its side. Only the face of P3 is visible. A portion of the chest indicates the saine kind
of bend as in Pl.
My photograph portrays the part of the moven1ent in between Aviddha Cir'i of the
finishing as Svastika in Mandala Sthana.
this Karal)a ha\ ·nore than one reading. The following variations are possible in the perfonnance
of thi s Karan
KARAr:,JAS - VOL II
2 10
as. 1bis ~flta l-Iasta

I. Ak~ipta Cii.rl is performed with Ariilakhatakiimukha Nrtta Hast
. not men u·onedb y Abh1·r1av agupta But the Vyav arta Hast a Kara1_1a rn the forrn
1s " ·
t nam figure denotes
of Arala can be taken to mean this Nrtta HaS a. The Kum bako
this Hasta.
This just means moving
2. The other reading for Ak~ipta is "Agratascaral).arp. kary au".
and Atikranta may
the foot in front. In this case, Caris such as Apak ranta , Matt alli
also be used with Aral akha takam ukha Hasta.
Aralakha!,akamukha .
3. The Chid amb aram figure seems to have poJa Hast a and not
y of the words of the
The Chid amb aram inscription has the word Ak~ipta; but man
ratna va!i adds the
first line and the entire seco nd line are corr oded badly. Nrtta
The comment is as
following com men t along with the defin ition of this Karal).a.
follows: -
"Agratascaral).aqi karyau kramadc;Iolau kara u tata}:i

. kirti dhar avih. "
Ityailgikuriito Bhat..tatan. du
-Nft tarat nava !i Cha p.ill -Line 55
atal).c;lU and Kirtidhara,
By this, we com e to know that according to authorities like Bhatt
hand s. The Chidambaram
this Karai:ia involves a forward movement of the feet with Qola
is foun d in the inscription , it
figure follows the Qola Hasta variation. Since the word Ak~ipta
can be taken to mean Ak~ipta Cari with Qola Hasta.
COMMENT: -
In all these , · one o f the two
the side must be suitably bent · The Kum bakonam r·1gure 1s
. .
figures found m the Kumbhesvarasvami temple.
CAL RECONSTRUCTION OF THE 108 KARANAS
pRACfl . 211
93. TALASANGHATTITAM
• • •
"Polapadakramarµ lqtva talasanghagitau karau

Recayecca karatµ vamaiµ TALASANGHATTITE sada"
In Talasailghattita, the J?olapada is performed with the clapping
of the hands followed by the left hand performing the Recita
Hasta. This is to be repeated.
ABHINAVAGUPTA adds that after clapping the hands along with polapada Cari, the
Vai~r:iava Sthana must be used with the right hand on the waist and left hand as Recita must be
used with the right hand on the waist and left hand as Recita.
SCULPTURES: -
The Kumbakonam figure has the hands as specified by Abhinavagupta. The left hand is
near the chest denoting the beginning of Recita. But the Sthana seems to be Ayata and not
Vai~l)ava. Perhaps showing the beginning of reaching V ai~l)ava Sthana, the Chidambaram
figure shows the polapada Carl in action with the right leg swung to the other side. The right
hauct is Lata and left is Recita.
. SATARA: - Devi' s figure is like that ofChidambaram showing ~olapada Cari for the
nght leg. The clapping of the hands must be followed by such extensions of hands, progressing
auctregressing with the leg action. The final stage is seen in Siva's figure, which is in Va_i~r:inva
Sl~ana. The main hands denote clapping. The secondary tight hand is placed on the th igh
With the left in Recita. This marks the end of the inovement.
My first photograph relates to c and t.he second shows the end of the Karar:ia as in SS .
KARA ~ AS . VOL II
212
The Qoliipiidii CiirI is performed through the right foot with left hau d as Recita and the
right as Latii. The right hand should move in direction, which is opposite to that of the swinging
leg . When the foot lands as Aiicita, the hands clap in front of the chest. While clapping, the
left palm must be below the right. Then the left foot is moved in front and made to stamp to
form the Vai~i:iava or Ayata Sthanas. This is synchronized with the left hand moving up as
Recita and the right lowered and placed on the waist.
USES: -
Abhinavagupta says that it can be used in situations where sympathy dominates. It is
difficult to comprehend such a connection. It is perhaps useful in simple Npta, as well as any
situation portraying wonder or rejoicement.
94.JANITAM
•
Qcf)l c{a:l:ffl ~ ~Pd qc75~d: I

aMPJB~ : ~~~~II
"Eko vak~a}:lsthito hasto dvitiyasca pralambitah

Talagrasamsthita}:l pado JANITE karar:ie bhave~"
In J ·- -Natyasastra - IV - 154
arnta
. Karai:ia one hand is at the chest· The c-an- of the same
.
name 1s performed.
SCULPTURES: .
The Kumbakonam figure has the 1eft ~ioot as Sama a d th .

Agratala. The left hand is near the ch t d n e nght turned on its side as
. es an the other is Lata Th .
the nght hand near the chest and the ft L · e Ch1dambaram figure has
1e as ata in a per1ect~
Mandala Sth-
.. ana.
. SATARA: - In the Sama or Mandal S h- . c- - .
. - ' . . a t anas, Jamta
m Mu~p and Lata. Devi s figure shows th f ~ an is performed with the bands
e 1e t ioot turned to th . . a straight
e nght with knee; the
pRAC1'ICAL RECONSTRUCTION OF THE 108 KARANAS
. 2 13
right foot is turned to its side in Agratala with a bent knee. The waist is raised to the left with
the face turned to th e left also with the chin lowered. The left hand is in Lata and the right is in
Mu~ti near the chest. Siva 's figure shows two hands at chest-level in Mu~ti and two lowered in
Lata while in the Ma~1c;iala Sthana with the right heel raised in Agratalasaficara.
PRAMBANAN: - Though the relief is 1nutilated, three figures can be made out in
Sama Sthiina, Mai:ic;iala Sthana and Svastika Pada. Pl on the proper right has th e right hand
on the waist; the centre figure has a right Khatakamukha near the chest. P3 has the left in
Khatakamukha near tl?-e chest. A Tribhanga is discernible in all the figures. This Kara1.rn can
be performed in Sama Sthana and also in Mai:ic;Iala Sthana. SD and SS in the drawing are in a
different Sthana to indicate the option.
The Janita Car"i is performed either on the sides, forward or backward, with the hands as
mentioned above. The Chidambaram figure shows the end of the Cari, or the very beginning,
i.e. just before the foot is made Agra.
USES: -
Abhinavagupta says that this Kara9a is used as an indication of the beginning of any
action.
COMMENrf : -
The use of this Karana as mentioned by Abhinavagupta must be understood in the light
. '
of the performance of the Arigaharas and Ma9c;Ialas. In contemporary Sadir, the feet move in
Samapada CarI, stamping in the third speed just before beginning the execution of the J atis
and Kandis
. . . The Janita Karana
. must have been the counterpart of such an indicative action . It
helps to wann up and also get in to the correct speed in which the actions are to follow. \Vhen
a dancer or actor improvises the Abhinaya, the orchestra and the singer need some indication
regarding when to start the Nrtta. The Janita CarI was obviously used as a linking 1novement
in such situations. The two sculptures show that it can be performed either in the Ma-99ala or
Sama Sthanas.
K /\ RA ~ A S . VOL II
21·1
VAHITTHAKAI\1(Ref:
95. A Volum e III Page 105)
-A,-; .
v11 cic,
~
-q;~"""oi ~'--,I ~~I
~ ~~ 11
~l~Pfqf8eff ~ ~~ dG,91 (""1'- 1~
mukh angul I
. va- hastau dibhi
. am Kara1;arµ krt
"Jarut
. TIHA KAM "
Sanairnipatitau caiva jneya ir tadAVAHI .
-Na!y asastr a - IV - 155
. 1s c med WI·th the finger s of the hands
. per1or
If the Janita act10n
facing each other followed by their being gradu ally lower ed, it
is called Avahitthakarp.
ABHINAVAGUPTA sa; s that in Janita Cari, the hands are to be either

Arala or
ed to the chest.
Alapallava. From the region of the forehead, the hands are gradu ally lower
there, they
Their process is as follows. The hands raise near the foreh ead as Pallav a. From
ed through
perform Udve~tita one after the other and move to their sides. Then they are lower
Apave~tita and turned at the chest as Parivartita.
SCULPTURES: -
as in
The Kumbakonam figure is in Ayata Sthana in conso nance with the Janita action
.
interpretation
the previo us Karai:ia. The Chida mbaram figure is in Ma1;~ala Sthan a as per the
indicating
of the Janita Karai:ia of that series. The hands of both the figure s are near the chest
the last part, namely Parivartita.
hands, in
SATARA: - In the Janita CarI the following actions are to be perfo rmed. The
d out on the
Arala or Alapallava, move to the forehead. Through Udve~tita, they are move
~!ita and then
sides one after the other; they are lowered gradually to the chest throu gh Apave
foot is crossed
turned there in Parivartita. Devi' s figure is in perfect Tribh anga and the right
on the left.
behind, while the left waist is raised. The torso ~d the profil e of the face are bent
Siva's figure
Both the hands are above the head with upturned palms indica ting Udve stita.
·· d h nds are
continues to portray the same Cari without the curve of the h'Ip. Th e secon ary a
I
I
pRACf!CAL RECONSTRUCTION OF THE 108 KARANAS 215
th e course of action, and the primary hands are at chest-level, marking the
Jowered showing
end.
My photo shows Aral a Khatakam ukha with the rotation of the wrists.
pRACTICAL RECONSTRUCTION: _
The Janita Cari is continue d till all the actions prescribe d by Abhinavagupta for the
hands are complete d.
USES: -
Abhinava gupta recomme nds this Karai:ia for indicating ideas connecte d with secrecy.
COMMENT: -
The last part of the Alarippu in traditional Sadir performe d as a backward movemen t in
Sama Pada Cari seems to have evolved from this Kara~ia. In this, the hands proceed from
above the head as Alapadm a and get moved to the chest in .a circular manner. The figure of
Tabla is introduce d for suggestin g the usage of this Karai:ia for a fast Janita CarL
96.NIVESAM
•
. hitau karyavuro nirbhugn ameva ca

"Karau vaksahst ~
Mandala sthanaka m caiva NIVESA M Karai:ia:q1 tu tat"

The hands are to be at the chest, which is itself in the form of

Nirbhugn a, and if the posture is that of Mal)"ala Sthana, it is
called Ni vesarp.
ABHINAVAGUPT A quotes the definition of Nirhhugna. "Holding the breath, curve

the spine backwards, raise the shoulder s and straighten the chest stiffly - that is Nirbhugnrup.".
KARAl':-/AS - VOL II
2 16
b Ain dra Ma nda la wit h a spa ce of four

to e . . .
(Nat asastra -Chap IX -226). The Sthana has b . the upp er par t of the bod y 1s absolutely
.Y · .
eca use ,
spans between the feet. It is call ed Nivesarp
erect.
SCULPTURES: -
oved. It is
. d.is covered recently wh en the wall was rem
The Kumbakonam f1gure was
· h Kh tak - ukha near the chest in Ma nda • • la Sthana. The Chidambaram
•
alm osth keC figu rew 1t a. run
Ain dra MaJ ?.c;iala Sth ana wit h the han ds nea r the cheS t as Kh ata kam ukh a.
figure is in
i por tray the above mo vem ent in more-or-
SATARA: _Both the figures of Siva and Dev
less the same posture as described above.
pho tog rap h of Ayy ana r ido l on elep han t Vah ana sug ges ts the usa ge of the Karai:ia.
The
It can portray riding and gliding. My photog
raph relates to bot h Ka nd C.
for ridi ng. On ly the Sth ana is specified
Abhinavagupta says that this KaraJ?.a is meant
. The han ds, as Kha taka mu kha , see n in the Ch ida mb ara m figure, suggest the
and not the Can
accordance wit h the veh icle tha t is meant for
holding of the reins. The feet should move in
on the toes followed by the Ud gha gita action
to
riding. Both the feet may perform alig ht jum p
on alternate sid es ma y also be utilized. Toe
show galloping. A mere stamping of the feet
the Qolapada will indicate riding the elephant.
Atikranta Can may indicate riding the lion while
with ima gin atio n to sui t the need.
Hence, for this KaraQ.a, the CarI must be chosen
COMMENT: -
· see n 1·11 the
· w h at 1s
taka-mukh a. Th'1s 1s
Samgadeva specifies the hand gestures as Klia • c
Chidambaram figure.
ANAS
Cf!CAL RECONSTRUCTION OF THE 108 KAR . 217
~A
97. ELAKAKRiDITAM
• •
(Ref: Volume Ill Page 107)
"Talasaficarapadabhyamutplutya patanam bhavet

tu tat"
San nata rµ Valitarµ gatramELAKAKRfi?ITAfyl
jum p with the
Wh en the feet mov e on the gro und through a
\litaqi.
bod y bein g ben t and twisted, it is called Elakakri
the nam e from the Cari. Wh en the foot

ABHINAVAGUPTA say s that the Kara1.1a gains
is dropped, the bod y mu st bow and turn.
SCULPTURES: -
bara m figure is in Ma1.19ala Sth ana
The Kum bak ona m figu re is missing. The Chi dam
righ t han d nea r the sho ulde r, prob ably as Kha takamukha or Mu~!,i. The othe r han d is
with the
is seen slightly turn ed towards the left. Bot h
near the chest. In the We ster n Gop ura, the body
the hands are in fron t of the left breast.
for the relevant Can . Dev i's
SATARA: - Bot h the figu res are on their toes as required
left leg is turned and cro ssed on the right. The torso is also ben t to the righ t and twisted on the
amukha near the right shoulder and the left
left so as to face the front. The han ds are in Kha!,ak
's figu re sho ws the left foot in fron t, turn ed to the right. The body is facing backwards .
side. Siva
indicate the alternate turning of the
The hands imply anim atio n. Bot h the figures together
of the toes.
torso in fron t and bac k wit h a spri ng like action
P3 but all the figu res can be
PRAMBANAN: . p 1 and P2 are better preserved than
on the opposite side. The right foot is cros sed
identified. Pl is like Sata ra Dev ibu t the action is
ra DevI has the left foot cros sed as Ag ra in
in front and the tors o is well ben t on the left. Sata
smne Hasta as Devi. The exe cuti on of this
front and the bod y is ben t on the right. p J has the
Q.a requ ires a spri ng- like acti on on the toes , with twisting and ben ding of the tors o. The
Kara
KARA~/\S _ VOL II
.' I ~
_ . , s orting Iamb (Elaka). Pl js smiling in joyful

Knrn ,~n is inspitn l hy thL' movement or t 1IL; P .
I the left near the n ght shoulder. P2 has the righ
abnndl,ll. The right hood is above the hcad anc · . . t
·1~1 .· ,1t I nd is Ii fled though It 1S not clearly seen a d
l'lH) t in fro nt wi th Tri hh m'1ga curves . 1e 1 ig 1 ,a
r
' . _ n
- t ,fl I us Agra crossed 1n fro nt. The hand position·
th L' k rt hangs dow n as Lnta. PJ has t11c t: eg ·· . is
nnl dear. ,the "' l\gratn la tect
. vnnat1• ·011.s. au<.l ti1e ,S(Jd
.
ng-likc
-
1novement 1s well brought out in aII
three fi gures .
My photograph relates lo SD.
PRACTI CAL RECONSTH.UCTION: -

The Elakak rI<:lit5 Cfu·Tis performed with a bumping like spring action of the body. When
the fool is placed in front , the body bends down and also gets twisted on the left. In other
words, when the right foot moves, the left shoulder is lowered. The actions are to be repeated
on cilllcr side. The moven1ents of the arms have not been mentioned. We may use a somewhat
loosely held Kapiua Hastas, with the arms moving alternately towards the shoulder and below
the chest. When the right foot moves, the left hand is to be near the shoulder.
USES: -
Abhinavagupta says that this gai t is used to represent the lower class of people.
COMMENT: -
It is interesting to note that this Karnl)a is still in vogue in many of the folk dances of
. , Karagam. , o y1·1-tt
India and particularly in the South. It is used in Kavadi a am an d man y such
rustic_dances. The name of the Karana
· itself has a rustic touch ab ou t 1·t . It 1· 11
. 1tera y n1ean
s the
sporting lamb. The bumping or springing effect of the movement obtained throtioh the toes is
0
the most important feature of this Karana The intt·od t· f h • b· t
. . . · uc 1011 o t e d1agran1 of the lain 1s 0
hnng out the meanmg of the name of the Kara 11. a (spot-t·1ng 1arnb ).
rR , t·11 < \ I RI CONSTRUCT ION OF THE 108 KARAT':JAS 2 19
98. 0R0DVRTTA
•
M •
'' Karamavrttakarm:iamurupr~the.aiicitarµ nyaset

