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Q: My hands starvs maximum because of maximun hastha maithun what should you do to be normal?
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What is hastha prayogam?


What does the Telugu word hastha prayagam mean in English?


What to do you call mobile in Telugu?

Cell phone can be called as the "Hastha Doora Bhashini" Anyway literally no body uses this term. But that is the term for cell phone in Telugu

What is the classical dance of kerala?

Mohiniyattam, the female classical solo dance of Kerala, is the dance of the Mohini, the celestial enchantress of Hindu mythology. The dance is based on Hastha Lakhsana Deepika, the treatise on hand gestures, and its lyrics are in Manipravala, a mixture of Sanskrit and Malayalam languages. Mohiniyattam usually deals with the themes of love and devotion. The slow, swaying movements of Mohiniyattam along with subtle facial expressions give it an identity different from that of the other classical dance forms of India. The predominant emotive element of this dance is laasya or sensuality. Once performed only in temple premises, Mohiniyattam was made popular by the erstwhile king of Travancore, Swati Thirunal. Swati Thirunal patronized the dance to the extent of giving it a typical Kerala touch. Irayimman Thampi, the court musician of Swati Thirunal, and Kuttikunju Thankachi are others who contributed to the growth of Mohiniyattam.

What are mudras?

Simple answer: they are symbolic or ritual gestures usually made with the hands or fingers, but can involve the whole body. The following (first) answer provides much detail (perhaps too much). ***** One of the striking features of the classical Indian dances is the use of the hand gestures. Strictly speaking they form a part of the angikabhinaya, expression through body to convey meaning and expressions. However, hand gestures known as nirtta hastas are employed for the sake of beauty and decorative purpose while performing nritta, pure dance. Therefore nirtta hastas do not convey any meaning. In Natyashastra, the hastas are classified into three categories: asamyuta(single), samyuta ( double) and nritta (pure danced) hastas. Another text, the Abhinayadarpana, describes the hand gestures and also lists the usages. The usages are called viniyogas The Natyashastra enumerate twenty-four asamyata, thirteen samyuta and twenty-seven nritta hastas. Similarly, there are differences in the number of the usages in these texts. The Natyashastra lists 35 viniyogas of the pataka hasta, whereas the Abhinayadarpana lists forty. After the revival of the Bharata Natyam, most of the dancers mainly follow the Abinayadarpana. The usages are taught by the gurus along with the placement of the hands. The relative expression is registered on the face by the dancer to suggest or convey the meaning and the import of the song or sahitya. The Abhinayadarpana mentions that a dancer should sing the song by the throat, express the meaning of the song through the hand gestures, show the state of her being by her eyes and keep the time with her feet. It further states that where go the hands, there the glance follows; where go the glances, the mind follows; where goes the mind, the mood follows; and where the mood is, there is a rasa or flavour. So vast is the art of hand gestures that it covers almost all the aspects of human life and the universe. The asamyuta and samyuta hastas are capable of expressing a number of things, including abstract concepts like beauty and truth. They express, interpret, describe and narrate several things, objects , actions and concepts. This process forms the language of the hastas. The hand gestures also describe the time element. They compress an interval of a period, say from the eighth of the waxing moon to the full moon. The dancer turns ardhachandra hasta into alapadma hasta and suggests the passage of time. Hastas scale distance between the lotus and the moon. The flowers open up from the fingers of the dancer and the brids fly off their tips. The hands