Asamyuta Hastas: 28 Single Hand Gestures as per Shastras

Home » Blog » Asamyuta Hastas: 28 Single Hand Gestures as per Shastras

Estimated reading time: 38 minutes

Natyashastra‘s captivating beauty lies not just in its graceful movements, but also in its expressive hand gestures called Hastas or Mudras. This blog delves into the world of Asamyuta Hastas, the single-handed gestures that form the foundation of classical Indian dance forms.

There are 28 Asamyuta Hastas, each with the power to convey a multitude of thoughts, ideas, and even objects. Nandikeshwara’s Abhinayadarpanam offer verses (slokas) known as Viniyoga Slokas that detail the traditional uses of these hand gestures.

asamyuta hastas viniyoga in bharatanatyam

Dancers can innovate upon these suggested meanings to ensure their performance resonates deeply with the audience.

1) Pataka

The Pataka hand gesture symbolizes a flag or a banner. Raise the palm forward with fingers extended and held together with a bent thumb.

Pataka Typical Uses:

Raised Hand (forehead level):
- Administration of blows
- Scorching heat
- Urging
- Attainment of Happiness
- Arrogant self-reference (saying “I” or “mine”)
Pataka Hands (Separated Fingers, Joined):
- Glare of heat
- Torrential rain
- Shower of flowers
Pataka Hands (Separated from Svastika Position):
- Shallow pool of water
- Offering of flowers
- Grass
- Designs on the ground
Pataka Hands (Downward Fingers):
- Anything closed
- Anything opened
- Protection
- Covering
- Density
- Secrecy
Pataka Hands (Downward Fingers, Moving Up/Down):
- Speedy movement of wind
- Ocean waves breaking
- Objection
Pataka Hands (Upward Movement):
- Encouragement
- Abundance (many)
- Large crowd
- Height
- Drum beating
- Upward flight of birds
Rubbing Pataka Palms:
- Washing
- Pressing
- Cleansing
- Pounding
- Holding or uprooting a hill
- Representing a man and woman
Open Pataka Hands:
- Cutting
- Wind
- Lying down
- Attempt at going
- Prowess
- Favor
- Moonlight
- Strong sunlight
- Forcing open doors
- Meaning of seven case-endings
- Wave
- Entering a street
- Equality
- Anointing the body
- Taking an oath
- Silence
- Palmyra leaf
- Shield
- Touching things
- Benediction
- Ideal king
- Saying “such and such a place”
- Sea
- Succession of good deeds
- Addressing a person
- Going forward
- Holding a sword
- Month
- Year
- Rainy day
- Cleaning with a broom

Notes and Commentary for Choreographer:

Use it to depict a character making a declaration, feeling strong, or interacting with the divine.
In some contexts, it can represent:
- Denial or refusal with a firm movement and facial expressions.
- Blessing someone with a specific hand movement towards them.
- Describing a location or pointing a direction with a specific hand movement and body language.
- A horse with specific head and body movements.
- Cutting or cleaving something with a forceful downward movement (might be combined with other hastas).

Pataka Viniyoga Shloka for Practice

Nāṭyārambhe vārivāhe vane vastuniṣedhane।
Kucasthale niśāyāṁ ca nadyāmamarmaṇḍale॥ 94॥

Turange khaṇḍane vāyau śayane gamanodyame।
Pratāpe ca prasāde ca candrikāyāṁ ghanātape॥ 95॥

Kavāṭapāṭane saptavibhaktyarthe taraṅgake।
Vīthipraveśabhāve'pi samatve cāṅgarāgake॥ 96॥

Ātmārthe śapathe cāpi tūṣṇīmbhāvanidarśane।
Tālapatre ca kheṭe ca dravyādisparsane tathā॥ 97॥

Āśīrvādakriyāyāṁ ca nṛpaśreṣṭhasya bhāvane।
Tatra tatrēti vacane sindhau ca sukṛtikrame॥ 98॥

Sambodhane purogē'pi khaḍgarūpasya dhāraṇe।
Māsē saṁvatsarē varṣadinē sammārjane tathā॥ 99॥

Evamarthēṣu yujyantē patākahastabhāvanāḥ।

2) Tripataka

The Tripataka hand gesture is formed by bending the ring finger of a Pataka hand.

Tripataka Typical Uses:

Single Hand:

Invocation
Descent
Bidding goodbye
Prohibition
Entrance
Raising something (including chin)
Bowing (salutation)
Comparing
Suggesting alternatives
Touching head with auspicious objects
Putting on a turban/crown
Covering mouth/ears
Wiping tears (using the third finger)
Drawing Tilaka/Patralekha (using the third finger)
Touching hair
Flight of small birds (downward movement)
Stream (downward movement)
Snake (downward movement)
Bees (downward movement)

Two Hands:

Adoration of feet (venerable persons) – Svastika position
Marriage – fingertips touch
King – separated and raised to forehead
Planets – oblique Svastika position
Ascetic – raised, palms forward
Door – facing each other
Submarine fire, battle, sea monsters – raised near face, then downward movement
Jumping monkeys (movement)
Waves (movement)
Wings (movement)
Women (movement)
Crescent moon – thumb extended
King’s march – hand turned backward

In Abhinaya Darpanam:

Crown
Tree
Vajra (thunderbolt)
Indra (deity)
Ketaki flower
Lamp
Raising flames
Pigeon
Patterns on face/breast (Patralekha)
Arrow
Turning around

Notes and Commentary for Choreographer:

One Hand Tripataka:

Upper Body and Facial Expressions: Tripataka’s meaning is often amplified by body language and expressions. A raised Tripataka with a determined face signifies invocation, while a downward movement with furrowed brows can represent wiping tears.
Movement and Direction: Utilize movement to enhance the gesture. A shaking Tripataka suggests the flight of small birds, while a flowing movement can depict a stream or snake.

Two Hand Tripataka:

Svastika Position: Joining two Tripataka hands in a Svastika (diamond) formation signifies reverence for respected figures.
Orientation and Contact: Experiment with the orientation and contact of the hands. Fingertips touching can represent marriage, while facing hands symbolize a door.
Movement for Impact: Consider dynamic movements to portray actions like raising flames (upward motion) or jumping monkeys (sudden jumps).

