Tandava (also spelled as Tāṇḍavam ), also known as Tāṇḍava Natyam , is a divine dance performed by Hindu god Shiva . Shiva is depicted as dancing the Tandava in his form of Nataraja .
91-690: The Natya Shastra , a Sanskrit treatise on the performing arts, describes various aspects of the Tandava. Tandava, as performed in the sacred dance-drama of India, has vigorous, brisk movements. Performed with joy, the dance is called Ananda Tandava . Performed in a violent mood, the dance is called Raudra or Rudra Tandava . The types of Tandava found in the Hindu texts are: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samhara Tandava, Kali (Kalika) Tandava, Uma Tandava, Shiva Tandava, Krishna Tandava and Gauri Tandava. Tandava mudras and postures occur within
182-490: A comprehensive aid to the learning of virtue, proper behavior, ethical and moral fortitude, courage, love and adoration of the divine. — Susan L. Schwartz The contents of the Natyashastra , states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology". It is the oldest surviving encyclopedic treatise on dramaturgy from India, with sections on
273-546: A Bhakti movement vocalist, and a music scholar. His younger contemporary, Kanakadasa , emulated his practice. Purandara Dasa's Carnatic music compositions are mostly in Kannada , though some are in Sanskrit . He signed his compositions with the ankitanama (pen name) "Purandara Vittala" ( Vittala is another name of Vishnu ) and this same form of Vishnu is his aaradhya daiva or ishta murthi or worshippable deity. His work
364-476: A classic Sanskrit bhasya ("reviews and commentaries") – written by Abhinavagupta . The title of the text is composed of two words, "Nāṭya" and "Shāstra". The root of the Sanskrit word Nāṭya is Nata (नट) which means "act, represent". The word Shāstra (शास्त्र) means "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the Indian literature context, for knowledge in
455-452: A defined area of practice. Performance arts and culture Let Nāṭya (drama and dance) be the fifth vedic scripture . Combined with an epic story, tending to virtue, wealth, joy and spiritual freedom, it must contain the significance of every scripture, and forward every art. — Nāṭyaśāstra 1.14–15 The composition date of Nāṭya Shāstra is unknown. Estimates vary between 500 BCE to 500 CE. The text may have started in
546-507: A drama can deploy to carry its message. The text describes four means of communication between the actors and the audience – words, gestures, dresses, representation of temperament and aharya (make ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama. The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist can use to express these states, in chapters 6 through 7. The Natyashastra describes
637-545: A form of Vedic ritual ceremony (yajna). The general approach of the text is treated entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The text allows, states Schwartz, the artists "enormous innovation" as they connect the playwright and the spectators, through their performance, to Rasa (the essence, juice). The "rasa theory" of Natyashastra , states Daniel Meyer-Dinkgräfe, presumes that bliss
728-598: A higher level of consciousness, suggests Natyashastra . Great songs do not instruct or lecture, they delight and liberate from within to a state of godlike ecstasy. According to Susan Schwartz, these sentiments and ideas of Natyashastra likely influenced the devotional songs and musical trends of the Bhakti movement that emerged in Hinduism during the second half of the 1st millennium CE. Indian dance ( nritta , नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in
819-582: A historical mistake – connecting his "pen name" (his ankita ) with a location that mainly served as a military encampment in the 15th and 16th century. In 2018, a five-member committee set up by the Government of Karnataka to ascertain the birthplace of Purandara Dasa has submitted its report asserting Tirthahalli as the likeliest candidate. The committee included veteran singer and musicologist RK Padmanabha, scholars Aralumallige Parthasarathi, AV Navada, Veeranna Rajora, and former minister Leeladevi Navada. It
910-528: A manner similar to those found in more ancient Vedanga texts such as the Pingala Sutras . Chapters 28 through 34 are dedicated to music, both vocal and instrument based. Chapter 28, discusses the harmonic scale, calling the unit of tonal measurement or audible unit as Shruti , with verse 28.21 introducing the musical scale as follows, Purandara Dasa Purandara Dasa ( kannada ಪುರಂದರ ದಾಸರು; IAST : Purandara dāsa ; 1484 – 2 January 1564)
1001-529: A play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The Nāṭya Śāstra is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment
