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Paper: 1

Detail Study Of Natyashastra, Specially Dance Related Chapters And

Sangita Ratnakar

Module 29 Sthana, Mandala Of Sangita Ratnakar

Sangita-Ratnakar: STHANAKA

The four aspects of dance given in the title comprise a whole lot of

information that gives the distinct characteristics of various classical

dance styles.

Sthanaka (Shlokas 1017-1111) is a static posture which is assumed at

the beginning and end of a chari which stands for movement. Hence,

charis are always in connection with sthanas. Since the charis have

been explained the sthanas will now be taken up. A special posture

of the body that is frozen without any movement is called a sthana.

The six sthanas for men are:

1. VAISHNAVA STHANAS / वषै्णव स्थान 2. SAMAPADA STHANAS / सभऩाद स्थान 3. VAISHAKHA STHANA / वशैाख स्थान 4. MANDALA STHANA / भंडर स्थान 5. ALIDHA STHANA / आलरढ स्थान 6. PRATYALIDHA STHANA / प्रत्मालरढ स्थान

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The three sthanas for women in the view of the Muni (Bharata) are:

1. AYATTA / आमात ्2. AVAHITTA / अवहहत्त 3. ASHVAKRANTA / अश्वक्ांत

He has also suggested by saying ‘athapi cha’, there are four more

sthanas for women which are,

1. GATAGATA / गतागत 2. VALITA / वलरत 3. MOTITA / भोटीत 4. VINIVARTITA / ववननवनतित

There are 23 postures belonging to the deshi variety of provinces

which are:

1. SVASTIKA / स्वस्स्तक 2. VARDHAMANA / वधिभान 3. NANDYAVARTA / नध्मावति 4. SAMHATA / संहत 5. SAMAPADA / सभऩाद 6. EKAPADA / एकऩाद 7. PRISHTHOTTANATALA / वप्रश्ठोत्तनातर 8. CHATURASHRA / चतुयश्र 9. PARSHNIVIDDHA / ऩास्श्निववद्ध 10. PARSHNIPARSHVAGATA / ऩास्श्निऩाश्विगत 11. EKAPARSHVAGATA / एकऩाश्विगत 12. EKAJANUNATA / एकजाननुत

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13. PARAVRITTA / ऩयावतृ्त 14. SAMASUCHI / सभसचुी 15. VISHAMASUCHI / ववषभसचुी 16. KHANDASUCHI / खनडसचुी 17. BRAHAMA / ब्रह्भ 18. VAISHNAVA / वषै्णव 19. SHAIVA / शवै 20. GARUDA / गरुड 21. KURMASANA / कुभािसन 22. NAGABANDHA / नागफंध 23. VRISHABHASANA / वषृबासन

The sitting postures or upavishthasthanakas are 9 as per Bharata

which are

1. SVASTHA / स्वस्थ 2. MADALASA / भदारसा 3. KRANTA / क्ांता 4. VISHKAMBITA / ववश्कस्बफत 5. UTKATA / उत्कट 6. SASHTALASA / सष्टरस 7. JANUGATA / जानगुत 8. MUKTAJANU / भकु्तजान ु9. VIMUKTA / ववभकु्त

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The 6 reclining postures or suptasthanas are

1. SAMA / सभ 2. AKUNCHITA / आकंुचचत 3. PRASARITA / प्रसारयत 4. VIVARTITA / वववनतित 5. UDVAHITA / उद्वहहत 6. NATA / नत

Thus there are 6 sthanas for men, 7 for women, 23 for others, 9

reclining and 6 sitting postures. The total of all this, comes to 51 as

given by Sharangadeva, the doubtless expert on karanas. He also

gives their appropriate definitions:

