Essay name: Hastalaksanadipika a critical edition and study
Author:
E. K. Sudha
Affiliation: Government Sanskrit College (Tripunithura) / Department of Sanskrit
This is an English study on the Hastalaksanadipika—a manual depicting the Mudras (gestures) of the Kerala theatre. It is a very popular text supposedly dating to the 10th century A.D. This study also touches the subject of Krsnanattam, Kathakali and Kutiyattam—some of India's oldest theatrical traditions in Kerala.
Chapter 6 - Background of evolution of language of gestures
9 (of 34)
External source: Shodhganga (Repository of Indian theses)
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as marked by Vikāramudrā (no. 21) does not take place. Same as Mūrdhanyamudra (No.2), but the index finger moves slightly up and down. This mudrā is also used for pragṛhya words when the final vowel is not subject to sandhi. 23. Hrasvikaraṇamudrā - Mudrā for shortening (hrasvikaraṇam) in the padapāṭha. Same as Tálavyadirghamudrā (No.13), but the hand makes a tilting movement in semi pronated position. 24. Um-itimudra - Mudra for um iti in the padapatha. The index finger is flexed at the first interphalangeal joint, its tip resting on the phalanx of the middle finger. The middle and the ring fingers are slightly bent, the thumb and the little fingers extended. 25. Avagrahamudrā - Mudrā for separation (avagraha) in the padapāṭha of a compound word in the samhitā. Same as Tālavyadirghamudrā (no:13), but the hand is kept in different positions. MUDRĀS OF THE NAMPŪTIRI SĀMAVEDA As seen for Ṛg Veda Kerala Brahmins used mudra for chanting Samaveda also. Some Samavedic mudrās are identical with Rgvedic mudrās for vowels. In the Samaveda, however, they are used sparingly. The proper domain for Samavedic mudrās is svara, the musical phrases or motives of the chant. But there is one inherent 193
