Arts in the Puranas (study)
by Meena Devadatta Jeste | 1973 | 74,370 words
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts—Music, Dance, Architecture, Sculpture, Painting, and Literature—from the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India....
12. The topic of Gatis (gaits)
In Chapter 29 the topic of Gatis (gaits) is discussed, It is stated at the end of this chapter that the dress should be suitable to the age, the gait should be in accordance with the dress, the acting should suit the gait and all types of 31 Abhinaya should be proper in that connection. That Gati should be applied which is suitable for that particular
The Gati is classified into the natural one and the marshal one. In the natural gait the knee is raised to the waist and in the marshal gait the knee is raised up to the chest. The gaits are again classified as sthira (steady) and Ighra (quick). It is also mentioned that the actor should apply three kinds of tempo slow (Vilambita), medium (madhya) and quick (druta) to the Gait of different characters according to their nature. mudra. Gaits expressing sentiment called Rasagatis. 32 Chapter 32 of the Visnudharmottara is named as RahasyaThese mudras signify gods. For example, the mudra which signifies Brahma-Visnu-Mahesa is 'in the Sikhara Mudra the anamika is stretched' and it indicates that three Gunas and also the three deities. The mudra of Visnu is Sikhara and that of Krana is Pataka. The mudras of their marks such as Cakra, Gada, Hala, Sankha, and Khadga are also described. Chapter 33 is devoted to the Samanya Mudralastas. More than hundred mudras are described. Besides the Nrttasastra Mudras, many other mudras also described in this Chapter. 33