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उक्ता ह्येते द्विविधा ह्यसंयुताः संयुताश्च संक्षेपात् । अभिनयकरास्तु ये त्विह तेऽन्यत्राप्यर्थतः साध्याः ॥ १६१॥
The two kinds of hands (single and combined) described briefly may be used elsewhere also in conformity with the rules laid down here.
english translation
आकृत्या चेष्टया चिह्नैर्जात्या विज्ञाय तत्पुनः । स्वयं वितर्क्य कर्तव्यं हस्ताभिनयनं बुधैः ॥ १६२॥
By observing the form (ākṛti), movement (ceṣṭā), signs (cihna), and type (jāti) of a gesture, the wise (actor) should then, through personal reflection, perform the hand-gestures accordingly.
english translation
नास्ति कश्चिदहस्तस्तु नाट्येऽर्थोऽभिनयं प्रति । यस्य यद् दृश्यते रूपं बहुशस्तन्मयोषितम् ॥१६३॥
There is no meaning in drama which cannot be expressed by hand gestures. Whatever form is commonly observed (in real life), that has been extensively represented through them.
english translation
अन्ये चाप्यर्थसंयुक्ता लौकिका ये करास्त्विह । छन्दतस्ते नियोक्तव्या रसभावविचेष्टितैः ॥ १६४॥
There are also other conventional (laukika) hand gestures connected with meanings; these too should be employed freely in accordance with the Sentiments (rasa), Psychological States (bhāva), and Movements (ceṣṭita).
english translation
देशं कालं प्रयोगं चाप्यर्थयुक्तिमवेक्ष्य च । हस्ता ह्येते प्रयोक्तव्याः नृणां स्त्रीणां विशेषतः ॥ १६५॥
Taking into account the place, time, dramatic context, and the intended meaning, these hand gestures should be used, especially by men and women actors.
english translation