Janghancita tathodvrtta hyURUDVB.TIAM tu tadbhavet"
Hands perform Avarta Karat)arµ and then become Aficita at
the back of the thigh~ the shank is made Aiicita and moved as
Ud vrt_ta. That is Orudvftta Karai:ia.
Since Abhin avagupta mentions only Uriidvp:ta Cari, and the
sc ulptures seem to be closer to this interpretation, it is likely
that the second line of the Sutra may have had a reading as
"Jangancita Orudvftta" instead of "Janghaficita tathodvp:ta"
which makes it an Akasa Can.
ABHTN AVAGUPTA says that the Uriidvrtta CarI must be performed with the Ara.la
and Kha~akn Hastas turned as Vyavarta and dropped near the thigh.
SCULPTURES: -
The Kumbakonam figure portrays the movement of turning forward, in profile. The
back view is see n with the left foot on the toes and the right placed flatly. The hip is raised on
the left, indicating that the left foot is supposed to be placed in front as Agra, with its sole
turned towards the onlooker. The face is seen in profile on the left, also indicating the course
of turning. The right hand is in the form of Recita and the left hand is bent inwards. The
Chidambaram figure has both the toes turned on the left with the knees bent slightly and with
hands hangi ng as Lat.a. Toe torso and the head are turned towards the right.
SATARA : . This Kara1;ia starts with the Uriidvrtta CarI with the hands in Ara.la and
Kha~akamukha. Devi's figure portrays this. The right foot is placed behind the left with a
space of 6 Talas between the feet. Both are on the toes. While the right knee is bent, the left is
KARANAS - VOL II
220
. . h . ht and leaning to the left. The right hand is stretched in

stretched. The torso 1s twisted to t e ng
. f h d ·s in Khatakamukh a near the shoulder. The left
Arala in line with the nght leg. The 1e t an 1 • . .
. . . h d' al line The face is turned to the nght with the chin
elbow is also raised mmntam1ng t e iagon ·
,, . . h th b k view with the left foot slightly raised from Mandala
down. Siva's figure s ows e ac ..
- Th hi • • d the left indicating the Udvrtta turn. The right hands are in Recita
S thana. e p 1s raise on .
· d' · h 1· einent The left are in front of the chest indicating the beginning of
m 1catmg t e ear 1er mov .
Recita, which is to coincide with the lifting of the left leg for the turn.
PRAMBANAN: _The panel is fairly well preserved. Though some limbs are damaged,
the outline is clearly seen. P 1 has a Tribhailga with the right foot in front and the upper part of the
body bent on right. The hands are holding cymbals. P2 has the right foot crossing the right foot
of Pl in front. The large pacing necessary for the Karal)a is obvious. The left foot is broken but
the outline is clear. The right foot indicates the course of the encircling action of the leg, which
should culminate in what is seen in my photograph. The right hand of P2 is similar to my right
hand. The left hand though not clear is also across the body with its elbow stretched towards the
right showing the momentum gained for the action. The last part of the Karal).a is seen in P3 with
both the knees turned towards the left. The left hand is still on the chest. It indicates the end of
rotation where the posture would become similar to what is seen in C.
l. The .animation goes as follows: P3 ' P2 , PS , SS and K r· · hi

.. . , 1rus ng as C. The second
poss1b1hty 1s start the movement with the left foot as 1n
· SD , twist
· the body backwards
and reach S S posture and finish the movement w. th Ud
1 vrtta of the left foot.
USES: -
Abhinavagupta says that this Karal)a can be used to . .
an anger based on a right to b denote Jealousy, 1equest and also
e so.
COMMENT: -
Thi s Karai:ia somewhat resembles Ad

an . avu of the tTadit' al S d' . . .
stretching of the foot on toes behind the h f ion, a tr 1n which there 1s a
ee1o the other and tur . .
side with Alapadma hands stretched d' all . rung the torso on the opposite
iagon y. It ts called th .
Korvai variety. e Tat Tm tam Ac:Iavu of the
r'f'ICA I . RECONSTRU CTION OF THE 108 KARAN
pR1\L 1 • AS 22 1
99 • MADASKHALITAKAM
•
cRl Q<;'5~Jj ~ ~ma YRcl11%a1i__ 1

~ ~ c1~a Ifcidl 'i¾c1k'>aifi ~: 11
" Karau pralambita u karyau sirasca Parivahitam

padau ca valitaviddh au MADASK HALITAK A¥ dvija~"
0 Brahmins ! Madaskhal itakaiµ is that where in the hands hang
down, head rolls and the feet perform the Valitaviddha.
ABHINAV AGUPTA says that the hands are to be in the form ofQola Hasta. The head
has to move on the sides. Valitaviddh a means the bending and releasing of the cross alternately.
SCULPTURES: -
The Kumbakon am figure has the right foot crossed behind. Both the feet are damaged.
The waist is raised on the left with both the hands hanging on that side. The head is also tilted
on the left. There are two stages of this Kara~ia portrayed in the two Gopuras of Chidambar am.
The Western Gopura has a figure similar to that of Kumbakonam. In both these, the left foot is
crossed behind. The cross is at the knees. The waist is raised on the right. Both the hands are
hanging on their respective sides. The Eastern Gopura has the right foot placed on the left
side. The left foot is raised backwards . The torso and head are turned to the right with the
hands raised as Qola on their respective sides.
SATARA: _Valitaviddha means bending and releasing the crossing of the feet alternately.
The hands are to be in Dola. As Skhalitarµ implies slipping, the Vrscika Pada is obtained
through the skating movement of one leg as seen in DevI' s figure. This is followed by crossing
the other leg in front and then releasing it th.rough the Baddha CarI as seen in Siva's figure .
The hands are l'1 he in Dola and Lata. The whole 1nove1nent must portray imbalance with
tern·riIc balanc,
KARA~I\S _ VOL fl
222
PRAMBANAN: - The main figure has unusu ally two figure s to its left as though
as Parsva .
over each other. p 1 is the main figure here. The left foot is cross ed in front
leanin g
towar ds left. The
The left waist is raised, the Parsv a is bent towards right, and the head is tilted
right hand is on the thigh and the left hand is stretc hed acros s as Karih asta.
P2 is practically
rance of clinging
leanin g over Pl. pJ and P2 have a comm on left hand, which create s an appea
these indica te the
to each other. The elbow is Kuficita with the hand near the shoul der. All
limb. The spirit of
skatin g effect with a disbal ance in the body inc1uding a loose flow of every
of Pare seen
intoxication is beauti fully portra yed in this panel . The hands of the main figure
on the other side.
on the right as in the case of my photo graph where as Kand SS portra y it

to apply the
Both the autho rities have not menti oned anyth ing speci fic regar ding how
for the action . The
idea of Skhal ita or slippi ng. But the name itself impli es such a chara cter
ted. Every action
right foot slips or skates on the right and the entire cours e of action are repea
must be very relaxe d with the limbs let loose in this Karan a.
USES: -
As the name implie s, it is used for denot ing intoxi cation due to liquo r.
COMMENT: -
·d t
This Karal)a resem bles some of the move ments of the M o d ern Dance o f the occ1 en .
· ·
The diagra m of wine jar and wine cup is to co mmur ucate the state of intoxi cation that this
Karal)a portrays.
100. VI~~UKRANTAM
•
(Ref: Volun1e III Page 110)
~ IH-11 Ra: qre:: ~ :i P, .:il 1,-tct: 1

~ N ~ ~ <:!~'ix.Id II
"Pura}:l prasar - •
itah padah. K uncllo
. . gaganonmukhah
karau ca rec1tau yatra VISNUKRA ·
· · NTAJ\1 taduc yate"
·icAL RECO NSTR UCTIO N OF THE 108 KAR ANAS 223
pKr\C1
.
Vi~r:iukranta is that wherein a£00 t.Is extended m
. front as Kuficita
and hfted to face the sky with th e h ands as Recit. a.
ABH INAV AGU PTA just state s that Lord y·I~t:J.U Is · .

_ _ said to have moved this way in His
.
. this.
Trivikramavatara. It shou ld be used to depic t subiJee ts conn ected with
SCULPTURES: -
~
The Kum bako nam figur e has the right leg lifted in the 1orm
•
o f D a9-.d apa-da on the side.
ting the begin njng of
The other foot is in th e Sam a P0sture. The hand s are at the chest, deno
as for Urdh va Tand ava
Recita. The Chid amba ram figur e has the right leg lifted up vertically
Sthana. The left h~~d is
of Siva. The left foot has its knee bent on the side as in Ma9-c;Iala
ht lines.
hanging down and the right is throw n up, both being stretc hed as straig
turne d to
SATARA: - Devi 's figur e is in Ordhvajanu with Recit a hand s and the head
rapad ika Carl. Siva' s
the right and torso bent on the left. It mark s the begin ning of the Niipu
secon dary hands are in
figure indic ates Da-r:ic;Iapada Cari with the right leg lifted up. The
ning ofRe cita.
Recita while the prim ary hand s are at the chest-level, mark ing the begin
feet in
PRAMBANAN: - This is a badly broken relief. The main figure is in Agratala,
move ment . Hand s are a
Mai:i~ala Sthan a. A sligh t jump on the toes is need ed for flow of
is broken. The figure
down-turned Ham sapa ~a near the navel . The uppe r part of the body
as for the requirement of
behind it is relati vely well prese rved. The left shan k is lifted in front
Da9-c;lapada but here the
the process of liftin g the leg for this Karai~a. This Kara~ia resem bles
narµ . P2 has the left leg
leg has to be lifted forw ard rathe r than sideways. Com pare also Chin
hands show the cours e of
lifted with the left hand exten ded on the right (hidd en by P 1). Thes e
are like those of
Recita and Karihasta, allow ing space for the leg to be raised. The hands of PI
Kara-r:ia. P2 has the head
Satara Siva. The liftin g of the leg is a requi reme nt for executing this
the leg. One n1ore leg is
in Aficita conv eying the force of the mom entum gaine d for lifting
show ing the course of
seen in the adjacent slab joint . This is also lifted altho ugh not as high,
ation woul d have worked
the movement. J Jad the figur e still been there in its entfrety the anim
as follows: PJ , n'1-, 1~1 1.e.
• h · the progr ess from the figure in the backg round to the figure
s owin g
partic ular
in the ..10 d h' h . t urn s hows a new begin ning. It n1ay also be that this
1 regr n w 1c 1n
relief to d h d' cess in whic h case the leg of the secon d fig ure does not
cuse on t e 1an 1ng pro ,
KARANAS _ VOL II
224
O f lan din g. The

Sat ara scu lptu res sh 0 ws
. • up but the f'mal sag
• •ng ofh.ftm t
es
sho w the begmru g 1t
the lifting.
the movement with the righ t leg, focusing on

nk as in Ord hva jan u or Parsvajanii. Then
The knee mu st be lifted first with a ben t sha
lifte d up. Thi s gra dua l rais ing add s gra ce to the oth erw ise vio len t extension of the
the shank is
leg.
. pho tog rap h rela tes to K whe re the righ t foo t is lift ed up side way s. My second
My first
ed up thro ugh a for war d thro w.
photograph follows C where the foot is rais
COMMENT: -
It was interesting to com e across the nam
e of this Karal)a in a Ved ic cha nt, namely the
s par t of the Tai ttir iya Upani~ad. This verse
Bhii Siiktam or prayer to the Earth, which form
som e ligh t on the orig in of the con cep t of movements of var iou s kin ds like those of the
throws
verse. The verse rea ds as
horse, Cha riot and even Lor d Vi~i:iu, in this
vas und har a
"As vak ran te rathakrante VI~ ~U KR AN TE
e"
Sirasa dharayi~yami rak~asvamruµ pad e pad
The meaning is as follows: -

ran te ), cha riot s
(Oh Bhiimi !) Thou, traversed by hor se (As vak
d) by Vi-?t:iu
(Ra tha kra nte ) and trav ers ed (m eas ure
hea d; pro tect me
(Vi~i:iukrante). I bow and touch you wit h my
at every stage.
l kno wn that Vis nu as Triv ikra ma mea sure d the whol e earth through one step and the
It is wel ··
the
link between the ear th and sky. The colour at
whole sky throug~ th~ second step. He is the
gre en mergm· gw1·t h t he h ue of sk yw1·th blue·
back of the layout md1cates the hue of earth with
c n CAL RECONSTRUCTION OF THE 108 KARANAS 225
~A .
101. SAMBHRANTAM
•
"Karan1avartitarµ lqtva hyiirupr~the nikuficayet

