BACKGROUND OF EVOLUTION OF LANGUAGE

OF GESTURES IN KERALA'S VEDIC

RECITATION STYLE

Mudras or hand gestures are used in Indian culture in widely

divergent areas ranging from Iconography to dance. The earliest extant

description of mudras occur in Bharasta's NS, a text dealing with dance,

music and drama from the beginning of the Christian era, but it is likely

that they were mentioned half a rnillenium earlier in the Natasutras

that existed in Paninis' time. Over the centuries m u d r a s have become

a common feature of religious worship in Hinduism, Buddhism and

Tantrism. Here the mudra is used as a meduim of communication with

the 'Unknown' .With the spread of Indian civilization, they travelled over

large parts of Asia.

The style of recitation of the Vedas by the Namputiries of Kerala

is a clear evidence which underline the tradition of the use of mudr-as in

Kerala-theatre. The Namputiries use two sets of m u d r a s : - one to

accompany the recitation of Rgveda and the other to accompany the

chanting of Samaveda. (It is uncertain where Vedic mudras are older than

any of the others) . Whatever be their origin, the Vedic mudras could not

have resulted from a simple adaptation of other varieties, since they

are characterised by a feature that is distinctively Vedic. Unlike other

mudrus which represent meaning, Vedic mudras represent sound also.

MUDRAS OF THE NAMP~TIRI RGVEDA

The rnudriis of the Nampfitiri Rgveda a re not s imple

representations of sound. They are used to represent the ends of words

(pada) in the word-for-word recitation (padapiitha) of Rgveda. Their function

is to disambiguate the text in doubtful places. For example, the continuous

recitation (samhitdp~tha) R.V.3.56.1, na td minnnti has for its pudapcilha

nu/t/tLi/minanti. But the padapctha might have been na/ t&h/minanti. A

ten year old pupil learns the samhitii and padapntha without knowing

Sanskri t grammar and the rules of sandhi . So he is taught the

appropriate mudm, which distinguishes between ta and tah. In other

cases the pupil may have learned the rules of sandhi from practice, but

he does not know which are the words of Sanskrit language and which

are not. According to the modern historical point of view, the padapzfha

is an analysis of the samhitdpiilha, and the latter results from the former.

According to the traditional point of view, the samhita is eternal, and

the padapdtha is one of its modifications (vikdra).

Ambiguity may also be inherent in accentuation. The accents

are expressed by the position of the entire hand (this parallels to some

extent the position of the head, inculcated when the accents were taught

for the first time).

In the movement of head, no distinction is made between the

svarita (the accent immediately following the uddtta) and the pracaya

(the "accumulated" accent of syllables neither immediately following a

svarita nor immediately preceding an udatta). As will be seen from the

descriptions, some of the mudriis correspond to the shape of the mouth

or vocal tract that produces the corresponding sound. For example, the

mudrii for the vowel 'u ' imitates the rounding of the l ips that

characterises its pronounciation. Unlike dance m u d r z s , all Rgvedic

mudrcis are executed b y the right hand only. (If the form of the rnudra is

the same as in Kathakali, this can be noted even though the significance

is always different). This is because the mudrci can indicate different sub-

ject or object which one has accepted according to the content of the

text. The kartarimukha rnudra is common to several persons, like kings.

The pataka i n the samyuta samiina state denotes a king. His name is

indicated by the kartarimukha mudrE. eg. Nala, RugmZngata etc.. Who

the king is to be understood from the context.

Accent

Udatta

Anudgtta

Svarita

Pracaya

Position of the hand

UP

down

up to the right

to the left

LIST OF RG VEDA MUDRAS

I . Hrasvamudra - Mudrd for short (hrasva) syllables. All fingers are

extended in all joints and all fingers except the thumb are i n

apposition with each other.

Eg:-Devdsyd, AS&, Ggygta

2. Mnrdhanyamudrs - Mudra for retroflex (miirdhanya). Consonants,

viz, !a, !ha, da, dha, na, . sa . and la followed by short vowel or e .

