Treasury of Oriental thought

Introductory article, translated from Sanskrit and comments by M. V. ORELSKAYA.

The first mention of Indian texts on the performing arts dates back to the V-IV centuries BC. The grammarian Panini in his Ashtadhyayi speaks of natas (from the root nat - "to represent [on stage]", "to portray") - actors or dancers, and also of natasutras-manuals for them, the authors of which Shilalin and Krishashva came. The followers of the schools of these authorities were called shailalin and krishashvin, respectively (Ashtadhyayi. IV. 3. 110-111).

Attributed to the divine sage Bharata, the Natyashastra is traditionally considered the oldest surviving work of its kind. It was created several centuries after Panini's grammar and currently dates from 200 BC-200 AD. NSH is a Sanskrit treatise covering in detail various aspects of theater, drama, music, dance and other types of arts. The name translates as "A Treatise on the Art of Theater", but natyashastra can also be called the science of theater itself, and any text from this field.

Nine of the 36 NS chapters describe the technique of ancient Indian classical dance. As the analysis of other manuals on dance art techniques shows, at the time of the creation of the National School of Dance, there were several developed systems of technical classification of this art, and the information presented in the treatise is compiled from different sources.

Despite deep-rooted ideas about the antiquity of Indian choreography, no style of modern Indian classical dance is based directly on the text of the NS and, of course, is not mentioned in ancient Sanskrit works on this topic.

The following text is a translation of an excerpt from the ninth chapter of the NS, which describes the sixty-seven hand dance gestures (hasta), four types of finger movements (hasta-karana), ten types of forearm movements (wahu), twenty hand movements in accordance with the plot (kara-karma), as well as the general rules for using khat, in particular: depending on the associated dance units, categories of characters depicted, etc. Of particular value are the lists of hand positions in space (hasta-prachara) collected from various sources.

Movements and positions of various parts of the body belong to the type of abhinaya known as angika abhinaya, and are traditionally divided into three groups (see comment. 1). Being a compilation, the NS does not clearly define these groups, although it mentions the corresponding terms and lists the body parts included in these groups. Hasta is divided into three types: for one hand-asamyuta hasta, for both hands - samyuta hasta and for pure dance-nritta hasta. The latter, however, are a variety of movements and positions of the forearms and were previously separated into a separate class known as vartans. This practice is not mentioned in the NS and was finally lost at least by the 13th century AD.

The translation is based on one of the critical editions of the NS, which includes a number of passages not found in other editions: Natyasastra of Bharatamuni with the Commentary Abhinava-bharati by Abhinavaguptacarya. Ed. by K. L. Joshi. Vol. II. Parimal Sanskrit Series N 4. Parimal Publications, Delhi, 1995.

translation

1. Thus, I have described the upangas 1, i.e., the head, eyes, eyebrows, nose, lips, cheeks ,and the corresponding definition of the movements and positions performed by them.

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2. Now I will describe in detail the [angi, i.e.] arms, chest, sides, abdomen, waist 2, legs, thighs, feet, and explain [their] use.

3. I will explain the use of khat and the like in stage art. So listen to my instructions on how they should be portrayed.

4. Pataka (flag), tripataka (three parts of the flag), kartarimukha (scissors blades), ard-hachandra (crescent), arala (bent), shukatunda (parrot's beak),

5. mushti (fist), shikhara (top), kapittha (monkey tree fruit)3, kata-kamukha (wrestler's fist) 4, suchyasya (needle tip)5, padmakosha (lotus bud), sarpa-shirsha (snake head)6 ,

6. mrigashirsha (antelope head), kangula (flowering vine) 7, alapadma (blooming lotus)8, chatura (square), bhramara (bee),

7. hamsasya (swan's beak)9, hamsapaksha (swan's wing), sandamsha( forceps), mukula (bud), urnanabha (spider) and tamrachuda (rooster)10 - [here are] twenty-four [asam-yuta hasta] (here and further highlighted by me. - M. O.), known to the performers of hasta ab-hinai.

8. I will tell you about asamyuta and samyuta hasta. Anjali (greeting), kapota (pigeon), karkata (crunching)11, swastika (cross),

9. khatakavardhamana (khataka and vardhamana)12, utsanga (embrace), nishadha (squeeze)13, dola (swing), pushpaputa (handful of flowers), makara (crocodile) 14 ,

10. gajadanta (elephant's tusk), avahittha (pretence) and vardhamana (magnification) - these are the thirteen samyuta hayats I have listed.