Tripataka Viniyoga Shloka for practice:

Makuṭē vṛkṣabhāvēṣu vajrē taddharavāsavē।
Kētakīkusumē dīpē vahnijvālā vijṛmbhanē॥ 101॥

Kapotē patralekhāyāṁ bāṇārthē parivartanē।
Yujyatē tripatākō'yam kathitō bharatōttamaiḥ॥ 102॥

We are here, follow us.

3) Ardhapataka

In Ardhapataka mudra, the little finger of the Tripataka hand bends towards the palm.

Ardhapataka Typical Uses:

Leaves
Board/slab for writing/painting
Bank of a river
Saying “both”
Knife/Saw
Banner
Tower
Flag
Tower
Horns of Animals

Notes and Commentary for Choreographer:

Depiction Through Shape: The hand itself can represent various objects. A cupped Ardhapataka can signify leaves or a writing board, while a raised, open hand can portray a banner or a tower.
Movement for Meaning: Movement can further clarify the meaning. A gentle sway can depict the flow of a riverbank, while a stabbing motion suggests a knife.
Communication Through Body Language: Combine Ardhapataka with body language and facial expressions. A raised Ardhapataka with a pointed finger can represent “both,” while a wide stance with a lowered Ardhapataka might signify blowing a horn.

Ardhapataka Viniyoga Shloka for practice:

Pallavē phalakē tīrē ubhayōriti vācakē॥ 103॥

Krakacē churikāyāṁ cha dhvajē gōpurashriṅgayōḥ।
Yujyatē'rdhapatākō'yam tattatkarmaprayōgakē॥ 104॥

4) Kartarimukha

Start with Ardhapataka, join the tips of thumb, ring, and little fingers. Split middle and index fingers to represent a scissor.

Kartarimukha Typical Uses:

Single Hand:

Downward Fingers:
- Showing the way
- Decorating/dyeing feet
- Crawling (babies)
Upward Fingers:
- Biting
- Horn
- Letters

Different Finger Positions:

(Middle finger bent backward)
- Falling down
- Death
- Transgression
- Reversion
- Cogitation
- Putting something in trust

Double Hand or Single Hand:

Antelope
Yak
Buffalo
Celestial elephant
Bull
Gate
Hill-top

Abhinaya Darpanam:

Separation of a man and woman
Overturning/opposition
Plundering
Corner of an eye
Death
Estrangement
Lightning
Sleeping alone (separation)
Falling
Weeping

Notes and Commentary for Choreographer:

Separation and Conflict: Kartarimukha is often associated with separation, disagreement, or conflict. Use it to depict arguments, breakups, or isolation.
Sharpness and Cunning: The “scissor” imagery can also evoke a sense of sharpness, wit, or cunning. Consider it for characters known for these traits.
Movement and Nuance: Movement can further emphasize the meaning. A forceful thrust of the hand with Kartarimukha signifies cutting something, while shaking the hand can depict objection or frustration.
Context is Key: The specific meaning of Kartarimukha depends on the surrounding choreography and narrative. Consider the emotional tone and story you’re trying to convey.
Double Kartarimukha: Using two Kartarimukha hands can represent various animals or even a gate or hilltop. Refer to source materials for specific applications.

Kartarimukha Viniyoga Shloka for practice:

Strīpuṁsayōstu viślēṣē viparyāsapadē'pi vā।
Luṇṭhanē nayanāntē cha maraṇē bhēdabhāvanē॥ 106॥

Vidyudarthē'pyēkaśayyāvirahē patanē tathā।
Latāyāṁ yujyatē yastu sa karaḥ kartarīmukhaḥ॥ 107॥

5) Mayura

Start with Tripataka, join the tips of thumb and the ring finger. Keep the index, middle, and little fingers upright and straight.

Mayura Typical Uses:

Peacock’s neck
Creeper
Bird
Vomiting
Stroking hair
Ornamental mark on the forehead (Tilaka)
Scattering (agitating) river water
Discussing the Shastras (scriptures)
Renowned (something famous or well-known)

Notes and Commentary for Choreographer:

Use it to portray a majestic peacock, a bird soaring through the sky, or the flowing movement of a creeper vine.
It can also represent offering holy water, applying Tilak, or throwing an object (adjusting movement for a specific action).
A gentle swaying motion with Mayura Hasta suggests a graceful bird or a flowing creeper.
A forceful movement with the hand pointed upwards can signify throwing an object.
Pair it with Ardha Chandra Mudra (half-moon) to represent the moonlit sky where a bird might soar.

Mayura Viniyoga Shloka for practice:

Mayūrāsye latāyāṁ cha śakunē vamanē tathā।
Alakasyāpanayanē lalāṭatilakēṣu cha॥ 109॥

Nadyudakasya nikṣēpē śāstravādē prasiddhakē।
Ēvamarthēṣu yujyantē mayūrakarabhāvanāḥ॥ 110॥

6) Ardhachandra

Start with Pataka hasta. Outstretch the thumb from index finger to make a curved shape resembling the shape of a crescent moon.

Ardhachandra Typical Uses:

Young trees
Crescent moon
Conch shell
Jar
Bracelet
Forcible opening
Exertion
Thinness
Drinking
Moon phase (eighth day of dark fortnight)
Hand seizing the throat
Spear
Consecrating an image
Platter
Origin
Waist
Musing oneself
Meditation
Prayer
Touching limbs
Greeting common people

For Women:

Girdle
Hip
Waist
Face
Talapatra (ear ornament)
Earring

Notes and Commentary for Choreographer:

Use Ardhachandra Hasta to depict the moon in the night sky or lunar phases.
It can also symbolize objects with a curved shape like a conch shell, jar, or bracelet.
When combined with body language, it can signify actions like forceful opening or drinking.
A swaying motion with Ardhachandra Hasta can represent a young tree swaying in the breeze.
A thrusting motion might suggest a spear or forceful action.

Ardhachandra Viniyoga Shloka for practice:

Chandrē kr̥ṣṇāṣṭamībhāji galahastārthakē'pi cha॥ 111॥

Bhallāyudhē dēvatānāmabiṣēcanakarmaṇi।
Bhukpātrē cōdbhavē kaṭyāṁ chintāyāmātmavācakē॥ 112॥

Dhyānē cha prārthanē chāpi aṅgānāṁ sparśanē tathā।
Prākr̥tānāṁ namaskārē ardhacandrō niyujyatē॥ 113॥

7) Arala

Begin with a Pataka hand. Bend the index finger and thumb inwards, creating a significant curve. Keep the remaining middle, ring, and little finger together and stretch upwards.