R i n g f inger f lexed a t metacarpophalangeal joint and f i r s t

interphalangeal joint, extended at last interphalangeal joint, all

other fingers extended and separated from each other. Hand in

supination.

Eg:- Raksa, ~ r i n i , Aila (RV.10.95.18), Kgne (RV. 10. 155.1) The

same mudrn is used for syllables ending Sya or p a unless they

are accented with svarita. Eg:-Zirusya, K~nusva

For syllables ending with sya or p a and marked with

svarita, the HrasvamudrZ is used. Eg:- Arnu~ya

3. Ghosamudri - Mudrh for unaspirated consonants with a voice

( g h d ~ a ) , viz: gha, jha, dha, dha, bha and ha.

All joints extended except metacarpophalangeal joints

of little, ring and t h e middle fingers which are flexed. Hand in

semipronation.

Eg:- Gha, Adhi, Tustumbha, Abhi, Nahi.

189

4. ~ ~ r ~ h a v i s a r ~ a m u d r g - Mudrii for long (dirgha) syllables ending

i n visarga ( h ) , and for syllables ending - na and - ni. The little, ring

and the middle fingers flexed at metacarpophalangeal and first

interphalangeal joints, while the thumb rests on the outer surface

of the middle phalanx of the ring and the middle fingers. Hand

is in pronation, except for sarvanudutta, where it is in supination.

Eg:- Devah, Tayoh, Bahvih, Devih, Ratndni , Dh~t tana

5 . Udattamudra - M u d r ~ i for syllables with uddtta accent. Thumb

extended, all other fingers fixed at metacarpophalangeal and first

interphalangeal while the last interphalangeal joints are kept

extended. Hand in supination.

Eg:- Vi, Adya, Pra, _Uta

6 . Tithimudra or Timudra - Mudrh for syllables ending in - ti and -

thi. The Ring and middle fingers kept in apposition, flexed at the

metacarpophalangeal joints and extended at other joints, tip of

the thumb resting on the tip of the ring and the middle fingers at

their inner surface. Other fingers are extended.

Eg:- Iti, Patani, Pathi

7. SimudrH - M u d r d for syllables ending in si, se, sya and sva.

I n d e x f i n g e r f l e x e d a t m e t a c a r p o p h a l a n g e a l a n d f i r s t

interphalangeal joints; thumb rests upon the distal half of the

index finger at its outer surface. All other joints are extended.

Eg:- Asi, ~ t a s i (RV. 1.30.4), Devasya, Sahase,

190

8. Uk8ramudra - Mudrii for syllables ending in - U- Ring, middle

and the index fingers flexed at metacarpophalangeal joints and kept

in apposition, tip of the thumb rests upon the inner surface of the

tip of the index finger. All other joints are extended. Hand is in

pronation.

Eg:- Kzu, Vidu, V&, Apsu, Susthu . . (RV. 8.22.18)

9. Svarapiirvakatakaramudrii - Mudrii for syllables ending in - t

( takdra) preceded by a vowel ( svara) . Index finger flexed at the

metacarpophalangeal joint, tips of index and thumb fingers kept

in apposition. All other joints are extended.

Eg:- At, Tat, Yat

If the preceding vowel i s short, the hand i s in supination.

Eg:- Tat , Yat.

If the preceding vowel is long, the hand is pronation Eg:- At.

10. Hrasvavisargarnudra - Mudrd for short syllables ending in visarga.

Tips of the index finger and the thumb are kept i n apposition,

forming a ring that is opened at the sounding of the visarga.

Eg:- Sah, Agnih, Divah.

11. Akararnudra - Mudrii for all syllables ending in - a . The ring

finger is flexed at the rnetacarpophalangeal joint. All other joints

are extended. Hand is in pronation.

Eg:- d , Vrsu, ManasH.