11. Next, listen to what I have to say about the nritta hast. Chaturasra (square)15 , udvritta (swaying)16, talamukha (palms facing each other),

12. swastika (crossed), viprakirna (separated), aralakhatakamukha (arala and khatakamukha)17, aviddhavakra (moving in a curved line)18, suchyasya (needle tip)19, rechita (elongated or rotating), ardharecita (half of rechita),

13. uttanavanchita (moving palm up), pallava (sprout), nitamba (buttock), keshabandha (tying hair),

14. karihasta (elephant trunk), lata (creeper), pakshavanchita (flapping wings), pak-shapradyota (image of wings),

15. garudapaksha (Garuda's wing), hamsapaksha (swan's wing)20, urdhvamandali (swirling at the top), parshvamandali (swirling at the side),

16. uromandali (circling around the chest), urahparshvardhamandala (describing semicircles around the chest and side), mushtikasvastika (mushti swastika), nalinipad-makosha (lotus bud),

17. alapadma (blooming lotus)21, ulbana (immensity), lalita (graceful), and valita (turned) - these are the names of the sixty-seven khatas I have listed.

18. Now listen to their description and usage. Hasta, in which all the fingers are evenly extended and the thumb is bent, is called pataka 22 .

19. [To represent] blows, heat, repulsion, joy, and the proud expression "I am!" 23 connoisseurs raise it to their foreheads.

20. For the image of fire, rain and flower rain [you need] to use [two patakas] hasta with spread and moving fingers at once.

21. The separation of the crossed ones [pathaka hayot] should represent a pool of water, an offering of flowers, young grass, and something spread out on the ground.

22. By separating the crossed [pathaka hayot] and turning [their fingers] downwards, one should [represent] something closed and open, protection, [something] covered, dense, and [something] to be hidden.

23. The same [hand position], with the fingers pointing downwards and moving upwards, should indicate the strength of the wind and waves, the surf breaking on the shore and the flood.

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24. Rechaka karanami 24 [this hasta] depicts diligence, number, crowd [of people], height, beating the drum and the flight of a bird.

25. By rubbing the palms of your hands, you should show washing, crushing, cleaning, grinding, as well as holding and lifting the mountain 25 .

26. So this hasta should be used in the abhinaya of both women and men. Two pataka hasta performers should represent a dozen, a hundred and a thousand.

27. And now I will describe the tripataka [hasta].

28. When the ring finger is bent in pataka, it is called tripataka. Hear about its use.

29. [Tripataka hasta depicts] invitational, descending, stopping, resisting, entering, raising, bowing, pointing 26, discord,

30. touching auspicious objects and applying them to the head, putting on a turban [or] crown, and covering the nose, mouth [and] ear.

31. With the same [hasta] with the fingers pointing downwards and moving upwards, one should [show] a gentle breeze, a stream, a snake, a bee, and the like.

32. With the ring finger of the tripataka [hasta] one should [represent] wiping away tears, making a sign on the forehead, painting the body, 27 and touching a lock of [hair].

33. Crossed tripataka [khastas are depicted] touching the feet of venerable persons. Separated [after crossing], moving and stopping [tripataka hasta] means marriage.

34. Connected by the tips of [fingers] - show the ruler. Crossed diagonally, they represent a planet.

35. [When the tripataka hasta] is held up, palms facing away from him, [it is] a hermit. [If they are] facing each other with their palms facing each other - the groom.

36. [When the tripataka hasta] is placed in front of the mouth, [one] palm up, [the other] palm down , underwater fire 28, battle and sea monsters 29 are depicted .

37. Also, in performances, [tripataka hasta is used] by connoisseurs of the performing arts to depict the jumping of a monkey, [and also the movements of] waves, wind and women.

38. When showing the new moon, the thumb should be extended forward [in tripataka hayete]. By turning [it] with the back side, the actors represent the performance of men [on a hike].

39. When the index finger is bent back behind the middle finger in tripataka haete, it is kartarimukha.

40. [Turned with the fingers] downwards, [it means] the road, the painting of the feet [and their] coloring, and also-joy. [Thumbs] up-biting, horn, and drawing.

41. By turning the fingers in different directions, falling, dying, breaking [something], returning, reflecting, and trusting are shown.

42. Experts use [kartarimukha hasta] with one or both hands [to represent] an antelope, a yak, a buffalo, a divine elephant, a bull, a gopura 30 [and] a mountain peak.

43. The hand in which the fingers and thumb are bent in a bow is known as ardhachandra. [Now] its use will be described.

44. It should be used to show young trees, a crescent moon, a shell, a jug, a bracelet, opening by force, effort, thinness of the waist and thickness.

45. By means of ardhachandra, women should represent the girdle, buttocks, waist, face, talapatra and kundala.

46. In arala khayet, the index finger is bent like a bow, the thumb is bent, and the other fingers are spread apart and turned up.

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47. It represents masculinity, pride, valor, determination, attractiveness, divinity, and steadfastness, as well as blessing and [other] satisfying actions.

48. It also shows women engaged in styling or lifting their hair, as well as carefully examining their own bodies.

49. When [two arala hasta] move around each other, crossing the tips of their fingers, [it means the ritual ceremonies performed before the wedding] and the circumambulation [of the sacred fire by the bride and groom].

50. You should also depict a respectful circle 31, a roundness, a crowd of people and something spread out on the ground.

51. The same [hasta is used to indicate] invitation, hindering, creating, verbosity, and wiping away perspiration, a pleasant smell, and a blessing.

