An Analytical Study Of Caturvidha Abhinaya In Belur Temple Of Hoysala Period

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. 

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. 

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. 

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.