Vedic Palmistry Hasta Rekha Shastra

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 Introduction
— VEDIC PALMISTRY —
 Traditional Indian Astro-palmist examining a client’s palm.

A line originating from the root of the youngest finger indicates a life of
a hundred years. If a line passes from the tip of the thumb to that of the
forefinger it indicates shortness of life. If a line originates from the foot
of the thumb and is long it indicates the possession of sons and if short
indicates the possession of women.
Garuda Puṛāna

Mention anything astrological in Śrī Laṇkā or India and fully expect to have
your listener wave his or her palm under your nose, inquiring as to their
prospects for wealth, health, longevity, spouse and progeny. Here astrology
and palmistry are quite simply inseparable1 as any Jyotishi (astrologer)
worth his salt is expected to have a good working knowledge of both. To
the ancients, the hand, or more specifically its lines, detailed the will of the
nine planets in their roles of karmic emissaries.
Unlike astrology, palmistry requires little understanding of planetary
motion, transits or the construction of horoscopes. As we carry our hands
about our person, our destiny is readily accessible, should we happen to
cross the path of one adept in palmistry. This is not to say the
aforementioned knowledge should be absent, as many times those skilled in
palm analysis corroborate any statements with a cursory glance at their
client’s horoscope, or vice versa. Considered in unison, each complements
one another very nicely.
Akin to precepts of Vedic Astrology (Jyotish) and traditional Indian
Medicine (Āyurveda), among others, palmistry can appear quite simplistic
to an onlooker, its core principles easily grasped within a few hours of
study. However, successful application of these sciences can be the work of
multiple lifetimes.

SIGNS UPON THE BODY

It does not seem possible to credit any one nation or people with the
development of palmistry. However, it is thought to have been heavily
influenced by early Vedic culture,2 with elements of this science found in
the likes of Shat Sāmudrika Shāstra, a study that concerns itself with signs
and symbols written upon the body.3 Nowhere were these signs taken with
more seriousness than those written upon the palm, hands (after all) being
the appendage most likely to feature in the success or downfall of an
individual.
Hastā Sanjivan, or ‘portraits of the living hand’, are often grouped into
a number of categories such as those present from birth, those developed
with age and, finally, inherited lines from injury, mutilation or bad posture.
One of the earliest and most important categories of sign interpretation was
that arising from the decipherment of birthmarks or lines taking the form of
auspicious/inauspicious objects. One example of auspiciousness might be
Padma (a lotus flower), identified with purity, compassion and clarity of
mind. Conversely, Sarpa (snakes) were commonly identified with strife,
hidden dangers or an uncertain future and so considered unlucky.

REKHAS (LINES)
Unlike the fixedness of a horoscope, lines upon the palm appeared subject
to development, at times appearing, merging or fading. Lines were thought
to coalesce or disburse as one accrued or discharged karmic debts. A
detailed cataloguing of your own palm, over a period of years, often reveals
an almost imperceptible shifting of secondary and miscellaneous lines.
Primary lines such as life (Āyu), head (Matru), heart (Hrdaya) and fate
(karma) appear less subject to change, as these constitute the foundation
stones of life, and as such are unlikely to be modified to any great extent.
That being said, smaller tributaries or branches, feeding into or away from
these primary lines, may be greatly influenced with the passing of years.
Lines on the palm begin to assert themselves more fully from around
the age of twelve years.4 A child’s palm often appears simplistic or shallow
in contrast to those of young adults or the furrowed, darkened adult
examples. Some individuals bear few lines but those visible have both
depth and gravity, appearing to drain or dwarf subsidiary lines. Other palms
may show bewildering dendritic patterns, with no one line appearing to
stand apart from its comrades. Overly simplistic examples like these may
reflect how an individual feels their life to unfold, that is, the former feeling
swept downstream with little chance to react, seemingly driven to a focal
point, while the latter experiences constant side-tracking and detours, which
eventually seem to return them to a similar set of circumstances.

