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The Language of Mudras

Rooted in the culture of India, Tilfi approaches the performing arts through the knowledge of the performer rather than the eyes of their audience, exploring the mastery of movement and expression in Indian Classical dances.
The Indian Classical dances, in their recitals, evoke a sense of devotion and reverence towards a deity and the performer through Abhinaya, or expression. The countenance of the dancer and her hand gestures play countless roles of the characters and their emotions in their narration. In tune with the music, a non-verbal dialogue forms between the dancer and her audience as she narrates through her performance. 

The Language of Mudras

Rooted in the culture of India, Tilfi approaches the performing arts through the knowledge of the performer rather than the eyes of their audience, exploring the mastery of movement and expression in Indian Classical dances.
The Indian Classical dances, in their recitals, evoke a sense of devotion and reverence towards a deity and the performer through Abhinaya, or expression. The countenance of the dancer and her hand gestures play countless roles of the characters and their emotions in their narration. In tune with the music, a non-verbal dialogue forms between the dancer and her audience as she narrates through her performance. 

How to take care of and preserve your Tilfi Heirlooms

A quintessential handloom Banarasi saree is perhaps one of the most treasured possessions of Indian women across the globe. These exquisite sarees are meticulously handwoven, only in our historic and holy city of Banaras, and present the pinnacle of textile hand-craftsmanship anywhere in the world.

 

For centuries, women have cherished true Banarasi drapes and have considered them to be family heirlooms, passed on from generation to generation. We believe that Tilfi’s weaves must be treated as investments, which is why it is prudent to know how to care for these pieces of exquisite artistry. 

 

Handwoven sarees require a great deal of attention and care if they are to stand the test of time. There are a few things you should keep in mind when these pieces are subjected to various activities after purchase.
Title

How to take care of and preserve your Tilfi Heirlooms

A quintessential handloom Banarasi saree is perhaps one of the most treasured possessions of Indian women across the globe. These exquisite sarees are meticulously handwoven, only in our historic and holy city of Banaras, and present the pinnacle of textile hand-craftsmanship anywhere in the world.

 

For centuries, women have cherished true Banarasi drapes and have considered them to be family heirlooms, passed on from generation to generation. We believe that Tilfi’s weaves must be treated as investments, which is why it is prudent to know how to care for these pieces of exquisite artistry. 

 

Handwoven sarees require a great deal of attention and care if they are to stand the test of time. There are a few things you should keep in mind when these pieces are subjected to various activities after purchase.
Title

Mudras in Indian
Classical Dance
_____

The Natyashastra, or the Sanskrit treatise of the performing arts, consecrates the use of mudras in Classical dance to denote a superior deity and invoke a sense of devotion in the artist. The practice and mastery of dance requires a deep understanding of these gestures, their usage and the seamless movement from one form to another. The hands of dance not only transform into objects and beings, but also guide the movement and flow of each step establishing a consonance between the dancer and the musician. Mirroring the tempo of the tune and the mood it inspires, a dancer carefully chooses between the mudras, their softness and rigidity and reflects the emotion that the music evokes. 

Mudras in Kathak

The world around a dancer during her performance is created by the artist herself, as her hands morph into the creatures that surround her. The classical dance of Kathak, prides itself in its fluidity, gliding through the progression of the recital with subtlety and grace. A Kathak dancer’s narration uses 64 mudras that illustrate beings, deities and the actions of the dancer herself. The root of the names lent to these mudras also borrow from their denotions and the creatures they resemble and are most commonly used to portray, Bhramara (Sanskrit for bee), Mayur (Sanskrit for peacock) and Sarpsheersh (to denote the head of a snake). 

Featured in Katha

Tilfi’s exuberant collection ‘Katha’ follows Kathak through the eyes of a guru and his shishyas in the process of mastery in a classical dance. The deliberation and dedicated practice of the dance leads the artist to revere her artform and possess the same emotion she attempts to convey.

EXPLORE KATHA

Katakamukha
_____

To pluck a flower, to garland a loved one, Katakamukha is a gesture wrapped in grace to characterise femininity.