191

12. P r a t h a m a n t a m u d r g - Mudri i f o r s y l l a b l e s e n d i n " f i rs t"

( p r a t h a m a ) . C o n s o n a n t s , v i z , - k and-!, o r e n d i n g in - t

immediately preceded by r. Same as Akaramudra but with the tip

of the thumb touching the root of the ring finger.

Eg:- Samrdt, Vit, Arviik, Avart (RV. 7.59.4)

13. ~ ~ l a v ~ a d i r g h a m u d r ' a - Mudrd for long, palatal (tiilavyu) vowels,

v iz , and Z unless they follow retroflex consonants (viz, fa, !ha,

da, dha, na, sa, l a )

The Ring, middle and the index fingers are flexed at

rnetacarpophalangeal and first interphalangeal joints, thumb rests

on the outer surface of the middle phalanx of t h e index finger.

The little finger is extended in all joints. Eg:- adh hat!, ~ r v ? e t c .

14. Aikararnudra - Mudrii for ai. Same as ~a lav~ad ; rghamudr2 , but

with the rotating movement of the tip of the little finger.

Eg:- Elavai, Yajadhyai

15. (Ssthyadirghamudrg - Mudrii for long, labial (bsthya) vowels, viz,

u, o and au. Same as Ukaramudra NO:^), but the little finger is

also in apposition with the other. Eg:- Vasii, Vasd, Indo, Uhhau

16. N a k a r a m u d r a - MudrZ f o r n . I n d e x f i n g e r f l e x e d a t t h e

metacarpophalangeal jo in t with distal phalanx of the thumb

resting on the other surface of the f i r s t phalanx of the index

finger. All .other fingers are extended. Eg: - Mahbn, Kavin, DevEn

17. Nakaramudra - Mudr i i for n and n . Middle f inger flexed at

metacarpophalangeal joint, the tip of the thumb touching its first

interphalangeal joint, at its inner surface.

Eg:- Pratyak, A k ~ a n , Vanlah (RV 10.79.7)

18. AnusvaamudrZi - Mudrli for short anusvilra. The ring, middle and

inedx fingers flexed at metacarpophalangeal joints. Thumb rests

on the outer surface of the middle phalanges of the middle and

index fingers. Little finger is extended at the metacarpophalangeal,

and fixed at all other joints. Hand is in semipronation.

Eg:- Tam, Devam, Agnim, Puuohitam, Vibhum (RV 6.15.8)

19. ~? rghanusva ramudr~ - Mudrii for long anusvhra. Anusv~ramudr5

in prone position. Eg:- Nrisatycihhyizm, Gacchatiim, Urvim.

20. AkarasticakamudrZi - MudriZ for initial a i n doubtful situation.

Same as D;rghavisargamudr~ (No.4) . for a i and a u , with t h e

index finger moving up and down. (viz - Aikaravisargamudrg)

Eg:- Gopamaguh (RV. 10.6 1.10) with padapatha Gopam / (T/ agub/,

not gopam / E/ guh/.

21. M u d r d fo r r e p h a , v i k d r u , p r a k r t i and u t p a t t i - Same as

Svarapfirvakatakiirarnudril (no .9) , but w i t h a "pen-rolling"

movement between the tips of the thumb and the index finger.

22. V i k B r a n i ~ e d h a m u d r Z - M u d r h u s e d w h e n a n e x p e c t e d

modification following a modification from retroflex to dental

193

as marked by VikLramudra (no.21) does not take place. Same as

MDrdhanyarnudrg NO.^), but the index finger moves slightly up and

down. This mudrd is also used forpragrhya words when the final

vowel is not subject to sandhi.

23. ~ rasv?kara~amudr i i - Mudrii for shortening (hrasvikarapam) in

thepadapdtha. Same as Tiilavyadirghamudrii (No. l3) , but the hand

makes a tilting movement in semi pronated position.