OVERVIEW OF THE BOOK

Palmistry forms an important branch of India’s predictive sciences, its
volume and wealth of knowledge remaining vast. Throughout the pages of
this book I have tried to distil its quintessential factors into something both
practical and informative for the reader. Vedic Palmistry is here presented in
five ‘bite-size’ partitions that are best considered pieces of a delicate puzzle
that stand alone or if taken in totality lock neatly together, helping to
cognise the subject’s importance. As the number ‘5’ is symbolic of the
totality of fingers + thumb (on a hand), and 5 is the numeral most associated
with occult sciences, its use here seems most appropriate.
Part I discusses the topography of the hand, along with a brief intro-
duction to Āyurvedic5 concepts of health, vitality and constitutional typing.
This section also considers the three primary states of matter, known as
Gunas, identifying their varying locations on palm and fingers.
Part II shows how the lines (Rekhas) can take the form of complex
symbols, be conjoined or stand alone. Here we examine their numerous
manifestations and interpretations, along with fingerprints (Hastā-mudrā)
and timelines (Kālamāna Rekha), the latter offering a means to judge their
manifestation.
Part III looks at the planets (Grahas) and zodiac signs (Rashis) as
revealed upon the palm and fingers. Correlations between planets, zodiac
signs and the individual are paramount to any understanding of palmistry.
This section introduces each planet through a series of portraits, their
significations, temperaments, mounds (on the palm) and associated lines.
Part IV covers the Nakshatras on the palm and fingers. Often referred to
as lunar mansions, Nakshatras support any analysis of lines. Understand-ing
their significations and propitiatory acts is considered key to placating or
empowering the lines inscribed upon our palms.
Part V investigates prescribed methods of planetary appeasement. This
very traditional component of Hastā Rekha (and Jyotish) aims to counteract
(negative) or enhance (positive) planetary forces through the use of mantra,
yantra, gemstones, among others.

NOTES
1. Palmistry, in the ancient world, may have been the preferred method of analysis by astrologers,
having instant access to all planetary influences conveniently placed in the palm of the hand.
2. There remains conjecture over the true origins of this tradition, with Samudra Rishi believed to
have compiled one of the earliest treaties on Sâmudrikam including Hastā Rekha Shāstra.
3. Shat Sāmudrika Shāstra: date, author and true origination remain unclear. Other references (in
antiquity) to the practice of palmistry occur in Purāṇic texts such as Vāyu Purāṇa (Chapter
LVII), Garuda Purāṇa (Chapter LXV) and Agnī Purāṇa (Chapter CCXLII), as well as Brihat
Saṃhitā (Chapter LXVIII), authored by the esteemed astrologer and astronomer Varāhamihira.
Additionally, ‘tenuous’ references to hand and fate are found in Rig Veda (Hymn CVXII) and
Atharva Veda Saṃhitā VII 52.8.
4. Increments of 12 years are considered important junctures in Hastā Rekha; the all-important
number 6 (6×2=12) has potent numerological significance in this science.
5. Āyurveda is a medicine system with historical roots firmly buried in the Indian subcontinent.
There is no agreed date for its emergence; however, many believe it to be a concise health care
system with a written history of some three thousand years. If its oral traditions are also
considered, this date might be pushed back to a date of 5000 BC.
 PART I
TOPOGRAPHY
OF THE HAND
 Chapter 1
WHICH HAND DO
— I LOOK AT? —

There is some level of controversy over which hand should take precedence
during palm analysis. Which hand represents what – and how to judge with
factors such as gender, career and preference in use. The following provides
five popular answers to this question:
• More ancient sources advise the right hand of a male is preferred
during analysis, with the opposite being true of women. A man’s left
hand is considered his cast lot from birth, his right hand bearing
those Rekha most likely to have been ‘modified’ by sustained
effort/work (or the lack of it). The reverse is held to be true for a
woman.
• The left hand is inscribed by that which has already passed
(previous incarnation/karmas). Upon the right hand are those events
which are current or yet to be. In short, each palm is unique to these
expressions. This is true for either male or female.
• The hand that dominates, that is, leads by action or is steadiest, is to
be preferred in analysis. That is to say, the hand by which an
individual makes their livelihood. Rekha in this hand are most likely
to affect the future.*
• Rekha seen in both hands are to be taken into due consideration,
similar patterning taken as confirmation of fate. Where Rekha are
 divergent, the dominant hand should be taken to provide a final
analysis.
• If a person is ambidextrous (preferring neither hand in daily tasks),
the hand which bears the greatest profusion or depth of line is to be
preferred.