52. For the [units] of use listed above for tripataka hasta, women may just as well use arala [hasta].

53. When the ring finger is bent in arala, it is shukatunda. Hear about its use.

54. It should represent the expressions "Not me", "Not you", " Don't do [it]", invitation, termination and [contemptuous] exclamation " Ugh!".

55. Hasta, in which the fingers are bent with the tips towards the palm and the thumb is placed on top of them, is known as mushti.

56. It [is used to represent] striking, fighting, grooming, milking, massaging, and holding the hilt of a sword, spear [or] club.

57. When the thumb is raised in this mushti, this hasta is called shikhara by the actors.

58. [It is used to depict] reins, kusha grass 32, goad, bow, throwing tomar and shakti 33 , painting lips and feet, and throwing away hair.

59. When in this shikhara the index finger is bent and the thumb is pressed, [hasta] is called kapittha.

60.Weapons such as the sword, bow, chakra, tomara, spear, club, shakti, vajra, arrow, as well as honest and good deeds should be represented .

61. When in this kapittha [haete] the ring finger and little finger are raised and bent, it is khatakamukha.

62. [It depicts] sacrifice, sacrifice 34, umbrella, pulling on the reins, fan, holding a mirror, splitting, rubbing,

63. holding a long stick, picking up long pearl threads, garland, flower garland, picking up the end of a garment,

64. churning, pulling onions, picking flowers, whipping, goad, pulling rope, and a woman.

65. When the index finger is removed in the khataka [mukha] haete, the actors call this hasta suchimukha.

66. I will briefly describe the various uses of this [hasta, when its] index finger is raised, lowered, walks from side to side, trembles, set aside, goes up, moves.

67. Chakra, lightning, flag, bunch of flowers, earring, moving in a curve, pointing at everything around, saying "Good",

68. a snake, a young shoot, incense, a lamp, valli and lata [creepers] 35, a lock of hair 36, a fall, a bend and a roundness should be depicted [suchimukha hasta] with the [index finger] raised up and moving from side to side.

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69. Similarly, [suchimukha hasta] holds up a star, a nose, a [number] one, a club, and a stick. [The same hasta] held up to the mouth with the [index finger] bent represents creatures] with fangs.

70. And its circular movement [means] taking away all [property] from the owner. [Suchimukha hasta] with a tilted index finger [indicates] a long day.

71. With the crooked - listening, with the set aside-understanding the meaning of what is said. The expressions "Don't do" and "Say" are represented by [suchimukha hasta] with the [index finger] extended upwards and trembling.

72. [Same hasta] with trembling [index finger] shows anger 37, sweating, hair, [earring] kundala, bracelet, cheek decoration,

73. the proud expression " I!", the forehead of the enemy, anger 38, the expression " Who is this?", and also-scratching the ear.

74. [Two] connected [suchimukha hasta means] union, separated -separation, crossed-quarrel, pressed together-bonds.

75. Two separated [suchimukha hasta] on the left, palms facing towards themselves, represent the end of the day, and on the right, palms facing away from themselves, the end of the night.

76. Again, the suchimukha moving in front of the circle describes the shape, the stone, the circle, the yantra, and the mountain. For the image of serving food, the same movement is always [used], [but with the index finger pointing] down.

77. For the image of Shiva, the adepts [place the suchimukha hasta] with the palm down near the forehead, without touching [it, and for the image] The Indras lift it up and diagonally.

78. The disk of the full moon is always [shown] by two separated [suchimukha hastas, and to represent] the raising of the banner of Indra, [they should be placed] near the forehead.

79. [Suchimukha hasta] with the circumscribing [index finger] represents the orbit of the Moon. [Suchimukha hasta] near the forehead is the [third] eye of Shiva, and obliquely -[eyes] Indra.

80. [Hasta] in which [all] the fingers together with the thumb are spread apart, bent [and turned] up, and the tips [of them] are not connected, is called padmakosha.

81. [She] shows holding the fruits of bilva 39, kaptha and the female breast. Accepting [these fruits], as well as tearing the flesh, is depicted by bending [in padmakosha hayete] the tips of the fingers.

82. [In the same way] it is necessary to show memorial balls of various types of grains and a piece of meat. Even padmakosha hasta depicts an offering to the deity holding a sacrificial basket, an offering of memorial food and a handful of flowers.

83. Two clasped wrists [padmakosha hasta] with the fingers spread apart and turning [one around the other] mean the blossoming flowers of the pink and blue lotuses 40 .

84. Hasta, in which all the fingers, together with the thumb, are brought together, and the palm is rounded ,is called sarpashira.

85. It should be used for water offerings, snake gliding, water pouring, slapping, elephant ears moving, and the like.

86. [If] all the fingers are brought together, extended [and] lowered down, [and] the thumb and little finger are raised, this is mrigashirsha.

87. It should be moved [to represent the expressions] "Here, ""Now, ""It exists, ""Today," as well as ability, radiance, rolling dice, wiping sweat, and feigning feminine anger.