24. Urn-itimudrg - Mudr2 for urn iti in the padapatha.

The index finger is flexed at the first interphalangeal joint, its tip

resting on the phalanx o f the middle finger. The middle and the

ring fingers are slightly bent, the thumb and the little f ingers

extended.

25. Avagrahamudra - Mudrii for separat ion ( a v a g r a h a ) i n the

padapa ' t ha of a compound word i n t he sumhiti?. Same as

TZilavyadirgharnudra (no: 13) , but the hand is kept i n different

positions.

MUDRAS OF THE N A M P ~ T I R I SAMAVEDA

As seen for Rg Veda Kerala Brahmins used mudra for

chanting SZimaveda also. Some Samavedic mudriis are identical with

Rgvedic mudriis for vowels. In the Samaveda, however, they are used

sparingly. The proper domain for Samavedic mudrds is svara, the

musical phrases or motives of the chant. But there is one inherent

194

difficulty. Since the flow of melody in these chants is more continuous

than the flow of speech in recitation, the Samavedic mudriis are more

dynamic than those of Rgveda. They should be seen in movements, while

the chant ing is heard . Words a lone and picture a lone are both

m i s l e a d i n g . A proper study can only be made wi th the help of

cinimatograpy.

Here Ittj Ravi Namptitiri chanting the initial portion of the first

chant of ~ a i r n i n i ~ a Gramageyagana with the accompaniment of rnudrus

is shown with the help of photographs.

These photographs also illustrate the gestures that accompany

the chanting by Itti Ravi Namputiri of the beginning of .JaiminYya

Gramageyag2na 1 . I ( 6:)

The chant begins with a sequence of fifteen svaras, sung to the

single syllable "0". The first three are not accompanied by mudras , bu t

merely counting the movement of the fingers. The remaining twelve

svurus consist of a sequence of elementary positions of the right hand.

The hand is held at three vertical levels: high (upari), middle

(madhyam) and low (adhah). It may be moved to the three horizontal

positions: right ( dak j i na ) , middle (rnadhya) or left (vu'mu). In each of

these positions the hand may be held in one of four ways.

195

1. Malartti , "supine": in the upari position, the palm of the hand

faces the chanter.

2. Kamiltti, "prone": in the upari position, the hand faces the chanter.

3 . Uparistha or cericcu, "sideways": the edge of the little finger faces

the onlooker.

4. Matakki, "closed": the hand is held in a fist,which may be done

in any of the three preceding positions.

Omitt ing the first three, the sequence of twelve svaras

accompanying the chant of the initial "0"of J .G.G. 1 . I are described thus:

(1) rnafakki, malartti, upari; ( 2 ) mafakki, malartti, madhyam; ( 3 ) malartti,

adhah; ( 4 ) malartti, upari; (5) malartti, madhyan; ( 6 ) malartti, adhab;

( 7 ) malar t t i , mudhyam; (8) kami l t t i , upar i ; ( 9 ) kamil t t i , adhah;

( 10) cericcu, kamiltti, daksina, upari; (1 1) cericcu, kamiltti, madhyum;

( 12) kamiltti, adhah.

The sequence of these mudrns const i tutes a continous

movement pictured on Plates 7 A-F, 8 A-F. In 7A-C the hand, in supine

position moves down but remain closed. In 7 D-F, still in the same position,

it moves down again but opens up in the process. Plate 8 A pictures the

hand going up again still open. Now begins a new, quicker downward

movement that is pictured in Plates 8 B-C, where the hand is in prone

position. Next the hand moves down again beginning in the sideways

position ( cer i ccu) to the right (dukqina) , but gradually turning and

ending in the prone position (kamiltti). This is pictured on Plates 8D-F.

Thus ends the sequence of the mudrhs accompanying the syllable "0".

196

The next syllable "gna" consists of the same twelve rnudriis

and is accompanied by the same sequence of mudms. Plate 8 F actually

pictures the transition from the last movement of "o", prone and down,

to the first movement of "gna", supine and closed. If the chant had ended

with the last svura of the "o", the hand would have remained in the pure

kamiltti position, with the fingers extended.

