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Sanskrit Hindu Text on the Performing Arts The Text Is Attributed to Sage Bharata Muni

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Sanskrit text on the performing arts

Natya Shastra
Shiva as the Lord of Dance LACMA edit.jpg

Shiva every bit the Lord of Trip the light fantastic toe
Information
Organized religion Hinduism
Writer Bharata Muni
Language Sanskrit

The Nāṭya Śāstra (Sanskrit: नाट्य शास्त्र, Nāṭyaśāstra) is a Sanskrit treatise on the performing arts.[1] [two] The text is attributed to sage Bharata Muni, and its showtime complete compilation is dated to between 200 BCE and 200 CE,[3] [4] but estimates vary betwixt 500 BCE and 500 CE.[5]

The text consists of 36 capacity with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic limerick, structure of a play and the construction of a stage to host it, genres of interim, body movements, brand upwardly and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance.[vi] [7]

The Nāṭya Śāstra is notable as an ancient encyclopedic treatise on the arts,[2] [8] one which has influenced dance, music and literary traditions in India.[9] It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts just not the primary goal, and that the primary goal is to send the individual in the audition into another parallel reality, full of wonder, where he experiences the essence of his own consciousness, and reflects on spiritual and moral questions.[8] [10] The text further inspired secondary literature such as the Abhinavabharati – an instance of a classic Sanskrit bhasya ("reviews and commentaries") – written by the 10th century Abhinavagupta.[11]

Etymology [edit]

The title of the text is composed of two words, "Nāṭya" and "Śhāstra". The root of the Sanskrit word Nāṭya is Naṭa (नट) which means "deed, stand for".[12] The word Śhāstra (शास्त्र) ways "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the Indian literature context, for cognition in a defined area of practice.[13]

[edit]

Performance arts and culture

Let Nāṭya (drama and dance) exist the fifth vedic scripture.
Combined with an epic story,
disposed to virtue, wealth, joy and spiritual freedom,
information technology must comprise the significance of every scripture,
and forward every fine art.

— Nāṭyaśāstra 1.14–xv[14] [15]

The composition date of Nāṭyaśāstra is unknown, estimates vary between 500 BCE to 500 CE.[v] [3] The text may have started in the 1st millennium BCE,[4] expanded over time, and most scholars advise, based on mention of this text in other Indian literature, that the commencement complete version of the text was likely finished between 200 BCE to 200 CE.[3] [half-dozen] The Nāṭyaśāstra is traditionally alleged to be linked to a 36,000 verse Vedic limerick called Adibharata, however there is no corroborating evidence that such a text ever existed.[sixteen]

The text has survived into the modernistic historic period in several manuscript versions, wherein the championship of the chapters vary and in some cases the content of the few chapters differ.[iii] Some recensions prove meaning interpolations and abuse of the text,[17] along with internal contradictions and sudden changes in style.[18] Scholars such as PV Kane state that some text was likely inverse besides as added to the original betwixt the 3rd to 8th century CE, thus creating some variant editions, and the mixture of poetic verses and prose in a few extant manuscripts of Natyasastra may be because of this.[19] [20] Co-ordinate 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.[xix]

The author of the Natya Shastra is unknown, and the Hindu tradition attributes it to the Rishi (sage) Bharata. It may exist the piece of work of several authors, but scholars disagree.[19] [21] Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by Kapila Vatsyayan.[22] [23] The Agni Purana, a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the Natyashastra format, but enumerates more than styles and types of operation arts, which states Winternitz, may reflect an expansion in studies of the arts by the fourth dimension Agni Purana was composed.[24]

Historical roots [edit]

The Natyashastra is the oldest surviving ancient Indian work on performance arts.[viii] The roots of the text extend at least every bit far back as the Natasutras, dated to around the mid 1st millennium BCE.[25]

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.[26] [27] This functioning arts related Sutra text is mentioned in other late Vedic texts, every bit are ii 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.[28] 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.[29] Richmond et al. estimate the Natasutras to have been equanimous effectually 600 BCE.[27]

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 trip the light fantastic (nrtta),[30] as well as two musical genre, Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music).[31] The Gandharva subgenre likewise implied celestial, divine associations, while the Gana was free form art and included singing.[31] The Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient Tamil classics make it "abundantly articulate that a cultivated musical tradition existed in South Bharat every bit early on every bit the last few pre-Christian centuries".[32]

The fine art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and the Kalpasutras and Srautasutras,[29] may accept been associated with the operation of vedic rituals, which involved storytelling with embedded ethical values.[29] The Vedanga texts such as verse one.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.[33] [34] The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (~800–700 BCE), for example, are written in the class of a riddle play between two actors.[35]

The Vedic sacrifice (yajna) is presented every bit a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes.