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#17327722732041092-522: A seating capacity of 600 called Purandara Bhavana exclusively for cultural events, inaugurated by Dr. A. P. J. Abdul Kalam, to his memory. Three biographical films , in the Kannada language, have been made on the life and compositions of Purandara Dasa. Aradhana is a religious-devotional observation, held annually, to remember and honor saintly persons on the anniversary of the completion of their earthly lives. Purandara Dasa's aradhana or punyadina
1183-477: A super sensual inner state of being. The Natya connects through abhinaya , that is applying body-speech-mind and scene, wherein asserts Natyashastra , the actors use two practices of dharmi (performance), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to achieve siddhi (success in production). The verse details the eleven essential components of drama and dramatic production: The text discusses
1274-808: A supersensual state of discovery and understanding. The stories and plots were provided by the Itihasas (epics), the Puranas and the Kathas genre of Hindu literature. The text also states that the god Brahma combined the elements of acting from the four Vedas: "recitation from the Rigveda , music from the Samaveda , mimetic art from the Yajurveda , and sentiments from the Atharvaveda ." The text states that
1365-407: A variety of performance arts as well as the design of the stage. The text details three architectural styles for the playhouse: Drama, in this ancient Sanskrit text, is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to
1456-455: Is a pratibimba (reflection) of God ( Vishnu/Ishvara ), who is the bimba (source). The jeeva owes its existence, knowledge and bliss to the Ishvara , and any sense of independence with regards to one's actions and the results thereof is to be given up. The mind has to be turned away from transient pleasures and possessions of this world; instead, it is to be turned towards Vishnu, who alone
1547-424: Is a Sanskrit treatise on the performing arts . The text is attributed to sage Bharata , and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6,000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of
1638-412: Is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions. The text further inspired secondary literature such as the 10th century commentary Abhinavabharati – an example of
1729-628: Is also often used. Bharatanatyam and Kuchipudi have variants of Krishna dancing his Tandava on Kaliya. The Manipuri dance is categorized as either "Tandava" (vigorous, usually go with Shiva, Shakti or Krishna as warrior-savior themed plays) or lasya (delicate, usually go with love stories of Radha and Krishna). In the Krishna Tandava in Raslila performance of Manipuri dance is graceful yet with swift movement and acrobatic gestures. The 108 karanas of Tandava have inspired Shiva sculptures of
1820-698: Is believed that he was reborn as the famous Vijayadasa —birthplace is Cheekalparvi village near Maanvi town, Raichur district in Karnataka State—and completed the remaining 25 thousand keerthanas as promised. Most of his songs are in praise of Vishnu and other divinities. Due to this, he is believed to be an avatar of Narada, the celestial singer and son of goddess Saraswati. One of the Trimurtis (three icons) of Carnatic music, Saint Tyagaraja , has paid tribute to Purandara Dasa in his geya natakam (an opera) Prahlada Bhakti Vijayam. Purandara Dasa systematized
1911-579: Is erected at the holy premises of Uttaradi Matha ,Bangalore Sri Purandara Dasa Memorial Trust (SPDMT), formed in Bangalore in 2007, has been actively involved in promoting and researching all aspects of the life and works of Purandara Dasa. A 3500-square-foot concert hall, called 'Purandara Mantapa', has been erected on the premises of the Trust. The Indiranagar Sangeetha Sabha (ISS) at Indiranagar, Bangalore formed in 1986, has dedicated an auditorium with
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#17327722732042002-429: Is evident from his other songs on various Gods and Goddesses. Similar ideas were expressed by many other poets also. In the pure Carnatic tradition, Bidaram Krishnappa was one of the foremost singers of modern times to popularize the compositions of Purandara Dasa. Singer Madras Lalithangi, and her illustrious daughter Padmavibushan, Sangeetha Kalanidhi M. L. Vasanthakumari have rendered yeoman service in propagating
2093-559: Is held on the pushya bahula amavasya of the Indian Chandramana calendar (a new moon day, generally in February–March). Musicians and art aficionados in the state of Karnataka, South India and many art and religious centres around the world observe this occasion with religious and musical fervour. His compositions are sung by established and upcoming artists on this day. In 2022, aradhanas are happening in India and around