88. In kangula [khaete], the middle, index and thumb fingers are extended [in a triangle like] The three lights are 41 , the ring finger is bent, and the little finger is raised up.

89. It [depicts] various kinds of unripe and small fruits, [and] snapping fingers - the angry speech of women.

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90. It is also used by connoisseurs to represent a fine emerald and other [precious stones], the deeds of sages, the holding of [something], and the foot of a flamingo .42

91. [Hasta] in which the fingers are spread apart, turned out to the side and towards the palm, will be alapallava43.

92. [It] should be used [to represent] prohibition 44, [expressions] "Who are you?"45 [and] "There is no such thing," meaningless speech, and also for women to point to themselves.

93. When three [fingers] are extended, the thumb is placed in the middle of them, and the little finger is raised up, this hasta is called chatura.

94. [It] should be used to portray politics, leadership 46, deterrence, skill, strength, weakness, guile, deceit, appropriate words, goodness, truth, and peace.

95. One or two [chatura hasta] describing small circles [shows] deformity, circumspection, movement, reflection and modesty.

96. Eyes like lotus petals and antelope ears should be represented by two chatura hasta at once.

97. In addition, chatura is used [to represent] play, voluptuousness, brilliance, remembrance, mind, judgment, forgiveness, abundance, consciousness, hope, love, reflection, union, purity,

98. artfulness, sweetness, courtesy, gentleness, happiness, virtue, asking, occupation, clothing, soft grass, a small amount,

99. strength and powerlessness, love affair, dignity and disadvantage, youth, home, wife and various colors of the spectrum 47 :

100. white-with the chatura hasta held up, red and yellow-moving in a circle, and blue-pressed [to the other hand].

101. In bhramara haita, the middle finger is connected to the thumb, the index finger is bent, and the remaining two fingers are raised up and spread apart.

102. [This hasta] should be used [to depict] the gathering of white, blue, red, and [or] other long-stemmed lotus flowers and flower earrings.

103. Snapping your fingers [in this hayat] means reproach and the like, pride in strength, speed, tal 49 and instilling confidence.

104. In hamsavaktra, the index, middle and thumb fingers are extended [in a triangle, like] Three Lights, [but] without [free] space [between them, and] the remaining two are set aside.

105. [This hasta] with slightly trembling [finger tips], it is characteristic of the image of [something] elegant, small, weak, light, fragile, [as well as] softness.

106. [Hasta in which] the three fingers are joined and extended, the little finger is raised up, and the thumb is bent, is called hamsapaksha.

107. Applied to the cheek, it is used [to represent] the water sacrifice, [and is also used] to show the acceptance of the gift, the drinking of water, and the eating of food by brahmanas.

108. [More - for the image] hugs, big columns, goosebumps, touching, rubbing and massaging.

109. In addition-playful behavior of women, [connected with touching them] between the breasts, in accordance with the 50 races, and also-propping up the chin in sadness.

110. If in arala [khaete] the index finger is joined to the thumb and the middle of the palm is rounded, this is called sandamsha.

111. There are three types of sandamsa [hasta] associated with rasas and bhavas 51: in front, near the mouth 52, and to the side.

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112. The sandamsha in front [depicts] picking flowers, picking grass, leaves, hair [or] rope, and also-taking out an arrow [and] pulling out a thorn.

113. Sandamsha near the mouth means tearing the flower from the stem, [correcting] the wick, tinting [the eyes] with a splinter, and so on, as well as an angry exclamation of " Ugh!".

114. [To represent] holding a sacred cord, piercing, thread, smallness, arrow, target, yoga, meditation, and a small amount, two [sandamsa hasta] should be used at once.

115. [Sandamshas] of the left hand [are shown] gentleness, swearing, envy and rude speech.

116. [If] the sandamsha [is] placed to the side and the tips [of the fingers] are slightly turned, [it] means drawing, tinting the eyes, pondering, stem, process, painting [the face] or squeezing out red paint 53 by women.

117. In hamsamukha, when the fingers are joined and the tips are bent and turned up, this is mukula hasta.

118. [It is used to show] sacrifice to the gods, [the bud of] a white, blue [or] red lotus. The spreading of [fingers represents] a freeloader's kiss 54 and an insult.

119. This [hasta] is also used by connoisseurs to represent eating, counting gold, pursing the lips, giving, quickness, and flower buds.

120. When the fingers are bent in padmakosha hayaya, it is urnanabha, used to represent hair-grabbing, stealing, and the like,

121. scratching the head, skin disease, lion, tiger and other [predators], and grasping a stone.

122. In tamrachuda hayete, the middle finger is connected to the thumb, the index finger is bent, and the other fingers are pressed against the palm.

123. Sonorous finger-snapping [in this hayat] means reproach and the like 55, tal, instilling confidence, quickness, giving a sign,

124, as well as [units of time] kala, kastha, nimesa and kshana 56, conversation with a young girl and her invitation.

125. Or: hasta, [in which] the fingers are joined, bent and pressed from above by the thumb, and the little finger is set aside, is called tamrachuda57.