Structure [edit]

The Natyasastra discusses dance and many other performing arts.

The well-nigh studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters.[3] The tradition believes that the text originally had 12,000 verses.[three] [36] Somewhat different versions of the manuscripts exist, and these contain 37 or 38 chapters.[37] [38] 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.[37] [39]

The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters.[40] The text opens with the mythical genesis and history of drama, mentions the part of different Hindu deities in various aspects of the arts, and the recommended Puja (consecration anniversary) of a stage for performance arts.[iii] [6] [2] 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, continuing postures.[iii] [40] [41]

Capacity half-dozen and vii present the "Rasa" theory on aesthetics in performance arts, while chapters eight to thirteen are dedicated to the art of interim.[42] [43] Stage instruments such equally methods for holding accessories, weapons, relative motility of actors and actresses, scene formulation, stage zones, conventions and customs are included in capacity 10 to 13 of the Natyashastra.[3] [6] [44]

The chapters 14 to xx are dedicated to plot and construction of underlying text behind the performance art.[42] These sections include the theory of Sanskrit prosody, musical meters and the linguistic communication of expression.[40] Chapter 17 presents the attributes of poetry and figures of spoken language, while chapter xviii presents the art of voice communication and commitment in the performance arts.[3] [45] The text lists ten kinds of play, presents its theory of plot, costumes, and brand-upwardly.[46] [43] The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female person theater.[iii] [47] The training of actors is presented in chapters 26 and 35 of the text.[43]

The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34.[42] [40] The text in its final capacity describes the various types of dramatic characters, their roles and need for squad work, what constitutes an ideal troupe, endmost out the text with its comments of the importance of operation arts on culture.[three] [xl]

Contents [edit]

Dramatic arts

Natyashastra praises dramatic arts every bit a
comprehensive aid to the learning of virtue,
proper behavior, ethical and moral fortitude,
backbone, honey and adoration of the divine.

— Susan L. Schwartz[viii]

The contents of the Natyashastra, states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology".[viii] It is the oldest surviving encyclopedic treatise on dramaturgy from Republic of india, with sections on the theory and practise of various performance arts.[48] [49] The text extends its attain into request and understanding the goals of operation arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance.[eight] [l] Natya topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music.[eight] The text integrates its aesthetics, axiology and clarification of arts with mythologies associated with Hindu Devas and Devis.[two] [8] Performance arts, states Natyashastra, are a form of Vedic ritual ceremony (yajna).[51] [52]

The general approach of the text is treat entertainment equally an effect, but not the primary goal of arts. The main goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.[viii] [53] 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).[eight] [54]

The "rasa theory" of Natyashastra, states Daniel Meyer-Dinkgräfe, presumes that elation is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means.[54] [55] Functioning arts aim to empower man to experience this rasa, or re-experience information technology. Actors aim to journey the spectator to this aesthetic feel inside him.[54] Rasa is prepared, states Natya Shastra, through a creative synthesis and expression of vibhava (determinants), anubhava (consequents) and vyabhicharibhava (transitory states).[54] [56] In the process of emotionally engaging the individual in the audience, the text outlines the utilize of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous.[54] [57] [58]

The text discusses a multifariousness of operation arts also as the design of the stage.[3] [59]

Drama [edit]

Kathak

Kuchipudi

Mahamaya

Bharatanatyam

Sattriya

Diverse classical dance forms

The Natyashastra defines drama in verse six.10 as that which aesthetically arouses joy in the spectator, through the medium of actor'southward art of advice, that helps connect and transport the individual into a super sensual inner state of being.[sixty] The Natya connects through abhinaya, that is applying body-speech-mind and scene, wherein asserts Natyashastra, the actors employ two practices of dharmi (operation), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to reach siddhi (success in production).[60] Drama in this ancient Sanskrit text, thus is an fine art to engage every aspect of life, in order to glorify and gift a land of joyful consciousness.[61]

