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啶膏�傕�溹�嵿�炧ぞ啶�啶距い啷嵿ぐ啶�- [蝉补峁僯帽腻尘腻迟谤腻- ] Riding a chariot, or horse, or travelling in an aerial vehicle, 啶班ぅ啶椸い啶苦�� 啶嗋�曕ぞ啶多�椸ぎ啶ㄠ�� 啶椸い啶苦��, 啶呧ざ啷嵿さ啶�啶距え啷� 啶椸い啶苦�� ). [rathagati岣� 膩k膩艣agamane gati岣�, a艣vay膩ne gati岣� ). ] Such action can be performed only through symbolic gestures. '啶呧�權�嵿�曕�佮ざ啶椸�嵿ぐ啶灌ぃ啶距え啷嵿え啶距�椸�� 啶栢げ啷�啶ㄠ�椸�嵿ぐ啶灌ぃ啶距う啷嵿ぇ啶�啶�啷嵿イ [a峁卥u艣agraha峁嚹乶n膩ga峁� khal墨nagraha峁嚹乨dhayam|] ' (NS XIII 106) By holding the gesture of an ankle-hook, an elephant is indi- cated; by holding the gesture of a bridle, a horse is indicated (Also see the stage direction in 啶多�曕�佮え啷嵿い啶侧ぎ啷� - [艣akuntalam - ] ' 啶班ぅ啶掂�囙�椸�� 啶ㄠた啶班�傕お啷嵿��, 啶多ぐ啶膏え啷嵿ぇ啶距え啶� 啶ㄠぞ啶熰く啶むた, 啶曕�佮じ啷佮ぎ啶距さ啶氞く啶� 啶ㄠぞ啶熰く啶ㄠ�嵿い啶� [rathavega峁� nir奴pya, 艣arasandh膩na峁� n膩峁璦yati, kusum膩vacaya峁� n膩峁璦yanti] ' etc). 79 (iv) 膧harya: Bharata places great emphasis on the costumes and make-
up of the actors. What is called 褔 or character preparation,
according to Bharata's instruction relating to colours, ornaments,
dress etc. suitable to each character and mood, is still nearly
followed today; in Kathaka岣穒, K奴tiy膩峁�峁璷m, K峁涐梗峁嘺n膩峁�峁璷m etc. It is
an elaborate ritual by itself. Although sets and props were not used
on Bharata's stage, there were some stage properties, such as
simple weapons like bows and arrows, sword mace etc.. But this
use was minimal and symbolic rather than naturalistic, the
predominant emphasis being on gestural interpretation of actions
and meanings. Different face masks for gods and men were also
used, and Bharata gives elaborate instructions for the making of
artificial legs, heads, hands and skin. In Kathakali, in the
story Nalacaritam, the actor wears an artificial swan's beak to play
the role of Hamsa. In Kaly膩峁嘺saugandhikam, during the episode
relating to Bhima's encounter with Han奴m膩n, the actor wears