2184-487: Is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means. Performance arts aim to empower man to experience this rasa , or re-experience it. Actors aim to journey the spectator to this aesthetic experience within him. Rasa is prepared, states Natya Shastra , through a creative synthesis and expression of vibhava (determinants), anubhava (consequents) and vyabhicharibhava (transitory states). In
2275-635: Is known as Purandara Daasa Mantapa (mandap) in Hampi. He died on 2 January 1564 at the age of 95. Within a short period after his death, the Vijayanagara Empire collapsed. Tradition and legend hold that he composed 475,000 keerthanas (songs). Further, according to this legend, his original desire was to compose 500,000 keerthanas. Being unable to do it in his present life, he requested his younger son to complete them. His son Madhwapathi told his father that he could do this in his next janma (birth). It
2366-474: Is mentioned in other late Vedic texts, as are two scholars names Shilalin ( IAST : Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. The Natyashastra refers to drama performers as Śhailālinas, likely because they were so known at the time the text was written, a name derived from the legacy of the vedic sage Śilālin credited with Natasutras . Richmond et al. estimate
2457-459: Is now ascertained that Purandharadasa was born in Araga, Vijayanagara Empire (Modern Day Thirthahalli, Karnataka, India), Karnataka Purandara Dasa was the only son of the wealthy merchant Varadappa Nayaka and his wife Rukmini. He was named Srinivasa Nayaka, after the patron deity of Venkateswara Temple, Tirumala . He acquired proficiency in Kannada, Sanskrit, and sacred music through education. At
2548-459: Is presented in chapters 26 and 35 of the text. The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of the importance of performance arts on culture. Dramatic arts Natyashastra praises dramatic arts as
2639-448: Is rather his conduct which should make him untouchable if at all he can be called so. The usage of the word untouchable is not used in the limited context of physical contact with the person, it is the worthlessness of the association with that person which is highlighted here. This is evident by the subsequent expressions in the song which says that one who does not practice self-discipline is untouchable, one who plots against his government
2730-430: Is said to have performed the Tandava in honour of Rishabha (Jain tirthankar) on the latter's birth. The similarly correlated Buddhist deity Acala is shown in some depictions to trample upon Vighnarāja, a demon of obstacles, in the manner of Tandava. In Kathak dance three types of Tandavas are generally used, they are, Krishna Tandava, Shiva Tandava and Ravana Tandava, but sometimes a fourth variety - Kalika Tandava,
2821-430: Is the abode of unadulterated, unswerving bliss. His keerthanas have simple lessons in this regard and implore men to lead the noble life of a Vaishnava . Purandara Dasa fought the evils of casteism through his songs. In his song aavakulavaadarenu aavanadarenu aatma bhavavariyada mele he wonders what is the use if one does not understand the spirit of humanism whatever caste or status one might be accredited to. In
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2912-452: Is untouchable, one who shirks charity while having wealth is untouchable, one who poisons to eliminate his opponents is untouchable, one who does not use soft language is untouchable, one who prides over his purity of caste is untouchable and finally one who does not meditate on Purandara Vittala is untouchable. Dasa's message is loud and clear rejecting untouchability in our society. He uses the name of Purandara Vittala to imply any God. This
3003-428: The "Rasa" theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting. Stage instruments such as methods for holding accessories, weapons, relative movement of actors and actresses, scene formulation, stage zones, conventions and customs are included in chapters 10 to 13 of the Natyashastra . The chapters 14 to 20 are dedicated to plot and structure of underlying text behind
3094-595: The Bombay Sisters are continuing the tradition of singing and performing Purandara Dasa's compositions and other Dasa Sahitya songs in Carnatic as well as Hindustani music concerts. Of late, Mysore Ramachandracharya is industriously propagating dasa sahitya through his concerts. Tirumala Tirupathi Devasthanams is also propagating the dasa krithis through the Dasa Sahitya Project. He also composed
3185-632: The Gana was free form art and included singing. The Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries". The art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and