Oruscaiva tathaviddhah. SAMBHRANTAM
. Karanam
. . tu tat"
One hand does Avartaqt and then gets bent at the back of the
thigh; while the thigh is in the form of Aviddha, it is called
Sambhrantam.
ABHINAVAGUPTA takes it to mean the Aviddha CarI along with Vyavarta and
Parivartita Hasta Karai:ias in the form of Alapallava, to be finally dropped at the back of the
thigh.
SCULPTURES: -
The Kumbakonam figure has the right foot flatly placed in front of the left with both the
knees out turned. The right hand is on the thigh and the left is near the chest. The Western
Gopura of Chidambaram portrays this Karai:ia as the reverse of the Kumbakonam figure, with
the left foot in front. The right hand is hanging as Lata. The figure of the Eastern Gopura has
the right foot on the toes, by the side of the left in Mar.:ic;lala Sthana. The left hand is hanging as
Lata with the right hand near the chest.
SATARA: . Devi's figure shows Aviddha CarI on the right leg with the foot li fted to
the knee. The right hand is in Alapallava near the shoulder while the left is extended in Qola.
The waist is raised on the left. Siva's figure shows the end of the Aviddha Carl with the r ight
heel placed on the ground. The secondary right hand indicates Vyavarta, and the prin1ary
right hand is lowered to be placed on the thigh. The left 1nain hand is in Qola. The secondary
left hand indicates the last position, namely Kha~akfimukha near the chest.
25 1
Aft er the Gitakas , the Chandakas were to be danced, through the throw of the limbs.
This is call ed the Prati~epa. The Asarita was the musical form for the Prati~epa. There were
01 any Gitangas and Na!t itigas used for the actual Nrtta. The Uparupakas or the minor plays
like the Bhatp and I;)ombika full y utili zed these musical and dance form s - thus making them
highly entertai ning . The Bhava in these were not of the realistic type . Instead, Karar:ias
themsel ves were used as N!1ta to convey and radiate the general mood. Thus in Natya, the
Abhinaya was just not direct, but conveyed through Nftta . The general instruction for the use
of instruments is very logical. W herever Abhinaya dominates for Gitaka, the instruments are
not to be used. Whil e performing the Angaharas , the Bhai:tc_la Vadyas (percussion instruments)
must be full y used.
The Tala system of the Niityasastra is quite puzzling. It also needs a separate study.
Vardhamana is elaboration of Tala, which is said to be s uitable for Tai:ic_lava. Its Kala is 17
(S aptadasakiila) being calculated from Kani~ta (the little finger). It is rather baffling to note
that when these Kalas are doubled (Dvigm:_ialaya}:i), the Madhyamalaya is 33 Kalas and the
Jye~tha (bigger) is of 65 Kalas. Abhinavagupta says that the development is through Laya
calculation (Sankhya). For such calculations, lyrics are to be elaborated. (*5 )
The calculation of the Kalas from 17 becoming 33 when doubled, and 33 becoming
65 when doubled, is far from the present South Indian Classical tradition of the Tfila system.
17 X 2 has to be 34 and the double ofit has to be only 68. The Avarta (Tfila cycle) is impregnated
fully and the completion is on the first beat of the next cycle. Abhinavagupta' s explanation of
the Na\yasastraic older tradition is some what closer to some North Indian Tfila ramification
system, where they end as Kali, not on the first beat of next A varta, but on the last ~ara of
the previous cycle. Only in this case, the above said Sankhya i.e. number calculation can be
meaningful. All these prove that the concepts found in the Nawasastra is alive as a oral tradition,
scattered in all regions. This is found in some folk traditions of South India also.
Abhinavagupta has also mentioned that in all the Angaharas, each Kara1_1a is based on
the "Guru" (one of the Angas ofTfila) time measw-e. The duration then depends on the Vartana
(probably the Avartana or the cycle of Tala) of Kala. These Angaharas, which have six,
twelve or twenty-four Karai:ias are to be practiced in Tryasra meter. This is in-espective of their
being in the first or second tempo. Such Atigaharas are sixteen in number. If there are 8, 16 or
KARA~AS - VOL II
252
a few more than that, it should be practice d in the Caturas ra meter. These are also 16. If some
action or Aksara is less in one tempo, the Tala has to be recapitu lated and adjuste d whil e
repeatin g the. same in the second speed. In this context , the Angaha ras, which are said to
pertain to the Tryasra Tala measure are: - Apavid dha, Udghan ita, Vi~kam bha, Apasrta,
Svastika recitarµ , Vrscika pas!ta, Mattask halita, Gati Mai:i<;lala, Parivrtt akareci ta, Paravrttaka,
Alataka , Udvrtta, Recita, A~ipta recitarµ , Sambhr antarµ , and Ardhan ikuttita . The other
A11gaharas are of Caturas ra and A vantara . A vantara is to be hybrid. (*6)
Withou t the aid of Abhinav agupta' s commen tary, it is impossi ble to reconstr uct or even
understa nd the A11gahiiras. Bharata ' s definitio ns are often full of riddles . For exampl e while
defi ning the firs t Angaha ra Sthiraha sta, he says - "The hands are extende d and lifted while
standing in Sama pada". (*7) Thus the very beginni ng itself is a puzzle. From Abhina vagupta 's
commentary we are able to realize that it is the Linarµ Karai:ia that is meant. Two Ati.gaharas,
which are very briefly explain ed by Natyasastra, are very elabora tely dealt with in Abhinava
Bharafi. These are Recita and ~iptare citarµ. The term Recita is taken to imply all the possible
Karai:ias , which have that quality. Therefore, he gives a list of 23 Karai:ias, though he says that
there are 25. By repetitio ns, they are said to be elabora ted to 64 Karai:ias , to be perform ed on
all the sides in a distribu ted way. With regard to the Ak~ipta recita, the form of "S vastika" is
taken to imply all the Karai:ias of that nature. Thus these two Angaha ras would consum e the
longest duration for their perform ance.
From the point of view of a practical understanding, the soul of the Angaha ra is cogenc y
of actions. The link between the Kara9as is in the form ofReca kas, which have already been
dealt with. (*8) The midway movem ents must be smooth flowing with bends and curves . The
transition from Karar:ia to Karai:ia must also be through the subtler actions of the head, brows .
and eyes etc. the process of assemb ling them is numero us. Their connec tion is also through
Gita, Laya, Yati, Yakyartha, Yadyas and various other Recaka s . These cannot be pe nned.
These are to be on]y directly Jeamt and practiced. Abhina vagupta himself has realized this
problem and said that only those who know the codes of dance can absorb the idea of nudway
movem ents (Madhy a Va1tana) . The others cannot underst and this easily. (*9) Hence, the
followi ng pages give the combjn ati ons of the Karai:ias in their specifie d order for each of the
32 Ati.gaharas (*10) The inev itab le lacunae in ling ui stic limitati ons can be fill ed only with a
practical demonstration.
,\ NGA II ARA S 253
1. sTHIRAHAST Ai,
LTnarµ Karm:ia is performed with T ripataka hands extended upwards and brought down
as Anjali in fron t of the chest. Then fo ll ows Samanakham and Vyamsitarr Karar:ias. For the
latter, the hands are released from Svastika and become Viprakin:ia in AIIc;Iha Sthana. The
next Karm:ia is NikuHitarµ. Before this, Pratyfil19ha Sthana is to be used for li n.king the Kara.r:ias.
After Nikuqita~1, Orud vfttaITl , A~iptarr, SvastikaITJ , Nitarnba Gati (Wa1k), Karihastarµ and
Ka~icchinnarp fo ll ow. It is interesting to note that this starts with the Linarp Karar:ia wi th
Aiijali Hasta. It is said to please Hara. The tradition of beginning the dance concert with
Anja1i Has ta has come down till our own time as seen in the commencement of "Alarippu" in
Sama Sthana in Sadir B harata Natyam.
2. PARYASTAKAH.
First comes Talapu~paputa. The second is Apaviddharµ . Then V artitarµ Karar:ia, which
involves the hands mainly, is done with Udghattita of the feet. In other words, the feet stamped
with the heels. Then Orudvfttarµ, Ak~iptarµ, Uromai:ic;Ialarµ , Nitambarµ , Karihastarµ and
Katicchinnarµ are performed.
Abhinavagupta says that some are of opinion that the first KaraI_1a Talapu~papu!a is
preceded by all the KaraI_1as of the earlier Angahara up to PratyaHc;ihrup.. Those actions are
said to be revealing the primary method of cogency of the KaraI_1as . But Abhinavagupta
himself says that some others do not find any benefit in such repetitions . It is probable that
both these Angaharas put together formed part of the Purvaranga. There is mere Anjali in the
first Angahiira fo llowed by the Pu~pafijali, through the use of Talapu~papu!,mµ.
3. SUCiVIDDHAH
•
Ardhas ucTis performed with Alapallava gestures followed by Vik~ipta.rµ for only one
side. Then follow the Karai:ias Avrutitarµ , Nikuttakarp, Orudv!tt~ 1, ~iptaq1, Uromar.u;lalaq1,
KarihastaJT} and Ka!icchinnaryi.
4. APAVIDDHAH
.
Apav iddha111 and SUcTv iddharp are perforn1ed . Then through the Baddha Cari wi th the
Udve~tita Hasta Kru·arya , the sacru m is whirled. Thal is, the body involves a whirli ng ki nd of
KARA~AS - VOL ll
254
Bhramar I. This is followed by Kaficchin nairi along with Uromai::i9ala Hasta. This Angahara
will have to be ended with rotations as in Kathak dances.
5. AK~IP TA\I
Nupurair i, Vi~iptru p, Alatairi, ~iptair i, Uromar;i<:Ialarp, Nitamba rp, Karihasta rp and
Katicchin
. nam . involved in this Angahar a.
. are the Karanas
The word "Punaha" in Natyasas tra is said to be taken to mean repeating the movements.
Abhinava gupta says that if we are to take this interpret ation, the five Karar;ias starting from
~iptarµ will have to be performe d twice. We do not know ~f each KaraI_1a is to be repeated
individua lly or repeat their entire sequentia l form. Accordin g to Sarngade va, the Karru:ias to
be repeated are only three namely, V~iptarµ , Alatairi and ~iptarp . In this case, the Angahara
may be interprete d as being complete d with these KaraI_1as. It can also be taken to mean that
they are repeated before proceedi ng to Uromal).<:Iala. These are the various practical
interpreta tions that are available to us because of lack of pinpoint ed instructio ns.
6. UDGHATTIT
• •
AH•
The first Karal).a is NikuHitarµ. This Karal).a is performe d on both sides. In this, after
doing Udve~!-ita on one side, Apaviddh a arm movemen t would be the link for repetition . This
. and Katicchin
is followed by Uromal).~ala Hasta. After this, Nitambru µ, Karihast am . nam
. are
performed .
The name of this Angahara is Udghattit a. Though the KarUI).a by that name is not
mentione d for this Ailgahara , the first Karai:ia Nikut!-itruµ itself involves the Udgha~~t a feet
movement.
For this Ailgahara , another reading as Nikuficit a is given in the Natyasas tra. But
Abhinava gupta takes it as Nikugita only. If we take the other reading, the first Karal).a of this
Ailgahara will be Nikuficit a with Udve~~ita Hasta Karm~a. In this case, the Apaviddh a hand
being the link for the performa nce on the two sides, sounds more logical .
ANGAl-Li\ RAS 255
7. VI~KAMBHA}1
The first action is Nikunitarµ Karai:ia with Udve~!ita hands. Then the hands and feet are
alternately moved as Kuficita. This indicates the Nikuficita Karar:ia. After thj s, according to
Bharata, Aficita should follow. The next is Catura Hasta with Ardhanikugakarµ Karai;ia.
Bhujangatrasitarp. follows . Abhinavagupta says that this Karar:ia is done in four ways. Probably
he means the fo ur directions . He also says that the Trika is turned simultaneously with the
Udve~tita Hasta Karm:ia, spreading the hands on all sides . By this he means the Bhramari
Karai:ia. Here we can note that Bhujangatrasitarµ is done on all the sides covering the space in
a circular way . In other words it is going round the stage through that Karai:ia. It is interspersed
with rotations of BhramarI Kara9as for changing the directions. After this comes the Karai:ia
Chinnfi with twists and turns . Here, it means the Bhraman, or reeling in one place. This is
followed by Katihastarµ and Katicchinnarµ.
The above Angahara is full of Valanruµ or bends and twists, utilizing a vast space. It
involves rotations as in Kathak dances of today.
8. AP ARAJIT AH
•
Dai:ic;lapada Kara9a is performed followed by Vyamsitarµ and then Prasarpitakarµ on

the left. After this Nikuttitarµ, Ardhanikugita, ~iptruµ, Uromai:ic;lalarµ, Karihastarµ and
Katicchinnarµ are to follow.
Manmohan Ghosh in his translation of Natyasastra adds Bhujangatrasitarµ before the

two Nikuttakas. Probably he has followed some other manusc1ipt.
9. VISKAMBHAPASRTA}J
• •
Nikuttitam
. . . ' Ardhanikuttita,
.. Bhujangatrasitarµ, Bhujangatrastarecitarµ with Recita of
Pataka hands, Ak~iptarµ, Uromai:ic;lalarp and Katicchinnarµ with Lata hands make thi s
Angahara.
. .
10. MATTAKRIDAH
Bhramarakam. Karana
. is done by whirling the sacrmn. Then follows Nupurarp. Now
Bhujangatrasitarµ is performed on the left and Vaisakharecitarµ on the tight. This is followed
KARAr~AS - VOL ll
256
- · ch· - and Bhramarakam on the left side, Vyamsitarp,. Uromal).c;laJarp,

by Ak~1ptaf!}, mna[!1, .
th 12 Karar:ias is
Nitamba_q1, Karihasta[!1 and Katicchinna[!1 on the right. This Angahara wi
said to be specially loved by Hara.
11. SVASTIKARECITA~
Vaisakharecitarp with the Recita of hands and feet is followed by Vrscikarecitarp_ and
Vrscikarµ perfom1 ed twice each; then comes Nikuttaka on left and right; Finally with Lata
hands hanging Ka!icchinmuµ is petformed.
12. PA.RSV ASV ASTIKA\I

Diksvastika111 is performed on both the sides. Then Ardhanikugak arµ is perfonned.
Both these Karal).as are then repeated in the same order. After this, the hands do Apaviddha
action. Then follow OrudvrWiJ11, Ak~ipta111, Nitambarµ, Karihastarµ and Katicchinnarp.
13. VRSCIKA.P
. ASRTAH . .
Latavrscika111 and Nikuficita[!1 are performed. The hand that is bent near the nose is
made to move as Udve~tita along with MattallI. Then follow the usual course of Nitambaip.,
Karihastam. and Katicchinnam.
. .
14. BHRAMARAH•
Niipurarp, A~iptarµ, Chinnarp, Siicividdharµ, Nitambarµ, Karihastrup, Uroma.r:ic;Lalarp
and Katicchinnarp make the Bhramarl Ailgahara.
15. MA TT ASKALIT AKAU•
First MattallI is performed. Next comes Gal).c;lasiicI with the right hand near the cheek
followed by Linarp because Bharata says that it is Samyak Nikun~ci·tarµ 1.e.· B em· 0 bent well.
0
-' w 1·th
- en ds as usu,u
Apaviddha is then performed quickly in the same speed . Th e A·ng,ah ara
Karihastam. and Katicchinnam.
. .
16. MADAVILASITAI:I
Madaskbalitak arp is pe1formed with Dola Hasta M tt 1 - · rf dl
. . . ' • a a 11 is pe armed by re peate y
releasing the cross of the feet. This ts followed by Talasmigh 1,; 1., and Tai .
~ a_~LU , asamspho!"Jllt Kararyas.
257
Then Nikuttitam is performed The thr K . .

·· . · · ee arn9as, which according to Abhinavagu pta have
various beaut.Iful bends, are performed · He means u- ru- dv 1·tt- K ·h
. a, an astam . an d Ka t1cc
.· h mnam.
'
.
17. GATIMA NDALAH
• • •
Mandala
·· is taken to mean Mandalasv
•• astikam
. and Ni'vett.a
., rp. by Abh mavagup
' ta. R ec1·ta
of hands is taken to mean Unmattarp. Karm~a. This is follow ed by Udgha!!itarp . Final]y Lhe
A11gahara ends with A~iptarp., U romm~c;lalarp. and Katicchinna m.
. .
18. PARICC HINNAH•
Samanakharµ , Chinnarp., Sambhrantarp. with Aviddha Can, Bhramarakarµ of the outward

circle (i.e. turning left side with the left foot taking the momentum ), foll owed by Ardha Suci
on the left fo ot, Atikrantarp., Bhujangatrasitarp., Karihastarp. and Katicchinnarp. make the
Paricchinna Angahara.
19. PARIVR TTAKAR ECITAH

• •
First Nitambarp. Karal).a is performed with the hands above the head. Then the hands
above are brought down to form Svastika for the Karal).a Svastikarecitarri. Next action is
Vi~ipt~ipt akarp., through the bending of the body. Latavrscikarp. is now performed again
and again. Unmattarp. Karal).a follows with Recita and then Karihastarµ and Bhujangatrasitaqi
are performed. The subsequent Karal).as are ~iptaiµ and Nitambaiµ. Nitambarp. must have
the Svastika for shanks as in Baddha Cari This is done by turning backwards. Abhinavagupta
says that it is an exception among Karal).as for it could be done facing westwards. The Vastu
of Natyasastra prescribes the dais to be facing East only. Sarngadeva , clarifies this by adding
that Nitambarp. must be performed on all sides as BhramarI. Finally, the Angahara ends with
Karihastarp. and Katicchinnarp..
.
20. VAISAKH ARECIT AH
Vaisakharecita(!l is performed with Recita of one limb followed by the Recita of other
limbs. Then follow Nupurarµ, Bhujangatrasitarµ, Unmattarµ with Recitmµ, Mru:ic;lalasvastikaq1,
Nikuttitam Orudvrttiim, Karihastarµ and Ka~cchinnarp..
.. . ' . .
~ A S - VOL fl
258
21. PARAV~TTA}J:
•- • d th · ht ·de Then one foot is extended for. Sakata.5yaqi. Then follow
Jam tarn 1s performe on e ng s1 . . . .
- · ak
Alatakam and Bhramar arµ .
Afi c1·tam. of left hand denotes Kanhastarµ with N1kug1ta of
moveme~ts of hand near the cheek. This is then ended with Katicchinnarµ.
22. ALA.TAKA~
This Angahara has the KaraQaS in the following order: - Svastika~, VyamsitaJTl twice,
Alatakarµ, Urdhvajanu, Nikuficitarµ , ArdhasiicI, Vi~iptarµ , Udvfttarµ, ~ iptarµ , Karihastarri
and Katicchinnam.
. .
23. PA.RSVACCHEDA~
Vrscikakunitarµ , Urdhvajanu, Ak~iptarµ, UromaQ9alarµ, Nitambarµ , Karihastarp. and
Katicchinnarµ performed in the above sequence make this Ailgahara.
24. VIDYUDBHRA.NTAH•
ArdhasiieI is done on the left, Vidyudbhrantarµ on the right; then both are done on the
other sides. This is followed by Chinnarµ, Atikrantarµ on the left, Latavrscikaiµ and
Katicchinnam.
. .
25. UDVRTTAKAH
• •
Niipurarµ is done again and again on the left with both the hands hanging on the left.
This is followed by Bhujangaficitakarµ (according to Sanigadeva); Abhinavagupta has it as
th
Bhujangatrasitarµ, the 24 Karal).a. Probably it is an error in printing. The number does not
coincide either. The editor has rightly suggested Bhujangaiicitakarµ within brackets). After
this follow Q-rdhravalinakarµ, Vi~ipta twice, one on each side, Udvµta with SucI, Nitamba
with Baddha Cari type of Valanarµ, Latavrscikarµ and Katicchinnrun.
. .
26. A.LiDHA
•
It starts with Vyamsitarµ in Alic;lha Sthana. Then comes Niku~a, followed by Nupurarµ
on the left. Again Nikurtaka is done, now followed by Alatakruri on the right. T hen follow
~iptarp, UromaQ9alarµ , Karihastairi and Katicchinnarµ .
,\ '\luA I-I ARAS
259
27. RECITA~
Abhina vagupta takes this Angaha ra to involve all the Karat~as, which have Recita. He
says that a group of things are indicate d in singula r only. This Angaha ra gives scope for
Vici trabheda Sankin~a, i.e. amazin g varieties of combination. Abhinavagupta says that it
constitutes 25 differen t Karal)as. But he gives a list of 23. Howev er Sanigad eva gives 26.
They are in the foll owing order: - Svastikarecitarµ , Ardharecitarµ, V ~asvas tikarµ , Unmattarp.,
Ak~iptarecitarµ , Ardha1 nattal1I , Recitanikugita111, Bhuj angatra starecit arµ , Nupura rµ ,
Vaisakharecitam . , Bhujangaficitalcam,. Dandak
. . arecitam . ' Cakram andalam
.. . , Vrscika
. recitam. '
Vivftlaf!l, Vinivrttarµ, Vivartitalcarµ, Garu<;laplutakarµ , Lalitarµ , Mayuralalitarµ , Sarpitarp,
Skha1itarµ, Prasarp italca111, Talasanghan.ita , Vr~abhakric;litarµ and Lolitarµ . Samgadeva says
that they are done in four parts, arrangin g them in unequal numbers in the four directions.
These are to be follo wed by the routine Karal)as ending as Uromal)<;lalarµ and Kaficchinnarµ .
28. ACCHURITAH
•
Niipurarµ is done by bendin g the sacrum well followed by Bhrama rakarµ . Then
Vyamsitarµ, Alatalcaiµ, Nitamb aiµ, Karihastruµ and Ka!icchinnarµ are perform ed.
29. A.K~IPTARECIT A}J:

By Recita and Svastik a, Bharata is said to mean all the Karal)as involvi ng the above
actions. Abhina vagupta gives an elaborate commentary on this Angahara. KaraQas involving
the blend of Recita and Svastik a are Svastikarecitarµ, Pr~thasvastikarµ, Diksvas tikarµ ,
Ka~samarµ, Ghiirl)itruri, Bhramaraka111, Vrscikarecita111, Parsvan ikunaka qi, Uromru;i<;lalarµ,
Sannatarµ, Simhakar~itruµ and Nagapasarpitarµ. In V~~sva stika11 1 there is no Recanarµ .
Abhinav agupta says that some opine that it involves Recanarµ. becaus e of the term
Angaparivartanam i.e. turning of the Ailga. Abhinavagupta says that if we accept this, we
have the following additional list ofKaral)as also. (Due to throw of limbs, all such Kanu_ias are
inferred ). They are Dar:i<;lapak~aqi, Lalatatilaka111, Talavil asitaqi , Nisumb hitaiµ ,
Vidyudbhrantaqi, Gajakrlc;litaqi, Nitambaqi, Vi~r:iukrantaqi and Udvfttarµ i.e. Drudvfttfuµ.
Then come A~i ptarµ., U romal)<;\alaqi and Ka!,icchinnarµ .
KARAl~AS - VOL II
260
30. SAMBHRANTAl:I
. - . ArdhasucI on left, Dal)"apada!Tl on the ]eft
Viksi tam, GandasiicI, Gangavatanu:rnrr, - . .
·p · ·· d b Bhramarakam, Nupurarp., Ak~1ptarp., Ardhasvastikarp,
and Catura also on left followe Y · . . _
d Katicchinnam from this Angahara.
Nitambarµ , Karihastarµ , Uroma9- d. a1ru-µ an . .
31. APASARPITA~
• . c. ·th hands only Karihastam with Udvestita hand, ArdhasiicI
Apakriintarµ , Vyams1tarµ 101 e , · ·· . . _ '
. . Ka · hi Orudvrttam followed by the usual three Karal)as make this Angahara.
V1~1ptarµ , ticc nnarp, . .
32. ARDHANIKUTTAKAl:I
Nfipurarp is followed by Vivrttarp in a speedy tempo. During these rotations, the hands
have to follow the feet suitably. Then the hands and feet do Nikugaka. Abhinavagupta says
that by Nikun,aka all the Karar:ias of this nature, like Nikugaka and Ardhanikugakarp are
meant as in the case of Recita. Finally the Ailgahara is completed with Urom ar;i9alaq1 ,
Karihastarp and Katicchinnarp.
The practical reconstruction of the 32 Ailgaharas completely transforms the s tyle of the
contemporary classical dances. It would be more authentic if we could manage to re-trace
their musical and rhythmic patterns. However, it is heartening to note that a lot of imagination
and creative ability is encouraged in our ancient texts like even the Natyasastra and Abhi nava
Bharafi. In performing these Kara9-as, the cogency has to be obtained through Sthanas and
Recakas. It needs intelligent grasp of the entire subject in its varied aspects . In spite of penni ng
down clearly and enlightening us on the great tradition ofBharata, Abhinavagupta encourages
new creations. He says that due to assembling and ornamenting the dance m oveinents and
also using of various kinds of music and tala, the possibility of creation is linutless. He even
goes to the extent of saying that the serial order of the Karar:ia sequences should not be followed
blindly but should be added with O ' · · · . · ·
' ' ne sown unag1nation 111 the suitable way. This 1s seen
from his saying "Kificidatmano yojana ca sainhita karya". (* 11 )
An earnest effort in the practical r · · d