The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to a supersensual state of discovery and agreement. The stories and plots were provided past the Itihasas (epics), the Puranas and the Kathas genre of Hindu literature.[61]

The text states that the playwright should know the bhavas (inner country of being) of all characters in the story, and information technology is these bhavas that the audience of that drama connects with.[61] The hero is shown to be similar to anybody 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".[62] [63] Drama has dharma, it has artha, information technology has kama, it has humor, fighting and killing. The best drama shows the good and the bad, actions and feelings, of each graphic symbol, whether god or man.[62] [63]

According to Natyashastra, state Emerge Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, and so 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.[62] [64] Drama represents the truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness.[62]

The function of drama and the art of theatre, as envisioned in Natyashastra states Daniel Meyer-Dinkgräfe, is to restore the human potential, homo's journey of "delight at a college level of consciousness", and a life that is enlightened.[65]

The text goes into specifics to explicate the means available within dramatic arts to achieve its goals. Just like the gustatory modality of food, states Natyashastra, is determined by combination of vegetables, spices and other articles such equally sugar and salt, the audience tastes dominant states of a drama through expression of words, gestures and temperaments.[66] These dominant states are dear, mirth, sorrow, acrimony, free energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, feet, agitation, despair, impatience.[67] At that place are viii temperamental states that a drama can deploy to carry its message.[68] The text describes four means of communication between the actors and the audition – words, gestures, dresses and aharya (brand ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama.[69] The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist tin use to express these states, in chapters vi through 7.[70]

The Natyasastra describes the stage for performance arts every bit the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on phase, archway and leave, alter 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 also equally understand the bulletin and the pregnant being communicated.[71] [72] [73] Later on the 10th-century, Hindu temples were designed to include stages for operation arts (for case, kuttampalams), or prayer halls (for instance, namghar) that seconded as dramatic arts stage, based on the square principle described in the Natyasastra, such as those in the peninsular and eastern states of Bharat.[72]

Song and dance in arts [edit]

The Natyasastra discusses Vedic songs, and as well dedicates over 130 verses to non-Vedic songs.[74] Affiliate 17 of the text is entirely defended to poesy and the construction of a vocal, which it states is also the template for composing plays.[75] Its chapter 31 asserts that in that location are 7 types of songs, and these are Mandraka, Aparantaka, Rovindaka, Prakari, Ullopyaka, Ovedaka and Uttara.[76] Information technology also elaborates on 33 melodic alankaras in songs.[77] These are melodic tools of art for whatsoever vocal, and they are essential. Without these melodic intonations, states the text, a vocal becomes like "a nighttime without the moon, a river without h2o, a creeper without a flower and a woman without an ornament".[78] [79] 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.[78]

The ideal verse form produces bliss in the reader, or listener. Information technology transports the audition into an imaginative world, transforms his inner state, and delivers him to a higher level of consciousness, suggests Natyashastra.[80] Smashing songs practice not instruct or lecture, they delight and liberate from inside to a country of godlike ecstasy.[80] According to Susan Schwartz, these sentiments and ideas of Natyashastra probable influenced the devotional songs and musical trends of the Bhakti move that emerged in Hinduism during the 2nd half of the 1st millennium CE.[80]

Indian trip the light fantastic (nritta, नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in the aesthetics of Natyashastra.[1] [81] The text defines the basic trip the light fantastic toe unit to be a karana, which is a specific combination of the hands and anxiety integrated with specific body posture and gait (sthana and chari respectively).[82] [83] Chapter 4 describes 108 karanas as the edifice blocks to the art of dance.[82] [84] The text states the various movements of major and small limbs with facial states every bit means of articulating ideas and expressing emotions.[82] [85]

Music and musical instruments [edit]

The Natyashastra is, states Emmie te Nijenhuis, the oldest surviving text that systematically treats "the theory and instruments of Indian music".[86] Music has been an integral office of performance arts in the Hindu tradition since its Vedic times,[87] and the theories of music found in the Natyasastra are also found in many Puranas, such equally the Markandeya Purana.[7]

Veena

Flute

Pushkala Nagara drums

Cymbals

Musical instrument types mentioned in the Natyashastra (string, flute, drums and cymbals).[88]

