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Wednesday, 7 June 2017

108 Tandavas Poster


  1. Talapushpaputam  The Karana which is performed by the pushpaputa hands held on the left side with the Acrathalacancara foot and Sannatha side is called Thalapuspaputa.
  2.  Vartitam The wrists are bent in vyavartita and parivartita hand and then caused to be rested on the thighs.
  3.  Valitorukam Vyavartita and Parivartita movement should be performed by Sukhatunda hands with the thigh bent gracefully.
  4. Apaviddham The right hand in Sukatunda gesture is to be kept near the thigh whereas the left to be kept near the chest.
  5. Samanakham The karana samanakha is performed with the feet in sama and the hands in lata.
  6. Linam When the two pataka hands are held in Anjali gesture near the chest with the raised neck and the bent shoulder; it is Linam.
  7. Savstikarecitam When the recita and the Aviddha hands end in svastika and then kept on the waist it is the Karana svastika recitam.
  8. Mandalasvastikam When the upward turned palms are taken round to end in svastika in the mandala position it is Mandalasvastikam.
  9. Nikuttakam When hands are moved up and down alternatively with the kuttita movement of the feet it is Nikuttita.
  10. Ardhanikuttakam When the ancita hands are bent towards the shoulder and the body is half inclined, it is called Ardha Nikuttakam.
  11. Katichchinnam When the two pallava hands are held over the head and the hip is rotated in Chinna,it is the Karana Katichinnam.
  12. Ardharecitakam When the sucimukha gesture is moved freely in the Sannata side of the body accompained by the Kuttita movement of the feet, it is Arda recita.
  13. Vakshasvastikam In the svastika formation of the legs the two hands are taken from the chest as recita and then brought to its original place.
  14. Unmattam The foot is to be ancita while the hands are to be recite.
  15. Svastikam When the hands and feet are held together in the svastika form it is called Svastikam.
  16. Prshthavastikam Two arms are to be thrown up and down and end as Svastika.The legs also end as svastika after observing apakranta and suci caries.
  17. Dikswastikam Turning sideways with the agratala feet to form the svastika feet and hands.
  18. Alatam After doing Alata cari; the right hand is to be taken from the shoulder and the foot is finished in Urdhvajanu cari.
  19. Katisamam The svastika feet is to be separated with one hand placed at the navel and the other at the hip in the Udvahita side.
  20. Aksiptarechitam The left hand is to be near the chest while the right is thrown as recita. 
  21. Viksiptaksiptam Head and foot are to be thrown up and then down.
  22. Ardhaswastikam In the svestika formation of the legs the right hand is to show karihasta while the left to be near the chest.
  23. Anchitam In the Ardha svastika karana the karihasta is to perform vyavartita and parivartita movement and then bent upon the tip of the nose.
  24. Bhujangatrasitam The kuncita foot is to be taken up to have an oblique formation of the thighs and the hip and the knee are turned according to the movement. 
  25. Urdhvajanu Kunchita foot is to be lifted up so that the knee is kept in the level of the chest. The movement of the hands should coincide the feet formation. 
  26. Nikunchitam The foot to be taken as kuncita with the left hand bent near the side and the right held at the tip of the nose. 
  27. Mattalli The right and the left foot are taken back in a whirling movement and the hands are moved in Udvestita and Apavestita.
  28. Ardhamattali With the gliding movement of the feet the left hand is to be recita while the right to be on the hip.
  29. Rechitanikuttam With the Nikuttita movement of the right leg,the right hand is to perform recita and the left dola.
  30. Padapaviddakam In the suci and apakranta movement of the feet, the hands are to be katakamukha with their back against the navel.
  31. Valitam When the inclined body is turned with the apaviddha hand and suci foot; it is named as Valitam. 
  32. Gurnitam When the feet is separated from the svastika position with the whirling right hand and the hanging left hand,it is the karana Gurnita.
  33. Lalitam When the left hand is shown in karihasta and the right turned with the kuttita movement of the feet, it is Lalitam.
  34. Dandapaksam When the urdhavajanu cari is performed with the lata hand rested on the raised knee it is called as Dandapaksam.