. econstruction of the A1igaharas has paid a rich di v1den ·
It is sheer delight to the eyes when they are handl d . • ·
e proper1y. But the basic techniqu e 1s 5 0
much separated from that of any single conte ·
mporary dance style that it produces an impresswn
\~ Ci A II A RAS
26 1
f either being obsc ure or hybrid App . tl · .

o _. . _ · aren Y It creates an illusion of mixing the so-called
ud'fercn t traditions . This 1s because of the fact that no 1·so la ted reg10na
· h d h
1sty1e as preserve t e
tcchllique of th e Kara9as in totality. Yet, there is not a singl e style, which has no trace of at
least a degenerated foss il of tru s ancient effaced techni·gue . Th e KaraQas have changed t h err ·
shape and got dissolved into the later traditions in every part of our country. Since the Na~asastra
is the main so urce of all the streams , a mere tappi'ng of thi·s pnmary · ·
source g1ves us th e
essence of all the streams. The Angaharas are not Lo be studied merely as theory or history of
dance.
The sum total of the scope that they offer for artistic variety is much more than that
offered by an amalgam of all the styles. A mere mixing of the regional styles will produce
only heterogeneity. But, by reverting back to the consubstantial resource, wruch was the very
source of the flux of diversities, homogeneity in unlimited variety can be secured.
The Angaharas have lent themselves to a choreographic resurrection. But, the aspects
of music and rhythm of Bharata' s age have not been gone into enough. These groups of
movements have been restored with an ardent hope of resumption. Fortunately, the liberty
and encouragement for creativity granted by Abhinavagupta proves that supplementing our
own music and rhythm for the prescribed movements of the Angaharas is not sacrilegious.
The efficacy of the Ailgaharas is not only in its aesthetic effulgence. It is significant that
the Natyasastra has stressed its spiritual value by its inclusion in the Piirvarariga. It is a pictorial
Yajna (offeri ng) in which the movements of the Ail.gas are tied together as a Hara (garland)
and offered to the Gods as oblation. Hence, there is no wonder in the Angaharas having a
stamp of blissful luminance.
SUMMARY
An Aiigahara is a combination of six or more specified Karai:ias . The particularization
of the contjguity of these Karai:ias has been enumerated in the Na~yasastra for 32 Angaharas .
The Ari.gahara can be compared with the Jati or BoJ of the contemporary South Indian and
North Indian classical dances respectively. The Recaka is the very life of the Angahara. The
Cog ency, grace as we 11 as Prec ision are the deciding factors in the display of beauty.
Unlike
tlie contemporary S ad 1'r, the Angaharns
·
utilize space in variegated ways with asymmetrical
KAR/\~/\S - VO i II
262
patterns in symmetr ical forms . They are meant for both Tal)9ava and Lasya in terpretati ons.
Though Bharata gives the list ofKara9a s in the order of their performa nce for each Angahara ,
it would be impossib le to compreh end their true nature without Abhinava gupta ' s comment ary.
Out of the t 08, only 64 Karai:ias are used in the 32 Angahar as , the Katicchin naryi Karai:ia
seems to have been in the place of our contemp orary Makuta Ac;Iavu of Sadir. It is the last
Karai:ia in every Af1gahara.
However, the music and Tala aspects of the Angahar as need more strenuous scrutiny.
Apart from having been used in Purvaran ga, the Angahar as seem to have been utilized for
linking various s ubjects , songs or even lines of a song. A reconstru ction of the Angaharas
reveals the gap between the existing and effaced traditions . They also unveil how traces of
some of the older Karai:ias are fo und in a transform ed state and scattered in every dance style.
The retracing of the main source is sure to enlarge the scope of the art and produce an unlimited
variety of aesthetic beauty. It is heartenin g to note that Abhinav agupta encourag es a sense of
imaginati on . He also categoric ally states that Ailgahara s can be compreh ended only by those
who practice the art. It is this aesthetic beauty of performa nce which was offered as an oblation
in the pictorial Yajfia of the Purvarailga according to the Natyasas tra.
REFERENCES
1. Abhinavagupta - Natyasas tra and Abhinava Bharafi - Volume I Second Edition
(GOS )- Page 89
2. Ibid - Page 89
3. Ibid - Natyasas tra - Chapter IV - Lines 263 & 264
4. Ibid - Abhinava Bharafi - For details of his argun1 e nts, see Pp_ 170 to 172
5. Ibid - Page 183
6. Ibid - Page 162 For the particul ars regarding to Tala for each Angah5rn , see
· t he
· in
Sangita MuktavaJi by Devendra Acharya" · Thi s unp u bt·1s h e d manuscn·pt 1s
Saraswat hi Mahal Library, Thanj av ur.
26J
7. Ibid - Nfqyasastra - Chapter IV- Linc 194
0. Infra - Chapter of "'A performer's percepti on ofRccaka".
9. Abhinava Bharat.I - Page 142
1o. Basec.J on Na~yasastrn and A bhinava Bharan - Pp. 138 to 162
J I. Ahhinava 13haratI - Page J 42

KARANAS - VOL n
26..t
CHA PTE R - XIV
MANDA
• •
LAS
Bharata' s Natya involved a great amoun t of Natya dharm I (stylis tic expression) in the
of dance
production of the variou s kinds of plays . The actors were ex pected to know the arts
The Cfui
and mime. Therefore, they were proficient in the C arls and other asp ects of dance.
Cans
was consid ered as Vyaya ma or exerci se to be practic ed b y both the dancer and actor.
teristic
are therefore the founda tion on which both drama and dance were built. The charac
The
feature of the Sanskr it drama was that it was a comp o und of play, opera and ballet.
ding
artistes partici pating in such produc tions had a profes sion, which was m uch m ore deman
dance.
in matters of talent and hard work unlike today. The partici pants had to speak, sing and
entry
Such was the versatility that was expect ed and extrac ted from our ancien t artiste s . The
a (song
of each charac ter was marke d by a charac teristic gait along with the P ravesi ka Dhruv
ent
for entry). Abhin avagup ta has even specifi ed the gaits and Karal) aS for some promin
left for
characters of variou s plays. (* 1) Fights were enacte d throug h dance. Often, much was
Ohya or inference of the specta tors. A change of place would be sugge sted by a mere stylistic
The bee
walk around the stage. Sakun tala wateri ng the plants would be enacte d as mime.
danced .
harassing her, causin g Du~yanta' s roman tic introdu ction to Sakun tala was practic ally
In fact, Bharat a says that Nftta is to be used not only in the prelim inary of the play,
but
ns.
wherev er Spi.gara Rasa is involv ed. The Sukum ara Prayo ga was meant for such situatio
piercing
The Uddhata Prayoga was meant for depicting combats. Bharat a forbad e actual cutting .
C.1ris
and release of weapo ns on the stage. These were to be only in the form of nume. The
were essential for all these. The Cans are the fountain head of Angah aras in dance and Mar:ic
.iala.s
kings.
in drama . The Caris are useful in depicti ng variou s charac ters in drama . Gaits denoti ng
minist ers and saints and other charac ters like meni·al s , bl In · d 1nan, 1unatic • . 1an1e man , d\\ ··trf·
cripple , down etc., and gaits for· various SI·t ua u·ons l'k t· · · R
1 e ever, Intox ication etc ., gai ts for as::is,
· h k . t
gaits to represe nt the chario t ' movem en t 10 l es Y, mount ain, valley , boat, horse, serpen ·
. .
parasite, birds and so on are all prescribed in the Naty~« - . . .. c- • ti cticcd
. . u.sasua 101 1e actors to be lean1t, pra
· J 'L'-
and used s mtably . For all these ' the CarTs and G a t'is are needed. T he C aris were pracuccL •
.
{: L tcr
Adavus are practic ed today. These form ed the les sons 1or s tude nts of N atya and Nrtw. [l •
•
265
'Y we re shaped as Angaharas and Ma d

9 . a Ias according
· to necessity.
. The baste
• exercises
· and
•h
uit.: _
classes were con1mon for actors and dancers.
The Cari has already been defined as the combined movement of the entire leg. It is the
movement of one leg. T wo Carfa make a Karai:ia. This Karai:ia is different from the l 08
Kara~ws. Three Caris make a Kharyc;la and three or four Khai:ic;las make a Mary.c;lala. (*2)
The Mary.c;lalas are grouped as the Bhu Mar:ic;laJa (Earthly) and Akasa Mm,:ic;lala (Ariel)
jusl as the Caris. Ten in each of then1 have been described in the 11 th chapter of the Nacyasastra.
These Mar:ic;lalas arc only movements of the legs . The Np:ta Hastas are not invol ved. They are
said to be used to depict fights . Therefore the hands are to hold dummy weapons like the
sword and shield, bow and anow, spear, trident, thunderbolt and so on according to the story
and situati on. Hence the Hastas are not involved. But the presence of these weapons is also
only for mime. They are not to be actually used. Obviously, a real flo w of blood or striking
was avoided. The act of using these weapons in mimicry had rules ca1led Nyayas. There are
four Nyayas nainely Bharata, Satvata, Var~aga9ya and Kaisika. (*3) In Bharata, the weapon
should strike at the waist, in the Satvata at the foot, in Var~aga9ya at the breast and Kaisika at
the head. With regard to releasing the arrow, the four actions are - Parimarjana - preparation
by bending the bow, Adana - taking the arrow, Sandhana - aiming and Mo~a~a - shooting.
All these actions are to be guarded by the Sou~thava or the symmetrica l erect posture of the
thorax as in dance. Moreover, all these movements must be performed through a graceful
throw of the limbs like actual dance, accompanie d by the appropriate musical instrument in
proper tempo.
The Mandalas are such beautiful combinations of the Carls, that it gives scope for being
used as mere Nrtta. They are highly graceful and full of variety. When the Nrtta Hastas are
added , they make an enchanting dance sequence. The Ma99alas were perhaps danced this
way duri ng a later period. (*4) If the actors were expected to learn the Mru_19alas, which are by
themselves dance forms we can easily imagine the standard that was expected from dancers. I
have choreograp hed a programme called Dasa (ten) in which I have reconstructed ten Mar:ic;lalas
for l Odancers.
KARA ~AS - VOL II
266
The Mai:ic;lalas are detai led out in Naty asast ra as follow s : - (*5 )
AKASA MA ~QA LAS (AR IEL )
1. ATIKRANTAI\1
on left, Parsv akran ta
Has the right leg 1noving in Janita and Saka~asya, follow ed by AJata
left, Udvµ ta on right , Alata
on right, Suet on left, Apak ranta on right , SucI and Bhra mar1 on
a on the right.
and Bhram arl on left and AJata again on left and finall y Dai:ic;Japad
2. VIC ITR A MA~ QAL Al\'I

right, Bhuj angatrasita
Has Janita as Talasaficara on right, Syan dita on left, Parsv akran ta on
pta~ iptak arp on right and
on left, Atikr antii and Udvµ ta on right , Sud Carl on left, Vi~i
Apak ranta on left.
~ -
3.LA LIT A SAN CAR AM
•
, Suc1 and Bhramari
Has SucI Cari on right, Apak ranta on the left, Parsv akran ta on right
left.
on left, Parsv akran ta on right and Atikr anta and Bhra marl on the
.
4. SUC iVID DHA M
left, SucI on right.
Has SiicI and Bhra mari on left, Parsv akran ta on right, Atikr anta on
Apak ranta on left and Parsv akran ta on right.
.
. ADAM
5. DAN DAP .
Alata on the left,
Has Janita and Dar:ic;Iapada on right, Sud and Bhra marI on left,
legs to be comb ined with
Parsv akranta on right, Bhuja ngatr asitar p and Atikr antii of the left
Da9<;!apada of the right and finally SiicI and Bhra mari on left.
. M
6. VIH RTA .
, Parsv akran ta on
Has Janita and Nikut~aka on Lhe righl, Syan dita on left, Suet on right
and Bhra marT 0 11 left,
left, Ak~i pta, Bhra marI and Dary9apada CarTs o n ri g ht , Suet
Bhuj angat rasita rp on right and Atikr anta on Jcfl .
~JAN l) .\ LAS 267
7. ALATAl\1
Has Sud on right; Apakranta on left, Parsvakranta on right, Alata on left, Parsvakran ta
and Alata are alternately done at least six or seven times gracefull y to move and cover space,
then again the tight leg has Apakranta Cari and the left has Atikranta and Bhramarl Caris.
s. VAMA VIDDHA l\l

Has SucT on right, Apakrfmta on left, Dar:ic=1apada on right, Suci on left, Bhramari and
Parsvakrantli on tight , A~ipta on left, Dai:ic;Iapada and Orudvrtta on the right, SucI, Bhramarl
and Alata on left, Parsvakran ta on right and Atikranta on left.
9. LALITAM
•
Has SucI on right, Apakranta on left, Parsvakran ta and Bhujangatr asitarp on right,
Atikranta, Drudvftta. and Alata on left, Parsvakranta on right, and Atikranta in graceful steps
on the left.
10.KRAN TAM
•
Has SficI on right, Apakranta on left, Parsvakranta on right and left, thus moving in all
directions and then SiicI on left and finally Apakranta on the right. This Mai;i~a is prescribed
for a natural gait. Kranta literally means to go on.
BHU MANDA
. . LAS (EARTH LY)
1. BHRAM ARAM
•
Has Janita on the right, Syandita on the left, Saka!3Sya on right with the left foot stretched,
BhramarI on right, Syandita on left, Sakatasya on right and Apakranta and Bhraman on the
left.
2. ASYANDITAM .
Has Bhramaris on the right, A<;l<;litfi and Bhran1ar1s on the left, Orudvrttii on the right,
Apakranta and BhramarT on the left, Syandita on right, Sakatasya on the left and then the
same foo t strikes the ground viol ently .
KJ\RANJ\S - VOL II
268
3. AVARTA.l\1
Has the right foot in the Janita Carl, Sthitavarta followed by the left leg perfonning Sthitavarta,
Sakatasya, ElakakrT9ita, Orudvrtta, Ac;lc;lita, Janita and Samotsarit a MattaJJTs uccessi vely; then
the right leg has Sakatasya and Orudvrtta, fo11owed by C~agatI on Jeft, Spandita twice on the
right, Sakaµisya on left, BhramarT on the right and finally Ca~agati on left.
4. SAMOTSARITA.l\1
Has Samapada Sthana in the beginning. The hands move up in the form of Ave~~ana
and then rotate downwards and reach the waist. The right and Jeft legs alternately move so as
to turn round the body and move around in a circular way on all sides.
5.ELAKAKRiDI
•
T AM
•
Has the feet alternately moved in SiicI Viddha Kara9a, Elakakrlc;lita and Bhramati
followed by SiicI Viddha again, and it is completed by moving around successively in ~ipta
Cari.
6. ADDITA
• •
M
•
Has Udghagita, Baddha, Samotsarit a MattallT, Ardha MattalII, Apakranta , Udvftta,