126. With one hand [in tamrachuda hayete] one should represent a hundred, a thousand and a hundred thousand, [and if] the fingers are sharply unclenched - sparks or drops.

127. O best of the twice-born, I have thus described the asamyuta hasta. Now listen to what I have to say about samyuta hast.

128. Anjali is formed by the united pathaka hasta. [It is used] to greet deities, elders, and friends.

129. It has three places: the chest, the face, and the head. [When greeting] deities [it] is placed above the head, elders - at the level of the face, friends-near the chest, and [for greeting] women there are no rules.

130. When the hands are joined together by the sides, this hasta is called kapota. Hear about its use.

131. It represents a respectful approach, a bow, and a conversation with an elder. [If] the women of [kapota hasta are shown] with trembling [hands] near the chest, [it means] cold or fear.

132. [When] the fingers in this haute are separated after joining, [it] shows a worried speech, as well as the expressions "So much" and "This should not be done now".

133. Hasta, in which the fingers of one hand enter between the fingers of the other, is called karkata. [Now] we will also talk about [its] use.

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134. It is used by connoisseurs to represent falling in love, stretching, yawning after sleeping, being stout, propping up the chin, and holding the conch shell.

135. [If] women place the arala [hasta] joined by their wrists, palms up, on the left side, [this] is called a swastika.

136. The separation of [such] swastikas should represent the direction, clouds, sky, forest, ocean, seasons, earth, as well as the stream and [other] broad objects.

137. [When one] khataka [mukha hasta] is placed on top of another, [it is] khatakavardha-mana. [It] should be used [to indicate] love and similar [states], as well as when bowing down.

138. According to another [version of the text, it] should be used [when depicting] a fan and holding an umbrella.

139. [When] the arala [hasta] is crossed [in the forearms, turned] palms up and raised, [this] hasta is called utsanga [and] represents the reaction to touch,

140. actions [requiring great] effort, [causing] anger [or] resentment, and [if the hands are firmly] pressed - female jealousy.

141. When the kapittha embraces the mukula, this hasta is called nishadha.

142. [It represents] gathering, accepting, holding, agreeing, and speaking truthfully. The compression of [something] should [correspondingly] be represented by a sharp contraction of [the hands].

143. [Or,] when the shikhara hasta is pinned down by mrigashirsha, it is called nishadha. It is used [to indicate] fear.

144. [Or: if] the left hand encircles the right forearm near the elbow, and the right [hand] is placed near the elbow of the left

145. and tightly clenched into a fist, this is nishadha hasta. Hear about its use.

146. It represents patience ,intoxication, pride, elegance, zeal, heroism, vanity, arrogance, self-confidence, stupor, self-control, and other qualities.

147. Or: hamsapaksha [hasta with palms] are called nishadha by themselves. [It] should depict the opening of barred windows and the like 59 .

148. If in karana the shoulders are relaxed and the pataka [hasta] is loosely lowered, this is called dola.

149. [It] represents excitement, grief, fainting, intoxication, a blow, haste, an attack of illness, and being wounded by a weapon.

150. [Hasta] in which sarpashirshi with tightly clenched fingers are joined by the ribs of the palms, is called pushpaputa.

151. It is used to hold or carry various kinds of grain, fruits, flowers, and the like, as well as to offer or carry away water.

152. When in pataka hasta the thumbs are raised and [the hands] are placed on top of each other, it is makara hasta.

153. It is used to represent a lion, snake, tiger, crocodile, macara, fish and other predatory animals.

154. When sarpashirsha hasta is placed on the [opposite forearms, between] the shoulder and the elbow, it is called gajadanta. Hear about its use.

155. It depicts the transportation of the bride and groom, lifting a heavy weight, hugging a pillar, and pulling out a mountain [or large] stone.

156. When the shukatunda hasta, with the palms facing each other near the chest, are bent upwards and the fingers slowly turn downwards, this is called avahittha.

157. Connoisseurs should use it to depict weakness, sighing, body, thinness, and love desire.

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158. When the kapittha is embraced by the mukula hasta, it is called vardhamana. Hear about its use.

159. [It represents] gathering, accepting, holding, agreeing, and speaking truthfully. The compression of [something] should [correspondingly] be represented by a sharp compression of [the hands]60 .

160. [According to another version of the text,] hamsapaksha [hasta palms] apart are called vardhamana. [It] should depict the opening of barred windows and the like 61 .

161.The two types of abhinaya samyuta and asa-myuta (haet) described here briefly may also be used elsewhere to convey [corresponding] meanings.

162. Hasta-abhinaya should be used by sages according to their own judgment and according to their appearance, movement, characteristics ,and origin.

163. There is no concept that cannot be represented in natya by hasta. What I have described [here] is observed in many ways [in practice].

164. There are also other local hasts related to the transmission of meaning by hand gestures. They are used at will, according to rasas and bhavas.

165. Such hasts should be used by men, and especially by women, depending on the place, time, representation, and concept being expressed.