Arala Typical Uses:

Positive States: Courage, pride, prowess, beauty, contentment, heavenly objects, poise, blessing, and other favorable states.
Women’s Actions: Gathering or scattering hair, looking carefully over the entire body.
Marriage Rituals: Two Arala hands moving around each other and fingers meeting in a Svastika (diamond) represent pre-wedding rituals.
Other Meanings: Circumambulation, round objects, large crowds, flower arrangements.
Actions: Calling someone, making offerings to ancestors, talking excessively, censuring/rebuking, wiping off sweat, enjoying a sweet smell (specifically for women).
Drinking poison, nectar, etc.
Violent wind

Notes and Commentary for Choreographer:

Use Arala Hasta to portray characters brimming with courage, pride, or receiving a divine blessing.
It can also represent the act of drinking poison or nectar, signifying a life-or-death situation.
Consider using it for powerful winds or storms in a dance sequence.
For female characters, Arala Hasta can depict arranging hair, examining oneself, or even rituals related to marriage.
A raised Arala Hasta with a fierce expression signifies courage or defiance.
A flowing movement with the hand near the head could suggest a woman arranging her hair.
A downward movement with Arala Hasta while lowering the body might depict drinking poison.

Arala Viniyoga Shloka for practice:

Viṣādyamṛtapānēṣu pracaṇḍapavanē'pi cha॥ 114॥

Have you used these Hastas in your dance performance?

Share your experience and any creative ways you’ve incorporated these hastas into your storytelling through mudras in the comments below! We’d love to hear from dancers and enthusiasts alike!

Let’s build a rich tapestry of Asamyuta Hasta knowledge together!

8) Shukatunda

Begin with the Arala hasta. Bend the ring finger inwards in addition to the index finger. Keep the remaining middle and little fingers together and stretched upwards. Thumb is slightly bent and at the side of index finger.

Shukatunda Typical Uses:

Phrases

“It is not I”
“It is not you”
“It should not be done”

Action

Invocation
Farewell
Expressing contempt (“Fie upon you”)
Shooting an arrow
Using a spear
Remembering one’s abode (homeland)
Saying mystical things (riddles, secrets)
Violent mood

Notes and Commentary for Choreographer:

Use Shukatunda Hasta to depict a playful parrot or a character mimicking speech.
It can also represent a warrior wielding a spear or launching an arrow.
Consider using it for characters experiencing a strong desire to return home or speaking in riddles or mystical pronouncements.
A playful movement with the hand near the head can signify a parrot, while a fierce expression and a lowered body might suggest a warrior.
A pointing Shukatunda Hasta with a furrowed brow could represent denial or disapproval.

Shukatunda Viniyoga Shloka for practice:

Bāṇaprayōgē kuntārthē vā'alayasya smṛtikramē॥ 115॥

Marmōtyāmugrabhāvēṣu śukatuṇḍō niyujyatē।

9) Mushti

Curl all your fingers inwards, forming a tight fist with the thumb securely placed over the middle or index finger.

Mushti Typical Uses:

Actions:
- Beating
- Exercise
- Exit
- Milking (pressing teats of cows and buffaloes)
- Shampooing hair
Weapons:
- Grasping a sword
- Holding spears and clubs
Emotions and Actions:
- Steadfastness (determination, resolve)
- Grasping the hair (in anger or struggle)
- Holding things
- Fighting mood of wrestlers

Notes and Commentary for Choreographer:

Use it to portray a warrior wielding a sword, a character filled with determination, or someone suppressing strong emotions.
It can also represent specific actions like milking or holding an object tightly.
A forceful movement with a clenched fist held high can signify anger or victory.
A trembling fist held close to the body might suggest internal conflict or fear.
Combine Mushti Hasta with expressive body language and facial expressions to fully convey the intended meaning.

Mushti Viniyoga Shloka for practice:

Sthirē kacagrahē dārḍhyē vastvādīnāṁ ca dhāraṇē॥ 117॥

Mallānāṁ yuddhabhāvē'pi muṣṭihastō'yamiṣyate।

10) Shikara

Begin with a Mushti hasta. Now raise the thumb upright while the other fingers stay curled.

Shikara Typical Uses:

Objects:
- Reins
- Whip
- Goad (tool for driving animals)
- Bow (for archery)
- Javelin or spike (throwing weapons)
Actions:
- Painting lips and feet
- Raising hair
Deities and Objects:
- Manmatha (God of Love)
- Bow (for archery)
- Pillar
Concepts and Actions:
- Certainty
- Making offerings to ancestors
- Upper lip
- Entering
- Tooth
- Questioning
- Linga (phallic symbol)
- Saying “No!”
- Recollection
- Intimate suggestion
- Untying at the girdle
- Embrace
- Sounding a bell

Notes and Commentary for Choreographer:

Use it to depict a character reaching for a goal, yearning for something higher, or seeking spiritual knowledge.
It can also represent offering prayers, receiving blessings, or symbolizing deities like Manmatha.
Consider using Shikara Hasta with specific movements to represent objects mentioned in Natyashastra (holding reins, drawing a bow).
A slow, graceful rise with Shikara Hasta suggests yearning, prayer, or offering.
A forceful movement with the hand reaching high can signify determination or reaching for a specific goal.

Shikara Viniyoga Shloka for practice: (Asamyuta Hastas)

Madanē kārmukē stambhē niścayē pitṛkarmaṇi।
Oṣṭhēpraviṣṭarūpē ca radanē praśnabhāvanē॥ 119॥

Liṅgē nāstīti vacanē smaraṇē'bhinayāntikē।
Kaṭibandhākarṣaṇē ca parirambhavidhikramē॥ 120॥

Ghaṇṭāninādē śikharō yujyate bharatādibhiḥ।

Kapitta Hasta 1 asamyuta hastas viniyoga in bharatanatyam

11) Kapitta

Begin with a Mushti Hasta. Gently bend the index finger inwards, placing its tip on the tip of the thumb, creating a slight press. Keep the remaining middle, ring, and little finger together and curled inwards.