Vidyudbhra nta, Bhramari and Spandita, all for the right leg successive l y . Then the left bas
Saka~ya followed by Ca~agatI on the right, Samotsarit a MattallI, MattallI and Bhramrui on
the left and finally the right has Syandita striking the ground finnly .
. SYAM.
7. SAKATA
Has Janita and the seven Cans beginning with Sthitavarta as in Avarta. This is followed
by Sakatasya on the right; Syandita on left and Sakatasya s uccessivel y till the M~c;lala is
completed.
.
8. ADHY ARDHA M
Has Janita and SyandiUi o~ ri ght, fo Jl owed by Adhyardhik a on left, Ca1?::tgatI on right,
MatLallI and Bhramari on Jefl, Sakaµi sya on lefl and finaJl y Adhyardhi ka in all directio ns.
Tbjs is used in personal com bat.
~tl\N L?ALAS
269
9. PI~TAKUTTAl\1
Sud on right, Apakrantii on left, Bhujangatrasita several times on both sides alternately, and
thus moving on all directions . This is also used for personal combat.
10. CA~AGA TAl\1
Using C~agatf Ca.11 to move around the stage. This is also used for personal combat
like wrestling.
A practical reconstruction of the twenty Mar,i~as clearly reveals the stylistic gap between
the obsolete and contemporary techniques. The main contrast remains in the use of the legs .
While the Mai:i<;lalas use the entire legs from the root of the thighs down to the toes, all the
ex isting dance patterns of India exhibit a mere foot work technique. The steps seem to have
over shadowed the gaits during the past centuries. The cross rhythmic A<;lavu system of the
South Indian dances, as well as the fantastic speed of the Kathak dance steps are all mainly
based on the jugglery of foot work. Though closer to the concepts of Bhurni Caris and Bhii
Mai:i<;lalas, they still lack the scope offered by the Cans in utilizing the entire legs in covering
space. The heavy and strong stamping binds the feet closer to the ground. The orthodox
teachers insist on forceful stamping for the A<;lavus, which is an impediment to cover more
space. This is in marked contrast with the light footed freedom the Caris offer in motivating
action all around, with the limbs gracefully and uninhibitedly stretched and thrown. Toe
limitations of mere concentration on the heavy footwork, is by itself an explanation of the loss
of all the Akasa Carls. At least the reminiscence of the Bhiirni Cans can be seen in the
contemporary styles. But, the total absence of the Akasa Cans in the dances we are familiar
with is liable to create a sense of skepticism in the tradition bound spectators regarding even
the Indianness of such movements. This is because of the fact that the Akasa Caris, and more
so the Akasa Mai:i<;lalas do have a semblance of the Western classical ballet. The concept of
using the entire leg and freely covering space are the common factors for the ancient Indian
Mar:icµla and Russian Ballet. The footwork technique is closer to the Western Tap dancers.
111e use of Akasa Caris give a certain ephemeral nature to the movements, just like some of
the movements of the ballet. Leaping, jumping and lifting the leg or legs performed in the
name of " Utpluti" do sometimes have the tinge of some of the familiar "Plies" of the Ballet.
270 KARANAS - VOL II
Though these are apparently light, they are a test for any talente d dancer . The beauty remain
s
in the illusion of ease that is created. This is the very essenc e of the Mai:ic;tala as welJ as
the
Angahara.
As already mentioned, the Ma9-c;lalas were meant for the actors to enact the fighting
sequences. If the actors themselves were expect ed to perfor m such dance patterns, we
can
hardly comprehend the standa rd that was expected of the dance rs of that age. The Mar;ic;l
alas
are full of unexpected pleasant surprises like the Aii.gaharas. Unlike the contemporary practic
e
of the Sadir style, every CarI is not essentially repeat ed on the other side in the Ma9c;t
alas.
While one leg has a particular CarI, the other leg contin ues to move in the form of some other
Cari; so, every progress is not regressed. The Caris are somet imes repeat ed to either establi
sh
a gait or to cover more space. Therefore, from the point of view of space choreography,
the
Mai:i9alas portray asymm etrical patterns in abundance. An unexp ected turn always creates
variety. This is quite against the principle of the Sadir dance, in which every Ac;Iavu is repeate
d
on the left side; the rule is that every A9avu must be perfor med first, only with the right foot.
The asymmetry seen in the Ma9-<;lalas are in consonance with the style of the Aii.gaharas.
Apart from this, it is also to enable a parallel choreography for the second charac ter in order
to
establish the idea of fight. The portrayal of two characters in fightin g, should logically avoid
dancing in unison. This must have been in the minds of our ancien t choreographers while
Viili vadha,!l from Darasur am Temple.
Khan Dance - Indones ia

271
settin g up s uch scene s . For exam ple, ever y

actio n of one perfo rmer mus t have had a
coun ter action by the other. Whe n one attack s ,
the other has to d e fend . He nce a forw ard
move ment by one w ill be coun ter ac ted by a
ba c k wa rd move m e nt by th e o th e r. Th e
chore ograp hic patte rns, whjch got punc tuated
at the time of build i ng a climax , must have
been highl y pi cture squ e . We c om e acros s
repre senta tions of scene s of s uch comb ats in
PoiH ul Kudira i Attam
some of our sculp tures . The sculp ture panel
depicting Valiv adha m at Dara suram remin ds one of such scene s
portr ayed in the Indon esian
Ramayana Balle t. In the Dara suram panel we see Vali and Sugri
va in an unusu al fighti ng
posture while Ram a is seen movi ng forwa rd with his unerr ing missi
le. This scene is sure to
have been const ructe d throu gh the Mru:icµtlas, which are to be dance
d by all the three chara cters.
Fight ing scene s of such natur e are still seen in the Purav i A~!am
(Dum my Hors e Danc e or
"Poikkal Kudi rai Attam ") and Teruk kuttu (Stree t play) of
Tamil Nadu , Yak~ agana (Folk theat re of Karn ataka ) and Yak~agiina
Kath akap of Kera la. Acco rding to some schol ars in

Mala yalam , the quin tesse nce of Kera la cultu re is the
Kalaripaitu ... It is said that 18 types of "A<;lavus" or feats are
practiced for profic iency in this art. (*6) The Kathaka!i seem s
to have taken much from the Ka\aripaitu. While the Mru:i9Afas
are made up of Caris , the move ment s of the Ka~aripai~u are
known by the Sout hern term inolo gy name ly AC,avu.
Etym ologi cally speak ing, "Ka~ar" mean s battle and "Paif ' is
derived from Payir ci (Prac tice) "Pay iquvi thal" i.e. being
trained. Thes e are Tami l word s, which are comm on to the
Malayal am langu age also. rnus art is proba bly a comb inatio n
of the real is m of gymn astics and the styles of the M~u)qalas.
KAR At:-J AS - VOL IJ
272
The Mru:i alas ofBharata 's age was devoid of hand gestures to enable the actors to hold
9
the weapons. But, during the later centuri es, they seem to have acquired the shape of full -
fledged dance patterns by an addition of Hastas . The Tamil epic Silappadikiirrup reveals that
the Mai:i9alas were part of solo dance recitals in the TamiJ country. (*7) This shows that the
artistic value of the Mm)~falas were well recognized and drawn into the realm of N[tya from
Natya. According to the Natyasastra, a combination of three Cad s was called a Khai:i9a. The
practice of referring to the various parts of a Jatiswaram and Trn ana as Khanc;Ii is still prevalent
in Tamil Nadu. This shows that thoug h the Khai:ic;Ias and M ai:ic;Ialas were mean t for the actors
to start with, they got diffused into the art of the dancers. The basic technique changed, but the
idea of combining the units of dance into several parts, seems to h ave remained till now.(*8)
SUMMARY
Na!yasastra reflects the NatyadharmI

character of the ancient Sanskrit drama. Gaits
were an important part of the theatrical
representations. The Caris are combined to form
the Ma9~alas, which were specially meant for
the fighting sequences. This concept is still seen
in the ~aripai!u, Kathaka!i, Terukkuttu, Puravi
Agam and Yak~agana as well as in the
Indonesian Ramayana plays.
The Ma9~alas are classified as Bhii and

Akasa Mai:i~alas. Ten in each are described in
Author as Durgii slaying
the 11 th chapter of the Natyasastra. None of these
Mahi1iisuril
have any hand gestures because the actors were
supposed to hold weapons. But, when reconstructed with suitable Nftta Hastas, they make
· an extremely aest h ellc
wonderful dance sequences, giving scope for using space 'and the 11·nlbs m ·
way.
273
Fight ing Sequence in the Author's Dance - Drama Mfniik~f Kalyii,:ia'!l
REFERENCES
1. Supra - Intellec tual or Emotio nal
Also see Na!yas astra - M.Man mohan Ghosh - Chapter III
2. Infra - Concep t of Karai:ia as illumin ed by Abhinav a Bharati - Chapte r V

Also Na!yasa stra (GOS) - Volume II- Chapter XI and Natyasa stra by M.Man mohan
Ghosh - Chapte r XII
3. Natyasa stra by M.Man mohan Ghosh - Chapter XI - Pp. 206 & 207
4. For details see Supra - Natyasa stra in the Tamil Soil.
5. Natyasa stra - Volume II (GOS)- Chapter XI and Na!yasa stra M.Man mohan Ghosh-
Chapter XII
6. N. Shyama la - "Folk Music and Dance of Tamil Nadu" - Thesis subm.itted to the
University ofMadr as - Pp. 151 & 152
7. Supra - the Natyasa stra in the Tamil Soil.

8. See for details on Natyasa stra and Martial Arts in Author' s " Na!yasa stra and Nationa l
Unity"
KAR~AS - VOL U
274
CHAPTER-XV
PIND
• •
IBANDHAS
The Pir;icµoandha was understo od as dances, which involved more than one dancer. In
rt the Pindi1>andha is the techniqu e of group formatio ns . Bharata' s classifica tion of these
Sh O , ..
reveals the most modem concept of group choreogr aphy, which is especiall y studied in the
Western schools. In the last few centuries , many of the classical dances of India emerged as
solo dance performa nces. Though the idea of group dance still continue d to exist in the folk
dances like the Dfu:19iyaras, Raslila, Kotanam , Kummi, Pinna] Kolatµim and similar other
dances in many parts of India, the classical traditions like the Sadir, Odissi, Mohinia ttam and
Kathak remained as solo programm es only. Even when they involved more than one dancer,
there was no variety in their formation s. In the present context, when producin g dance dramas
is the fashion, a revival ofBharat a's Pir:i9ibandhas is sure to open new vistas before the Indian
choreographers.
From the etymolog ical point of view, "Pir:i9I" literally means lump, navel of a wheel
and a performa nce of certain gesticula tion accompa nying the silent repetitio n of prayers in
meditation on real or divine knowledg e. "Pii:i9Ita" is to be rolled, united, added, repeated.
counted and multiplied. (* 1) "Bandha " means bound, tied, fixed, fastened , chained, fettered ,
bound by the fetters of existence , hung, stopped, checked, obstructe d, produced , f mmed,
conceived , manifested, visible, apparent and forming groups. (*2)
. T he technical term Pir:i9Iban dha has not been defined anywh ere by Bharata .
Angadi San·gha- tah'' 1.e. · p·1ndI 1s · of
· a co11 ect.Jon
Abhinava gupta describes it as "PindI · · Adhara
all those basic elements which make a composit e whole . H e a Iso· states th. at · . -. r
. Angahar as 101m
.r . th
the core of the P11:i<;lThandhas; but, there are other things to o,. 101, ey can be 1nere Karanas as
the N tt - k • ·
well. Even two Karai:ias can form
. . • • That is how
. a PindI. r amat_r a becon1es importan t.
· . d- . , .
Just as the sky 1s spoken of as bemg with and without limit , p 11.1.1s . . .
. . _ . ate said to be ex1stmg both
m parts and also whole. P11:i<;fi 1s calJ ed Pindiban dha becau · t A ••, . .
.. se 1 w aws m 1t, every aspec t nn<l
ties them together. (*3)
,[J'lpi BAND HAS
1 275
Just like every other artistic , beautiful co ncept th · · of

, e ong1n
Pi~~ibandha is also attributed to Divine beings. lbe mythology as
th
found in the 4 chapter of the Natyasastr a goes as follows. When
Dak~a's Yajtia was destroyed, the Ga9as were excited. They started
sounding the Mfdanga. Inspired by this, Lord Siva commenced His
dance. Evenings are the time, which radiates auspiciousness and
happiness. Therefore at dusk, He danced constantly and limitlessly.
This verbal picture of S iva is visualized in the Cola bronzes
representing His Sandhya Tal)<;lava. According to the Natyasastra ,
Isvara is said to have danced the Ailgaharas with Recakas devoid of
Sukumara Prayoga. Seeing Him, DevI started performing the Nrtya
with Sukumara. The Ga9as were now inspired because of seeing both Uddhata and Sukumara
usage of the Ailgaharas and Recakas. These being the elements of Pi9<;fis, Nandi, Bhadramuk h~
Virabhadra and other Gal)as and their leaders gave the list of names of the Pi9c;tibandhas.
They witnessed in the Dance of the Divine pair, enormous wealth of designs. So, they carefully
observed, gave names, framed the rules and even started performing them. The result of both
Siva and ParvatI dancing simultaneously the virulent rotations and graceful movements
respectively, was the Pil)<;h""bandha.
276 KARAI';JAS - VOL ll
The idea of the Siva Gai:ias dancing the Pii:icpbandhas has been very artistically portrayed
in some of our temples. The Kailasanatha temple at Kanchipuram has enormous such panels,
in which they are seen rejoicing and dancing together in unison and sometimes in asymmetrical
patterns too. The outer circumambulatory of the Darasuram temple and the third Prakara of
the Chidambaran1 temple have beautiful group dance panels most effectively portrayed. The
various kinds of Pii:i~s mentioned in the Natyasastra is bound to have sculptural representations
somewhere. It is worth studying such group and dance portrayals from the point of view of
Bharata' s Natyasastra.
Since the Pi99.Ibandhas were mainly Nrtta varieties, it is necessary to have at

least a peep into the Tala system on which they were based . Pit:ic;IIs were built on th e
concept of Vardhamana i.e. elaboration of the Kala, Ak~ara and Laya. (*4) For this ,
the GitI (a kind of song) is the foundation. A cluster of musical sentences is taken for elaboration
through Abhinaya and also Nrtta. There, its music as well as the number of Avartana (cycle of
Tala) gets elaborated. This character of the Vardhamana has its parallel in the " Niraval"
(improvisation on a given line within the framework of the Tala) of the contemporary Karnatic
Music. It may also correspond with the various Ta.la Prastaras or cross-rhythmical patterns,
choreographed for the repeated singing of the same sentence in the contemporary Jatiswaram
and Tillana. In case of elaborating Abhinaya, the same lyrics of a given line is seen interpreted
in various ways. This is called Saficari Bhava even today. In the process of Vardhamana, as
the ~aras get multiplied, the number of dancers also get increased. The Asarita, which is a
musical form, is said to consist of four parts. One dancer performs for the first, two for the
second and in this way the numbers get correspondingly developed. This is also called
Vardhamana. This seems to be a particular kind of technique in the formation of the Pi991s.
Another technical term that is met with is the Khai:i<;lika. (*5) It is not defined. The cycle
of Khai:i<;lika is said to be ten fold. This system seems to have existed in Tamil Nadu during
the time of A<;liyarkkunallar, the commentator of Silappadikarruµ. (*6) He uses the very word
" Kal).<;li". Kru;t<;li is a term used even by contemporary Natfuvanars to denote the various Korvais
(combination of A<;lavus) that form part of the Jatiswara1n and Tillana. These depend on the
elaboration and ramification of the Ak~aras of the various Avartanas. This very same idea is
projected in the concept of the Kha.I_lc;lika of Abhinavagupta' s period. These are to be completed
277
111 l . lt.1rn1 of A11gaharas. This i s the rule for dev • h . .

11 1 e1opmg t e PmdThandha. The ten Khand1kas
I i,[v co nsisted of ten Af1gaharas 10
· th ·· ··
1*11 3 1 ' e process of performing which , the number of
tL1 nce~ increased.
In the above process, the percussion instruments see

m to have p1ayed a prominent
· I
roe.
Tbe.se are called the Bhanda
· · Vadyas . Puskara
. · is menti·on ed as th e mam
• d rum. Th e very
beginni ng of Nn~ya consi sted of the performanc e of Upohana. This seems to have been a
combination of Su~ka~ara s, i.e. the rhythmic syllables. Thi~ was to be behind the curtain.
·niis practice con tjnued even till early this century in the form of Me!aprapti , which consisted
of a reci tation of Sollukanu (rhythmic syllables) in Sruti. Only after this is over, the artiste
would enter. The Upohai;a is of a very similar character. After this, the first dancer was to
enter in the Suddha style. T he lady who would be the centre figure was to enter with single
rhythmic syll ables like " Dham dham kho kho i;Ja i;Ja" etc. This was only for the Visuddha
style. The entry must be equipoise with the beats (Sama). Other syllables prescribed for the
entry are "Rundahi ru ndahi" etc . This was for the Pu~pafijali in Vaisakha Sthana. (*7)
The Pu~kara drum has been such an important instrument that a whole chapter is allotted
in the Na~yasastra for its technique. The various Ailgas of the Tala and the methods of playing
are aJI ex plained. The 8 Sa.m yas in the Pushkara technique are Anga, Tala, Laya, Yati, Pai:u,
GrnhJ, Nyasa and Vikrta. Six of these pertain to Tala (rhythn1) and two to Swaras (notes) .
Due to their combinatio ns " Sabdam" or sound is said to attain a pleasant and enjoyable form
(Sama Rakta Bhava) . Probably the contempora ry "'Sabdam" , a dance form of the Sadir style
~volved from this idea. The beginning of the Piirvaranga is set in the Chachaputa Ta.la as " Ka
katakana kak udantara karahata Itthattharih i katicchida Satahita" . (*8) The above description
of the Tala system is not enough to reconstruct the entire form. But it would give at least a
rough idea of how it is possible to probe into the past technique through the method of
proceeding fron1 the known into the unknown.
To describe the Pii:ic;lThandha, it is also necessary to have background knowledge of the

musical forms of Bharata's age. The Gitas and Dhruvas were the main 1nusical fonns of
Bharata·s age, and Bharata' s Natya. Gitas were also called Gifis. These are four kinds viz.
'. ,15gadhj , Ardha Magadhi , Sambhavit a and Prthula. Magadhi is sung in all the Layas and in
h L"\'
sen t enc e 1·5 added during repetition of the preceding sentence.
c:1<
· uJ J. one more
KARA ~ AS - VOL II
278
would
dh Mag adhi the last sylla ble of the prev ious .sent ence .
It is made of 4 Guru . In Ar a '
. . fth ~ 11 ·ng sent ence . This is how lines are repe ated . This renu nds us of
. . - . -
be the begm rung o e 10 ow1 Mamkka Vaca kar)
. d fth rramil liter ature (exa mple - Anna1 Patt u of Sain t
the Antadi Chan as o e 1, ther e are Lagh u
- • h . "ewe r word s and man y Gur u Aks aras . In Prth ula •
In Sambhav1ta, t ere rue 1 1 •
Aksaras and there fore more word s . In all thes e Gita s,

the lyric s are few but they get elab orate d
aran ga. T~e Gi tis are clas sifie d as
onl~ due to repe titio ns. The y are used in th e Piirv
ng to N1vft:ta and the latter two to
Nivft.tapradana and M atrap rada na . The form er two belo
Matra types resp ectiv ely.

are Prav esik I (song for entra nce),
Dhru vas are song s used in the play. The Paiic a Dhr uvas
ikI (to be p erfo rmed in thre e speeds),
Ak~epikI (expressi ng chan ge in emo tion ), Nai~ kram
(son g for stop gap). The Dhru va is
Prasadika (to touc h the hear t of the audi ence ), Anta rarµ
, Dhr uva and Sir~ aga. The se can be
divided into four part s viz. Upohar:ia, Pratyupohar:ia
othe r part s of our o w n cont emporary
compared to Palla vi, Anu palla vi, Carar:iam and such
the Kala s of whi ch are spec ified for
classical songs. Upohar:ia is mad e of only su~kak~aras,
s as V astu Nib addh a Gita s and Ailg a
each type of Dhru va. The Gita s are also of two kind
four part s as Upohar:ia etc. The Anga
Nibaddha Gitas. The form er has the abov e-me ntio ned
Ove naka and Utta ra. The ir parts are
Nibaddha Gitas are nam ed as Ullo pyak a, Roviindaka,
Oth er Gita s men tion ed are Asarita.
differentiated only thro ugh certa in danc e mov eme nts.
Chan daka , Vardh ama na, Pani ka, ~k, Gath a and Sam.an.
In all thes e, the lyric s were few , but
icula rly.
they were of relig ious impo rtan ce in the Piirv aran ga part
for the begi nnin g of Purv aranga.