STHANAS FOR MEN

1. VAISHNAVA STHANAS / वषै्णव स्थान: one foot is in natural sama / सभ and the other in pakshasthita / ऩऺस्स्थत i.e. kept in trayashra / त्रमश्र, two and a half spans away, shanks slightly bent and limbs in saushthava / सौष्ठव. It has Vishnu as its presiding deity hence called Vaishnava. The sage Bharata says

that this posture is used to portray the Uttama Nayakas / उत्तभ नामक or men of superior type and madhyama nayakas / भध्मभ नामक or normal types while they are in various activities and conversation. Others have a feeling that this posture should be

restricted only to the role of Vishnu. There is another opinion

as well that is to be taken by the sutradhara or stage manager

and those who control the dance drama or natya. In

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pakshasthita, the toes will be pointing sideways while

trayashra indicates that is facing slightly forward. A span or tala

/ तर means the distance between tips of the thumb and the middle finger of the hand when they are stretched fully. When

the waist, the knee, elbow, shoulders and the head are

properly held, the chest is raised and the body is in shanna / शन्न, it is the saushthava posture. Shanna is resting in natural position while nishanna / ननशान्न is a motionless posture. Superior and normal male characters in saushthava have to

keep the feet in sama, the body of the right proportion is the

best and should refrain from bending of any sort. This

vaishnava is the very life of the chaturashra / चतुयश्र in which the two hands move about at the waist and navel separately

with an upright chest.

2. SAMAPADA STHANAS / सभऩाद स्थान : Saushthava is again important here and the feet are in sama with the distance of

one span between them. The four faced Brahma is the deity

who presides. This is utilized for accepting blessings from

Brahmins, gazing at medium sized birds, for participating in a

svayamvara and waiting in this posture to be chosen by the

bride, for people of various castes and communities, aerial

vehicles, people under vows and those that are in the chariots.

3. VAISHAKHA STHANA / वशैाख स्थान : When the thighs are kept above the ground at a distance of three and a half spans from

each other, with the feet kept on the ground in trayashra

pointing obliquely outwards with the same distance. Its

presiding deity is Kartikeya (Vishakha) and is employed at

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looking at large birds, fighting, to prompt the horses in

increasing the speed of movement and for riding on vehicles.

4. MANDALA STHANA / भंडर स्थान : The two feet are on the ground with a distance of one span between them in trayashra

pointing sideways. Hips and the knees are on the same level

with the thighs motionless above the ground at a distance of

two and a half spans from each other. This is mandala / भंडर and it has Indra as the presiding deity. The sage Bharata

recommends its uses for striking the arrows from the bow, in

lightning or vajra, riding elephants and to look at enormous

birds like Garuda. Few acharyas say that the feet must be at a

distance of four spans from each other.

5. ALIDHA STHANA / आलरढ स्थान : The left thigh is motionless in the air and slightly bent with the right foot is stretched at a

distance of five spans. Feet are oblique in this sthana which has

rudra as the deity. This determines the furious sentiment and

words of jealousy, the wrestling bouts or the heroic sentiments

for aiming weapons

6. PRATYALIDHA STHANA / प्रत्मालरढ स्थान : This is the reverse of the position of the limbs in Alidha / आलरढ. The weapons which are aimed will be released in this posture. Its presiding deity is

again rudra, according to Sharangadeva, the favourite of Shiva.

Among the 6 postures, the first 4 are seen in natya and nritta / नाट्म तथा नतृ्म. The other two are only for natya. Some say that all the 6 postures can be used in natya, nritta, nritya, lasya and

tandava i.e. the five types of dancing.

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STHANAS FOR WOMEN

1. AVATA STHANA / अवता स्थान: Left foot is sideways at a distance of one span while right foot in natural sama. The face is

pleasing and benign. The chest is well raised, the waist curved

and right hand on the hip with the left in the lata pose. The

presiding deity is Lakshmi. This sthana can be used when gaits

of wounded are to be shown in conversation with friends,

relatives or lovers, the first stage entry and offering flowers,

anger due to desire and jealousy, cracking fingers, threatening,

denial, pride, wisdom and silence, invocation and release. Some

people advice this posture for the women in purvaranga / ऩवूियंग dances while others say that both men and women may adopt

it for the first entry. This of course has to be in accordance with

suitable hand movements according to Abhinavagupta.

2. AVAHITTHA STHANA / अवहहथ स्थान: This is the same as Ayatta / आमात but with the feet reversed i.e. the left foot in sama and right in trayashra, Durga is the presiding deity and is used in

anxiety, satisfaction, reflection, conversation, wonder at

nature, admiring oneself or one’s own bodily charm, waiting for

the lover, sporting, gracefulness and delight.

