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The next syllable "gna" consists of the same twelve mudr膩s and is accompanied by the same sequence of mudras. Plate 8 F actually pictures the transition from the last movement of "o", prone and down, to the first movement of 鈥済na鈥�, supine and closed. If the chant had ended with the last svara of the "o", the hand would have remained in the pure kamiltti position, with the fingers extended. Samavedic mudr膩s give importance to the position of hands like supination, pronation, closed, top, middle, bottom etc. Proximity of the mudr脿s is preferred here. This is one of the attributes of the mudr膩s stated by Bharata also. 33 However, the correlation between svaras and mudr膩s remain unexplained, and much more work is needed before we are in a position to arrive at an adequate understanding of the function of the mudras of the Namp奴tiri Samaveda. From the above discussion it could be noted that the system of the mudr膩s in Kerala theatre also is a combination of Rgvedic mudr膩s which give importance to the position of fingers and Samavedic mudr膩s which give importance to the position of hands or proximity. In Kerala Bharatanatyam exactly follows the system of Vedic mudras. In Kathaka岣穒 and Ku峁璱y膩峁�峁璷m the mudr膩s are more stylised. 196 33. 啶むた啶班�嵿く啶曕�� 啶むぅ啷嬥ぐ啷嵿ぇ啷嵿さ啶膏�傕じ啷嵿ぅ啷� 啶灌�嵿く啶о�嬥ぎ啷佮�栢ざ啷嵿�氞ぞ啶炧�嵿�氞た啶む�嬥そ啶�啶掂た啶︵�嵿ぇ啶膏�嵿い啷� 啷�
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ma峁囜笉alagatistath膩 svastikasya p峁涐梗峁�膩nus膩r墨 ca ||
udve峁ａ弓ita岣� pras膩rita ityete vai sm峁泃膩岣� prak膩r膩stu |
b膩hvoriti kara峁嘺gat膩 vij帽ey膩 nartakairnityam || ] NS IX 210-211