  35. Bhujangatrastarecitam
  36. Nupuram When the trika is turned gracefully in the Nupura cari with the lata and recita gestures it is the Karana Nupura.
  37. Vaisakharecitam When the hands and feet are in recita so the hip and the neck and the entire body in Vaisatha Sthana it is to be called Vaisakha Recita.
  38. Bhramarakam When the skshipta cari is ended in svastika position and the trika is turned round with the udvestita hands it is called Bhramarakam.
  39. Caturam When the left hand is in ancita (alapallava) and the right in catura and the right foot in kuttita movement it is the Karana Catura.
  40. Bhujnagancitam It is performed with the right hand as recita and the left hand as lata.
  41. Dandakarecitam When the hands and feet are thrown like a staff on all sides it is the Karana Dandakarecita.
  42. Vrscikakuttitam Assuming vruscika posture in one leg and the Nikuttita movement in the other the karana Vruscikakuttita is performed.
  43. Katibhrantam In the suci cari the right hand is to be Apaviddha (Aviddha) and then the hip is raised and rotated.
  44. Latavrscikam The ancita foot is taken back and bent with the fingers pointing upwards.The left hand is shown in lata gesture.
  45. Chinnam In the vaiskha sthana,the alapadma hands are to be held on the hip which is in chinna.
  46. Vrscikarecitam The svastika hands in the Vruscika posture are to be separated and shown recita.
  47. Vrscikam The leg is bent and turned towards the back with the hands bent over the shoulders. 
  48. Vyamsitam In the alida sthana the two hands are to be taken from the chest as recita and brought down and then separated.
  49. Parsvanikuttalam Svastika hands are to be held on one side with the Nikuttita movement of the foot.
  50. Lalatatilakam With the vruscika foot a mark is to be made on the forehead with a great toe.
  51. Krantam The Kuncita feet is taken back in the Atikrant cari and the hands are thrown.
  52. Kunchitam The right leg and hand is to be bent as Kuncita first and the left side is lifted up.
  53. Chakramandalam The body is bent down and held between the two hanging arms.
  54. Uromandalam The feet to be drawn away from the svastika form with the hands held in the chest region.
  55. Aksiptam The hand and foot to be swiftly thrown. 
  56. Talavilasitam The sole and the fingers of the foot to be turned upwards with the palm of the hands bent. 
  57. Argalam The two feet streched backwards with a distance about two and a half talas and the hands to be moved in conformity with this.
  58. Viksiptam The hand and foot to be thrown either backward or sideways and these movement should occur on one side only.
  59. Avartam The kuncita foot to be taken round swiftly with the suitable hands.
  60. Dolapadam The Kuncita foot to be thrown from side to side with the swinging hands.
  61. Vivrttam The hand and foot to be thrown with the trika turned round and the recita hands.
  62. Vinivrttam With the suci cari the trika is to be turned round with the two recita hands.
  63. Parshvakrantam It is to be done with the leg thrown towards the front with the hands according to the movement of the feet.
  64. Nisumbhitam The foot to be bent back as Kuncita with the raised chest and the hand held at the centre of the fore head.
  65. Vidyutbhrantam The foot to be turned and raised backwards to touch the head with the Mandala Aviddha gesture.
  66. Atikrantam It is to be performed with a forward movement and the hands used in a manner befitting the dance.
  67. Vivartitakam The hand and foot to be thrown with the rotated trika and then hands are held as recita.
  68. Gajakriditam It is performed with the left hand bent near the ear and the right lata gesture.
  69. Talasamphotitam A foot to be swiftly lifted up and put forward with the hands as Talasamsphotita.
  70. Garudaplutam The foot to be streched backwards with the lata and recita gestures and the head to be raised and bent. 
  71. Gandasuchi In the Nata side the foot to be in Suci position with the hands one on the chest and the other bent to touch the cheek. 
  72. Parivrttam In the Suci position of the legs,the hands are to be raised in Apavestita gesture and the trika is to be rotated as in the Brahmari Cari. 
  73. Parsvajanu One foot is to be lifted up with the folded thigh while the other to be same.One hand is to be musti. 
  74. Grdravalinakam One foot is to be streched backwards with the other knee slightly bent.The two arms should be out streched as Recita.