3. ASHVAKRANTA STHANA / अश्वक्ांता स्थान : One foot in suchi is kept at the heel of the other foot in the natural position or in its

own side in the sama position at a distance of one span as if

one is about to mount a horse. This is used for stumbling, for

gathering clothes which are slipping, in concealing with

bashfulness, in receiving flowers, trying to catch hold of a

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branch of a tree, in natural conversation and in vibhrama and

lalita, Bharati is the presiding deity.

4. GATAGATA / गतागत: When the danseuse is reluctant to move ahead and keeps one foot raised and the other about to move,

it is called gatagata i.e. neither moving forward nor standing

still.

5. VALITA / वलरत: The body is a little turned or twisted around with the corresponding foot touching the ground with the little

toe and the other foot touching the ground with the big toe. In

valita, there is an indication of desiring glance

6. MOTITA / भोटीत: One foot in sama and the other in kunchita / कंुचचत with half the toes touching the ground. The two hands move in front upwards in the karkata / ककि ट pose and are used to describe the stages of love.

7. VINIVARTITA / ववननवनतित: The same as is above but with the positions of the feet reversed at the back is vinivartita.

Deshi additional Sthanas are as follows:

DESHI POSTURES / देशी स्थानक:

1. SVASTIKA / स्वस्स्तक: The two feet in samhata, kunchita and crossed in svastika with the two little toes touching each other.

2. VARDHAMANA / वधिभान: The two feet are oblique with heels touching each other.

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3. NANDYAVARTA / नंद्मावति: If in Vardhamana the feet are kept at a distance of six angulas or one vitasti which is twelve angulas,

it is called nandyavarta.

4. SAMHATA / संहत: The body kept natural position, big toes of feet touching one another, ankles also close together and used

to offer handful of flowers.

5. SAMAPADA / सभऩाद: Body is in natural position and feet kept straight at a distance of twelve angulas or one vitasti says

Sharangadeva.

6. EKAPADA / एकऩाद: One foot is in sama position and the other touches with its outer side the other leg above the knee.

7. PRISHTHOTTANATALA / ऩषृ्ठोंतनतर: One foot touches the ground by the back of its toes and the other is kept in front in

sama.

8. CHATURASHRA / चतुयश्र: If in nandyavarta posture, the distance between the feet is 18 angulas, it becomes chaturashra.

9. PARSHNIVIDDHA / ऩास्श्निववद्धा: The heel of one touches the big toe of the other.

10. PARSHNIPARSHVAGATA / ऩाशिनीऩाश्विगत: One heel is kept on the inner side of the other.

11. EKAPARSHVAGATA / एकऩाश्वािगत: If in front of one foot in the sama position, the other is placed on the external side and

facing sideways it is called ekaparshvagata.

12. EKAJANUNATA / एकजाननुत: If one foot is kept in sama and the other placed obliquely with the knee bent and maintaining

a distance of four angulas, it is ekajanunata.

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13. PARAVRITTA / ऩयावतृ्त: Here, the big toe and the little toe are leveled with the heel of the other foot.

14. SAMASUCHI / सभसचुी: When two legs are stretched obliquely with the heels, shanks and thighs touching the

ground.

15. VISHAMASUCHI / ववषभसचुी : When the two feet in suchi are stretched apart, one forward and the other backward at the

same time. Some say that in this the legs must have knees and

ankles also touching the ground.

16. KHANDASUCHI / खण्डसचूच: When one foot is in kunchita and the other is stretched to the side with its thigh and heel

touching the ground.

17. BRAHAMA / ब्रह्भा: When one foot is in natural position and the other is kunchita at the back and is thrown up with the

knees straight, it is called brahma.

18. VAISHNAVA / वषै्णव: One foot in sama or natural position and the other in slightly kunchita and stretched forward

slanting.

19. SHAIVA / शवै: The left is in sama and the right is raised to the level of the knee cap of the other in kunchita posture.