The ancient Indian tradition, before the Natyashastra was finalized, classified musical instruments into four groups based on their acoustic principle (how they piece of work, rather than the material they are fabricated of).[89] The Natyashastra accepts these four categories as given, and dedicates four carve up chapters to them, i each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones).[89]

Capacity 15 and 16 of the text discuss Sanskrit prosody in a manner like to those establish in more ancient Vedanga texts such as the Pingala Sutras.[90] [91] Chapters 28 through 34 are dedicated to music, both vocal and instrument based.[92] Affiliate 28, discusses the harmonic scale, calling the unit of tonal measurement or audible unit as Śruti,[93] with verse 28.21 introducing the musical scale every bit follows,[94]

तत्र स्वराः –
षड्‍जश्‍च ऋषभश्‍चैव गान्धारो मध्यमस्तथा ।
पञ्‍चमो धैवतश्‍चैव सप्तमोऽथ निषादवान् ॥ २१॥

— Natya Shastra, 28.21[95] [96]

Musical calibration in Natya Shastra [97] [98]
Svara
(Long) 		Sadja
(षड्ज) 		Rsabha
(ऋषभ) 		Gandhara
(गान्धार) 		Madhyama
(मध्यम) 		Pañcama
(पञ्चम) 		Dhaivata
(धैवत) 		Nisada
(निषाद) 		Sadja
(षड्ज)
Svara
(Short) 		Sa
(सा) 		Ri
(री) 		Ga
(ग) 		Ma
(म) 		Pa
(प) 		Dha
(ध) 		Ni
(नि) 		Sa
(सा)
Musical notes.svg
(shadja-graama) 		C 1-1.png Note D.svg Note eeb flat.svg Note E.svg Note F.svg Note G.svg Note AA.svg Note bb flat.svg Note BB.svg Note CC.svg
Varieties C D♭, D E♭, East F, F♯ G A♭, A B♭, B CC

The music theory in the Natyashastra, states Maurice Winternitz, centers around three themes – sound, rhythm and prosody practical to musical texts.[99] The text asserts that the octave has 22 srutis or microintervals of musical tones or 1200 cents.[93] This is very close to the aboriginal Greek system, states Emmie Te Nijenhuis, with the difference that each sruti computes to 54.v cents, while the Greek enharmonic quartertone system computes to 55 cents.[93] The text discusses gramas (scales) and murchanas (modes), mentioning 3 scales of seven modes (21 total), some of which are the same equally the Greek modes.[100] Still, the Gandhara-grama is just mentioned in Natyashastra, while its word largely focuses on two scales, fourteen modes and 8 4 tanas (notes).[101] [102] [103] The text also discusses which scales are all-time for dissimilar forms of performance arts.[100]

The Natyashastra describes from chapter 28 onwards, 4 types of regular musical instruments, grouping them as stringed giving the example of veena, covered giving the example of drums, solid giving the case of cymbals, and hollow stating flutes as example.[88] Chapter 33 asserts team performance, calling it kutapa (orchestra) which information technology states to have i male and one female singer with nine to eleven musical instruments accompanied by players.[88]

Male and female actors [edit]

The Natyashastra enshrines the male and female actors in whatsoever functioning art to be the nigh important.[104] The effulgence of performance, or its lack, impacts everything; a great play that is poorly performed confuses and loses the audience, while a play that is junior in significance or meaning becomes beautiful to the audience when brilliantly performed, states Natyashastra.[104] A functioning art of any form needs auditors and director, states the text, whose part is to work together with the actors from the perspective of the audience and the significance or meaning the playwright of the art work is attempting to convey.[105]

Training actors

For an player who is not withal perfect,
the techniques described in the Natyashastra,
are a means to achieve
perfection, enlightenment, moksha,
and run parallel to reaching this state through
yoga or meditation practices.