The Asarita is particular! y prefe rred with all its four part s
With this gene ral intro duc tion ro the
The danc er's entra nce is for this mus ical form only.
al form atio n of Pii:ic;II.
rhyth mic and mus ical form s, it is easi er to anal yze the actu
and does Pusp afij ali . Then she
The first lady ente rs after Upohai:iarp. She ente rs alon e
· · -
perfonn.s a bit of Nrtt 1 · Th'1s perir.orm ance 1s prob ably the firs t Ang ahar a,
a and then ex·ts
·
· , t h e othe r ladie · som e
· s e nter thro ugh danc ing
Sthi tava rta perf orme d as a solo · Afte r sh e exits
ably they repe at Vais akh areci·t arµ. Th ey ente r 1nd1 • ally, but in an orderly
· • v1du
Karanas. Prob.
·
behm d the othe r. Then they com mence tying th e p •r:i. · d- Bh arat a says that u·11 th ~
way one . 1s.
. _. · g t he
t·11 all. o f then1 ente r. D unn
Pn:ic;b 1s com plete ly tied, they go on doin g Paryastak a, 1
1 L' DIBANDl lAS
279
pi1,1~Ibandha , th e full orchestra must play. (*9) Abhinavagupta gives us a clear explanation of
thj s. After the first lady exits, the four parts of the Asarita are performed only by the other
ladies. Therefore, four dancers are required for Asarita . (* 10)
Until all the Nartak:Is had entered , Paryastaka is to be perform ed. Abhinavagupta has
given the views of various authorities on Paryastak.a.
I. Until the Paryast aka action is going on, the Pii;i9Is should not be tied. Paryastaka is
only the performance of the A.sfuita. The first NartakI gives way to the other to follow.
This explanation is howeve r vague.
2. Paryasta.ka is said to have been the term used popularly during Abhinavagupta 's time
to mean the uniform ity in the actions of the group. Abhinavagupta says that it should
resembl e the movem ent of an army or a river in a single plane. The members of the
group attain this through the uniform throw of the limbs. The movements are to be
devoid of Abhina ya. The first partaker who enters must specially be trained for
Paryastaka to be able to lead the rest properly.
3. Abhina vagupta does not agree with the idea of eschewing Abhinaya. He says that till
the momen t Nrtta does not help to form the Pir:i9I, the first NartakI does Abhinaya as
solo for Asarita. The others are to be turned away. By this, Abhina vagupta probably
means that the others are to be at the rear end of the stage while the first dancer is in
forefront. Or perhaps , he means that they must turn back and do the movements, in
uniformity, while the first dancer alone faces the onlookers and does Abhinaya at the
same time. These possibilities bring out the beauty of group formations .
4. When one does Asarita, the others are to move out of the stage completely .
5. Paryastaka is for the duratio n until the instruments are involved in the Asfuita. The
Pii:i9Thandha occurs during the Asa1ita itself and gets reinforced with Angaharas. In
other words , the Pindis
. . are tied actually when the Asarita is sung.
In the above ways, the dancers enter one after the other and do both Abhina ya and
Angahara. Abhina vagupta explains the order as follows. One lady enters and does both
Abhinaya and Angahara. Her Nrtta attains variety through the involve ment of various
KARAJ:-J AS - VOL ll
280
. ts This ·s the firs t part. Secondly she starts Asarita in a different Laya, i.e. with
1astrumen . 1
another Upohm:imµ. She worships all Devatas. Then the second Nartala enters. She performs
onl y the Vakyartha and then concentrates on Tala, for Sandhi or link. Again Asarita is
peiformed , but now in a different Laya. This part will be done by both the dancers together,
as Nrtta. This Npta will be made of Ar'1gahara, but closely a1lied to Abhinay a. After thi s stage
of Asmita, the first and second dancers exit.
Thereafter the third and fourth stages of Asarita are performe d in a sirrular way by thjrd
and fo mth Nartalas , who enter one by one. Now, they perform in the fast tempo. Whenever
tl1e same subject is repeated, only the auginented tempo is prescribed. The di visions of A.saritas,
which is f01n1ed due to repetitions , are called Mukha, Pratimuk ha, Sanra and Samhara,:ia. On
the basis of their expositions they also attain the nature of V ardhama na (elaboration ). This is
done through Tfila Vadya and song.
Abhinavagupta says the Pil).c;iis reveal the manifestations of the Lord . By this he means
the several formations of groups to satisfy or portray different deities. Bharata gives the following
list: -
1. Isvara Pil).c;iI for isvara
. . for Nandi
.. i.e. Sula PindI
2. Pattas1
3. SimhavahinI for Cal).c;iika
4. Tar~ya (Garuc;Ia) for Vi~I).U
5. Padma Pil).qI for Brahma
6. AiravatI for Indra
7. Jh~a (fish) Pii:ic;II for Manmatha
8. Sikhi Pil)9I (peacock) fo r Kumara
9. Padma for Sn (Lak~mT)

. _
10. Dhara (drops of water) for Jahnnv-J (G anga)
11. Pasa PiI)c;H for Yama

.. rnjDA NDHAS
r1 1~1:·
281
12. Nadi (1iver) for Varur:ia
}3. Y~i for Kubera
14. Hala (plough) for Balarfuna - This may be an interpolatio n.

15. Sarpa for Bhog1s (Nagas)
J 6. Mahapi99i for Ga9esvarI, for breaking D~a' s sacrifice
17. Trisiilal(fti for Rudra who annihilated Andhakasu ra. (* 11 )
In the same way, Bharala says that the various others are portrayed through designs as
seen in the emblems o f flags and performed. Abhinavag upta says that by others he means all
the deities mentioned in the ID chapter of Natyasastra . They all have Pi:r;icµbandhas. The
emblems may include flags, Piija places like cardinal points, weapons, Vahanas and s uch
other points, w hich reveal the identity of the respective deities.
Abhinavagu pta shows some examples regarding the use of Karru:ias in Pi:r;ic;fis with respect
to various deities. Talapu~pap uta pleases Devi and depicts her and can be performed for the
Nancfi Sloka of the drama Ratnavali (Padagra). Lalatatilakruµ for Siva; Nikur!akarµ for holding
Trisula; Garuq.aplu takarµ for Garuc;ta, Gangavatara:r;iruµ for Dhara Pi:r;ic;lI; Nagapasarp ita for
Bhogi Pir:ic;lI; Sthirahasta Angahara for Bhauma, Sivalinga and Tris ii.la Pi:r;ic;lis. Abhinavagu pta
says that according to Nandimath a, all the Devatas are pleased with Recita Ailgahara. So they
were included in Tai:i<;Iava. For Sikhi Pi:r;ic;lI, Kara:r;ias like Mayiiralali taqi are to be used.
Vi~l)ukranta and Cakramar:i<;lalarµ denote LIias of Vi~:r;iu. In this way, the artiste is encouraged
to construe any other forms in an imaginative and correlated way. (* 12)
Pi~~Ibandh a or the actual tying of the groups are said to be of four kinds . They are
Pi991, Spu<halika, Lata Bandha and Bhedyaka. (* 13)
Pi9~1 has the group fonnation, like a clump (Gulma), i.e. entangled. Sfllkhalika is the
formati on resembling a chain. Lat.a Bandha has the fotm of a fish net, i.e. woven. Bhedyaka
is added to Nftta; probably it is more individualis tic . Pii:t"I is in slow tempo~ S.p \khalikii is in
the next speed.
In PindI the formation could be homogeneo us or heterogeneo us. Abhinavagu pta gives
.. '
two exampl es for this. If there arc two ]otus buds from one stem, it is syffilnetrica l and hence
KARA~AS -VOL U
282
ther han d if a swa n hold s a lotu s in its bea k wit h the bud on one side
.
homogeneous. 0 n th e
O '
call ed Gul ma i.e
o-ing asyr nine tric ally it is hete rog ene ous . It 1s then •
and stem on th e oth er hane·

,
A
of a net eith er clos ely or sepa rate ly.

- B dha 1·8 don e by thre e Nar taki s in the form
cluster. L ata an
atio ns in Bed hya ka. Abh inav agu pta says that
Fou r Nartalds form the squ are and othe r form
re itse lf is of thre e kind s. The re are thou san ds of dan ce scu lptu res in the Aira vate svar a
the squa
of pan els of gro up dan ces . The se mig ht be
temple at Dar asur am. The out er Pra kara is ,full
andhas. Thi s nee ds an ind epe nde nt study.
sculptural repr esen tatio ns of som e of the Pii:ic;IIb
thei r orig in. Yan tram and Bha dras ana qi
The Pil)c;IIs are said to hav e man y sou rces for
orat ion (Va rdh ama na) . (* 14) Abh inav agu pta
are said to be thei r basi s for the atta inm ent of elab
follo ws. Just as the pare nts are sam e for man y chil dre n and just as all the parts of
explains it as
e
and sky are the bas is for hol din g our physiqu
the bod y has the bod y as thei r bas e, the eart h
they are yet diff eren t. In the sam e way, the
and life. Tho ugh they are of the com mon sou rce,
betw een Yan tram (me cha nism ) and Bha dras ana rµ (clar ity of Asa narµ ) in case of
relationship
eme nts clos e to the gro und . Abh inav agu pta
PiQc;IIs is to be und erst ood . The latt er are the mov
e peo ple, as bein g mac hin elik e and prosaic.
himself says that Bhadrasanarp. is crit iciz ed by som
says that whe ther this is a corr ect view or not is a mat ter of tast e. Yan tram has not been
He
get the spir it beh ind this term . In general for
explained in full. The refo re, we are una ble to
hold ing thei r han ds. (* 15)
Pii:ic;IIs like Sfil kha lika , the girl s tie the Pi1,1c;Iis by
have , in the abo ve desc ript ions , com e acro ss the mos t mo der n We ster n con cep t of
We
cers are mad e to form bot h sym met rica l and
grou p cho reog raph y too. The larg e gro ups of dan
s
the very idea of com bin ing the viol ent rotation
asy,,mmetrical patterns on the Western stage. In
Par vati in the sam e dan ce, we can perc eive an
of Siva with the grac eful ly soft mov eme nts of
· 10 · perfiec t
asym met rica l form atio n of the due t · In p arya s a, we see the gro up per forn ung
tak
on as th e flow of a rive r. By this , we cou ld hav e hor izon tal line s in vari ous directions
unis
the sam e way. The entr y of the dan cers one by
whe n dan cers perf orm the sam e mov eme nt in
h th · the
one natu rally aug men ts the unis on of such mov eme nts , part~ucu1ar1y w en ey mov e m
. .
sam e d1re ctto n.
In the con cep t of Pind I and Gul m a, we h ave the gro up both in sym met ry and ~ ymmetry.
·· - bl
f . . .
Her e, we can see the sens e of spac e cho reog raph y 0
our anc ient artt stes . The enti re avru 1a e
ied (Pl t p· . . •
spa ce of the stag e can be analytically stud · a e. 1, 1g. I) If we d1 v1de the stag e rnto two
r1-..rpIBANDHAS 283
PLATE I
.,.---
--- ----1-----
I
I
---- • • • • • • • • --••
... • • • • • • • • • I __ .,. I
II ,I • • - • • - • • • •'( - - II
I
I
I
,,,--------~-----j• I
I
I
'
Fig.I
Fig. 2
__ .,,.119--------
,
____ __________ _
.,-- --- I ----- ---•, --- I •••••••
t
I
• •••••••--
II Ir•••• • • • • • - -
I
I
--- - - - III
i
I
I
I
-·----------L
I
I
I
---- I
1•••••••• ••--
I
I
I
I
--- --- I
II
I
I
I I I I I I I I
I I I I I I I I
I I I I I I I I
I I I I I I I
I I I I I I
I I I I
I I I I I
I I I I I
I I
I I I I
I
I I I I
I I I
I I I
I I
I I
I
Fig.3 Fig.4
.. ------ ---------- -----.
I
I
I
I
I
I
I
KARA{';JA ~ - vur. 11
PLATE II
,, -~ I
•••• ---------•-;\
, ,
, I
I
-~------'---- -- -- -- --. ,, I
,,' I I
I
I I I I
I I I I
LA I
! ~~ ~fl
: : I I
I
I
I
I
I
I /••••••• ••••+••• ,'

I , I I
I , I I
I , I I
I # I
a ,, I I
I , I I
I , 11
.,~---.............. ----·.. --· ... -.. -- ·"
,, I ,----------------, / --- I
,,
--1 ------------~---~ ,,
,,,
,,... ______ 1 ____
,, I
l _____ _., ,,
,
,..,._________ __·-------,
---
--- I
I .,.-""
,,
I I
I I I I
I I t I
I I I
I I I
I I I
I I t
I I t
I
I
I
I
t
I
I
I
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.,_ ________,
;
:I '
!---- ------~---
I
-~I I
,,'
I ,, I / ,
I
I #
, I
t I
I
, ,,
I
I #
,, I
I I
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,
,, ,,,,
~~-----------------~ ~-------------------~
,, ,-,----------------~
I ,
,.
' I I
,.- I I I
,, I ,,
I
.-.-•••••-. -••••••••• •f' I
I
I I I
I I I I I
I I I I
I "-.._ I I
I "'l&_ ✓ ..-}--l I ..-..-..-_-:......·::~·:
II ◄ ► ":"°••:':.~f I ► II ••• I
I :__----+•J• •• : : -,-.,' I
I
I
I
I I
I
I
:.n.:::~~~~~~~--- • I
I
I
I , •••••••••• ••LrI •••IJI •
I
I
I ' I
I ,, I I
I
I # I I I
I # I 1
II , ;' I/ I
I
II I ______ _
.._,,
,~------------------~
11~ 1) ,U \ 01 DII AS
285
eyua.l halves , we have the right and left halves. (Plate. I, Fig. 2) If we divide the depth of the
5lagc into three divisi ons we have the posterior middle and anterior region s. (Plate. I, Fig.
3)
We can classify the space above the floor of the stage as Inferior, Middle and Superior zones.
(Plate. I, Fig. 4) The space below the knee, that above it and below the should er and that above
the should er could respec ti vely be called Inferior, Middle and Superior zones. With such
an
analysis of the space of the stage, the movement of the group could be in innumerable ways
.
Some examples of choreo graphic patterns is given in (Pl ate II). From the central point of the
stage the four principle directi ons and many more axis could be drawn . A mere changing
of
lhe directi on while doing the same movement will produc e a different formation. While
Paryastaka is being done by three girls turning back in the anterio r region , one girl does
Abhinaya in the poster ior region in the PiQC,Thandha. This is an asymm etrical pattern
in a
symmetri cal way. It involves a differe nt movement for one girl whereas the three others
do
someth ing else together. The regions are also well marked.
In the idea of ParvatI and Siva performing Sukumara and Uddha ta styles at a time, we
ngai n see the beauty of asymm etry even while two dancers are involved. The violent Bhram
aris
and the Sukum ara Karai;i as perfor med on the two halves of the stage would be highly
helerogeneous , yet artistic if woven properly.
In the concep t of Bhadr asanaqi and its combination with Yantram, we again see the
sense of intelli gent utili zation of the zones . While one artiste performs in the inferior zone
close to the ground, anothe r may have an Ariel Carl while the third may be perfor ming some
movement in the middle zone. A combi nation of such ideas in the three region s or may be
in
the three corners n1 ay give rise to infinite variety of group formations. Bhedy aka is said to
be
in fast tempo. The square pattern itself is said to be of three patterns or types accord ing
to
Abhinavagupta. The square in the centre of the stage, a diamond formation in the centre of the
stage, a square in the poster ior region facing the opposite anterior corner or vice versa
are
some of the possibilities of the Catura formation.
The idea of two dancers performing followed by another couple of them perfor ming is
also interesting. While one does Abhinaya, the other does Ailgahara. ln the third and fourth
variations, we have the Vakya rtha Abhinaya and suitable Angaharas perfor med by both.
All
these provide the necess ary variety and cuts monotony of the group always perfon ning every
KAR ANAS _ VOi . II
286
e way . In anc ien t Ind ia, the ana ]ys is of the spa ce and its pro per utilizat ion
thing in the sam
e bee n bas ed on a dee p per cep tion . Thi s was not a me re acc ide nt. It is a pleasant
seem to hav
y
n t.o find all the con ten1 por ary and mo st mo der n con cep t of cho reo gra phy , particularl
revelatio
e of
as seen in the West to be refl ecte d in suc h
an anc ien t tex t as the Na! yas astr a in the nam
Pir:ic;ffbandha.
SU MM AR Y
ha is the tech niq ue of gro up cho reo gra phy as refl ect ed jn the Natyasastra. It
PirJc;lThand
pris ing to find asy mm etri cal pat tern s and an inte lligent util iza tion of spa ce being
is rather sur
l
ted in the mec han isn1 of tyin g or form ing the Pii:ic;IIs. This is in con tras t with the classica
sugges
for
itio ns of Ind ian dan ces of the pas t two cen turi es. In the presen t con tex t of an urge
trad
er.
dram as, a stud y of the Pii:i4ilJand has is sure to be of hig h val ue for an Indian choreograph
dan ce
ns
Pil}(lis from the Author's da nc e pr od uc tio
2'K7
Churn 1ng th~ ocean
Ga_1alakshmi Pit:i~fi
Kam ala Pi,_,\IJ