Kapitta Typical Uses:

Weapons: Represents a variety of weapons, including:
- Sword
- Bow
- Discus
- Javelin
- Spear
- Mace
- Spike
- Thunderbolt
- Arrows
Deities and Objects:
- Goddess Lakshmi (Goddess of Prosperity)
- Goddess Saraswati (Goddess of Knowledge)
- Holding cymbals
Actions:
- Milking cows
- Applying kohl (collyrium) to the eyes
- Holding flowers (during romantic encounters)
- Grasping the end of a robe
- Veiling the head with a cloth
- Offering incense or light

Notes and Commentary for Choreographer:

Use Kapitta Hasta to portray a character offering prayers, holding a flower during puja, or expressing devotion to deities like Lakshmi or Saraswati.
In some contexts, with a stronger posture and the handheld outwards, it can represent holding a weapon (especially considering Natyashastra).
Slow, graceful movement with Kapitta Hasta near the heart suggests devotion or offering a flower.
More forceful movement with the hand extended outwards might depict holding a weapon (consider the context for clarity).

Kapitta Viniyoga Shloka for practice:

Lakṣmyāṁ caiva sarasvatyāṁ naṭānāṁ tāladhāraṇē॥ 122॥

Gōdōhanē'pyañjanē ca līlākusumadhāraṇē।
Cēlāñcalādigrahaṇē paṭasyaivāvaguṇṭhanē॥ 123॥

Dhūpadīpārchanē cāpi kapitthaḥ samprayujyatē।

12) Katakamukha

Press together the index finger, middle finger, and thumb, creating a small 3-finger connection. Keep the ring and little finger extended upwards and straight.

Katakamukha Hasta 2 asamyuta hastas viniyoga in bharatanatyam

Katakamukha Typical Uses:

Actions and Objects:
- Sacrifice
- Oblations (offerings)
- Umbrella
- Drawing up reins (controlling an animal)
- Fan
- Holding a mirror
- Drawing patterns or designs
- Powdering (applying cosmetics)
- Picking up big sticks
- Arranging a pearl necklace
- Wearing garlands
- Gathering the ends of clothes
- Churning (e.g., butter)
- Drawing out arrows
- Plucking flowers
- Wielding a long whip
- Drawing out a goad (tool for driving animals)
- Rope
- Picking flowers
- Holding a pearl necklace or garland
- Drawing a bow
- Offering betel leaves (used in social gatherings)
- Preparing fragrant paste (e.g., for cosmetics)
- Applying scent
- Speaking
- Glancing (specifically for female characters)

Notes and Commentary for Choreographer:

Use it to depict a character selecting a flower, offering a gift, or holding a garland.
Consider using it for specific actions like drawing a bowstring, applying cosmetics, or even holding an umbrella (depending on the context).
In some contexts, it can depict specific actions for female characters, like speaking and gazing (refer to Abhinaya Darpanam).
Gentle movement with the hand near flowers suggests picking one.
Hand held high with the opening facing outwards might depict drawing a bowstring.
Slow, controlled movement with the hand near the face can represent applying cosmetics.

Katakamukha Viniyoga Shloka for practice: (Asamyuta Hastas)


Kusumāvacaye muktāsragdāmnāṁ dhāraṇē tathā॥ 125॥

Śaramadhyākarṣaṇē ca nāgallīpradānake।
Kastūrikādivastūnāṁ peṣaṇē gandhavāsane॥ 126॥

Vacanē dṛṣṭibhāvē'pi kaṭakāmukha iṣyatē।

13) Suchi

Begin with an open hand (fingers together and extended). Curl all fingers except the index finger inwards, forming a fist around them. Keep the index finger straight and extended upwards, like pointing/indicating at something or someone.

Suchi Typical Uses:

Suchi Hasta with Straightened Index Finger (Various Movements):

Objects: Discus, lighting lamp, banner, flower blossom, earring
Actions: Zigzag movement, cry of approval, young serpent, young sprout, offering incense, lamp, creeper, applying Shikhanda paste, falling down
Concepts: Curve, roundness, stars, nose, number one, club, stick

Suchi Hasta with Bent Index Finger:

Action: Touching mouth to suggest a being with teeth
Concept: Taking away everything (circular movement)

Suchi Hasta with Movement:

Actions: Yawning (finger near the ear), long study (finger near the lowered mouth), indicating a sentence (finger curved near the face)
Concepts: Saying “no” or “speak” (shaking and moving finger up)

Suchi Hasta with Shaking Movement:

Objects: Anger, perspiration, hair, earring, armlet, cheek decoration
Concepts: Pride, “I am,” enemy, “Who is this man?”

Other Uses:

Scratching Ear: Held near the forehead

Paired Suchi Hasta:

Actions: Union of men (joined hands), separation (separated hands), quarrel (crossed hands), bondage (pressed hands)
Concepts: Close of the day (held on the left side), close of the night (held on the right side)

Suchi Hasta Pointing Downward:

Objects: Form, stone, whirlpool, mechanical contrivance, hill
Actions: Serving meals (pointing down)
Deities: Shiva (held near forehead), Indra (raised to forehead)

Paired Suchi Hasta:

Concept: Full moon (two hands)

Suchi Hasta Movement:

Concept: Rising of Indra (held near forehead)

Suchi Hasta with Circular Movement:

Concept: Moon’s orb

Suchi Hasta Held on Forehead:

Deities: Shiva’s third eye, Indra’s eyes (raised obliquely)
Numbers: One, one hundred
Concepts: Supreme Soul (Parabrahma), sun, city, world, solitude, threatening, pining away, rod, body, astonishment, braid of hair, umbrella, capability, horripilation (hairs standing on end), beating a drum, turning potter’s wheel, circumference of a wheel, consideration, decline of day/evening.

Notes and Commentary for Choreographer:

Use it to depict a character focused on a goal, pointing towards something specific, or symbolizing the number one.
In some contexts, with specific movements (shaking for anger, circular for moon), it can represent various actions or concepts.
Forceful movement with the pointed finger thrust forward can signify strong determination or pointing at something crucial.
Slower, more deliberate movement with the finger extended upwards might suggest focus or writing.

Suchi Viniyoga Shloka for practice:

Ekārthē'pi parabrahmabhāvanāyāṁ śatē'pi ca॥ 128॥

Ravau nagaryāṁ lokārthē tathēti vacanē'pi ca।
Yacchabdē'pi tacchabd vijanārthē'pi tarjanē॥ 129॥

Kārśyē śalākē vapuṣi āścaryē vēṇibhāvanē।
Chatrē samarthē pāṇau ca rōmālyāṁ bherīvādanē॥ 130॥

Kulālacakrabhramaṇē rathāṅgamaṇḍalē tathā।
Vivēcanē dināntē ca sūcīhastaḥ prakīrtitaḥ॥ 131॥

14) Chandrakala

Keep your thumb and index finger straight and pointing at two different axis (say x and y). Curl your middle, ring, and little finger inwards touching the palm.