  75. Sannatam A jump is followed by the Svastika position of the feet with the sannata hands.
  76. Suchi A kuncita foot is to be lifted and put forward on the ground with the suitable movement of the hands.
  77. Ardhasuchi In the suci position of the right foot, the Alapadma hand is to be held on the head.
  78. Suchividdham One foot of Suci cari is to be put on the heel of another foot with the hands on the weist and chest respectively.
  79. Apakrantam The valita thigh is to be taken as the Apakranta cari with the hands moved in harmony of the movement of the feet. 
  80. Mayuralalitam The vruscika formation of the leg is performed with the two recita hands and the trika is turned.
  81. Sarpitam The feet are to be moved in Ancita.The two hands are to be recita and the head to be parivahita.
  82. Dandapadam After the performance of Nupura cari, Dandapada cari is observed with the Aviddha hands shown quickly.
  83. Harinaplutam After performing the cari Atikranta, the shank on one leg is bend and rested on the other.
  84. Prenkolitam After observing the Dolapada cari, a jump is performed with the turning of the trika.
  85. Nitambam In the Baddha cari the arms are taken up with the fingers pointing upwards.
  86. Skalitam After observing the Dolapada cari,the recita hands are to be taken round in harmony with the feet movement.
  87. Karihastam one hand is to be placed near the chest while the other taken above and rotated in the ancita formation of the foot.
  88. Prasarpitam it is performed with one hand as recita and the other lata in the slow movement of the feet.
  89. Simhavikriditam After performing the cari alata, one is to move swiftly and the hands to be followed with the feet.
  90. Simhakarsitam With the backward streched foot the hands and to be bent and turned in the front.
  91. Udvrttam The hand,foot and the entire body to be moved (turned) violently
  92. Upasrtam The akshipta cari is performed with the hands suitable to the feet movement.
  93. Talasanghattitam After performing the dolapada cari the two palms are to be dashed with each other and then the left hand to be kept as recita.
  94. Janitam One hand is to be on the chest and the other hanged loosely in the agratala movement of the feet.
  95. Avahittakam After observing the janita karana,the raised hands with their fingers facing opposite to each other to be brought down slowly.
  96. Nivesam In the mandala sthana the two hands are to be held on the nirbhugna chest.
  97. Elakakriditam After jumping with the talasancara feet the body is to be bent and turned.
  98. Urudvrttam The Avrtta (Vyavartita) hand is bent and placed near the thigh and the shank is bent and turned.
  99. Madaskalitam The two hands to be kept hanging loosely and the head in parivahita with the feet in Aviddha cari.
  100. Visnukrantam A foot is to be streched front facing the sky with the recita hands.
  101. Sambhrantam The Vyavartita movement of the hands to be placed on the thigh which is made Aviddha.
  102. Viskhambam One hand is to be Apaviddha and the Suci cari foot to be made Nikuttita with the left hand on the chest.
  103. Udghattitam with the Udghattita feet and the Talasanghattita hands the karana Udghattitam is performed.
  104. Vrsabhakriditam After observing the Alata Cari, the two hands to be made Recita and then bent as kuncita and ancita.
  105. Lolitam The hands are to be recita and ancita and the head to be lolita. 
  106. Nagapasarpitam Drawing feet from the svastika position the head to be parivahita and the hands to be recita.
  107. Sakatasyam Beginning with the body at rest the legs are streched as Talacancara in the udvahita chest position.
  108.   Gangavataranam The toes and the sole of the feet to be turned upwards with the Tripataka hands pointing downwards and the head in Sannata.