t<...\RANA S - VOi II
S,khi Pindt
. \ Ll 111.\ :\ ll 11 ,\ S
}' I
2H9
From Author's
adaptation of
Tagore 's ·GHanjuli'
- A vi~ual all egory
portray ing Buddhi
(i ntell ect).
the heroine
ovc r powere d hv
the five scn\C<i
Buddhi
over-powers the
senses and meets
Atma(Soul ) the
hero .
i
KAR~A S - VOL U
290
REFERENCES
onier William s - Sanslai t - English Diction ary - Page 626
1. M
2. Ibid - Page 720
_ Bharata 's Natyasa stra and Abhina vagupta 's Abhina va Bharaf i - Volum e I - II Edition
3
(GOS) - Pp. 167 & 168
4. Ibid - Line 192
5. Ibid-L i ne 190
6. Infra - "Natyas astra in the Ancien t Tamil Soil" C hapter IX Volume I
7. Abhinava Bharafi - Page 185
8. Ibid - Page 176
9. This aspect is dealt with in a nutshell. Since it is based on interpr eting the scattered
available n1aterial , only the most importa nt referen ces are given. However, it needs a
separate study.
10. Bharata ' s Natyasa stra - Chapter IV - Lines 279 to 281
11. Ibid - Lines 282 to 289
12. Ibid - Lines 253 to 258
13. Ibid - Abhinava Bharafi - Pp. 168 & 169
14 . Ibid - Natyasa stra - Lines 188 to 190
15 . Ibid - Line 290

--ct u ~Cl1 JALOR EMOTIONAL?
1N1L:- •
29 1
CHAPTER - XVI
INTELLECTUAL OR EMOTIONAL?
Dance ceas es to be an art onc e it gets entangled with
the intellec t alone. In this zone, it
roay acquire the status of a science~ but at the sam e time
it will be removed far from the heart.
Spontaneity is one of the qua litie s of true art and it is
only such an art that has the capacity to
penetrate the nrind of the spec tato r too. Technique is alwa
ys close to the brain. It is the practice
to attain a habitual skil l and at this level it pertains to
the realm of the physique. The se can be
achieved by a mer e perm utat ion com bina tion of a
set of cod ified mov ements base d on a
mathematical calc ulat ion of the dura tion of rhyt hm i.e.
syllables. Then, it is indeed a product
of a complicated inte llec tual laboratory, meant for the
understanding of only a carefully trained
brain. On the othe r han d, if dan ce is an outcome of
a mere ecstasy of min d with no cod es
whatsoever acti ng as the und erly ing guiding factors,
it may bec ome eccentric in character. It
becomes a form of rele ase of extr a energy, with the min
d set in a state of frenzy. This kind of
erratic spontaneity fails to hav e a stamp of aestheti
cs. Cou ld dance not have the seal of
intellectual and tech nica l bril lian ce along with a tota
lly emotional approach? Cou ld it not
cater to both the brai n and the heart? When we
are still pon deri ng ove r this problem,,
Abhinavagu pta had answ ered our dou bt a thousand year
s ago. Wh at is the potentiality of the
Karai:i-as? They hav e an ama zing victory over
both these areas. The y are meant for the
gratification of the inte llec t and also the emotion. The
ir analysis uncovers their full character
with four fold aspects nam ely physical, intellectual, emo
tional and spiritual.
The physic al aspe ct of the Karai:ias lies in the use of
every major and minor limb of the
body , in a correlated way. The thro w of the limbs
must be aesthetically satisfying and not
even be merely acceptable. Thi s involves the mind of
one who construes the movement, the
concentration of the one who performs, as well as the atten
tion of the spectators. The intellectual
grasp of the art is ano ther una void able necessity . The
correlation between music, movement
and rhythm and such othe r subtleties, requires an
intelligent understanding. This is axiomatic
to thos e who choreograph and perform, and advisabl
e for those who witness. It also has an
emo tional side beca use each physical 1nov ement has
a psychological effect. Finally, it is
KARAJ'_-IAS - VOL fl
292
. . ·ts erformance produces an indescriba ble sense of bliss both subjectively

spintual because, J P . . .
. · At that point it is beyond the physical, 1ntellectua l or emotional levels . The
and ob1ect1ve1Y· '
. al exer1ion,
· mental tension or a consciousn ess of its technical brilliance is no 1nore felt
physic
at that point. It is the enjoyment experience d by the inner self. No wonder it is said to be
pleasing the Gods.
One may wonder, how the Karru:ias, which are referred to as Nft.ta Karai:ias could have
nny emotional content. Nµta has been often understood as that dance which does not convey
any meaning. Therefore , there can be no mental involveme nt. It is defined by many of the
Post-Bharata authorities as "'Bhava Vihinam" and "Rasa Virunam", i.e. devoid of feeling and
its ultimate aesthetic pleasure respectively . (* 1) Some critics have designated Nftta as Adharna,
i.e. inferior among Nftta, Nftya and Natya. (*2) If so, it is quite logical to doubt the capacity
of the Karar:ias to arouse any psychologi cal effect. If Nftta is to be considered as purely
physical, the foremost point is to scrutinize the connection between the body and the mind.
The instrument through which the dance is produced is also the instrumen t in which the mind
and spirit reside. Every facet of life is lived only through this very instrument . How can its
action or reaction be of a constant nature, irrespectiv e of the nature of the circumstance,
surrounding, condition and thought? The physique is dependant on the psych in our daily life
itself. The day-to-day movement of the body is also guided by the inner composure and
conflict. Do we not run to catch a bus? Do we not rush to save a life? Do we not jump in joy
when there is an unexpected pleasure? Do our steps not falter when there is an unpleasant
experience in extreme state of sorrow? The pace and space of our physical movements vary
according to our own mental attitude and condition, even in our daily routine. Modem medical
opinion regarding the cause of even serious diseases like cancer is said to be the result of
·
bottled up feelings · A tremendou s amount o f psyc h ology plays a silent part 1n ·
· 1n1prov ·mg 0 1·
shattering even the physical appearance of people . Th e popu1ar T an11·1 p hrase, "·N ad•:l~ Uda.i
. w, . ,
' d f ron1 h 1s
Bhavanai" implies that a person's character can b e s t u d 1e · garb an(i m"'n~
. gait, t.:
· I
attitude. If so, why should the phy sica · · l
movement s 1n dance not produce a psycholog1 cn
effect? Why should the potentiality of Nrtta be underplayed ? Just as the sru11c situation would
·c I ~ct· f• .h ki. d of
• , pru·u u ar1yo 1 11ercnt sex l e srune 11
produce different reactions in different persons
movement produces different results when performed b • ' . . h l nc jc
ma1e or 1emale . Tlus 1s t e )w.e,
Ya
difference between the often-ment ioned terms -Tand dL-
. . ava an as ya .
lN'fBLLECfllAL OR EMO TION AL?
293
Tandava is virile, ene rget ic forcef I d

. •: . ' u an masculi•ne. Lasya is soft , graceful , flowing
and fom1rune. The se idea s got associated with the terms T-
. a~da. va an d L-asya on 1y d unn
· gp t
os
Bharata pen od. The wor ds Udd hata and Suk uma
- ra are seen
use d b y Bh arat a an d
Abhinavagupta to mea n Tan dav a and Las ya respecti·vely
·· . Though the terms were d'" tuer ent,
the concept exis ted duri ng Bha rata 's time In spite of
this , he has no t
· spec1-61ed any spec1·a1
Karan. as for women. The entire chap ter is called "Tandavalak
.. sana
. . m"
. . The "Prayoga" or usage
of the same set of 108 KaraQas were mea nt for both the
sex. Hence "Tai:ic;lava" was used as
synonym of Nftta. Tfu;19ava and Las ya cam e to be asso
ciated with Nrtta performed by men
and women resp ecti vely from arou nd the time of K~i
dasa . (*3)
During Bha rata ' s time , the wor d Lasya had a diff
erent meaning . It is said to have
originated in the Na!a}<a (a maj or kind of play). But it
is to be enacted by a single person only
like the Bha na (a min or kind of play). The actions are
based on imagination and inference as
in Prakanu;m (ano ther maj or kind of play). Bha rata has
given 12 types ofL asya . (*4) Among
them, the Las ya Sain dha vak a is said to use Karai:ias to
express sorrow as a result of the lover
failing to be trus two rthy . The son g is supposed to be in
Pralqt. All the 12 Lasyas have only
the love theme. The y are all to be performed by a lady
only. Since Bharata has not specified
any special Karai;ias for ladi es, the Saindhavaka must have
had, som e of the l 08 KaraQ.as .
The name '~Tan. dav
. alak sana m" for the chapter describin
. . . g Karai:ias is sure to confuse if
T~~ ava is taken in its pres ent meaning. If the Karai:ias
are all meant for male dancers , why
were the Apsaras crea ted for han dlin g them in the
Kaisiki Vftti? The Ailgaharas are not
referred to as Las ya Ang ahar as and Tai:ic;tava Ailgahar
as. The word Sukumara and Uddhata
Prayoga means the usag e of the sam e in a soft and
forceful manner. The sam e movement
produces different results bec ause of the intensity and
force with which it is performed. Its
nature depends on whe ther it is a man or woman who
performs. Irrespective of the dancer
being male or female, beau ty and grace are the qual
ities most positively expected in Nftta.
Since the Karai:ias are base d on the throw of limbs guid
ed by such beauties, these movements
came to be called Nrtt a Karanas. Even when they are
. . divided as Tfu:tc;lava and Lasya, it is all
Nrtta only because, the Karai:i-as are comn1on to both .
If the definition ofN ftui is to be accepted as being devo

id ofB hav a and Rasa, the Nftta
Karai:ias will have to be classified under physical and inte
llectual facets only. Then, it becomes
KAR~A S - VOL II
294
the use of the intellect to create a physical beauty. In this case, it n1ay have no impact on the
g
emotion. But, at this point the problem of interpreting the word Ailgika Abhinaya starts croppin
up. Angika Abhinaya is physical expression of ideas. While expres sing some idea, the feeling
al
behind it has to be at least inferred. In other words, the psycho logica l effect of the physic
movement is the result of the expression of an intend ed idea. This can be achieved in two
ways . One is throug h the expres sion of the meani ng of every word. This is called
in
Padarthabhinaya. This is achieved through the use of hand gestures. It is this style, which is
vogue for the past few centuries in South India. Of course , the Mukh aja aspect of expression
of
using the face is imperative. Works like Abhin aya Darpai:,.aqi reflect Padarthabhinaya type
e,
communication. The other metho d is to express in a general way, the idea of a whole sentenc
is
verse or even the mood. This is to be achiev ed by using the whole body in action. This
called Vakyarthabhinaya. This art of communication depends on the movements of the entire
body and not the hands only. In this case, the actions of Nftta gain meani ng and hence
automatically feeling too. How can we accept the medie val theory of classif ying Nftta
as
inferior, and also being devoid of Bhava and Rasa? Abhin avagu pta, on the contrary,
has
argued that there is no difference between Nftta and Natya. (*5)
While comm enting on the Karai:,.as, Abhin avagup ta says that many of them are useful
has
in communicating ideas through Vakyarthabhinaya. (*6) For most of the Karlli)as, be
mentioned their psychological value. (*7) He has actually quoted from Pralqt plays, phrases
s. It
or dialogues or situations, the like of which, are to be enacte d throug h the relevant Karru;ia
the
is unfortunate that this language as well as the source is obscur e. But, the elucidation of
t of
first Kara.I).a Talapu~papuµqi is most lucidly dealt with. Abhin avagu pta makes the concep
Vakyarthabhinaya crystal clear through his recom menda tion of this Karal).a to enact the entire
of
NandI Sloka of Srihar sha's Ratnavali which starts as "Pada gra". This gives us a full idea
ns .
how to relate mood with movement. Hence, N!1ta Karai:,.as are capabl e of radiating emotio
n
They are noton1y physical and intellectual conceptions, but they do shine as physical reactio
of the inner feelings. Hence, Nrtta can produce Bhava accord ing to Abhin avagu pta's theory.
While corrunenting in the 15 Kara9-a, Abhinavagupta bas categorically stated that every
th
Karal).a is capabl e of conveying some idea at least in a very subtle way. Along with
rus
th
explan ation for the 66 Karai:ia , he also adds that wherev er the use of the Karal).a is not stale£i
J~
...-er1EC fU AL OR fil10TIONAL ?
I ._,
29 5
, is left to the ima gin atio n of the per form er Suc

hK
araQ.as are part.tcu
· ar y use f · b · ·
1,
•
nd 1 1 u1m nng 1ng
0 ut the inte llec tual a phy sical skil l thro ugh the intricacies of cros s-rh
ythm ic patt erns . The
I(arar:ias for suc h Gat i Pra star as are num bers
17, 22, 25, 29, 30 , , , , , 6, 40, 43, 45
3 1 32 34 35 3 ,
48, 54, 57, 60, 63 , 66 , 67 , 72 , 7 6, 7 7 , 79, 84,
85, 86, 87 , 91 , 94, l 02 and l 06. The se 32
KaraQas may be con side red as pur ely non-representationa
l. The se are mea nt only for a crea tion
of aesthetic enjo yme nt of a purely abs trac t natu
re . Suc h a joy is pro duc ed thro ugh sheer
beauty of fmm and sou nd (Sa bdh ajal a of rhy thm ic
syll able s).
The concep t o f bea uty is very clos ely knit with

the feel ing of love . Bha rata has said that
wherever Sfll ga.ra Ras a dom inat es, the Suk uma
ra Pra yog a mus t be ado pted and Nrtta mus t be
perfo1med. (*8 ) Doe s this not sug ges t that Nft
ta radi ates a sen se of hap pine ss caused by
beauty, whi ch is so con duc ive to a feel ing of
love ? Per hap s Nft ta itse lf con trib utes tow ards
the strengthening of the Sth ayib hav a (do min ant psy
cho logi cal state). In this case , Nrt ta has to
be classified as one of the Vib hav as (cau se)
and also Vya bhic ari Bhava (com plem enta ry
psychological stat e), whi ch, in spit e of bein g inci
dental and tem por ary , app ears to stre ngth en
the Sth ayib hav a (the dur able feel ing) . For exa
mpl e, the Sth ayib hav a of Rat i (love) is help ed
Lo be esta blis hed by Vya bhi cari bha
vas suc h as adm irat ion of bea uty , soft wor ds ,
fear , coy ,
exci tem ent, abs entm ind edn ess and so on. The
se are tem por ary feel ings , whi ch app ear to
strengthen the dur able feel ing of love . In the sam
e way, Nrtt,a enh anc es the feel ing of love and
contributes tow ards the culm inat ion ofR ati. ltis
this state ofR ati Bhava that blos som s into the
Stjlgara Ras a. The incl usio n of Nft ta in suc h scenes
is hen ce und erst and able. I<araQas use d in
such scenes mus t be app rop riat e to the Rasa. The
Suk uma ra usa ge of any of the K ~as and
more particularly tho se like V alito ruka qi, Ka!,icch
innaqi and UdV11-taq1 would be ideally suit ed
for such occ asio ns.
Eve n the Ras as oth er than Sfll gara give sco pe

for the use of Nrtta. Kanu;ias 2, 4. 8, 9 ,
10, 14, 16, 41, 58, 61 , 62, 65, 73, 81, 82, 89, 90
and 98 can be use d for Rau dro Raso. V-rm is
suggested in the Kar a~a s 9, 14, 38, 41, 51, 53,
58, 61, 98 and suc h others. KarUI).-as 12, 39 , 55
and 107 are useful for Has ya. Bha yan aka
can be port rayed thro ugh Kanu.ias 24 and 35
.
Karu~ya is reflected in Kar a~a s 13, 20 and 93. Adbhutn
can be sho wn thro ugh K~ as 11,
23 and 42.
KARAN AS - VOL U
296
for expressing some of the Vyabhicar i bhavas, (complemen tary