Ssmavedic mudrds give importance to the position of hands

like supination, pronation, closed, top, middle, bottom etc. Proximity of

the mudriis is preferred here. This is one of the attributes of the rnudrfis

stated by Bharata also.33

However, the correlation between svaras and mudrds 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 mudriis of

the Narnpiitiri SBrnaveda.

From the above discussion it could be noted that the system of

the mudriis in Kerala theatre also is a combination of Rgvedic mudrzs

which give importance to the position of fingers and Samavedic mudriis

which give importance to the position of hands or proximity. In Kerala

Bharataniityam exactly follows the system of Vedic rnudrzs. In Kathakali

and Ktiriyattom the rnudriis are more stylised.

RGVEDA MUDWS

PLATE 4

A. Hrsvamudrii

B. Miirdhany amudr3

C. GhosamudrSi

D. Dirghavisargamudrii

E. UdattarnudrB

F. TithimudrZ

RGVEDA M U D U S

PLATE 5

RGVEDA M U D U S

PLATE 6

SAMAVEDA MUDRAS FOR THE INITIAL '0' OF J.G.G.I.1

PLATE 7

A. Matakki, malartti, upari

B. Matakki, malartti, madhyam

C. Malartti, adhah

D. MaEartti, upxi

E. Malartti, madhym

F. Mahat t i , adhah

SAMAVEDA MUDRAS FOR THE INITIAL '0' OF J.G.G.I.1

PLATE 8

A. Matakki, madhyaln

B . Kamiltti, upari

C. Kamiltti, adhah

D. Cericcu, kamiltti, daksina, upari.

E. Cericcu, k d t t i , rnadhyam

F. Kamiltti, adhah.

' i - ._. I..,.. ? _ .

!?;= .c

COMPARISON OF VEDIC MUDMS WITH THE MUDR&S USED IN KOTIYATTOM AND KATHAKALI

Ardhacandra

REMARKS

If the thumb is extended away from the

fingers in the plane of the palm

In A r d h a c a n d r a , t h e l i t t l e , r ing a n d

the middle fingers are also bent some

what at the first and second interphalangeal

joints

No remarks

The thumb held straight touching the bent

index finger. Not used as such in theatre

forms.

MUDMS IN KDTIYA'OM

AND KATAKWI

Hamsapaksa

VEDIC MUDMS

1.

- 2.

3.

4.

Hrasvamudr3

Ghb~amudra

~ i r ~ h a v i s a r g a m u d r ~

Udattamudra

3

w M

REMARKS

If the tip of the thumb rested on the first

interphalangeal joints of the ring and the

middle fingers rather than the tips of the

fingers.

In Bhramara the index finger is bent only

at the first interphalangeal joint. -

If the thumb rested on the outer edge of

the first interphalangeal joint of the index

finger rather than upon its tip.

The opening of the ring formed by the

thumb and the index finger is not an integral

part of Mudriikhya.

MUDRAS IN KD~YATTOM

AND KATAKAGI

M~gakirsa

Bhramara

~ar ta r imukha

Mudriikhya

VEDIC MUDRAS

5 .

6.

7.

8 .

Tithimudra

Simudrii

Ukiirarnudrii

Hrasvavisargamudra

COMPARISON OF VEDIC MUDMS WITH THE M U D ~ S USED IN KUTIYATTOM AND KATHAKALI

REMARKS

If the ring finger were flexed at the

first interphalangeal joint rather than the

metacaropophalangeal joint.

No remarks

If the tip of the thumb met the tips of all

the fingers.

In Musti . . the little, ring, middle and the in

dex fingers are bent at all joints and

curled in toward the palm as in a fist.

MUDMS IN KUTIYATTOM

AND K A T A W I

Pataka

VEDIC MUDMS

9.

10.

1 1 .

12.