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Tuesday, 6 June 2017

108 Maheshvara Murtis of Shiva


  1. Bhikshatana Murti
  2. Nataraja Murti
  3. Aja-Ekapada Murti
  4. Yoga-Dakshinamurti
  5. Lingodhava Murti
  6. Kamadahana Murti (Kamari)
  7. Tripurantaka Murti(Tripurari)
  8. Mahakaleshvara Murti (Kalari/Kalantaka/Kalasamhara)
  9. Jalandharavata Murti (Jalandhari)
  10. Gajasurasamhara Murti (Gajantika)
  11. Virabhadra Murti (Karala)
  12. Kankala-Bhairava Murti
  13. Kalyanasundara Murti
  14. Vrishabharudha Murti
  15. Chandrashekhara Murti
  16. Uma-Maheshvara Murti
  17. Shankaranarayana Murti (Keshavardha/Harihara)
  18. Ardanarishvara Murti
  19. Kirata Murti
  20. Chandeshvaranugraha Murti
  21. Chakradaneshvararupa Murti (Chakrapradasvarupa)
  22. Somaskanda Murti
  23. Gajamukhanugraha Murti
  24. Nilakantha-Maheshvara Murti
  25. Sukhasana Murti
  26. Mukhalinga Murti (Panchamukhalingam)
  27. Sadashiva Murti
  28. Mahasadashiva Murti
  29. Umesha Murti
  30. Vrishabhantika Murti
  31. Bhujangarlalita Murti
  32. Bhujangatrasa Murti
  33. Sandhyanritta Murti
  34. Sadanritta Murti
  35. Chanda-Tandava Murti
  36. Gangadhara Murti
  37. Gangavisarjana Murti
  38. Jvarabhagna Murti
  39. Shardhulahara Murti
  40. Pashupata Murti
  41. Vyakhyana-Dakshinamurti
  42. Vina-Dakshinamurti
  43. Vaguleshvara Murti
  44. Apat-Uddharana Murti
  45. Vatuka Bhairava Murti
  46. Kshetrapala Murti
  47. Aghorastra Murti
  48. Dakshayajnahara Murti
  49. Ashvarudha Murti
  50. Ekapada-Trimurti Murti
  51. Tripada-Trimurti Murti
  52. Gaurivaraprada Murti
  53. Gaurililasamanvita Murti
  54. Vrishabhaharana Murti
  55. Garudantika Murti
  56. Brahmasirachedataka Murti
  57. Kurmasamhara Murti (Kurmari)
  58. Mastyasamhara Murti (Mastyari)
  59. Varahasamhara Murti (Varahari)
  60. Simhagna Murti (Sharabha/Sharabheshvara)
  61. Raktabhikshapradana Murti
  62. Guru-Murti (Gurushiva)
  63. Prarthana-Murti
  64. Shishyabhava Murti
  65. Anandatandava Murti
  66. Shantyatandava Murti
  67. Samharatandava Murti
  68. Kapalishvara Murti (Brahmakapaladhara)
  69. Mahamritunjaya Murti
  70. Tryaksharmritunjaya Murti
  71. Shadaksharamrityunjaya Murti
  72. Andhasurasamhara Murti
  73. Juvarapaghna Murti
  74. Simhasana Murti
  75. Ilakeshvara Murti
  76. Satyanatha Murti
  77. Ishana Murti
  78. Tatpurusha Murti
  79. Aghora Murti
  80. Vamadeva Murti
  81. Ananteshvara Murti
  82. Kumaranugraha Murti
  83. Hayagrivanugraha Murti
  84. Maha Rudra Murti
  85. Nartana Rudra Murti
  86. Shanta Rudra Murti
  87. Yoga Rudra Murti
  88. Krodha Rudra Murti
  89. Vrinji Rudra Murti
  90. Muhunta Rudra Murti
  91. Dvibhuja Rudra Murti
  92. Ashtabhuja Rudra Murti
  93. Dashabhuja Rudra Murti
  94. Trimukha Rudra
  95. Panchamukhabhishana Rudra Murti
  96. Jvalakeshashadbhuja Rudra Murti
  97. Aghora Rudra Murti
  98. Vishnudharmottara Rudra Murti
  99. Bhima Rudra Murti
  100. Svarnakarshana Rudra Murti
  101. Bhishana Bhairava Murti
  102. Kapala Bhairava Murti
  103. Unmatta Bhairava Murti
  104. Krodha Bhairava Murti
  105. Asitanga Bhairava Murti
  106. Ruru Bhairava Murti
  107. Chanda Bhairava Murti
  108. Samhara Bhairava Murti

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