20. GARUDA / गरुड: Left leg is bent in front and the right touches the ground at the back with the knee.

21. KURMASANA / कुभािसन: Right leg touches the ground with knee on the outer side of the angle and the left is in sama.

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22. NAGABANDHA / नागफंध: After sitting posture, the right shank is placed on the back of the left thigh, it is called

nagabandha by the expert on karanas (Sharangadeva).

23. VRISHABHASANA / वषृबासन: If the knees are on the ground together or separated with the saushthava posture.

SITTING POSTURES

10. SVASTHA / स्वस्थ: The two feet are bent and spread out, chest is a bit raised and the hands on the thigh and the waist.

11. MADALASA / भदारसा: One of the feet is stretched a little, the other is placed as if resting with the head bent and is

employed to depict separation, anxiety, distress or intoxication.

12. KRANTA / क्ांता: The two hands on the chin, head resting on the shoulder with a few tears in the eyes used to depict

loneliness, under exile or suffering in grief.

13. VIKSHAMBITA / ववऺस्बफत: The thighs are spread out, the arms and legs stretched beautifully with closed eyes and is used

for meditation or yoga postures.

14. UTKATA / इत्कट: The heels and the hips are on the same level and the feet are on the ground in the natural position

used for meditation, yoga postures or chanting in devotion

either at dawn or dusk.

15. SRASHTALASA / स्राश्तारस: The hands are free and hanging loose, the body is inactive and the eyes look dull to show

exhaustion, fear, intoxication, disease and failure.

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16. JANUGATA / जानगुत: The knees are on the ground to depict homa or Vedic sacrifices, rituals to please the gods,

imploring for sympathy, looking at animals especially the wild

ones and in trying to pacify an angry person.

17. MUKTAJANU / भकु्तजान:ु One of the knees in utkata posture is on the ground used for pacifying an angry woman, in

offering ghee in the sacrificial fire and trying to win over the

hearts of the great men.

18. VIMUKTA / ववभकु्त: Falling on the ground is vimukta and is used for weeping or hava bhava.

RECLINING POSTURES

1. SAMA / सभ: Lying down with face upturned and hands loose and free is sama.

2. AKUNCHITA / आकंुचचत: This is again lying down with the limbs together and knees touching each other.

Sharangadeva states that this can be used to show a chilly

cold feeling.

3. PRASARITA / प्रसारयत: Lying down on one arm like a pillow and the knees stretched and this can be used for sound

sleep.

4. VIVARTITA / वववनतित: Lying down with face turned downwards and is used to indicate someone who is

wounded in battle.

5. UDVAHITA / उद्वाहहत: Lying down with head resting on the shoulder and elbow on the ground. Used to show the

playfulness before the lord.

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6. NATA / नत: The shanks slightly separated when one lies down with the two hands resting loosely, it is nata which

is used for fatigue, indolence or pathos.

VRITTIS

(Shlokas 1111-1128) Vritti stands for style. The goals of human

existence (purusharthas) can be acquired only through activity which

is oral, emotional and physical. The four popular vrittis are Bharati / बायती, Sattvati / सात्वती, Arabhatti / आयबटी and Kaishiki / कैलसकी. Their origin is such – Bharati from Rig veda, Sattvati from Yajurveda,

Arabhati from Atharvaveda and Kaishiki from Samaveda. Bharati is

verbal, involving the dialogues by actors of the Sanskrit prose and

poetry. That activity which expressed the emotional temperaments is

sattvati, from the root sattva, pertaining to the mind. The

underlining consciousness is what connects with the essence of

spirituality and pours out the feelings like bravery, joy, wonder and

others. This vritti is packed with the sentiments including the furious

amongst the bhavas. However, the erotic and the pathetic will be

lacking as well as the nirveda or detachment. This would demarcate

sattvati as the vigorous style. Arabhatti is the martial activity of

soldiers in proximity and used for forceful sentiments like the raudra.