can command, request, reject, admonish and make love. They establish a relationship between two objects in the manner a poet does through a simile and metaphor. For example, pataka, one of the asamyuta hastas where the thumb is bent and the fingers are stretched and held closed together, has several usages which cover a variety of things and actions. The Abhinayadarpana mentions that it is used in the beginning of natya, to denote the clouds, a forest, forbidding things, the bosom, night, a river, the region of the gods etc. When the two pataka hastas join the palm it is called anjali hasta. It is one of the samyuta hasta. It is used for salutations. The Abhinayadarpana mentions that the anjali hasta is to be held on the head, face and bosom respectively in the salutation of a deity, a preceptor and a brahmana. The Abhinayadarpana further lists the hastas for castes like the brahmanas, kshatriyas, vaishyas and shudras; relationships such as husband and wife, mother, father, mother-in-law, father-in-law, husband's brother, husband's sister, elder and younger brothers,sons, daughter-in-law and co-wife. There are hand gestures for the Gods Brahma, Vishnu, Shiva, Ganesha, Kartikeya, Indra, Manmatha, Yama, Nirutti, Varuna, Vayu and Kubera; goddesses like Lakshmi, Saraswati and Parvati; hand gestures for ten incarnation ofVishna such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Balarama, Krishna and Kalki; hand gestures for representing the nine planetary dieties the Sun, Moon, Mars, Mercury, Jupiter, Venus, Saturn, Rahu and Ketu. The language of hand gestures enables the dancer to express practically anything. It augments the communication, enhances the impact of the abhinayas and endows it with poetry. The hands have life, hastapranah and invest the classical dance-form with an enchanting quality. Certain selected Hastas are employed along with the footwork while dancing the Nritta sequences or items and these Hastas are therefore referred to as Nritta-Hastas. Pataka, Tripataka, Ardhapataka, Katakamukha, Alapadma, Shikhara, Kapittha, Dola, Mrigasheersha, Chatura, Tamrachooda, Anjali, Swasthika, Katakavardhana etc are such decorative Hastas which while displayed alongwith Adavus do not signify any meaning but help the execution of Adavus. Abhinaya Darpana, lays down this famous Sloka: " Yatho Hasta Thatho Drishti, YathoDrishti Thatho Manah Yatho Manah Thatho Bhaava, Yatho Bhaava Thatho Rasa " This can be roughly translated as follows… Where the hands(hasta) are, go the eyes (drishti); where the eyes are, goes the mind(mana); where the mind goes, there is an expression of inner feeling (Bhava) and where there is bhava, mood or sentiment(rasa) is evoked. Hand gestures of Bharatanatyam are classified as ASAMYUTHA HASTHA - Single hand gestures SAMYUTHA HASTHA - Double hand gestures There are 28 Asamyutha Hasthas and 24 Samyutha Hasthas. Each Hastha has a defined usage called Viniyoga. ASAMYUTHA HASTHA (SINGLE HAND GESTURES) Pataka Tripatakordhapataka Kartareemukhaha Mayurakyordhachandrashcha Arala Shukatundakaha Mushtishta Shikarakyashcha Kapitha Katakamukhaha Suchee Chandrakala Padmakosham Sarpashirastata Mrugasheersha Simhamukho Langulasolapadmakaha Chaturo Bramarashchiva Hamsasyo Hamsapakshakaha Samdamsho Mukulashchiva Tamrachooda Trishoolakaha Ashtavimshatihastha Naam Evam Naamaanivikramat. SAMYUTHA HASTHA (DOUBLE HAND GESTURES) Anjalishcha Kapotashcha Karkata Swastikastatha Dolahastha Pushpaputaha Utsanga Shivalingakaha Katakavardhanashchiva Kartaree Swatikastata Shakata Shankha Chakrecha Samputa Pasha Keelakau Matsya Koorma Varahashcha Garudonagabandakaha Khatwa Bherundakakhyashcha Avahitastathivacha Chaturvimshatisankhyakaha Samyuta Katithakaraha Different schools and styles of dance use different hand gestures and different terms for the same hand gestures. Most have a fairly similar set of terms that largely overlap with this list, but many may be different in the details. It is largely a case of individual style, and the important thing is to communicate the ideas clearly.

What is nakshatra?