AkaramudrB

~2lavyadirghamudrii

~ ~ t h ~ a d i r g h a m u d r a

Anusviiramudrii

200

This comparison is done by Mr.Clifford R.Jones. The comparison

drawn between Anusvararnudra of Rgv-edic reictation and Musti of the

HLD according to Mr.Clifford R.Jones does not seem to be logical. If

this sort of comparison is to be accepted, there are many more gestures

which could be compared. For example, Nakaramudra of Rgveda - if the

thumb is moved to the tip of the middle finger it would form Bhramara

of the NS and the AD used in Kathakali, not mentioned in the HLD.

~rasvikaranamudri - Like Bana of the BRB with semi-pronation movement.

TANTRIC MUDRAS OF KERALA

As an extension of the Vedic mudrcis, the Tantric tradition of

Kerala also accepted a system of gestures. If Vedic mudriis were intended

to the correct implication of the meaning while chanting, the Tantric

mudras were used to please the deities at the time of worship. The mudrds

formed the medium to communicate with the proposed powers. The

ultimate aim is to please the deity. That is why the word mudrd got its

name which is really meaningful. As mentioned elsewhere in the thesis,

mudrd is

Tantric mudrds are highly symbolic. One mudrd can comunicate

a lot of meaings. Each mudrd is a complete perfect entity. By closely

examining the Tantric rnudrds one could see the pattern in which a rnudrd

20 1

is originated as said by 34 Bharata i.e. shape, nature, proximity etc. May

be, Bharata got the idea of the mudrns from the Tantric treatise of the

mudriis.

I n Indian theatre, in Krsnanattom . . the mudrns are used as

symbols but not upto the level of Tantric mudriis. In Bharatanatyarn the

mudrds are shortened and the rest of the nbhinaya is compensated by

Vdcika. But in Kd[iyattorn and Kathakali the mudrds developed into a

level which communicate any idea even without the help of Viicika i.e.

the development of the language of gestures reached its peak.

Here the Tantric mudrns and the mudrds of the HLD or those

used in Kerala theatre are compared and tabulated. The Tantric mudriis

are got from PBtmasamhitii which is a book about Vaispuvu Tantra.

RECOMMENDED USE

Not used as such

To live

Not used as such

SIMILAR MUDRA IN THE HLD/K.T.

Aiij ali

sikhara (AD)

~artarimukha (Approx)

NOMENCLATURE OF THE MUDM IN PATMASAMHITA

4. Brahmamudrii

5. Rudramudrg

6. Ganghudrii

RECOMMENDED USE

To show Brahma

To show Rudra

To show the river Ganges

h, 0 V1

NOMENCLATURE OF THE MUDM IN PATMASAMHITA

10. ~ a h k h a m u d r ~

11. Padmamudra

12. Paiamudra

RECOMMENDED USE

Conch

The seats of Goddesses like ~aksrni etc.

Nil

SIMILAR MUDM IN THE HLD/K.T.

Aiijali and Sikhara (AD)

Variation of Aiijali in samyuta form

Bana (B.B)

C

RECOMMENDED USE

Conch

Lotus and relatively large flowers.

Several uses in practice

RECOMMENDED USE

Nil

To perform sacrifice

For h6ma

C

,@ I , ., -l

I

SIMILAR MUDRA RECOMMENDED USE IN THE HLD/K.T.

NOMENCLATURE OF THE MUDRA IN PATMAS AMHITA

1 3. Angubamudra

14. Mustimudra

~ukatunda

Musfi

~rgakirsa 15. KrOdarnudra

Not used as such

Not used as such

Not used as such

RECOMMENDED USE

Not used as such

Not used as such

Not used as such

NOMENCLATURE OF THE M UDRA IN PATMASAMHITA

19. Tatvarnudra

20. ~ a j iicipav~tamudr~

2 1. &alpamudr8

RECOMMENDED USE

Nil

Nil

Nil

SIMILAR MUDM IN THE HLD/K.T.

M u d r w y a

Mayfira (BRB)

TribGla (AD)