3276-597: The Kalpasutras and Srautasutras , may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values. The Vedanga texts such as verse 1.4.29 of Panini Sutras mention these as well. The roots of the Natyashastra thus likely trace to the more ancient vedic traditions of integrating ritual recitation, dialogue and song in a dramatic representation of spiritual themes. The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (~800–700 BCE), for example, are written in
3367-538: The Natasutras to have been composed around 600 BCE. According to Lewis Rowell, a professor of Music specializing on classical Indian music, the earliest Indian artistic thought included three arts, syllabic recital ( vadya ), melos ( gita ) and dance ( nrtta ), as well as two musical genre, Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music). The Gandharva subgenre also implied celestial, divine associations, while
3458-552: The Natya Shastra ) in the use of Angaharas and Karanas modes of the Tandava at Shiva's order. Some scholars consider that Tandu himself must have been the author of an earlier work on the dramatic arts , which was incorporated into the Natya Shastra. The Natya Shastra portrays Shiva narrating about the various aspects of the dance to the god Brahma . The 32 Angaharas and 108 Karanas are discussed by Bharata in
3549-534: The Rudra Tandava depicts his violent nature, first as the creator and later as the destroyer of the universe, even of death itself, the Ananda Tandava depicts him as joyful. In Shaiva Siddhanta tradition, Shiva as Nataraja (lit. "King of dance") is considered to be supreme lord of dance. Tandava takes its name from Tandu ( taṇḍu ), the attendant of Shiva, who instructed Bharata (author of
3640-501: The Sandhya Tandava , the other gods like Brahma , Vishnu , Sarasvati , Lakshmi and Indra play musical instruments and sing Shiva's praises. The Shiva Tandava Stotra is a stotra (Hindu hymn) that describes Shiva's power and beauty, believed to have been written by Ravana , a great devotee of Shiva. Ganesha , the son of Shiva, is depicted as Ashtabhuja tandavsa nritya murtis (Eight armed form of Ganesha dancing
3731-641: The Vijayanagara Empire . According to Prof. Sambamoorthy, Srinivasa had his formal initiation at the hands of Vyasatirtha in 1525 when he was about 40 years old, with the name Purandara Daasa bestowed on him. Purandara Daasa travelled through the length and breadth of the Vijayanagara Empire and Pandharapur in Maharashtra composing and rendering soul-stirring songs in praise of God. He spent his last years in Hampi and also sang songs in Krishnadevaraya 's court. The mantapa (mandap) in which he stayed
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3822-439: The 1st millennium BCE, expanded over time, and most scholars suggest, based on mention of this text in other Indian literature, that the first complete version of the text was likely finished between 200 BCE to 200 CE. The Nāṭyaśāstra is traditionally alleged to be linked to a 36,000 verse Vedic composition called Adibharata , however there is no corroborating evidence that such a text ever existed. The text has survived into
3913-676: The 1st-millennium BCE, particularly the Tandava style which fuses many of these into a composite image found at the Nataraja temple of Chidambaram . Shiva as Nataraja or Krishna dancing the Tandava is a recurring theme in the Chola period bronzes. Various Shiva temples in South India depict the dancing Nataraja. Natya Shastra Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas Traditional The Nāṭya Shāstra ( Sanskrit : नाट्य शास्त्र , Nāṭyaśāstra )
4004-400: The 4th chapter of the Natya Shastra, Tandava Lakshanam . Karana is the combination of hand gestures with feet to form a dance posture. Angahara is composed of seven or more Karanas. "How many various dances of Shiva are known to His worshipers I cannot say. No doubt the root idea behind all of these dances is more or less one and the same, the manifestation of primal rhythmic energy. Whatever
4095-715: The Aprameyaswamy temple in Doddamallur , Channapattana taluk, Karnataka. A small mantapa outside the temple is named after him, where he is said to have stayed as he passed through the village. A statue of Purandara Dasa has been erected at the foothills of Tirumala in Alipiri. A statue of Purandara Dasa adorns the Asthana Mandapam (auditorium) on the Tirumala hill. A huge statue of Purandara Dasaru
4186-598: The Tandava) in temple sculptures. The Bhagavata Purana talks of Krishna dancing his Tandava on the head of the serpent Kaliya . King Chikka Devaraja (the fourteenth maharaja of the Kingdom of Mysore ) minted a series of gold coins called "Devaraja [with] the image of dancing Krishna" ( tandava krishnamurti devaraja ) to commemorate his coronation. Purandara Dasa calls the dancing Krishna ("Nritya Krishna") as "Tandava Krishna". According to Jain traditions, Indra