Hansasya
_____

Dipped in swanlike purity, Hansasya is a gesture signifying peace, meditation and quietude 

Patakha
_____

Using both her hands to partially hide her face, a coy denotion of the Shringar Ras, the artist creates the Pataka mudra.

Padma
_____

A bloom in spring time, the Padma mudra embodies the evocative spirit of the dancer and the energy she radiates

Natraj (Pose)
_____

A deity in its denotion, Nataraja refers to the God of dance in Hindu Mythology and uses both arms of a dancer taking the stance of the deity. 

Mudras in Bharatnatyam

A renowned dancer of Bharatanatyam, Vidushi Rama Vaidyanathan illustrates the use of Mudras in her artform, that ‘Katha’ explores in Kathak, drawing a parallel between the two classical dances and the dialect of gestures they share with numerous such forms of dance linking them to another.

Vidushi Rama Vaidyanathan demonstrating Bharatnatyam’s movement vocabulary.

Mudras in Indian Classical Dance
_____

The Natyashastra, or the Sanskrit treatise of the performing arts, consecrates the use of mudras in Classical dance to denote a superior deity and invoke a sense of devotion in the artist. The practice and mastery of dance requires a deep understanding of these gestures, their usage and the seamless movement from one form to another. The hands of dance not only transform into objects and beings, but also guide the movement and flow of each step establishing a consonance between the dancer and the musician. Mirroring the tempo of the tune and the mood it inspires, a dancer carefully chooses between the mudras, their softness and rigidity and reflects the emotion that the music evokes. 

Mudras in Kathak

The world around a dancer during her performance is created by the artist herself, as her hands morph into the creatures that surround her. The classical dance of Kathak, prides itself in its fluidity, gliding through the progression of the recital with subtlety and grace. A Kathak dancer’s narration uses 64 mudras that illustrate beings, deities and the actions of the dancer herself. The root of the names lent to these mudras also borrow from their denotions and the creatures they resemble and are most commonly used to portray, Bhramara (Sanskrit for bee), Mayur (Sanskrit for peacock) and Sarpsheersh (to denote the head of a snake). 

Featured in Katha

Tilfi’s exuberant collection ‘Katha’ follows Kathak through the eyes of a guru and his shishyas in the process of mastery in a classical dance. The deliberation and dedicated practice of the dance leads the artist to revere her artform and possess the same emotion she attempts to convey.

Katakamukha
_____

To pluck a flower, to garland a loved one, Katakamukha is a gesture wrapped in grace to characterise femininity.

Hansasya
_____

Dipped in swanlike purity, Hansasya is a gesture signifying peace, meditation and quietude 

Patakha
_____

Using both her hands to partially hide her face, a coy denotion of the Shringar Ras, the artist creates the Pataka mudra.

Padma
_____

A bloom in spring time, the Padma mudra embodies the evocative spirit of the dancer and the energy she radiates

Natraj (Pose)
_____

A deity in its denotion, Nataraja refers to the God of dance in Hindu Mythology and uses both arms of a dancer taking the stance of the deity. 

Mudras in Bharatnatyam

A renowned dancer of Bharatanatyam, Vidushi Rama Vaidyanathan illustrates the use of Mudras in her artform, that ‘Katha’ explores in Kathak drawing a parallel between the two classical dances and the dialect of gestures they share with numerous such forms of dance linking them to another.

Maintenance
__

Tilfi’s sarees are an invaluable are Banarasis are known to be invaluable 6 yards of alluring beauty, meant to endure all. By sticking to certain actions or non-actions, you can save yourself a visit to the dry cleaners.

 

Take care while applying any make-up so that it doesn’t stain the saree. Placing a towel while doing so might help. Apply perfume directly on your skin, rather than the saree. The chemicals can stain or damage the fabric or the zari. In case of any tear, don’t be afraid and fix it with a stitch or two right from the get-go.

 

Finally, wear your sarees as often as possible to feel the love and warmth in every fold.

Vidushi Rama Vaidyanathan demonstrating Bharatnatyam's movement vocabulary

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