Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 2 - Dance in the Puranas
22 (of 43)
External source: Shodhganga (Repository of Indian theses)
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as the Cibuka-karmas or the movements of the chin
which are the combined actions of teeth, lips and
the tongue.
MOVEMENTS OF THE EYE, EYELIDS, EYEBROWS
Like the different parts of the face the d峁泂tis
(glances) inclusive of the movements of the eyeballs, the pupil
of the eye, the eyelids and the eyebrows form an important
part of the Abhinaya technique of Indian dancing which express
various Bh膩vas very effectively. The face and eye movements
correspond very accurately with the particular sthayi bhava
or Rasa.
The nine movements of the eyelids (Puta) and the seven
movements of the eyebrows (Bhru) explained by the texts are
all physically possible. Movements of the eyelids are Nimesa,
Unmesa, Prasarita, Vivartita, Auncita, Sama, Sphurita, Pihita
and Tadita.
Movements of the eyebrows are Utksepa, Patana, Bhrukuti,
Catura, Nikuncita, and Svabhavika.
The eyeball movements may be either with reference to
the object of perception or without it, which suggest the
positions of the eyeballs in different parts of the eye. Up
and down or circular movements of the eyeballs are possible.
The movements of the eyeballs (Taraka karma) as given in the
Purana are nine viz. Valana, Bhramana, Calana, Sompravesana,
Vivartana, Patana, Niskarma, Udvarta, and Prakrta. Eight kinds