Chandrakala Typical Uses:

Celestial Body: Moon
Body Part: Face
Measurement: Span of the thumb and forefinger
Objects: Represents objects with a crescent moon shape
Deity: Crown of Lord Shiva
Other: River Ganges, Cudgel (weapon)

Notes and Commentary for Choreographer:

Use it to depict a character bathed in moonlight, expressing feminine beauty, or the face of a celestial being.
In some contexts, it can represent:
- The crown of Lord Shiva (through head placement and body language).
- The river Ganges (with flowing movements).
- Holding a mirror (paired with another hand in Chandrakala Hasta).
- Offering a flower (with a slight movement).
Slow, swaying movement with the hand near the face can suggest moonlight or feminine allure.
A gentle movement with the hand extended outwards might depict offering a flower.

Chandrakala Viniyoga Shloka for practice:

Chandrē mukhē ca prādēśē tanmātrākāravastuni॥ 132॥

Śivasya mukuṭē gaṅgānadyāṁ ca laguḍē'pi ca।
Ēṣāṁ chandrakalā caiva viniyōjyā vidhīyatē॥ 133॥

15) Padmakosha

Gently bend all fingers and the thumb inwards, but not touching. Think that you are holding a football in one hand.

Padmakosha Typical Uses:

Objects: Bilva (wood apple) and Kapittha (elephant apple) fruits
Body Part: Breasts (especially when offering)
Actions:
- Offering puja to a deity
- Carrying tribute
- Holding a casket
- Offering the first funeral cake
- Holding a small bunch of flowers (with slight movement)
Fruits: Wood apple, elephant apple, etc.
Body Part: Round breasts of women
Shapes: Circular movement, curve
Objects: Ball of flowers, cooking pot, flower bud, mango
Actions: Taking meals, scattering flowers, holding a cluster of flowers, holding Japa flowers (specific flowers)
Other: Shape of a bell, anthill, lotus, egg

Paired Padmakosha Hasta:

Concept: A fully bloomed lotus or water lily (fingers meet at wrist and turn backward.

Notes and Commentary for Choreographer:

Use it to depict a character filled with potential, a blossoming love story, or the delicate act of holding a flower bud.
In some contexts, it can represent specific fruits, feminine qualities, or actions like offering puja or taking meals (refer to chosen text).
Slow, unfolding movement with the hand near the chest can suggest a blossoming flower bud.
Gentle movement with the hand cupped upwards might depict holding something delicate.
A shy glance with Padmakosha Hasta near the face can portray feminine shyness.

Padmakosha Viniyoga Shloka for practice:

Phalē bilvakapithādau strīṇāṁ ca kucakumbhayōḥ।
Āvartē kandukē sthālyāṁ bhojanē puṣpakōrakē॥ 135॥

Sahakāraphalē puṣpavarṣē mañjarikādiṣu।
Japākusumbabhāvē ca ghaṇṭārūpē vidhānakē॥ 136॥

Valmīkē kamalē'pyaṇḍē padmakōśō vidhīyatē॥

16) Sarpashirsha

Begin with a Pataka Hasta (fingers together and extended). Keeping the fingers and thumb close together, gently hollow the palm inwards. This creates a slight cup-like shape with the fingertips pointing downwards. (think of a cobra head)

Sarpashirsha Typical Uses:

Actions:
- Offering water
- Movement of serpents
- Pouring water or anything
- Challenging for a duel
- Motion of the elephant’s frontal globes (swollen areas on the head)
Objects: Sandal paste
Animals: Snake
Sounds: Middle tone
Actions:
- Sprinkling
- Nourishing
- Giving water to gods and sages
- The flapping of the elephant’s two Kumbhas (protuberances on the head)
Other: Arms of wrestlers

Notes and Commentary for Choreographer:

Use it to depict a character moving slowly and gracefully, like a serpent.
In some contexts, it can represent:
- Offering water or blessings (often paired with specific body language or facial expressions).
- Lord Vishnu (associated with protection).
- Actions like pouring water, challenging for a duel, or applying sandal paste (refer to chosen text for clarity).
Slow, undulating movement with the hand can suggest the movement of a serpent.
Gentle, offering movement with the hand raised upwards might depict offering water or blessings.

Sarpashirsha Viniyoga Shloka for practice: (Asamyuta Hastas)

Chandane bhujagē mandrē prōkṣaṇē pōṣaṇādiṣu।
Dēvasyōdakadānēṣu āsfālē gajakumbhayōḥ॥ 138॥

Bhujasthānē mallānāṁ tu yujyatē sarpaśīrṣakaḥ।

17) Mrigashirsha

Hold the Ardhachandra hasta with the face of the palm facing down. Slightly curl the index, middle, and ring finger while raising the thumb and little finger up.

Mrigashirsha Typical Uses:

Concepts: Here, now, “It is” (present), today, able
Actions: Shaking (trembling), throwing dice, wiping off perspiration, pretended anger
Body Part: Cheek
Objects: Wheel, lute (string instrument)
Concepts: Limit, fear, quarrel, costume/dress
Actions: Calling, applying Tripundra (three lines) on forehead, massaging feet, combining something
Other: A woman, deer’s head, female organ, holding an umbrella, stepping, calling the beloved

Notes and Commentary for Choreographer:

Use it to depict a character searching for something, listening intently, or being alert (deer’s head).
In some contexts, it can represent:
- Calling out to someone (with a specific direction and expression).
- Applying the Tripundra (sacred mark) on the forehead (with specific movement).
- A woman (through context and body language).
A quick, turning movement with the hand might depict searching for something.
A still handheld near the ear with Mrigashirsha Hasta suggests attentive listening.
A hand moving outwards with this Hasta can portray calling out to someone (combined with Katakamukha Hasta for specificity).