4277-506: The aesthetics of Natyashastra . The text defines the basic dance unit to be a karana , which is a specific combination of the hands and feet integrated with specific body posture and gait ( sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. The Natyashastra is, states Emmie te Nijenhuis ,
4368-523: The age of 16, he was married to Saraswati Bai, traditionally described as a pious young girl. They had four sons, Varadappa, Gururaya, Abhinavappa and Madhvapati. He lost his parents at age 20, thereby inheriting his father's business of gemstones and pawning. He prospered and became known as Navakoti Narayana (an abundantly rich man; worth ninety million). Popular legend narrates a miraculous incident in Srinivasa Nayaka's life, owing to which he
4459-496: The arts by the time Agni Purana was composed. The Natyashastra is the oldest surviving ancient Indian work on performance arts. The roots of the text extend at least as far back as the Naṭasūtras , dated to around the mid 1st millennium BCE. The Natasutras are mentioned in the text of Panini , the sage who wrote the classic on Sanskrit grammar , and who is dated to about 500 BCE. This performance arts related Sutra text
4550-437: The audience tastes dominant states of a drama through expression of words, gestures and temperaments. These dominant states are love, mirth, sorrow, anger, energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience. There are eight temperamental states that
4641-407: The basic lessons of teaching Carnatic music by structuring graded exercises known as Svaravalis and Alankaras , and at the same time, he introduced the raga Mayamalavagowla as the first scale to be learnt by beginners in the field – a practice that is still followed today. He also composed Gitas (simple songs) for novice students. Purandara Dasa is noted for composing Dasa Sahithya , as
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#17327722732044732-882: The compositions of Purandara Dasa; both were considered authorities on Purandara Dasa. M. L. Vasantha Kumari was awarded an honorary doctorate by Mysore University for her contributions to Purandara Dasa's music. Though the compositions of Purandara Dasa are originally in the ragas of the Carnatic system of music, his compositions have been adopted and made equally popular in Hindustani music . Hindustani music legends such as Bhimsen Joshi , Madhav Gudi and Basavaraj Rajguru have made them more popular in recent years. Classical vocalists and musicians such as Upendra Bhat , Puttur Narasimha Nayak , Venkatesh Kumar , Nagaraja Rao Havaldar , Ganapathi Bhatt , Vidyabhushana , Pravin Godkhindi , Nachiketa Sharma , Sangeetha Katti , and
4823-665: The defects in society. The philosophy of Purandara Dasa is harmonious with the concept of bhakti in Hinduism, broadly based on the Narada Bhakti Sutras and essentially synchronous with the pan-Indian Bhakti movement . It teaches complete self-surrender and unadulterated love towards God. The philosophy of Bhakti in Purandara Dasa's compositions stems from the essential teachings of the realistic-pluralistic Madhva Philosophy of Vaishnavism , and has been rendered in simple Kannada. The individual soul ( jeeva )
4914-529: The feminine version of Tandava. There are two types of Lasya, Jarita Lasya and Yauvaka Lasya. The Hindu scriptures narrate various occasions when Shiva performed the Tandava. When Sati (first wife of Shiva, who was reborn as Parvati) gave up her life in Daksha's sacrifice , Shiva is said to have performed the Rudra Tandava to express his grief and anger. The Shivapradosha stotra says when Shiva performs
5005-572: The first lullaby songs in Carnatic music, such as Thoogire Rangana and Gummana Kareyadire , which led to the creation of many similar songs by others. The Purandara Mantapa adjoining the Vijayavittala temple at Hampi is one of the long-standing monuments relating to Purandara Dasa. This is where he is said to have composed and sung in praise of Vishnu. Purandara Dasa is said to have composed his well-known song, ‘ Aadisidaleshoda jagadoddharana ’ on infant Sri Krishna, in raga Kapi , at
5096-424: The form of a riddle play between two actors. The Vedic sacrifice ( yajna ) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes. The most studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters. The tradition believes that the text originally had 12,000 verses. Somewhat different versions of
5187-625: The good and the bad, actions and feelings, of each character, whether God or man. According to Natyashastra , state Sally Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, then through the art performed, it provides enjoyment to those wanting pleasure, solace to those in grief, calmness to those who are worried, energy to those who are brave, courage to those who are cowards, eroticism to those who want company, enjoyment to those who are rich, knowledge to those who are uneducated, wisdom to those who are educated. Drama represents