— Daniel Meyer-Dinkgräfe[106]

The text dedicates pregnant number of verses on actor training, equally did the Indian dramaturgy literature that arose in its wake.[107] [108] The ideal histrion training, states Natyashastra, encourages self-development inside the actor and raises the role player's level of consciousness, which in turn empowers him or her to limited ideas from that higher country of consciousness.[107] [109] Acting is more physical techniques or rote recitation, it is communication through emotions and expression of embedded meaning and levels of consciousness in the underlying text.[107] [108]

The actor, states the text, should sympathize the iii Guṇas, that is Sattva, Rajas and Tamas qualities, because human lives are an interplay of these.[110] [107] [111] The player must feel a specific state within, to limited it without. Thus, states Daniel Meyer-Dinkgräfe, the guidelines in Natyasastra employ the ideas in Yoga school of Hindu philosophy, with concepts mirroring asanas, pranayama and dhyana, both for role player training and the expression of higher levels of consciousness.[107]

Specific training on gestures and movements for actors, their performance and significance, are discussed in chapters 8 through 12 of the Natyashastra.[112] [113] Affiliate 24 is dedicated to females in functioning arts, however other capacity on actor training include numerous verses that mention women forth with men.[114] [three] [47]

The goals of art: spiritual values [edit]

The Natyashastra and other ancient Hindu texts such as the Yajnavalkya Smriti assert that arts and music are spiritual, with the ability to guide ane to moksha, through empowering the concentration of mind for the liberation of the Cocky (soul, Atman).[74] These arts are offered as alternate paths (marga or yoga), in strength like to the knowledge of the Srutis (Vedas and Upanishads).[74] Diverse medieval scholars, such equally the 12th-century Mitaksara and Apararka, cite Natyashastra and Bharata in linking arts to spirituality, while the text itself asserts that cute songs are sacred and functioning arts are holy.[74]

The goal of operation arts, states Natyashastra is ultimately to permit the spectator feel his own consciousness, then evaluate and feel the spiritual values innate in him, and rise to a higher level of consciousness.[8] [53] The playwright, the actors and the managing director (conductor) all aim to transport the spectator to an artful experience within him to eternal universals, to emancipate him from the mundane to creative freedom within.[54] [115]

Aboriginal and medieval secondary literature: bhasya [edit]

When is a play successful?

Drishtaphala [visible fruits] like banners or
textile rewards do not bespeak success of
a play production.

Existent success is achieved when the play is
performed with skilled precision,
devoted faith and pure concentration.
To succeed, the artist must immerse the
spectator with pure joy of rasa experience.

The spectator's full-bodied assimilation and
appreciation is success.

— Abhinavagupta on Natyasastra (Abridged)
Trans: Tarla Mehta[50]

Abhinavabhāratī is the most studied commentary on Natyasastra, written by Abhinavagupta (950–1020 CE), who referred to Natyasastra as well as the Natyaveda.[116] Abhinavagupta'southward analysis of Natyasastra is notable for its extensive discussion of aesthetic and ontological questions, such as "whether human beings cover performance arts as tattva (reality and truth in another plane), or is it an error, or is information technology a form of superimposed reality (aropa)?[117]

Abhinavagupta asserts that Natyasastra and performance arts appeal to man because of "the feel of wonder", wherein the observer is pulled in, immersed, engaged, absorbed, and satisfied.[118] The functioning arts in Natyasastra, states Abhinavagupta, temporarily suspends man from his ordinary globe, transfers him into another parallel reality full of wonder, where he experiences and reflects on spiritual and moral concepts, and in there is the power of arts to transform the inner land of man, where the beauty of the art lifts him into the goals of Dharma (right living, virtues, duties, correct versus wrong, responsibilities, righteous).[118] Abhinavagupta is likewise known for his Advaita Vedanta treatises and a commentary on the Bhagavad Gita, where he touches upon the aesthetics in Natyasastra.[119]

The detailed Natyasastra review and commentary of Abhinavagupta mentions older Sanskrit commentaries on the text, suggesting the text was widely studied and had been influential.[120] His discussion of pre-10th century scholarly views and list of references suggest that there one time existed secondary literature on the Natyasastra by at to the lowest degree Kirtidhara, Bhaskara, Lollata, Sankuka, Nayaka, Harsa and Tauta.[120] However, all text manuscripts of these scholars accept been lost to history or are nonetheless to be discovered.[120]

Influence [edit]

The Natyashastra influenced other arts in ancient and medieval India. The dancing Shiva sculpture in Badami cave temples (6th–seventh century CE), for example, illustrates its trip the light fantastic movements and Lalatatilakam pose.[121]

