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This article assesses the topic of theatrical performances and sculpture in medieval India through an analysis of the relationship between narrative sculptures, literary works of poetry ( kāvya ), and theatrical performances, as these are described in the manuals on dance/theatre ( nāṭya ), such as the  Nāṭyaśāstra  of Bharata, with the commentary  Abhinavabhāratī  by Abhinavagupta,  Saṅgītaratnākara , and  Nṛttaratnāvalī . The sculptures included in this study are found in four temples built by the Hoysaḷa dynasty in the 12th and 13th centuries and represent the story of “Arjuna and the Hunter ( kirāta )”, told in the  Mahābhārata  and in later literary works that were well-known in the courts of South India, including the Hoysaḷa court. After providing a detailed description of the sculptures based on the  śilpa  and  nāṭya śāstra s (treatises on sculpture and theatre), the study suggests that the sculptors carving these images adopted the technical language of  nāṭya  according to its theatrical usage ( viniyoga ), as an instrument to convey specific meanings and to express the emotions ( bhāva s and  rasa s) evoked in the story, in both dancing and non-dancing figures.

Encapsulating Dance in Sculpture: The Story of “Arjuna and the Hunter” as Represented in the Hoysaḷa Temples