Mrigashirsha Viniyoga Shloka for practice:

Strīṇāmarthē kapōlē cha chakramaryādayōrapi।
Bhītyāṁ vivādē nēpathyē āhvānē cha tripuṇḍrakē॥ 140॥

Mṛgamukhē raṅgamallyāṁ pādasaṁvāhanē tathā।
Sarvasvē milanē kāmamandirē chatradhāraṇē॥ 141॥

Sañchārē cha priyāhvānē yujyatē mṛgashīrṣakaḥ।

18) Simhamukha

Join the tips of the thumb, middle, and ring finger. Stretch and straighten the index and little finger. (representing the face of an animal)

Simhamukha Typical Uses:

Actions: Homa (sacrificial fire), waving Darbha grass (ritual grass)
Animals: Lion, Elephant, Hare, Deer
Objects: Lotus garland
Other: Examining medicine preparations, rectification

Notes and Commentary for Choreographer:

Use it to depict a character displaying strength, courage, or a sense of command.
In some contexts, it can represent specific actions (refer to Abhinaya Darpanam):
- Performing a homa (fire sacrifice) with specific body language and movement near the chest.
- Examining medicine (with a reaching movement towards a bowl).
A strong outward movement with the hand can suggest a lion’s roar or a display of power.
Slow, controlled movement with the hand near the chest might depict a fire sacrifice (homa).
A reaching movement with this Hasta can portray examining something like medicine.
Combine it with Katakamukha Hasta (scissors face) to select something with a sense of control.

Simhamukha Viniyoga Shloka for practice: (Asamyuta Hastas)

Homē śaśē gajē darbhachalanē padmadāmani॥ 143॥

Simhānanē vaidyapākē śōdhanē samprayujyatē।

19) Kangula

Curl the ring finger completely to touch the palm at the venus mount (base of the thumb) while keeping the rest of the fingers straight and upright.

Kangula Typical Uses:

Objects: Immature fruits of various kinds, Lakucha fruit (possibly a type of mango), bells worn by children or any other bells, betel nut, coconut
Animals: Partridge, Chataka bird (said to yearn for moonlight)
Body Part: Breast of a young girl
Other: White water lily

Notes and Commentary for Choreographer:

Use it to depict a character holding a delicate object like a fruit, flower bud, or bell.
In some contexts, it can represent:
- A bird (with specific head and eye movements).
- Offering something delicate (with a specific movement towards another dancer).
- Shyness (through body language and facial expressions – for older text interpretations).
A tilting movement of the hand with the little finger extended can suggest a bird’s beak.
Combine Kangula Hasta with a shy glance for feminine shyness

Kangula Viniyoga Shloka for practice: (Asamyuta Hastas)

Lakuchasya phale bālakiṅkiṇyāṃ ghanṭikārthake।
Cakorē kramukē bālakuchē kahlārakē tathā॥ 145॥

Cātakē nālikērē cha kāṅgulo yujyatē karaḥ।

20) Alapadma

Bend all fingers slightly inwards from base, with little finger bent the most and the index the least. The fingers stay separated. The thumb should be extended slightly outwards.

Alapadma Typical Uses:

Concepts: Prevention, negation (words like “It is not,” “nonsense”), Circular movement, turning, beauty, yearning for the beloved
Actions: A woman’s allusion to herself (possibly referring to breasts)
Objects: Full-blown lotus, elephant apple (wood apple), mirror
Body Parts: Breast, hair knot
Other: Full moon, moon pavilion (turret), village, height, anger, lake, Chakravaka bird (said to yearn for moonlight), murmuring sound, praises, Unclear meaning – “Of whom are you”.

Notes and Commentary for Choreographer:

Use it to depict a character filled with potential, a blossoming love story, or the delicate act of holding a flower bud.
In some contexts, it can represent:
- Feminine beauty (especially with specific body language and expressions).
- Holding a mirror (with a specific movement towards the face).
- Circular movement or turning (combined with footwork and body language).
Unfolding movement with the hand near the chest can suggest a blossoming flower bud.
Combine Alapadma Hasta with soft, graceful movements for a feminine portrayal.

Alapadma Viniyoga Shloka for practice:

Vikacābjē kapitthādiphalē cāvartakē kuchē।
Virahē mukurē pūrṇacandrē saundaryabhāvanē॥ 147॥

Dhammillē candrashālāyāṃ grāmē chōddhr̥takōpayōḥ।
Ṭaṭākē śakaṭē cakravākē kalakalāravē॥ 148॥

Ślāghanē sō'lpadmaścha kīrtitō bharatāgamē।

21) Chatura

Bend all fingers at their base except little finger, curling them inwards towards the palm. Keep the thumb inwards, touching the base of the index and middle finger.

Chatura Typical Uses:

Concepts: Policy, discipline, penance, cleverness, openness, deliberation, moving, conjecture, shame, lotus petals (combined hands), sports, love, brilliance, memory, intelligence, judgment, forgiveness, nutrition, consciousness, hope, affection, reasoning, union, purity, sweetness, favourableness, softness, happiness, good conduct, question, livelihood, propriety, dress, soft grass, small quantity, wealth, defeat, sexual intercourse, merit, demerit, youth, houses, wives, various colors (red, yellow, blue)
Objects: Musk, gold, copper, iron
Concepts: A little, wetness, sorrow, aesthetic pleasure/emotion, caste difference, oath, sweetness, slow movement, breaking something, face
Other: Oil, ghee

Notes and Commentary for Choreographer:

Use it to depict a character demonstrating stability, offering something small, or engaging in a specific action.
In some contexts, it can represent:
- Holding or offering small objects (musk, coins) with specific hand movements.
- Actions like writing (with specific movement across an imaginary surface) or breaking something (with a sharp movement).
- Wetness (with a specific dripping motion).

Chatura Viniyoga Shloka for practice:

Kastūryām̐ kiñcidarthe cha svarnē tāmrē cha lōhakē॥ 150॥

Ārdre khēdē rasāsvādē lōchanē varṇabhēdanē।
Pramāṇē sarasē mandagamanē śakalīkr̥tē॥ 151॥

Ānanē ghṛtatailādau yujyatē chaturaḥ karaḥ।

22) Bhramara

Curl the index finger towards the palm, touching the base of the thumb. Touch the tip of the middle finger with the tip of the thumb extended outwards. The ring and little fingers are stretched upwards but slightly separated.

Bhramara Typical Uses:

Actions: Plucking flowers with long stems (blue lotus, white water lily)
Objects: Earrings
Concepts: Rebuke, pride of power, quickness, beating time, producing confidence (through a downward movement with sound)
Animals: Bee, parrot, wing (of a bird), crane, cuckoo, and similar birds

Notes and Commentary for Choreographer:

Use it to depict a character encountering a bee, the beauty of nature, or the sweetness of something.
In some contexts, it can represent:
- Other flying creatures (parrot, heron) with specific head and eye movements.
- Stealing or picking something delicate (with a light, reaching movement).
- Examining medicine (with a specific hand movement towards a bowl).