5278-455: The guise of a poor man. In this guise the deity is said to have made a piteous plea to Srinivasa for money to perform his son's 'upanayana'(sacred-thread investiture ceremony). Having been summarily rejected, mocked and turned out, the 'poor man' repeated his plea before Srinivaasa's wife who per the legend was a generous soul of rigorous spiritual nature. She gave away one of her precious nose rings, unbeknownst to her husband. The 'poor man' sold
5369-536: The life of a mendicant. They start living on alms and singing the glories of Vishnu. In his first song composition, he laments his wasted life of indulgence. It begins with the words "Ana lae kara" in the Shuddha Saveri raga , set to Triputa tala . In the course of his wandering, he met the sage Vyasatirtha , one of the chief exponents of Madhwa philosophy and the Rajaguru of Krishnadevaraya , emperor of
5460-499: The manuscripts exist, and these contain 37 or 38 chapters. Predominant number of its verses are in precise Anustubh meter (4x8, or exactly 32 syllables in every shloka ), some verses are in Arya meter (a morae-based Sanskrit meter), and the text has some text that is in prose particularly in chapters 6, 7 and 28. The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters. The text opens with
5551-411: The material they are made of). The Natyashastra accepts these four categories as given, and dedicates four separate chapters to them, one each on stringed instruments ('tat' or chordophones ), hollow instruments ('sushir' or aerophones ), solid instruments ('ghan' or idiophones ), and covered instruments ('avanaddha' or membranophones ). Chapters 15 and 16 of the text discuss Sanskrit prosody in
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#17327722732045642-494: The message and the meaning being communicated. After the 10th-century, Hindu temples were designed to include stages for performance arts (for example, kuttampalams ), or prayer halls (for example, namghar ) that seconded as dramatic arts stage, based on the square principle described in the Natyashastra , such as those in the peninsular and eastern states of India. The Natyashastra discusses Vedic songs, and also dedicates over 130 verses to non-Vedic songs. Chapter 17 of
5733-414: The method of teaching Karnataka (Carnatic) music which is followed to the present day. He introduced the raga Mayamalavagowla as the basic scale for music instruction and fashioned a series of graded lessons such as swaravalis , janti swaras , alankaras , lakshana geetas , prabandhas , ugabhogas , daatu varase , geeta , sooladis and kritis . Another contribution
5824-524: The mixture of poetic verses and prose in a few extant manuscripts of Natyashastra may be because of this. According to Pramod Kale, who received a doctorate on the text from the University of Wisconsin, the surviving version of Natya Shastra likely existed by the 8th-century. The author of the Natya Shastra is unknown, and the Hindu tradition attributes it to the Rishi (sage) Bharata . It may be
5915-462: The modern age in several manuscript versions, wherein the title of the chapters varies and in some cases the content of the few chapters differ. Some recensions show significant interpolations and corruption of the text, along with internal contradictions and sudden changes in style. Scholars such as PV Kane state that some text was likely changed as well as added to the original between the 3rd to 8th century CE, thus creating some variant editions, and
6006-430: The mythical genesis and history of drama, mentions the role of different Hindu deities in various aspects of the arts, and the recommended puja (consecration ceremony) of a stage for performance arts. The text, states Natalia Lidova, then describes the theory of Tāṇḍava dance ( Shiva ), the theory of rasa , of bhāva, expression, gestures, acting techniques, basic steps, standing postures. Chapters 6 and 7 present
6097-478: The nose ring back to Srinivasa himself. The shrewd Srinivasa, privy to his wife's openhandedness, immediately identified the nose ring as his wife's and hurried home. He was enraged and anxious to ascertain the truth of the matter. He demanded his wife to produce the nose ring before him immediately. Realizing that Srinivaasa had grown wise to her secret donation, the wife decided to end her life with poison. Having completed her prayers to Vishnu before her attempt, she
6188-557: The oldest surviving text that systematically treats "the theory and instruments of Indian music". Music has been an integral part of performance arts in the Hindu tradition since its Vedic times, and the theories of music found in the Natyashastra are also found in many Puranas , such as the Markandeya Purana . Prior to the Natyashastra, the ancient Indian tradition classified musical instruments into four groups based on their acoustic principle (how they work, rather than