* Throughout this book I will adhere to this third method, my instructor’s preferred method of
analysis (see Appendix for more information).
 Chapter 2
HAND TOPOGRAPHY
— AND ĀYURVEDA —

Key: Angusta = thumb, Tarjani = forefinger, Madhyama = middle finger, Anamika = ring finger and
Kanistha = little finger. The five states of matter, or Pañca Mahabhuta, are represented by thumb/
æther, forefinger/water, middle/air, ring/fire and little finger/earth.

According to some Āyurvedic sources, Sushruta1 is thought to have said:

‘Human hands are truly greatest amongst all tools, for they are the means
by which all tools are fashioned.’ Having such emphasis placed upon the
hands, it seems only natural they should find themselves central to ancient
practices of divination.
Vedic Palmistry identifies the four fingers and thumb as corresponding
to the five states of matter2 (pañca mahabhuta), the five senses
(buddhīndriyas3), the five sense organs (pañca jñanendriyani4) and the five
actions (karmendriyas5). The four fingers and their associated mounds
(parvata) relate to four of the nine planets. The five remaining planets are
assigned various positions or sthana about the palm. Each of the three
phalanges on the four fingers denotes one of twelve zodiacal signs (known
as Rashis6), with the two hands being symbolic of consciousness (puruṣa)
and latent matter (prakṛti). Two hands relate also to discharged karma and
those karmas yet to unfold. Destiny (dharma) is to be read from the lines
upon the palm or through the appearance of symbols (chinha), nested in
amongst a profundity of these lines. The presence of the latter was deemed
an auspicious sign (laksanya), awarded either to alleviate or to teach a
valuable life lesson. Using Āyurvedic principles, hands are firstly decoded
using the principle of dominant element and dosha.7 The five elements and
their corresponding dosha are:
Vāta = Air and Æther
Pitta = Fire
Kapha = Water and Earth
As elements and dosha are interrelated, the qualities of each become
detectable on the hand. As hands are generally less subject to change on the
body, their analysis becomes an ideal first-tier investigative tool.

AIR HAND
 Air Hands have much in common with the Āyurvedic dosha Vāta (inclusive of æther).

Qualities of the Air Hand include dryness and coolness with delicate
‘narrow’ bone structuring and spatial irregularities of the phalanges. Often
the distal phalanges appear ovular at the tip, while the fingers appear overly
long8 or short in relation to the length of the palm. For example, narrow
palms will appear to accentuate finger length whereas long narrow palms
will appear to shorten the finger length. Additionally, there may be a slight
narrowing at the base of the proximal phalanges, while thumbs often appear
long, wiry, dexterous and often double-jointed.
Overall, the Air Hand tends toward a rectangular form with slightly
protruding joints. Rekha tend to be fine, profuse and branched, displaying
multiple broken lines or cross-hatching. The nail beds are often dried,
frayed and white. Nails are generally thin, brittle, chewed, lined or irregular
looking; with an overall smoky whiteness. Typical traits of an Air Hand
type include: dexterity, adaptability and an inherent distrust of authority
figures. They are often verbally communicative, erratic, artistic, creative
and slippery (hard to pin down). Though easily enthused, they are unable to
sustain any long-term plan, often subject to mental fatigue or periodic
physical exhaustion.

FIRE HAND

Fire Hands have much in common with the Āyurvedic dosha Pitta.

Qualities of the Fire Hand include warmth, smoothness (usually padded and
shiny) with colourful blotches, redness, freckles and so on. Fingers are of
medium length with little variation in width9 except close to the lower
proximal phalanges. The palm of the Fire Hand often shows a subdued
triangular quality, its natural contours revealing a subtle triangular
depression when fingers and thumb are brought together. Rekha tend to be
well-defined, of medium depth but display a good number of reddened
crosses or forks at the ends of primary lines. Keerthi Rekha may be present
(ring finger/fire element) or strong Rekha present upon Kuja-sthana10
displaying prominence or heightened colouration.