Bhramara Viniyoga Shloka for practice:

Bhramarē cha shukē pakṣē sārasē kokilādiṣu॥ 153॥

Bhramarākhyashcha hastō'yaṁ kīrtitō bharatāgamē।

23) Hamsasya

The tips of the index finger and thumb touch. Keep the middle finger extended outwards, and the ring and little finger stretched upwards but slightly separated.

Hamsasya Typical Asamyuta Hasta Uses:

Concepts: Fineness, smallness, looseness, lightness, exit, softness (described with a “throbbing” movement)
Actions: Blessing, tying with thread (rituals), ascertaining instruction (seeking knowledge)
Physical Sensations: Horripilation (goosebumps)
Objects: Pearls, jasmine flower
Specific Actions: Putting forward the wick of a lamp, rubbing metal on a touchstone (testing purity)
Arts & Activities: Drawing, painting
Other: Dyke impeding a current

Notes and Commentary for Choreographer:

Use it to depict a character embodying grace and beauty, performing a sacred ritual, or experiencing a strong emotion.
In some contexts, it can represent:
- Tying the sacred thread (mangalsutra) in a marriage scene (with specific movement).
- Examining something delicate with a touch (painting, medicine).
- Drawing lines or writing on an imaginary surface.
- Carrying a garland (with a specific hand position).
- Saying “No!” with a firm gesture and facial expression.

Hamsasya Viniyoga Shloka for practice: (Asamyuta Hastas)

Māṅgalyē sūtrabandhē cha upadēśavinishchayē॥ 155॥

Rōmāñchē mauktikādau cha dīpavartiprasāraṇē।
Nikaṣē mallikādau cha citrē tallē khane tathā॥ 156॥

Daṁśē cha jalabandhē cha haṁsāsyo yujyatē karaḥ।

24) Hamsapaksha

Start with chatura hasta. Move the thumb from under the index finger and place it to the side of the index finger slightly bent.

Hamsapaksha Typical Uses:

Actions: Pouring libation of water, accepting a gift, Achamana (ritualistic sipping of water), taking meals (by Brahmins)
Physical Sensations: Embrace, excessive stupor, horripilation (goosebumps)
Touch: Touching, applying ointment, gentle massage
Emotions (depending on sentiment): Amorous actions of women (touching chest area), sorrow, touching chin
Numbers: The number six
Actions: Construction of a bridge, making nail marks
Other: Covering or sheathing

Notes and Commentary for Choreographer:

Use it to depict a character taking flight (metaphorically or literally), embarking on a journey, or interacting with birds.
In some contexts, it can represent:
- Other birds (eagle, kite) with specific head and eye movements.
- Representing the number six through context and body language.
- Constructing something (bridge) with specific arm and body movements.
- Restraining or controlling someone (with a firm gesture).
- Marking something with the nails (specific hand movement).
- Gathering or collecting things (flowers, fruits) with a flowing movement.

Hamsapaksha Viniyoga Shloka for practice:

Ṣaṭsaṅkhyāyāṁ sētubandhē nakharēkhāṅkaṇē tathā॥ 158॥

Pidhānē haṁsapakṣō'yam̐ kathitō bharatāgamē।

25) Samdamsha

This is a transitory hasta. Start from padmakosha hasta and slowly bring all the fingers closer.

Samdamsha Typical Uses:

Taking: Flowers, grass, leaves, hair, thread, arrow, thorn (held in front)
Removing: Flower from the stem, lamp wick, kohl stick (held near the mouth)
Actions: Filling a vessel, expressing disgust
Objects: Sacred thread, piercing pearls (combined hands)
Concepts: Fineness, arrow, meditation objects, small quantity (combined hands)
Other: Softness, abuse, envy (left hand with a turned tip)
Activities: Painting, coloring eyes, deliberation, drawing, squeezing lac-dye
Body Parts: Belly (generosity)
Actions: Offering, creating a wound
Creatures: Worm
Emotions: Fear, apprehension
Other: Worship, the number five

Notes and Commentary for Choreographer:

Use it to depict a character offering something small, feeling anger or disgust, or interacting with small creatures.
In some contexts, it can represent:
- Insects (mosquito, bee) with specific fluttering hand movements.
- Offering or taking flowers or small objects with specific hand movements towards or away from the body.
- Anger or frustration with facial expressions and body language.
- Stealing or snatching with a quick flick of the wrist.
- Fear or anxiety with trembling hands held near the chest.
- Binding or tying something small with a specific wrist movement.

Samdamsha Viniyoga Shloka for practice:

Udarē validānē ca vraṇē kīṭē mahābhayē॥ 160॥

Arcanē pañcasaṅkhyāyāṁ sandaṁśākhyō niyujyatē।

26) Mukula

Start from Samdamsha hasta and slowly bring all the fingers closer and join the tips of all fingers (like a bud).

Mukula Typical Uses:

Actions: Eating, Offering to deities, throwing a kiss (contempt?)
Objects: Lotus or water lily bud, Water lily, signet or seal, plantain flower, miscellaneous objects
Activities: Taking meals, counting gold coins
Concepts: Narrowing the mouth, giving away, quickness
Plants: Flower buds
Body Part: Navel
Deity: Manmatha (god of love) with his five arrows

Notes and Commentary for Choreographer:

Use it to depict a character filled with potential, experiencing shyness, or holding something delicate.
In some contexts, it can represent:
- Holding a specific flower (like a lily) with a specific hand position near the chest.
- Feelings of shyness or reservation with body language and facial expressions.
Gentle movement with the hand extended outwards might depict offering something delicate.

Mukula Viniyoga Shloka for practice:

Kumudē bhōjanē pañcabāṇē mudrādidhāraṇē॥ 162॥

Nābhau ca kadalīpuṣpē yujyate mukulaḥ karaḥ।

27) Tamrachuda

Join the fingertips of the thumb, middle, ring, and little finger. Make a half curl of the index finger to resemble a hook.