There are Karanas
·.
. K 14 41
feelmgs). araQaS 9 , , , 38 , 51 ' 53 ' 58 ' 61 ' 62, 65, 81 and 98 are useful
. . .
to show pride and
arrogance. Jeal ousy can be depicted through Karanas 2 and 4. Intox1catio n ts reflected in
·
Karanas 21, 81 and 99. Formality is established through Kara~a 101. Karat_)as 52 and 104
show. a sense of contentmen t. Kar~a 92 denotes the idea of respect while KaraQ.a 75 reflects
flattery . Kara9-a 6 represents an ardent request. Karai;ia 95 suggests the idea of secrecy.
Apart from the potentiality to express feelings, the Nftta Karai~as can communica te
various general ideas too. For example, Karai:ias 26, 46 and 88 show the act of moving in the
sky . Karat~a 44 shows falling from the sky. Lightening and thunder can be inferred from
Kara9-as 47 and 65. Riding is indicated in Kara9as 37 and 96. Kara9a 108 shows the gushing
of the waterfalls (River Ganga) .
Animals and birds are also represented through the Nftta Kara9as. All those actions
involving the Bhramarl Caris represent the bee. The V,rscika pada, which occurs in many of
the Karm~as, imitate the scorpion. Kara9as 68 and 87 portray the elephant. While Karar;ia 70
depicts the flying Garuc;ta, 74 show a landing Eagle. Kara9a 80 is the Peacock' s gait; Karai;ia
83 imitates the darting deer; Kara9as 89 and 90 show the lion; 97 suggest the lamb and 104
shows the bull.
Abhinavagu pta has given a list of suggestion s for the association of specific Kar~as
with characters. The very gait instantly establishes the characteriz ation in the various plays.
Asvattama is to enter with Sucividdha rµ, Urdhvajan u and such other Karanas. Puriiravas is to
be introduced with Alapallava and Siici gestures. Garu9a's entry m~st be marked by
Garudaplutakam Ra
· · · var:ia ' s p ravesa must be symbolized by the sounding of the heavy drums
and Vaisakharecitam Karana v ts - · • .
· . · a ara1a 1s to appear with Sambhrant an1 Karru;ia. J atayu
- h"" ~
Grdhravalin akam and Elak-k -d·1 - · · h
· · a n. ta111. (*9) In this way, the physical moven1ent s , whtc an:,.
apparently of Nrtta characte d 0 h . . · 1· h
. · r'
vanous roles , even on their entry F
ave the quahty of suggesting the charactenz auon t e°
. . · or example, a mere Piirsvak:ran ta Cali is enough to crea te
the 1llus1on of a very huge giant ·f · ·
. . . 'even 1 111 reality, the actor is puny. That is why Abhinavagupt.a
keeps on rernforcmg his theory that N -t
a_ya and Nftta are not different.
iN"fT-l,LECTLIAL OR EMOTIONAL ?
297
Nrtta seems to have been used as A· 'k • .

· ngJ a Abhmaya to express the 1deas of whole
·~entences, mood and. character. The three aspects of A- ng1
• 'ka Abhi
naya are Sa~ -kb a, A.:.•~·
1ll\.ura
and Nrtta. Though this has been already explained h ·
. , ere 1s a n•e f remmder
b . -
Sakha - i1npli es the Abhinaya hand gestures and h
an d movements
Ankura - is the right and imaginativ e usage of the above and
Nrtta - is actual dance using the whole body. Karru:ias , Mandalas and Pinaw come
.. .. .
under tlus.
Unless the nature of Na~ya of those bygone days is kept in mind, it would be beyond
our heads to appreciate this point. Natya or drama was highly stylistic in character. The
Na~yadhanr umode was the basis on which dance was woven into the actual play. The Na~y a
was hence staged through the actors singing, speaking and dancing their roles. It included the
fo ur kinds of expression namely through the physique (Angika), words (Vacika), Costumes ,
Makeup and scenery (Aharya) and last but not the least, feeling (Satvika). The first mode i.e.
physical expression was in the forms of dance and mime. It depended on the Nftta Kara.Qa.
Hence, Nftta Karai;ias were utilized to express various emotions . This was because of an
amazi ng insight that our ancients had into the psychologic al effect of physical movements.
The use of the Pii:ic;II varieties to bring out the forms of the deities and their symbols has
already been noted.(* 10) The Mai;ic;Ialas, which are nothing short of Nftta, obviously served
Lo create the VIra and Raudra Rasas. Hence, classifying Nftta as being devoid of Bhava is
certain! y not acceptable.
The idea of Vakyarthab hinaya through Nrtta is presently an unfamiliar concepc in a

major part of India and more particularly in any of the more publicized forms of the so-called
classical dances . The only style, which uses Vakya1thabhinaya to a considerable extent, is the
Mai:iipuri dance. In this there is not much of delineation of the word- to-word meanjng. It uses
the Nftta Hastas to bring out the ideas in a general way . Unfortunately, the one major lacunu
in this style is the lack of facial expression. This is probably because of the fact that .most of
the dancers are not professional art.isles who practice or get involved aJJ the time. The village
fo lk join together and s tmt rehearsing for lhe RaslTiii and other such group dances just before
the fcstivaJ. They probably execute the physical movements consciously to avoid mistakes .
KARAf".'JAS - VOL II
:YR
. d · t the character being portrayed. In o ne way, Lhe authentic

Hence, they do not get mvo 1ve m o . .. . . .
. . d 'bed the folk version of an older classical tradition. It 1s pnmanly
Mam pun dance can be escn as . . . .
· . . d b d votion to the Lord. From this p01nt of view, dance 1s not a
a ritual , msugate y pure e . .
. . -.: ·10 the case of the Bhagavatamela of Tarrul Nadu. People of vanous
vocat.Ion rn 1IJe as
. . th at the festival time to enact the drama as a religious commitment. It is
professwns get toge er . . . . .
not a me.1 e en e1uun ment. , in the traditional sense. In any case, 111s only Mar:upun that 1s close
. t ..,.,.;
- kyruthabhinaya Most of the other dance styles use Padarthabhinaya
to the concep t o f Va ·
only .
The technique of Vakyarthabhinaya and use of Npta as Angika Abhinaya must have
gone out of vogue along with the disappearance of the Karal)as. It is one of the reasons to
conclude that Abhinayadarpa~ai:ri of Nandikesvara is a much later work. It reflects more of
the present tradition of the Padarthabhinaya technique, though almost the whole work deals
only with Ailgika Abhinaya. It is interesting to note that the older Indian technique of
Vakyfuthabhinaya is the very foundation on which the Western Classical Ballet is built. In
fact, it is completely devoid of Padarthabhinaya. One of the reasons for this avoidance is also
because of the total absence oflyrics. The whole story with all the emotions is portrayed only
through music and movements. The movements are Nf{ta in every sense of the term, using the
entire body . The psychological effects of the movements depend purely on the factors of
space, force and time involved in each action. The ballet is based on the Angika Abhinaya.
Since it is Nrtta in totality, can we describe it as devoid of Bhava or even a step further, devoid
of Rasa? The psychological factors are seen vibrating in every limb of the physical actions.
This concept of Westem Ballet is most surprising} y close to Bharata' s idea of Nrtta. Since the
Ballet produces Rasa, we are compelled to accept that Nrtta and Natya are ~ot different.
Where words fail, music and dance succeed. ·
The most subtle and unspeakabl .

e emotions are revealed better through the reaction of
the body, and more so through thee es Th .
_ Y · e use of eyes 1s a necessary and comn1on factor for
both Nrtta and Naiya. The popular sa in "W
Y g here the hand goes there goes the eyes where
the eyes go, there goes the mind where th · ' '
. ' e •nmd goes, there proceeds the feeling and where
the feelmg proceeds, there follows th.e Rr " • '
. . . asa 1s most app ropnate· c1or explrurung
· • ·
the mrer-
relation between the physique and the psych. (* l l )
I'\ ILLI p(11J AL OR EMOTIONAL?
299
·nus. is. the metho

.
d to be fo llowed fo
. .
tr · ·
r rurung the body and mind to get into the framework
of a disc1phne. This n ile 1s given aJso becaus e it helps · hi • .
in ac evmg menta1 mvo 1vem ent an d
concentration . The n1e re movem ent of the hand is physi·c~' Th 1s·
w. e compu 10 n o f co-ord'ma.tlon·
between the hand and eyes as a ruJe is intelle ctual SeH~ g th · d on 1·t · •
• tu 11 e mJn 1S cmotto na1, and th e
[inul enJ·oym ent derive d out of it both throug h a s ub iecu·ve and ob · .:
J ~ec u ve expen·eoce o f sue h a
coordin ated movcn 1ent is spiritu al. Is there not Bhava and Rnsa in such a Nrtta?
Even if one manag es to deny the concep t of an emotio nal value of the Nrtta Karana
. . s
none can deny the fact that lhey produc e a pleasa nt feeling of aesthe tic satisfa ction. Normally,
.
tbe produc tion of Rasa depe nds on both the actor and the specta tor,. The follo wing is
Its
course. The Bhava or feeling which the actor is expected to experi ence inwardly, 1s expres
sed
through Abhin aya. Here, the actor has to personalise something which is extern al. Once
an
external Vastu (may be a charac ter or situatio n) is internalised, this has to be again externalised
through the art of comm unicat ion. In other words , by the means of actions , the feeling
or
subject is transm itted to the specta tor. The receivi ng station must be well equipp ed too.
Only
the spectator who is of the same mental caliber is capabl e of receivi ng the feeling . This implies
the sensiti vity of the onlook er for an aesthet ic experience. This "Sab.rdaya" now starts
sharing
the same feeling . His " Rasan a" or apprec iation is then set out toward s the actor. The charac
ter
portrayed becom es seemin gly real, that the onlooker is able to emotio nally relate to the situatio
n.
Irrespective of the happin ess, or sorrow of the charac ter, the onlook er enjoys sharin
g that
ex.perience. That is R asa . The Rasan a (Appre ciation ) of the onlook er also adds enthus
iasm to
the actor, who is in tw o levels of existen ce i.e., as the charac ter and also his real self.
This
kindles a better perfor mance . Thus there is ever a chain reactio n in the produc 6on of
R asa.
The enj oymen t derived out of sharin g the feeling is called Rasa.
In the case of N ftta, a feeling of pleas ure, experi enced throug h the movem ents in one 's
ow n body , is the basic Bhava that is transmitted . U nless the dancer enjoys what be or
she
perfonn s, there can be no aes thetic sati sfactio n. The Rusa that is produc ed is Nrtt,a Rasa
- o.
mere sense of joy. Even then, it involves the mi nd becaus e i l produc es pleasu re . This pleasu
re
that tbe d ancer d .· · even beyon d the realm of the physiq ue, intelle ct or emotio n . The
en ves 1s
enjoym ent at lhat level is no t born o ut of a mere mathem atical calc ulation that is skillfu
lly
managed. Thoug h Lhe intelle ct apprec iates it , the ease and natural llow of grace reflect
ed in
KAR AJ~ AS - VO L lI
Jll()
che s the mi nd and no t jus t the bra in. Th is N! tta is a res ult of
lhe dan cer 's sel f-f org etf uln ess , tou
f in a
sic al pra cti ce, bu t an ou tco me of an en joy me nt of the inn er sel
not only tal ent and phy
ten 1pl ati on on
wit h the art . It is jus t no t me nta l inv olv em en t in the for m of con
sta te of mo nis m f-
in the ob ser vat ion of the for ma liti es, or in the pit ifu l sta te of seJ
what fo llo ws eve ry act ion . or
subje.ctive
hin g bu t an un adu lter ate d bli ss tha t is exp eri enc ed. If this is the
consciousness. It is not
s and the nat ure of thi s Nftta Ra
sa is in the form
e to be rad iat ed to the spe cta tor
feeling, it is sur
is the rea son for rec og ni z ing the art of da nc e a~ a kin d of Yoga,
of spiritual sat isf act ion . Th is lev el, int o
tta too , we see a gra du al de ve lop me nt fro m a me re ph ysi cal
for, as in Yoga, in N[ ase the Go ds
psy cho log ica l an d spi ritu al gra des . No wo nd er it wa s s aid to ple
the int ell ect ual , ta
Pii rva ra1 iga of the Na tya sas tra ic tra dit i on . Th e inc l usi on of Nft
and the ref ore inc luded in the ran ga.
als in the tem ple s has the for eru nn er in the Na ~y asa str a Pu rva
as par t of the Ag arn ic ritu
sim ple reason
t spe cif ica lly me nti on ed in the Na ~y asa str a jus t be cau se of the
Th e tem ple is no
the per for ma nce its elf wa s the ab od e of aJI the Go ds. Th is is not
tha t the Ra ng a - the spa ce of resses
tic vie w of Ad isa nka ra. In his Siv a Ma na sa P iija Sto tra , he add
far rem oved fro m the Ad vai
Lo rd Siv a tlms -
my int ell ect ,
"You are the sou ], thy con sor t is
Th y att end ant s are my pu lse ,
My bo dy is thy abo de,
ip to the e,
Ex per ien ces of my life are wo rsh
on ,
M y sle ep is the sta te of hy bem ati
to yo u,
My wa lki ng is cir cum am bu lat ion
My spe ech is pra ise of the e,
wo rsh ip lo the e"
Wh at eve r I do my Lo rd, it is all · al
the spi rit of Hi d d '. ica cy of Nr tta d epe nd s on the spmtu·
Th is is pre cis ely n u anc e. Th e eff
.. .
tta is def ine d by Bh arn ta as
sens1lI vity of the dan cer . Th e Nf
. Ka r a1~.arp Bl1av c t"
"H as ta Pa da Sa ma yo gah• Nr• ltu... sy.-u
· t from che
a co mb jna tio n of han ds and fiec t mo vem ent s in dan ce is the Karuna. Bu
j .e.
·
ang le, it can be red efin ed us me nti on ed ear lie r.
spjritu al

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Karanas - Volume II

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D r. PADMA SUBRAHMANYAM, M.A., Ph.D.,

cf (cf 'JJ 'c:f e

A DANCE R'S PRESP ECTIV E

Chapter Title Page No.

X The Elements of Karana

Lasya Sirohastorat_i parsvakatipadatat_i ~ac;langani

"Natarp. samunnatarp. caiva prasaritaviv artite

Vivartita (Turned around)

"Chinna caiva nivpta ca recita kampita tatha

Recita (Move gracefully).

These are the five movements of the waist.

" UdghaH.ital:i samalc aiva tatha agratalasaficaral)

Agrata lasaiic ara

POSITIONS OF THE FEET

Utk~epa~ patanarµ caiva bhrukuF caturarp tatha

Nata nianc.lft vik.f~\il en socd 1vasatlw vikuryili:i

Adhnra (lower lip):

Vi vartanrn11 kampanaip ca visargo viniguhanm11

~amaq i phullaqi ca pun:iaqi ca kmnpitaqi kuncita qi samaJ11

Kuttanaq1 khanc;lanaiµ chinnaqi cu~itaiµ lehanaiµ samaqi

Vibhutarp. vinivrttarp. ca nirbhugnameva ca

Sama natonnata trayasra recita kuficitaficita

~amarp. khalvarp. ca piin_1.arµ ca samprokta mudararp. tridha

Kampunai~1 valanm11 caiva stambhanodvartane tatha

Avartitaip nata111 k~iptaqmdvahltamathapi va

Other Upailgas from Sangita Ratnakara

Adh~iptastatho~iptfil:l kuficitasca prasarital:i

Sthanas Postures of the body

· · · 1 ki t the sky moving in an ariel vehicle,

Uses: It is used in fightin g scenes .

Avahit tha Sthana :

Mm;lipuri, while it is don e in Ma99ala Sthana

This movement is even now seen with slight cha

6. Vicyava CarI: The feet are alternately lifted

8. Bad dha Cart: The thig h is mad e Valana (ben

14. Apasy andita CarI: The reverse of Syandita is Apasyandita.

_. .· the leg on its own side . .The hip and

leg should be close to the body.

"Where the hand goes there go the eyes

definition of Karana as a con1bination of actions of Hasta aD<l Pada, Abhin avagup ta

7. AviddhavaktTa: This is often seen in contempora ry dances as a serpentine movement.

tr tched upward s through Vyavarta and

PRACTICAL RECONSTRUCTION OF THE 108

The enumeration of each Karai:ia is given in the following manner: -

I . Definition of the relevant KaraQa quoted from Natyasastra

2. Transliteration ofBharata's couplet defining the KaraQa

3. Translation of Bharata's couplet(* 1)

4. A note on Abhinavagupta's commentary (*2)

5. Description and comparison of the respective Karai::ia figures of Thanjavur,

6. A practical reconstruction of the KaraQa

- ,, _ t and the Abhinava BharatI, a literal translation has

along with the enumeration of the Karai;ias in this Chapter.

The descriptions of the sculptures are supported by relevant photographs of sculptures

"T" for Thanjavur

"K" for Kumbakonam

"C" for Chidambaram

There are 81 figures ofThanjavur, 105 ofKumbakonam, 108 of Chidambaram, 108 of

1.Ta1apu~papufarµ 30.Pada paviddh akarp 59.Avar tarp

2.Vartitarp 31.Valitarp 60.Qola padarp

3. Vali torukam 32.Ghu mitam 61.Vivµ tarµ

16.Pr~thasvastikarµ 45.Chin narµ 74. Grdhrav alinaka m

17 .Diksvastikarp. 46. Vrscikarecitarµ 75.Sann atam

J 8.Alatakarp. 4 7. Vrscikarp. 76.SucI