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- Abstract is exactly "<p><span style="font-weight:400;">Body is the medium of expression in a dance and the thoughts of the dancer are displayed with the help of postures, costumes and expressions. The dancer uses his Angas, Upāngas and Pratyangas- āngika; Lyrics and music- Vacika; Costumes, lighting and stage- āhārya; Emotional abhinaya- Sātvika abhinaya. </span></p>
<p><span style="font-weight:400;">In the absence of paintings, the temple sculptures are the only evidence of dance of the past. The Naṭya śastra by Bharatamuni, Abhinaya Darpaṇa by Nandikeśvara, Lāsya Ranjana by Simhabhupala and Sangeeta Ratnākara by Sārangadeva are authentic texts. </span></p>
<p><span style="font-weight:400;">Geetham avadharaya, Nrityam avadharaya - Dance as an offering to God, in the Asṭhāvadhāna Pooja. Chennakeśava Temple, Belur is an example of Hoysala Architecture known for Madanikas or Apsaras. In the Navaranga, Queen Naṭyarāni śantaladevi, used to offer Nritya seva. śantala devi was the epitome of perfect feminine beauty and was the model for portraying Madanikas. Every Madanika figure depicts a dance posture with minute details of costumes, makeup and ornaments. śukabhāśini: Vasantha Sundari - Keśabandha, Venuvadana, tribhangi- Keśa-Sringara. Nagaveena- Koravanji- the statue of the Mohini, the perfect dancing posture in perfect symmetry. </span></p>
<p><span style="font-weight:400;">The Āńgika, Āhārya and Sātvika abhinaya is amply presented in the sculptures, be it Madanika or Naṭaraja. The postures- hastas and mudras- defined in the śastra are not static positions, but are actions or in motion. a study in depth and its adaptation on stage will enrich the Classical dance format.</span></p>"
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