The beginning chapter of the text declares that the text'southward origins came afterward the four Vedas had been established, and yet there was lust, covetousness, wrath and jealously amid human beings.[122] The text was written every bit a fifth Veda, so that the essence of the Vedas can be heard and viewed, in Natya form to encourage every member of the order to dharma, artha and kama. The text originated to enable arts that influence the guild and encourage each individual to consider good counsel, to explain sciences and demonstrate arts and crafts widely.[123] [124] The text is a guide and progeny of what is in the Vedas, asserts the Natysashastra.[124] The text re-asserts a like message in the closing chapter, stating for example, in verses 36.twenty–21 that performance arts such as drama, songs, music, and dance with music are equal in importance as the exposition of the Vedic hymns, and that participating in song or instrumental music once is superior to bathing in river Ganges for a thousand days.[125]

Nāṭyaśāstra, states Natalia Lidova, has been far more than "a mere compendium on drama". Information technology provided the foundation of theatrical and literary works that followed, which shaped the mail-Vedic culture.[3] It has been an important source volume of Hindu operation arts and its cultural behavior regarding the role of arts in the social (dharmic) too every bit the personal inner life of man in Hinduism.[viii] [53] [120]

The Natysashastra text has been influential in other arts. The 108 dance forms described in the Natyasastra, for example, have inspired Shiva sculptures of the 1st-millennium BCE, specially the Tandava style which fuses many of these into a blended prototype institute at the Nataraja temple of Chidambaram.[126] [127] The movements of dance and expression in the Natyashastra are found carved on the pillars, walls and gateways of 1st-millennium Hindu temples.[128]

The specifications provided in the Natyashastra tin exist found in the depiction of arts in sculpture, in icons and friezes beyond India.[8]

[In Indian arts] the imagery of the Upanishads and the elaborate ritual of the Brahmanas is the ground plan for each of the arts, be it compages, sculpture, painting, music, trip the light fantastic toe or drama. The artist repeats and chisels this imagery by giving information technology concrete shape through stone, audio, line or movement.

—Kapila Vatsyayan, The Square and the Circle of the Indian Arts, [129]

The Rasa theory of Natyashastra has attracted scholarly involvement in communication studies for its insights into developing texts and performances exterior the Indian civilization.[105]

See also [edit]

  • Dance in India
  • Raga – melodic fashion
  • Rasa – aesthetics in performance arts
  • Dattilam
  • Brihaddeshi
  • Sangita Ratnakara – one of the most of import medieval era Sanskrit text on music and dance
  • Tala (music) – musical meter, beat

References [edit]

  1. ^ a b Katherine Young; Arvind Sharma (2004). Her Voice, Her Religion: Women Speak on World Religions. Westview Press. pp. 20–21. ISBN978-0-8133-4666-3.
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Bibliography [edit]