166. And now I will tell you what are the possible movements of all these hayats in connection with the rasas and bhavas.

167. Raising, attracting, repelling, accepting, grasping, inviting, pushing,

168. connecting, disconnecting, defending, releasing, throwing, hesitating, withdrawing, threatening,

169. cutting, tearing, breaking, breaking, and breaking are the hand movements (kara-karmas) prescribed by the experts.

170. [There are also] three kinds of hand positions [in space] (hasta-prachara) related to the natya rules: [palm] up (uttana), [palm] sideways (parshvaga), and [palm] down (adhomukha).

171. The sages [say that] the use of all positions should be properly accompanied by the [appropriate expression] of the eyes, the [movement or position] of the eyebrows, and the skin tone of the face .62

172. Experts in hasta-abhinaya should use it in accordance with established practice, taking into account the dance unit (karana), the movement of the [hand] (kara-karma), [its] place (sthana)63 , the location [in space] (hasta-prachara) and the manner [of action] (kriya).

173. When depicting [concepts and characters] of the highest [category], the hands should be at the level of the forehead, the middle - near the chest, and the lowest - at the bottom.

174. In the case of the higher characters, the movements of the hands should be insignificant, in the case of the middle characters they should be moderate, and in the case of the lower characters they should be disordered.

175. When describing [different] concepts, the higher and middle [characters] should use the hasta described [in the sastras], while the lower ones [should only use those that are accepted] in local practice, and at their own discretion.

176. However, in exceptional circumstances and [special] cases, wise people should do the opposite when using hayat.

177. [If the character is] sad, faint, frightened, disgusted [or] grieved, tired, asleep, helpless, inactive, weak, stupid,

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178. seized with sickness, fever, terror [or] cold, intoxicated, confused, mad, pensive, practicing austerities,

179. is under snow [or] rain, bound, floating on water, dreaming, agitated, or showing signs of depression,

180. One should not resort to hasta-abhinaya, but should use the internal states and modulations of speech corresponding to the various bhavas and rasas.

181. When both hands are involved, the meaning depicted should be accompanied by [various movements and expressions] of the eyes, [as well as] vachika abhinaya with [appropriate] pauses.

182. [It is also said: there are] three kinds of positions of the parts of the body associated with natya and nritta (anga-pracara): up (uttana), sideways (parshvaga) and down (adhomukha).

183. [Or else: there are] five [types of] natya and nritta-related hand positions [in space] (hasta-pracaras): [hand palm] up (uttana), [circumscribing] a circle (vartula), [palm] to the side (tryashra), motionless (sthita) and [palm] down (adhomukha).

184. These are the well-known [movements and positions] of the hands related to the abhinaya of [various] concepts. Next, I will tell you about the hast related to nritta.

185. [Hasta in which] the khatakamukhi are placed with the palms facing away from them, eight an-guls 64 from the chest, on a level with the elbows and shoulders, is called chaturasra.

186. If the hamsapaksha hasta moves like a palm leaf fan, it is called udvritta or talavrinta.

187. [If] the hamsapaksha hasta in the chaturasra position is placed diagonally with the palms facing each other, this is called talamukha.

188. [If] they are joined by the wrists and crossed, this is called a swastika, [and if] they are separated, viprakirna.

189. Alapallava [hasta] with the palms facing up, [turning into] padmakoshi, are called aralakhataka, or aralakhatakamukha.

190. [According to another version of the text, if] the arala [hasta] are joined by the wrists and separate, this is usually called aralakhataka by the actors.

191. [When] the arms bend, the forearms, shoulders, elbows and hands rotate, and the palms turn outward, [this hasta] is called aviddhavakra.

192. When in sarpashira hasta the thumbs are placed on the middle fingers and the arms are extended obliquely, it is called suchimukha.

193. [According to another version of the text,] when sarpashirsha hasta are crossed and the thumbs [in them] are extended to the middle of the palms, [it is] called suchimukha.

194. [If] the hamsapakshis are extended with the palms facing up and rotate rapidly in rechita 66, [this is] called rechita [hasta].

195. [If] the left hand [represents] chaturasra, and the right hand - recita 67, experts in the principles of nritta [this] is called ardharechita.

196. [Hasta in which] the elbows and shoulders are bent, and the arms move slightly obliquely in tripatakas, is called uttanavanchita.

197. Patakas relaxed from the wrists [and hanging down] are called pallavas. Moving from the shoulders [down] - known as nitamba.

198. When [they] move from the hair to the sides, the preceptors call [this] hasta keshabandha.

199. But when they are stretched out obliquely to the sides, this hasta is called lata in the Nritta.

200. [If one hand in] lata haete is raised and swings from side to side, and the other in tripataka is [brought] to the ear, this is called karihasta.

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201. When the tripataka hasta is placed on the upper thighs, the actors call this hasta pakshavanchita.

202. [If] they turn [backwards], it is paksapradyotaka, [and if] they turn their palms downwards, [hasta is known as] garudapaksha.