6279-461: The origins of Shiva's dance, it became in time the clearest image of the activity of God which any art or religion can boast of." - Ananda Coomaraswamy The dance is described as a pictorial allegory of the five principle manifestations of eternal energy: The dance performed by Shiva's wife Parvati in response to Shiva's Tandava is known as Lasya , in which the movements are gentle, graceful and sometimes erotic. Some scholars consider Lasya to be
6370-504: The performance art. These sections include the theory of Sanskrit prosody , musical meters and the language of expression. Chapter 17 presents the attributes of poetry and figures of speech, while chapter 18 presents the art of speech and delivery in the performance arts. The text lists ten kinds of play, presents its theory of plot, costumes, and make-up. The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female theater. The training of actors
6461-422: The person by itself without volition, if his Kundalini (shakti within) is invoked. Mudras and postures of sculptures in ancient Indian temples are a mere depiction of spirituality (invoked spirit, the kundalini), which actually is supposed to occur in the person as a fruit of his practices. Shiva Tandava is described as a vigorous dance that is the source of the cycle of creation, preservation and dissolution. While
6552-512: The playwright should know the bhavas (inner state of being) of all characters in the story, and it is these bhavas that the audience of that drama connects with. The hero is shown to be similar to everyone in some ways, trying to achieve the four goals of human life in Hindu philosophy, then the vastu (plot) emerges through the "representation of three worlds – the divine, the human, the demonic". Drama has dharma, it has artha, it has kama, it has humor, fighting and killing. The best drama shows
6643-405: The process of emotionally engaging the individual in the audience, the text outlines the use of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous. The Natyashastra defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into
6734-610: The quality of a virtuous woman. According to him, the neck chains, bangles and other ornaments that women wore were not important; the beauty of mind and noble conduct were her true embellishments. Purandara Dasa made some forceful expressions on untouchability, which was dogging society. His strength comes perhaps from the support of his guru Vyasathirtha with the backing of king Krishnadevaraya of Vijayanagara himself. In one such song Holaya horagithane oorolagillave he opines that an individual should not be branded untouchable based on his/her birth in any specific caste, however it
6825-446: The same song when relating to cows of different colours and sugarcane of different shapes he emphasizes that one's birth cannot merely decide the highness or lowness of any individual. He asks will the sweetness of crooked sugarcane be also crooked or will the milk of cows of many a colour be also of many colours. He asked people to do their best in the world, to provide food and charity to the poor, help others and give up attachments. He
6916-408: The stage for performance arts as the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on the stage, and such architectural features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand
7007-486: The standard for raga lakshana . Scholars attribute the standardization of varna mettus entirely to Purandara Dasa. Travelling Haridasa successors are said to have followed the systems he devised, and orally transmitted his compositions. According to traditional sources, his compositions numbers as many as 4,75,000. His original collection of songs is referred to as Purandaropanishat as given by Vyasatirtha out of which only 1000 are available right now. Shri.Dasa
7098-457: The text is entirely dedicated to poetry and the structure of a song, which it states is also the template for composing plays. Its chapter 31 asserts that there are seven types of songs, and these are Mandraka , Aparantaka , Rovindaka , Prakari , Ullopyaka , Ovedaka and Uttara . It also elaborates on 33 melodic alankaras in songs. These are melodic tools of art for any song, and they are essential. Without these melodic intonations, states
7189-474: The text, a song becomes like "a night without the moon, a river without water, a creeper without a flower and a woman without an ornament". A song also has four basic architectural varna to empower its meaning, and these tone patterns are ascending line, steady line, descending line and the unsteady line. The ideal poem produces bliss in the reader, or listener. It transports the audience into an imaginative world, transforms his inner state, and delivers him to
