https://tinyurl.com/y2bcysh2
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Indian dance (nritta, नृत्त) traditions have roots in the aesthetics of Natyashastra. The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions.
Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I. Oxbow, pp. 186–187; pp.174-177
Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press, pp. 95–99.
See: Full text translation at
https://ia800607.us.archive.org/34/items/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni.pdf
https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni#page/n87/mode/2up
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The Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–7th century CE), for example, illustrates its dance movements and Lalatatilakam pose (Archana Verma (2011). Performance and Culture: Narrative, Image and Enactment in India. Cambridge Scholars Publishing. pp. 10–12). Gaṇeśa in a dance-step. karibha, ibha 'elephant' rebus; karba, ib 'iron'. karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna.
This is an addendum to: Itihāsa. Deepa Lakṣmi, Uṣā Mohenjodaro cire perdue bronze sculptures, dance-step, lamp-holder girls, signify Indus Script khāra-bhāṭi 'blacksmith's smelter’; meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna https://tinyurl.com/yaf3vsuc
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Bhirrana potsherd. Dance posture![]()
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I suggest the cire perdue dancing girls of Mohenjo-daro signify the profession of writing. Hence the dancing postures of the girls signify a scribe.
Hieroglyph: ಕರಣ rhythm, dramatic actin, dancing posture (Kannada)Rebus: करण m. writer , scribe; a class whose occupation is writing, accounts (Monier-Williams)
Rebus: करण m. writer , scribe; m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ); n. the special business of any tribe or caste (Monier-Williams)
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This is an addendum to: http://tinyurl.com/yysqxuyr
Source: https://www.facebook.com/photo.php?fbid=493438504196167&set=a.298706387002714&type=3&theater&ifg=1
Itihāsa. Mohenjodaro dancing girls' posture is ಕರಣ (Kannada) rebus: करण m. writer,scribe; a class whose occupation is writing, accounts https://tinyurl.com/yatjsetx
Indian dance (nritta, नृत्त) traditions have roots in the aesthetics of Natyashastra. The text defines the basic dance unit to be a karana, which is a specific combination of the hands and feet integrated with specific body posture and gait (sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions.
Daniel Meyer-Dinkgräfe (2005). Approaches to Acting: Past and Present. Bloomsbury Academic. pp. 6–7.
Katherine Young; Arvind Sharma (2004). Her Voice, Her Faith: Women Speak on World Religions. Westview Press. pp. 20–21
Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications, pp. 117–118.Katherine Young; Arvind Sharma (2004). Her Voice, Her Faith: Women Speak on World Religions. Westview Press. pp. 20–21
Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I. Oxbow, pp. 186–187; pp.174-177
Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press, pp. 95–99.
See: Full text translation at
https://ia800607.us.archive.org/34/items/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni.pdf
https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni#page/n87/mode/2up
The Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–7th century CE), for example, illustrates its dance movements and Lalatatilakam pose (Archana Verma (2011). Performance and Culture: Narrative, Image and Enactment in India. Cambridge Scholars Publishing. pp. 10–12). Gaṇeśa in a dance-step. karibha, ibha 'elephant' rebus; karba, ib 'iron'. karaṇa 'dance step, dance posture' rebus: karaṇa 'scribe'. meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna.This is an addendum to: Itihāsa. Deepa Lakṣmi, Uṣā Mohenjodaro cire perdue bronze sculptures, dance-step, lamp-holder girls, signify Indus Script khāra-bhāṭi 'blacksmith's smelter’; meṭṭu 'step' meḍ iron, मेधा, धन, मेधः' yajna https://tinyurl.com/yaf3vsuc
Bhirrana potsherd. Dance posture
I suggest the cire perdue dancing girls of Mohenjo-daro signify the profession of writing. Hence the dancing postures of the girls signify a scribe.
Hieroglyph: ಕರಣ rhythm, dramatic actin, dancing posture (Kannada)Rebus: करण m. writer , scribe; a class whose occupation is writing, accounts (Monier-Williams)
Rebus: करण m. writer , scribe; m. a man of a mixed class (the son of an outcast क्षत्रिय Mn. x , 22 ; or the son of a शूद्र woman by a वैश्य Ya1jn5. i , 92 ; or the son of a वैश्य woman by a क्षत्रिय MBh. i , 2446 ; 4521 ; the occupation of this class is writing , accounts &c ); n. the special business of any tribe or caste (Monier-Williams)
கரணகளேபரம் karaṇa-kaḷēparam , n. < karaṇa +. The physical body with its sensory organs; பொறிகளும் சரீரமும். கரணகளே பரங்களை யிழந்து (அஷ்டாதச. முமுட்சுப். வ்யா. அவ.). கரணம் karaṇam, n. < karaṇa. A variety in dramatic action, a kind of dancing; கூத்து விகற்பம்.கரணமிட்டுத் தன்மை பேசி (தேவா . 56, 3). 8. Somer-sault, tumbling heels over head; caper; தழைகீழாகப் பாய் கை. கரணம்போடுகிறான். 9. Instrument; கருவி . (திவா.) 10. Implement, means, material, instrument; உபகரணம் . அதனுக்குரியவாய பல்கரணமுந் தருதி (கந்தபு . குமாரபுரி. 65). 11. Number; எண் . (பிங்.) 12. (Astron.) One of the five elements of the pañcāṅkam, a division of time, 11 in number, viz., பவம் , பாலவம், கௌலவம், தைதுலம், கரசை, வணிசை, பத்திரை, சகுனி,சதுஷ்பாதம், நாகவம், கிமித்துக்கினம், the eleven karaṇas being computed to be equal to 30 tithis of a lunar month according to a special calculation; பஞ்சாங்க உறுப்புக்களில் ஒன்று. (விதான . பஞ்சாங்க. 29.) 13. Title-deed, document (R.F .); சாஸனம் . 14. Accountant, karnam; கணக்கன் . (S.I.I . i, 65.)