It is extensively used for the depiction of the activities in the

battlefield and also magical elements. The term Arat means close by

and bhata means soldier. Kaishikivritti stands for gracefulness in

presentation. It will have plenty of sweet songs and dances, pleasing

words and gestures to highlight the essence of the charming

sentiment of erotic love. The doubtless one Sharangadeva adds that

Kaishiki may occasionally be employed in depicting the furious

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element but in a subtle fashion. The sage Bharata classifies

Bharativritti as amukha / आभखु, prahasana / प्रहसन, vithi / वीचथ and prarochana / प्रयोचन. Amukha itself has five variants like udghatyaka /

उद्घत्मक, avalagita / अवराचगत, kathodghata / कठोद्घत, pravartaka / प्रवतिक and prayogatishaya / प्रमोगातीशम. Sattvati is of four kinds- utthapaka / उत्ताऩक, parivartika / ऩरयवनतिक, samlapaka / संरऩक, and samghataka / संघटक. Arabhati has four called samkshiptaka /

संक्षऺप्तक, avapata / अवऩात, vastutthapana / वस्तुत्थऩन, sampheta /

सबपेत. Kaishiki has four varieties called narma / नभि, narmasphunja / नबस्पुुं ज, narmasphota / नभिस्पोट and narmagarbha / नभिगबि. Narma is further divided as parachittakshepaka / ऩयाचचत्तऺेऩक, paropalambhaka / ऩयोऩाराबबक and roshershyasuchaka / योशशे्मिसचूक. These are useful in dramas alone and hence, Sharangadeva desists

from illustrating them, lest the text becomes voluminous. The vrittis / वसृ्त्त as given by Bharata has to be understood not only by the dancers but also by musicians and literary persons as none of these

can be elevated in quality if devoid of vritti.

RECHAKA

To know about this, we need following background information of

its relevance.

(Shlokas 790-792) Angaharas are the graceful movement of limbs

composed of groups of matrikas / भातकृा. Two karanas make a

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matrika, three karanas a kalapa / कराऩ, four a khandaka / खंडक and five a sanghata / संघट. The 32 angaharas which are basically described can either consist of even number of units or odd number

of units. It is at this point that rechaka becomes necessary in order to

add to the angaharas making the total time unit which is long, either

odd or even. (Shlokas 892-896) Bharata describes four Rechakas

relating to feet, hands, waist and neck. Rechaka of the foot is the

graceful continuing movement in between the heel and the tips of

the toes involving bending and stretching outwards. Rechaka of the

hands makes a circular movement with hamsapaksha / हंसऩऺक pose alternately with one moving in and the other out. Rechaka of the

waist involves turning it around in all directions using the rotation of

the big toe which is slightly spread out. Vidyudbhranti / ववध्मदुभ्रान्त neck movement involving shaking and rotating is the rechaka of the

neck. These rechakas add to the beauty to the angaharas and in the

same way if they are used separately.

LASYANGAS

Lasyangas (Shlokas 1206-1215) pertain to the deshi style. They have

been adapted according to the tastes and conventions of people

belonging to the various provinces. Lasyangas are the ten elements

of lasya or the graceful dance namely, chalivadha / चारीवध, ladhi / राधी, suka / सकु, urongana / उयोंगन, dhasaka / धासक, angahara / अन्गहाय, oyaraka / ओमयक, vihasi / ववहसी and mana / भान. Chali / चारी is the simultaneous movement of feet, thighs, hips and arms.

Matching with the rhythmic combinations it should be soft,

attractive and medium paced slanting towards the sides. Chalivadha /

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चालरवध is the same as above but performed in a fast pace and straighter movement. Ladhi / राधी is the simultaneous movement of hips and arms, soft and graceful and also oblique. Suka / सकु is the rhythmic movement, full of feminine charm with shining ear

ornaments and can be either slow or quick. Urongana / उयोंगान is the graceful oblique movement slow or quick emphasizing the region of

the chest and shoulders. Dhasaka / धासक is the rhythmic bending down of the chest in a graceful manner. Angahara is the slow

bending of the body in the form of a bow. Here, the doubtless

Sharangadeva says that both the halves of the body are bent

gracefully to the timely beat. Oyaraka / ओमायक is slightly oblique with the head moved downwards. Vihasi / ववहसी is the smile filled with loving sentiment and not mechanical making it extremely

charming, noble and eye catching. Mana / भान is one that has the exact tempo of the sthaya belonging to the songs.

Thus ends the chapter in Nartanadhyaya on the postures and related

movements.

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