Nakshatra Pada 1 Pada 2 Pada 3Pada 4 1 Ashvini Chu [Mesha Rashi] Che [Mesha Rashi] Cho [Mesha Rashi] La [Mesha Rashi] 2 Bharani Li [Mesha Rashi] Lu [Mesha Rashi] Le [Mesha Rashi] Lo [Mesha Rashi] 3 Krittika A [Mesha Rashi] I [Vrishabha Rashi] U [Vrishabha Rashi] E [Vrishabha Rashi] 4 Rohini O [Vrishabha Rashi] Va/Ba [Vrishabaha Rashi] Vi/Bi [Vrishabaha Rashi] Vu/Bu [Vrishabaha Rashi] 5 Mrigashirsha Ve/Be [Vrishabaha Rashi] Vo/Bo [Vrishabaha Rashi] Ka [Mithun Rashi] Ke [Mithun Rashi] 6 Arda Ku [Mithun Rashi] Gha [Mithun Rashi] Ng/Na [Mithun Rashi] Chha [Mithun Rashi] 7 Punarvasu Ke [Mithun Rashi] Ko [Mithun Rashi] Ha [Mithun Rashi] Hi [Mithun Rashi] 8 Pushya Hu [Karka Rashi] He [Karka Rashi] Ho [Karka Rashi] Da [Karka Rashi] 9 Ashlesha Di [Karka Rashi] Du [Karka Rashi] De [Karka Rashi] Do [Karka Rashi] 10 Magha Ma [Simha Rashi] Mi [Simha Rashi] Mu [Simha Rashi] Me [Simha Rashi] 11 Purva Phalguni Mo [Simha Rashi] Ta [Simha Rashi] Ti [Simha Rashi] Tu [Simha Rashi] 12 Uttara Phalguni Te [Simha Rashi] To [Kanya Rashi] Pa [Kanya Rashi] Pi [Kanya Rashi] 13 Hastha Pu [Kanya Rashi] Sha [Kanya Rashi] Na [Kanya Rashi] Tha [Kanya Rashi] 14 Chitra Pe [Kanya Rashi] Po [Kanya Rashi] Ra [Tula Rashi] Ri [Tula Rashi] 15 Swati Ru [Tula Rashi] Re [Tula Rashi] Ro [Tula Rashi] Ta [Tula Rashi] 16 Vishaka Ti [Tula Rashi] Tu [Tula Rashi] Te [Tula Rashi] To [Vrishchika Rashi] 17 Anuradha Na [Vrishchika Rashi] Ni [Vrishchika Rashi] Nu [Vrishchika Rashi] Ne [Vrishchika Rashi] 18 Jyeshatha No [Vrishchika Rashi] Ya [Vrishchika Rashi] Yi [Vrishchika Rashi] Yu [Vrishchika Rashi] 19 Mula Ye [Dhanu Rashi] Yo [Dhanu Rashi] Bha [Dhanu Rashi] Bhi [Dhanu Rashi] 20 Purva Ashadha Bhu [Dhanu Rashi] Dha [Dhanu Rashi] Bha/Pha [Dhanu Rashi] Dha [Dhanu Rashi] 21 Uttara Ashadha Bhe [Dhanu Rashi] Bho [Makara Rashi] Ja [Makara Rashi] Ji [Makara Rashi] 22 Shravana Ju/Khi [Makara Rashi] Je/Khu [Makara Rashi] Jo/Khe [Makara Rashi] Gha/Kho [Makara Rashi] 23 Dhanistha Ga [Makara Rashi] Gi [Makara Rashi] Gu [Kumbh Rashi] Ge [Kumbh Rashi] 24 Shatabhisha Go [Kumbh Rashi] Sa [Kumbh Rashi] Si [Kumbh Rashi] Su [Kumbh Rashi] 25 Purva Bhadrapada Se [Kumbh Rashi] So [Kumbh Rashi] Da [Kumbh Rashi] Di [Meena Rashi] 26 Uttara Bhadrapada Du [Meena Rashi] Tha [Meena Rashi] Jha [Meena Rashi] Da/Tra [Meena Rashi] 27 Revati De [Meena Rashi] Do [Meena Rashi] Cha [Meena Rashi] Chi [Meena Rashi]