Sanskrit Treatises on Music in Odisha
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Transcript of Sanskrit Treatises on Music in Odisha
Sanskrit Treatises on Music in Odisha
Dr.(Mrs) Manjushree Tripathy
Music is the l i fe inspiring force which gives real essence to the
l i fe. It is the solace of human beings. It is the most vibrant source of
revealing the cultural heritage of any nation. However, i t is the
nadayoga , f i l led with purity, sanctity, serenity and spirituality for ever.
Music has rightly been defined in the Natyamanorama as “gitam
vadyam ca nrtyamca trayam sangeetamuchyate (1.14) . Thus, music is
the summation of vocal, instrumental and dance taken together as a
whole. This definit ion is also asserted by all other eminent musical
treatises of India as well as Odisha .
Musical treatises deal with ‘musicology’ i .e. the ‘science of music’
which is concerned with the Sashtric elements that mainly deal with the
different technical terms, definit ions and other all ied components
related to music,
Most of the authoritative works on Indian Music are in Sanskrit.
Different Siksha , Pratishakhya and other Vedic Texts related to
Samagana , the Natyshatra of Bharata, the Bharatarnava of
Nandikesvara, the Brihaddesi of Matanga, the Naradiya Siksa, the
Sangitaratnakara of Sarngadeva, the Ragatarangini of Lochana, the
Svaramelakalanidhi of Ramamatya, the Sadragachandradaya , the
Ragamala , and the Ragamanjari of Pundarika Vitthala, the Ragavibodha
of Somanatha, the Sangitadarpana of Damodara, the
Caturdandiprakashika of Venkata Makhi, the Sangitapari jata of Ahbhola,
the Ragatattvavibodha of Shrinivasa, Sangitasaramrita of Tulajaraja,
are a few from a very long l ist of Sanskrit treatises on Musicology in all
India level.
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Odisha boats of a glorious tradit ion in the field of music. The
portrait of dancers and musicians carved on ancient temple walls depict
volumes regarding th rich musical heritage of Odisha . Situated on the
eastern coast of India; Odisha imbibed the quintessence of cultural
tradit ions of both Northern and Southern India, yet succeeded in
developing a distinct identity of i ts own in the trifold realms of creative
arts l ike the tribal, the folk and the classical art. Thus, the cultural
heritage of Odisha is one of the oldest, embracing a period of about
three thousand years which exemplif ied the unique and commendable
blend of ancient glory.
Sanskrit treatises of Odisha of the past ages have left an in-
delible contribution in the field of drama, dance, music and l i terature.
However, in the present paper the author has focused only on the
Musical Treatises of Odisha those are written in Sanskrit Language.
For this, references are taken mostly from the secondary sources of
information l ike the Department of Culture as well as the Musical
Treaties of Odisha explored from the internet and the primary sources
of information l ike The Natyamanorama, Sangeeta Muktavali, Abhinaya
Chandrika , etc.
These treatises mainly deal with various musical elements of their
respective t imes. The writers of these treatises have tried their best to
focus on the various aspects of music along with various musical forms
those existed during their t ime which ult imately helped in establishing a
l ink up of the musical performances of the ancient system with the
current prevail ing system. The terminology of technical terms l ike nada,
sruti, swara, abhinaya etc. pertaining to music, dance and drama are
described in these treatises. It has been observed that the definit ion of
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these technical terms of music abide the exact definit ion as has been
reflected in the leading Indian musical treatises l ike Natyashastra of
Bharata, Sangeeta Ratnakara of Sarngadev, Swaramelakalanidhi of
Ramamatya, Ragavibodha of Somanatha and others.
The musicologists of Odisha have mentioned 6 Ragas and 36
Raginis . Here the tit le of the ragas along with their dhyana or
descriptive verses regarding their characteristic features are also
different. Most of these treatises follow the Panchamasara Samhita of
Narada. There are some names of the ragas in Odisi music which are
original and unique. They are not found in any other treatises of the
main stream of the musical system i.e. the Hindustani or Carnatic .