7280-573: The theory and practice of various performance arts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance. Natya topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu Devas and Devis . Performance arts, states Natyashastra , are
7371-407: The truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness. The text goes into specifics to explain the means available within dramatic arts to achieve its goals. Just like the taste of food, states Natyashastra , is determined by combination of vegetables, spices and other articles such as sugar and salt,
7462-426: The unfailing grace that saved his pious wife. He is said to have become bewildered at the power that could produce a gold ornament in a moment by mere will and is said to have instantly shook off the beginning-less, persistent veil in the form of 'I' and 'mine' which is believed to mask men's vision of the divine. At 30 years of age he gave away all his wealth in charity, and with his family he abandoned his house to lead
7553-461: The work of several authors, but scholars disagree. Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by Kapila Vatsyayan . The Agni Purana , a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the Natyashastra format, but enumerates more styles and types of performance arts, which states Winternitz, may reflect an expansion in studies of
7644-468: Was a vaggeyakara (composer-performer), a lakshanakara (musicologist), and the founder of musical pedagogy. Musicologists call him the Sangeeta Pitamaha (lit. "grandfather") of Karnataka (Carnatic) music. Purandara Dasa tried to reform existing social practices and preached through devotional songs in the local Kannada language. Most of his keertanas deal with social reform and pinpoint
7735-489: Was a composer, singer and a Haridasa philosopher from present-day Karnataka , India. He was a follower of Madhvacharya 's Dvaita philosophy. He was one of the chief founding proponents of Carnatic music . In honor of his contributions to Carnatic music, he is referred to as the Pitamaha ( lit . "grandsire") of Carnatic music . According to a legend, he is considered as an incarnation of Narada . Purandara Dasa
7826-419: Was a wealthy merchant of gold, silver and other miscellaneous jewellery from Karnataka , who gave away all his material riches to become a Haridasa (literally meaning a servant of Vishnu or Krishna), a devotional singer who made the difficult Sanskrit tenets of Bhagavata Purana available to everyone in simple and melodious songs. He was one of the most important music scholars of medieval India. He formulated
7917-413: Was against the caste system, and believed true caste was based on character, not on birth. Sacrifice did not imply the slaughter of animals, but the slaying of one's bad qualities. According to Purandara Dasa, there were no inequalities among men and women. Both of them had the same rights and obligations in their conduct of everyday life as well as observation of piety. Purandara Dasa distinctly described
8008-523: Was appreciated by many scholars of his time and later scholars. Inscriptional evidence suggests Purandara Dasa was born to a diamond merchant in a Kannada Deshastha Madhva Brahmin family, in Purandara gada,18 kms far from pune present-day Maharashtra state. According to other opinions, his native town was Purandaraghatta in Karnataka, or Purandaragad near Pune , but the latter is considered
8099-495: Was led to devote himself to the practice, propagation and inculcation of bhakti (devotion) towards Krishna through musical compositions. As a consequence of the event, he is believed to have relinquished his former greedy and miserly self having realized the worthlessness of attachment to worldly possessions: Per this version, the deity in a bid to cure Srinivaasa of his tenacious materialistic delusion and attachment and thereby claim his devotion to himself, approached Srinivaasa in
8190-448: Was shocked to see a nose ring inside the poison cup – completely identical to the one she had just given away. Incredulous and rapturous, she recounted the entire episode to her husband, who was bewildered and lost. Meanwhile, a search for the 'poor man' was of no avail; he had as mysteriously vanished as he had appeared. Per legend at that very moment, Srinivaasa became convinced of the inscrutable ways of Vishnu because of having witnessed
8281-454: Was the fusion of bhava , raga , and laya in his compositions. He included comments on ordinary daily life and elements of colloquial language in his lyrics. He introduced folk ragas into the mainstream, setting his lyrics to ragas of his day so that even a common man could learn and sing them. He also composed several lakshya and lakshana geetas , many of which are sung to this day. His sooladis are regarded as musical masterpieces and are
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