  • Ponangi Sri Rama Apparao (2001). Special aspects of Nāṭya śāstra. National School of Drama.
  • Biswanath Bhattacharya; Ramaranjan Mukherji (1994). Sanskrit Drama and Dramaturgy. Sharada. ISBN978-81-85616-xxx-8.
  • GK Bhat (1981). Nāṭya-mañjarī-saurabha : Sanskrit dramatic theory (in English language and Sanskrit). Bhandarkar Oriental Research Institute. OCLC 11717230.
  • Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (three): 249–254. doi:10.2307/3204783. JSTOR 3204783.
  • Dalal, Roshen (2014). Hinduism: An Alphabetical Guide. Penguin Books. ISBN978-81-8475-277-9.
  • Cris Forster (2010). Musical Mathematics: On the Art and Scientific discipline of Acoustic Instruments. Relate. ISBN978-0-8118-7407-6. Indian Music: Aboriginal Beginnings – Natyashastra
  • Gautam, Sanjay Grand. Foucault and the Kamasutra: The Courtesan, the Dandy, and the Birth of Ars Erotica equally Theater in India (Chicago: University of Chicago Press, 2016).
  • Ghosh, Manomohan (2002). Natyasastra. Majestic Asiatic Society. ISBN81-7080-076-5.
  • Pandurang Vaman Kane (1971). History of Sanskrit Poetics. Motilal Banarsidass. ISBN978-81-208-0274-2.
  • Sunil Kothari; Avinash Pasricha (2001). Kuchipudi. Abhinav Publications. ISBN978-81-7017-359-5.
  • Natalia Lidova (2014). "Natyashastra". Oxford University Printing. doi:10.1093/obo/9780195399318-0071.
  • Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN978-81-208-1234-5.
  • Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Printing. ISBN978-0-19-564446-3.
  • Trimbak Govind Mainkar (1978). Sanskrit Theory of Drama and Dramaturgy: The Theory of the Saṁdhis and the Saṁdhyaṅgas in Bharata's Naṭyaśāstra. Ajanta Publications.
  • Tarla Mehta (1995). Sanskrit Play Production in Ancient Republic of india. Motilal Banarsidass. ISBN978-81-208-1057-0.
  • Adya Rangacharya (1998). Introduction to Bharata'due south Nāṭyaśāstra. Munshiram Manoharlal Publishers. ISBN978-81-215-0829-2.
  • Rowell, Lewis (2015). Music and Musical Idea in Early Republic of india. Academy of Chicago Press. ISBN978-0-226-73034-9.
  • Sreenath Nair (2015). The Natyasastra and the Trunk in Functioning: Essays on Indian Theories of Dance and Drama. McFarland. ISBN978-one-4766-1221-viii.
  • Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Bookish. ISBN90-04-03978-iii.
  • Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Operation. Motilal Banarsidass. ISBN978-81-208-0981-9.
  • Radhavallabh Tripathi (1991). Lectures on the Nāṭyaśāstra. Center of Advanced Study in Sanskrit, University of Poona. OCLC 26975430.
  • Tieken, Herman (1998). "Poetique du theatre Indien: Lectures du Natyasastra (Review)". Asian Sociology Studies. 56 (1).
  • Kapila Vatsyayan (2001). Bharata, the Nāṭyaśāstra. Sahitya Akademi. ISBN978-81-260-1220-6.
  • Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306. , Tabular array of Contents
  • Kapila Vatsyayan (1974). Indian classical dance. Sangeet Natak Akademi. OCLC 2238067.
  • Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN978-8187586357. OCLC 286469807.
  • Kapila Vatsyayan. Dance In Indian Painting. Abhinav Publications. ISBN978-81-7017-153-ix.
  • Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013). Puspika: Tracing Ancient Bharat Through Texts and Traditions: Contributions to Current Research in Indology Book I. Oxbow. ISBN978-one-78297-044-6.
  • Maurice Winternitz (2008). History of Indian Literature Vol three (Original in German published in 1922, translated into English language by VS Sarma, 1981). New Delhi: Motilal Banarsidass. ISBN978-8120800564.
  • Nātyakalpadrumam, Māni Mādhava Chākyār (1975), Sangeet Natak Academi, New Delhi
  • Dramatic Concepts: Greek and Indian, India Gupt (2014), DK Printworld, Delhi

External links [edit]

  • "Museum for Natya Shastra / Bharatanatiyam at Bharata Ilango Foundation For Asian Civilization (BIFAC) in Pattipulam, ECR, Chennai". CasualWalker.
  • Natya-shastra full English translation by Manomohan Ghosh, including additional footnotes and commentary extracts. The Bibliography and Tabular array of Contents of vol. 1 (1951) are missing from the web version. Information technology contains a number of typos and of notes missing and generally skips Sanskrit quotations present in the printed version, providing merely their English translation. On the other hand, chapters 28 to 36 from vol. 2 (1961) are included in the web version whereas vol. one stops at chapter 27 and contains only a preliminary version of capacity 34, 35 and 36.
  • Manomohan Ghosh (Transl) (1951). "Natya Shastra (Chapters 1–27)". Asiatic Society of Bengal, Calcutta.
  • Manomohan Ghosh (Transl) (1961). The Natyasastra : a treatise on Hindu dramaturgy and histrionics (Chapters 28–36). OCLC 603994750.
  • Natya sastra Manuscript (with 37 chapters), in Sanskrit (Capacity 31, 32 and 34 missing)
  • Natya Shastra with Commentary of Abhinavagupta, 10th-century commentary, Compiled past M Ramakrishna Kavi, in Sanskrit (Vol. two only; the consummate work is in four vols.)
  • Theatre layout with diagrams co-ordinate to Natyasastra, Prachi Shah, Bhartiya Drama
  • Related Bibliography: Judy Van Zile (1973). Trip the light fantastic in Bharat: An Annotated Guide to Source Materials. ISBN978-0-913360-06-4.

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Source: https://en.wikipedia.org/wiki/Natya_Shastra

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