However, some ragas are there whose names are not similar but
swaras are similar and vice versa. Yet they have their own charm. The
lyric poets l ike Jayadev and others of Odisha have composed lyrical
poems to be sung in specif ied ragas and talas . The bards of Odisha
also sang religious songs roaming here and there for spiritual
awareness. By 11th Century A.D. folk music of Odisha existing in the
form of Triswari , Chatuhswari and Pancaswari were modified and
transformed into classical style.
Prior to this there was the tradit ion of Chhandas which were
simple in musical outl ine. From 16th century onwards treatises on
Music were written or compiled in Odisha . They were Sangitarnava
Chandrika , Gita Prakasha , Sangita Kalpalata, Natyamanorama, Sangita
Sarani, Sangia Narayana etc. Thus, Odishi music is the classical art
form that has imbibed the elements common to the Hindustani and
Carnatic system of music.
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The ancient talas which are mentioned in old treatises of Odisha
are found to be used even now. In Carnatic music system too one can
find more or less the use of this system of talas . However, these talas
are not found in the Hindustani music system.
Odisi dance is a composite art-form which follows the four fold
divisions of Abhinaya namely : the Angika, Bachika, Aharya and
Sattwika . All these technical aspects of dance are described in detail
in those treatises. The description of the various stages of the
development of dances l ike the Mangalacharana, Batu, Pallabi,
Abhinaya and Moksha , the different forms of dances l ike Gotipua,
Mahari, Odisi along with the various Hasta Mudras l ike Sanjukta and
Asanjukta which are very similar to Natyashastra of Bharata are found
to be described in detail in these treatises.
Though the authors of Odisha are fol lowing the treatises l ike
Natyashastra , Sangeeta Ratnakara , Sangeeta Pari jata, Panchamsara
Samhita etc, one can also f ind some uniqueness in these treatises.
These treaties have been written in Sanskrit language. Most of the
treatises have been preserved in the State Museum. They are found in
the form of palm leaf manuscripts. Most of them are moth eaten,
severely damaged and found in an undeciphered condit ion. However,
some of the important texts relating to musicology of Odisha are as
follows :
1. Gita Prakash (GP)
The Gita Prakash (GP) is a Sanskrit treatise on Indian Music by
Krishnadasa Badajena Mohapatra of Odisha . Literari ly, the term GP
means ‘a work that throws l ight on music’. It deals mainly with music
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concentrating more on vocal music of north-eastern region including
Odisha . The concluding colophons of all the seven chapters bear the
name of the author as Krishnadasa Baadajena Mohapatra (KBM) , who
was an eminent poet, musician and musicologist of 16th Century A.D.
GP has been divided into seven chapters or Ullasa (means ‘ joy’).
The treatise as a whole has been called ‘Pariksa ’ or ‘analysis of Gita ’ .
The subject matter of those seven chapters are as follows.
The first one is the ‘Suddhagitanirnaya ’ which particularly deals
with the characteristics of the ‘pure or high class Gita ’ , i .e.
‘Suddhagita ’ . The writer defines ‘Gita ’ as ‘Rajakah swarasandarbho
gitam ’ i .e, a chaming composit ion of pleasing notes which is also
ascertained by the definit ion made by Sarngadeva in his ‘Sangita
Ratnakara ’ on 13th century A.D. Thus, the author’s idea of a Gita
seems to be a happy blending of f ine poetry with sweet sounding words
and colourful composit ion.
He states two types of Gita namely; Anibaddha and Nibaddha .
Gita , set in tala is ‘nibaddha ’ and without tala is ‘anibaddha’. The
nibaddha gitas are of three types such as : suddha, chayalaga and
ksudra . The suddhagita is furnished with dhatus , angas and alapa .
Vakya, swara, pata and tenaka are the four angas of a prabandha .
However, the writer has not focused on the varieties of Prabandha , sti l l
then he has given reference of two types of Prabandhas such as
matrika and swarartha . Lastly, the chapter ends with the description of
two angas . However, the vakya anga is used only in Suda Prabandha .