Tamrachuda Typical Uses:

Actions: Rebuke, beating time, inspiring confidence, making signs
Concepts: Quickness, small fractions of time (unclear meaning)
Speech: Talking to a young girl, inviting someone
Objects: Counting large quantities (hundred, thousand, lac of gold coins)
Other: Sparks or drops (with sudden finger movement)
Animals: Cock, crane, cow, camel, calf

Notes and Commentary for Choreographer:

Use it to depict a character crowing like a rooster (alertness), writing something, or expressing arrogance.
In some contexts, it can represent:
- Other birds (crow) with specific head and body movements.
- Writing on an imaginary surface with specific hand movements.
- Threatening or warning someone with body language and facial expressions.
- Counting through context and body language (specifically four or eight).
- Engaging in a dispute or argument with forceful gestures.

Tamrachuda Viniyoga Shloka for practice:

Kukkuṭādau vake kākē uṣṭrē vatsē ca lēkhanē।
Yujyate tāmracūḍākhyaḥ karō bharatavēdibhiḥ॥ 164॥

28) Trishula

Join the fingertips of the thumb and little finger. Keep the index, middle, and ring finger straight and upright to resemble the roman numerical “three”.

Trishula Typical Uses:

Trident weapon of Lord Shiva and Shakti
Object: Wood-apple (bilva)
Concept: Trinity (three together)
The number three (trinity, trimurti)
Protection or warding off evil
Divine power or blessings
Fire (specific movement)
Bilva fruit (wood-apple)

Notes and Commentary for Choreographer:

Use it to depict a character invoking Lord Shiva’s power, seeking protection, or referencing the number three.
In some contexts, it can represent:
- Representing the number three through context and body language (trinity, trimurti).
- Offering a prayer or seeking blessings with a specific hand movement towards the deity.
- Warding off evil with a forceful movement outwards.
- Fire (Agni) with specific wrist movements and body language.
- Holding a Bilva fruit (specific hand position near the chest).

Trishula Viniyoga Shloka for practice:

Vilvapatrē tritvayuktē trishūlakara īritaḥ॥ १६५॥

Conclusion

Asamyuta Hastas serve as the eloquent language that breathes life into Indian classical dance. These 28 single hand gestures, each a masterpiece in itself, transcend mere movement, becoming a captivating storytelling tool.

Through their subtle shifts and symbolic meanings, dancers weave a tapestry of emotions, objects, and characters, transporting audiences to a world painted with grace and expression.

So, as choreographers, dancers, practitioners, explore this fascinating realm of Asamyuta Hastas and experience the magic they hold!

Articles for you about NatyaShastra

About Natya-Shastra.in

At Natya-Shastra.in, our mission is to serve as a gateway to the illustrious world of the NāṭyaŚāstra, offering insights, resources, and a platform to delve deeper into the nuances of Indian performing arts. We aim to bring forth the richness of this ancient text, shedding light on the profound wisdom it holds and its everlasting influence on various artistic traditions.

We are here, follow us.

Disclaimer:

Affiliate Links: Some links may earn us a commission (at no cost to you). We only recommend helpful products.

NatyaShastra Glossary: Head over to the Natyashastra Glossary page to know the meaning behind Sanskrit terms used in the articles.

Images & Videos: Credit to Dmitry Rukhlenko.

Knowledge Source & References: Inspired by ancient Natyashastra scriptures, open to interpretation.

Disclaimer: Educational only, not professional advice. Consult a qualified expert for specific needs.

Discover more from Natya-Shastra.in

Subscribe to get the latest posts sent to your email.

Asamyuta Hastas: 28 Single Hand Gestures as per Shastras

1) Pataka

Pataka Typical Uses:

Notes and Commentary for Choreographer:

Pataka Viniyoga Shloka for Practice

2) Tripataka

Tripataka Typical Uses:

Notes and Commentary for Choreographer:

Tripataka Viniyoga Shloka for practice:

We are here, follow us.

3) Ardhapataka

Ardhapataka Typical Uses:

Notes and Commentary for Choreographer:

Ardhapataka Viniyoga Shloka for practice:

4) Kartarimukha

Kartarimukha Typical Uses:

Notes and Commentary for Choreographer:

Kartarimukha Viniyoga Shloka for practice:

5) Mayura

Mayura Typical Uses:

Notes and Commentary for Choreographer:

Mayura Viniyoga Shloka for practice:

Like the content? Subscribe for free.

6) Ardhachandra

Ardhachandra Typical Uses:

Notes and Commentary for Choreographer:

Ardhachandra Viniyoga Shloka for practice:

7) Arala

Arala Typical Uses:

Notes and Commentary for Choreographer:

Arala Viniyoga Shloka for practice:

8) Shukatunda

Shukatunda Typical Uses:

Notes and Commentary for Choreographer:

Shukatunda Viniyoga Shloka for practice:

9) Mushti

Mushti Typical Uses:

Notes and Commentary for Choreographer:

Mushti Viniyoga Shloka for practice:

10) Shikara

Shikara Typical Uses:

Notes and Commentary for Choreographer:

Shikara Viniyoga Shloka for practice: (Asamyuta Hastas)

11) Kapitta

Kapitta Typical Uses:

Notes and Commentary for Choreographer:

Kapitta Viniyoga Shloka for practice:

12) Katakamukha

Katakamukha Typical Uses:

Notes and Commentary for Choreographer:

Katakamukha Viniyoga Shloka for practice: (Asamyuta Hastas)

13) Suchi

Suchi Typical Uses:

Notes and Commentary for Choreographer:

Suchi Viniyoga Shloka for practice:

14) Chandrakala

Chandrakala Typical Uses:

Notes and Commentary for Choreographer:

Chandrakala Viniyoga Shloka for practice:

15) Padmakosha

Padmakosha Typical Uses:

Notes and Commentary for Choreographer:

Padmakosha Viniyoga Shloka for practice:

16) Sarpashirsha

Sarpashirsha Typical Uses:

Notes and Commentary for Choreographer:

Sarpashirsha Viniyoga Shloka for practice: (Asamyuta Hastas)

17) Mrigashirsha

Mrigashirsha Typical Uses:

Notes and Commentary for Choreographer:

Mrigashirsha Viniyoga Shloka for practice:

18) Simhamukha

Simhamukha Typical Uses:

Notes and Commentary for Choreographer:

Simhamukha Viniyoga Shloka for practice: (Asamyuta Hastas)

19) Kangula

Kangula Typical Uses:

Notes and Commentary for Choreographer:

Kangula Viniyoga Shloka for practice: (Asamyuta Hastas)

20) Alapadma