203. [When] the hamsapaksha hasta of the outstretched arms [revolves] in vyavritta and parivartita 68, it is called dandapaksha.

204. The rotation of the upraised arms is called urdhvamandali, and the outstretched arms are called parshvamandali.

205. [If] one hand is in udvestita, the other in apaveshtita, and [both of them] rotate around the chest, [this] is called uromandali.

206. [When] the alapallava [and] arala rotate upwards from the chest and then to the sides, [this hasta] is called urahparshvardhamandala.

207. When the khataka [mukha] hasta is joined by the wrists and [bent one] inwards and [the other] outwards, it is mushtikasvastika.

208. When the padmakosha hasta turns in vyavritta and parivarthita, the actors call it nalinipadmakosha.

209. The hands that [rotate] in front in udveshtit form alapallava [hasta], and the hands that are stretched up and rotate are ulbana.

210. [If the hands] in the pallava [haete] are near the head, this is called lalita. [If the arms] in lata [haete] are crossed with the elbows, it is valita.

211. Nritta hasta should be used primarily in karanas, and pathaku and other Abhinaya hasta should be used by actors to portray the meaning of words.

212. Although there is sometimes confusion in their use, [the] information given here [is based on] the predominant [use of] hayat in natya [and] nri-tya.

213. Nritta hasta are separated (viyuta) and united (samyuta)69 . And now I will tell you about the hand-related karanas (kara-karanas).

214. Thus, experts in khat natya should carefully study the four types of karan of all khatas:

215. The first is apaveshtita (turning inwards)70, the second is udveshtita (turning outwards), the third is vyavartita (turning inwards) and the fourth is pa - rivartita (turning outwards).

216. When the fingers, beginning with the index finger, move inwards in turn, this is called aveshtita karana.

217. When the fingers, beginning with the index finger, open outwards in succession, the sages call this karana udveshtita.

218. Karana, in which the fingers, beginning with the little finger, turn inwards in turn, is called vyavartita.

219. When the fingers, beginning with the little finger, are turned outwards in succession, the sages call this karana parivartita.

220. In nritta or abhinaya, the corresponding facial expressions, movements and positions of the eyebrows and eyes should be accompanied by the movement of the hands.

221. Thiryak (pointing to the side), urdhvasamstha (located at the top), adhomukha (palm down), anchita (bent), apaviddha (rotating outward), mandalagati (moving in a circle), swastika (crossing), prishthanusari (following backward),

222. udveshtita (turning outward), prasarita ( extended) - these are the ten types of movements [and positions] of the forearms that are always known to nritti performers.

223. O twice-born ones, I have briefly described the rules of hand movements. Now I will explain the movements and positions of the chest, abdomen, and sides 71 .

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comments

Upangi 1 upanga). In NS, the terms upanga and pratyanga are used synonymously.

2 The concept of waist here includes the upper thighs.

Kapittha 3-elephant apple, Feronia elephantum tree. Monkeys like to settle on it. In other manuscripts, NS is katakamukha (katakamukha - the tip of a rope or the opening of a bracelet). Further in the text - synonymous suchimukha (suclmukha).

Sarpashirsha, 6 or sarpasira.

7 There are several variants of the name of this hasta. There are two types of NSHS: kangula and kangula. Commentator Abhinavagupta inaccurately interprets the meaning of the former as holding the seed of the kangu plant or plucking the latter, and claims that the latter is synonymous with the word vrscika-scorpion. Kangoo, or priyangu - Panicum Italicum.

8 In some lists and further down the text - alapallava (alapallava - full bloom).

9 There are also synonymous hamsamukha and hamsavaktra.

10 The text gives two versions of this hasta from different sources.

Karkata (karkata) 11 in translations of dance texts is mistakenly interpreted as "crab". In this context, this is precisely the onomatopoeia of the crunching of intertwined fingers.

12 In some lists - katakavardhamana (katakavardhamana).

13 The text contains several descriptions of this hasta from different sources, which gave rise to other interpretations of the meaning of this word (hunter, prohibition, etc.).

Makara 14 is also a mythological water monster.

15 Variant name - chaturashra (caturasra).

16 Its other name is talavrint (tdlavrnta - palm leaf fan).

17 Other names: aralakatakamukha and aralakataka.

18 There is also a mistake - aviddhavaktra (dviddhavaktra).

19 Further in the text - synonymous sucimukha (sucimukha).

20 Next - dandapaksa (dandapaksa - stretched out to the sides).

21 Next - alapallava.

Pataka. 22 The pataka variant found in modern art history literature is incorrect.

23 According to Abhinavagupta, this refers to the proud statement "Me too, me too", etc.

Recaka karana -here: brush rotation (same as hasta karana).

25 As a heroic act (of Krishna).

26 In the text: nidarsana "comparing" or "pointing".

27 In the text: rocandlabhanaka. This refers to the painting of the body, also called patralekha (pa-tralekha).

28 Underwater fire (vadavdnala) - an unquenchable fire in the form of a mare's head located at the bottom of the ocean, which is supposed to burn the universe during the end of the world.

