Earthly Mandalas or Bhumiga Mandalas in the Natyashastra are of ten types namely, Bhramara, Askandita, Avarla, Samotsarita, Edakaicridita, Addita, Sakatasya, Adhyardhaka, Pistakutta and Casagata. In the Bhramara Mandala, the right foot is to be moved in the Janita Cari and the left foot in Aspandita Cari then the right foot in the Sakatasya Cari and the left foot to be stretched next the right foot in the Bhramari Cari by turning the Sacrum, again the left foot in the Askandita Cari and the right foot in the Sakatasya Cari, then the left foot in the Prstha Pasarpi (i e. Apakranta) Cari and the Bhramari Cari by turning about the back.

In the Askandita Mandala, the right foot is to be moved in the Bhramara Cari and the left foot in the Addita and the Bhramari Caris while turning the sacrum; then the right foot in the Urudvritta Cari and the left foot in the Apasarpit (Apakranta) and the Bhramari. The Sacrum is turned and the right foot is moved in the Skandita Cari, the left foot in the Sakatasya and the same foot is to strike the ground violently. This Askandita Mandala employed in the practice of battle. In Avarta Mandala, the right foot is to be moved in the Janita Cari and the left foot in the Nikuttaka Cari (i.e. Tala-Sancara, then the right foot in the Sakatasya and the Urudvritta Caris, next the right foot in the Apasarpit (Atikranta) Cari, then the right foot in the Askandita Cari and the left foot in the Sakatasya Cari, again the right foot in the Bhramari Cari with the sacrum being turned round and the left foot in the Apasarpit Cari.

In Samotsarita Mandala, the dancer assumes the Samapada Sthana and stretches both the hands with their palms turned upwards; then their incessant Avestana and Udvestana movements; then the left hand is placed on the hip the right hand is moved in the Avartita manner; next the right hand is placed on the hip and the left hand is moved in the Avartita manner moving round alternately with this cari. In the Edakaicridita Mandala; the two feet on the ground is to be moved successively in the Suci and the Edakaicridita Caris; then moving the Aviddha Caris. In Addita Mandala, the right foot is to be moved in the Udghattita manner and then simply moved round; next to be moved in the Syandita Cari and the left foot in the Sakatasya Cari, next the right foot to be moved backwards in the Apasarpi (Apakranta) and the Casagati Caris, then the left foot in the Additta Cari and the right foot in the Apasarpita (Apakranta) Cari, next the left foot in the Bhramari Cari and the right foot in Askandita (Syandita) Cari and thereafter the ground is violently struck.

In Sakatasya Mandala, the right foot is to be moved in Janita Cari and thereafter it is to be moved in the Nikuttaka manner (Tala Sancara), the same foot in the Sakatasya Cari and the left foot in the Askandita (Syandita) Cari; moving round in this manner alternately with the Sakatasya Cari. This Mandala is to be employed in fighting. In Adhyardhaka Mandala, the right foot is to be moved successively in the Janita and Askandita (Syandita) Caris; then the left foot in the Apasarpita (Apakranta) Cari and the Sakatasya Cari. Adhyardhaka Mandala is employed in personal duel. In the Pistakutta Mandala, the right foot is to be moved in the Suci Cari and the left foot is in the Apakranta, then the right foot in the Bhujangatrasita Cari and the left foot too in the same Cari. The Pistakutta Mandala is to be used in personal combat. Going round and round with the feet in the Casagata Cari is called the Casagata Mandala. It is to be employed in personal combat.

These are the ten types of earthly Mandalas. The nomenclature is based on the main Cari in which the dancer sets his fees.