29 Or: and the battle of the sea monsters (sangrdme makardndm ca darsane). The" sea monsters " here are Makars.

Gopura 30 - the gate tower of the temple.

31 In the text: prddaksinya. This is a respectful walk from left to right to symbolically express your good thoughts and good intentions openly.

Kusa, 32 or darbha is a sacred plant of Poa cynosuroides.

Tomara (tomara) - 33 pikes, shakshi (sakti) - a type of dart.

34 In the text: hotram havyam. According to Abhinavagupta, hotra is the offering of butter and the like with a special spoon (srugddi uttdnena), and havya is the offering of animals (ajyadyamukhena).

35 According to Abhinavagupta, valli is a gourd - type vine (alavuprabhrtayo vallyah, where aldvu, alabu, or alabu is a bottle gourd, Lagenaria Vulgaris), and lata is a grape - type vine (drdksaprabhrtayo latah, where draksa is a vine).

36 In the text: sikhanda-locks of hair, also called kakapaksa.

37 In the text: rosa.

38 In the text: krodha.

Bilva, or vilva (vilva) - a forest apple tree Aegle Marmelos.

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40 Pink lotus (kamala) - Nelumbium, blue lotus (utpala) - Nimphaea Caerulea.

41 The Three Fires (tretdgni, also called agnitreta or agnitraya ) are ritual bonfires lit at the corners of an imaginary triangle and known as garhapatya, ahavanlya, and daksina. The comparison emphasizes that the fingertips should not touch.

42 In the text: maralapada, where marala is a flamingo, duck or goose.

43 Option: alapadma.

44 In the text: pratisedhakrta-prohibition, denial, prevention, control.

45 In the text: kasya tvam-letters, " whose are you?".

46 In the text: vinaya-guidance, education, modesty.

47 In the text: nanavarnan. These four colors correspond to the four varnas.

48 Red lotus (kumuda) - Nymphaea Rubra.

49 Here, the tal (tdla) is a unit of musical rhythm, a beat. Can fight back by snapping your fingers.

Rasa 50 - certain emotional moods.

Bhavas 51 - certain groups of feelings.

52 In the text: mukhaja - "near the mouth" or "near the face".

53 In the text: alaktaka - red paint used for drawing patterns on the skin.

Freeloader (vita) 54 - one of the characters of the classic drama.

55 The first line of shloka 123 coincides with the text on the units of use of bhramara hasta (first line of shloka 103). The second lines of these slokas partially match: balalape ca slghre ca tale vifvasane tatha (103), tale visvasane caiva slghrdrthe sanjitesu ca (123). The tamrachuda hasta described here is essentially a variant of bhramara. The difference lies in the position of the ring finger and little finger: in tamrachud they are bent, and in bhramar they are set aside.

56 According to the Amarakosha (atagako&a) of amarasimha, 18 nimesa = 1 kastha, 30 kashha = 1 kala, 30 kala = 1 ksana, 12 kshana = 1 muhurta, 30 muhurta = 1 day (divas). In the modern time measurement system, 1 kashtha = 4/15 seconds, 1 kala = 8 seconds, 1 kshana = 4 minutes, and 1 muhurta = 48 minutes.

57 The text is compiled from different sources. Since the first tamrachuda is a variant of bhramara, the second seems to be the original one.

58 This is actually the first version of the vardhamana hasta (sh. 158 et seq.). The first lines of shl. 141 and 158 coincide almost literally: mukulam tu yadd hastam kapitthah parivestayet (141) and mukulastu yada hastah kapitthah parivestitah (158); the difference in the description is due to discrepancies. The text of the units of use also matches.

59 Is identical to the second version of vardhamana (shl. 160). The text is almost identical: jneyo vai nisadhau nama hamsapaksau pardn'mukhau jalavatayandalnam prayoktavyo ' bhighattane (147) and jneyo vai vardhamdnastu hamsapakso (should be hamsapaksau) pardnmukhau jalavatayandalnam prayoktavyo vighatane (160).

60 This is the first version of nishadhi (shl. 141).

61 Coincides with the fourth version of nishadhi (shl. 147).

62 There are four such shades in the NSH.

63 Or: body posture (sthana).

Angula (an'gula) is a unit of measurement of length, equal to the width of a finger or eight barley grains.

65 In other versions of the text, instead of "thumbs are placed on the middle" (madhyamdngusthakau), it is "thumbs are placed on the middle [palms]" (madhyasthdngusthakau).

Recita 66-here: four types of spins.

67 That is, the left hand represents khatakamukha of chaturasra hasta, and the right hand represents hamsapaksha whirling in rechita.

Vyavritta karana 68 is the same as vyavartita (shl. 218). For parivartite, see shl. 219.

69 That is, they can be drawn with either one or both hands.

70 Further - aveshtita (dvestita).

71 of the manuscripts here give the colophon " Thus ends the ninth chapter of Bharata's Natyashastra, called Hasta-abhinaya."

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