The second chapter is ‘Salaganirnaya ’ which deals with the
Chhayalaga , Salaga Gita or Salagasuda Gita . The ancient authors of
Odisha recommended the use of nine talas in suddhaprabandha .
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However, Krishnadasa adds one more tala i.e. Simhanada along with
the elaboration of t ime measure with its technical aspects, their
constituents l ike Virama , Druta, Laghu, Guru, Pluta etc. It is stated
that a composit ion should begin with Aditala and be closed with Ekatali ,
the middle order being left to the composer’s pleasure. He himself
composed songs in Sanskrit language.
The third chapter is known as ‘Ksudragitanirnaya ’ for i t deals with
Ksudragita i .e. songs of small variety which actually is a composit ion
possessing the characteristics of ‘salaga-suda gita ’ . These gitas
contain dhatus and talas . Ksudragitas are of four types such as –
Chitrapada, Citrakala, Dhrubapada and Pancali. Chitrapada is a type of
Ksudragita where variations in the use of words with verbal sweetness
i.e. srutimadhurata is very signif icant. In the Chitrakala , the Dhruba
consists of less number of matras than the other stanzas which
constitute equal metrical length. The number of stanzas in a Chitrakala
type of song may be from three to eight. In dhrubapada , we find only
two stanzas l ike dhruba and abhoga . However, in panchali we find an
extensive number of stanzas. It is of two types, namely sadhruba and
adhruba .
The fourth chapter is ‘Gunarirnaya ’ . ‘The qualit ies of gitas ’ i .e.
‘gitagunas ’ are discussed in this chapter which consists of a) the use of
different types of gamakas , b) variation of the laya (tempo), yati
(pause), and time measure, c) simplicity of the verbal structure, d)
elaboration of the ragas in which the gitas are set, e) the tena is to be
performed only after pata and swara . Moreover, i t is stated that the
accessories l ike guna, alamkara and rasa in vakya are helpful for the
composit ion of successful gita . It also deals with the technical aspects
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of gita . Lastly, i t concludes the chapter focusing on the actual
performance.
The fifth chapter is ‘ raganirnaya ’ which focuses on the definit ion
and description of the ragas . Likewise ‘swaranirnaya ’ is the sixth
chapter of this treatise which deals with the technical terms l ike jati,
swara, grama and sruti . Lastly, the concluding chapter (i.e. seventh)
deals with the flaws and demerits i.e. dosas found in the verbal
structure of the composit ion of the Gita as well as in its performance.
2. Sangitakalpalatika or Sangitakalpalata (SK)
SK is a Sanskrit treatise of 18th Century A.D. written by
Haladhara Mishra (HM)* , the famous Odishan writer whose work is
found in the Odisha State Museum in the form of ancient palm leaf
manuscript, which focuses signif icant insight on Indian music. It covers
the entire f ield of Sangita i .e. gita, vadya and nrtya . It consists of 18
chapters or ‘stavakas ’ out of which seven stavakas are devoted to Gita ,
ten to nrtya and one to vadya . Thus this treatise gives more
importance to nrtya than gita and vadya .
----------------------------------------------------------------* Haladhara Mishra was the son of Dinakara and Padmavati and
was the grand son of Sambhukara Mishra, the famous expert of Dharmasastra. Sangeeta Kalpalatika and Basant Utsava Mahakavyam are two important Sanskrit works of Haladhara Mishra to Odisha.
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Alike GP , the f irst chapter of SK deals with the definit ion of
Sangita , the divisions l ike nibaddha and anibaddha , the varieties l ike
Suddha, Chhayalaga, Ksudra and three dhatus.** Accordingly to HM,
the Suddhagita is comprised of alapa, dhatua,matu and anga . The
alapa should have meaningful words. He has given examples of self-
composed prabandhas set in nine talas .
The writer of SK has given the description of Suddha Prabandhas
l ike Chhayalaga or Salaga with examples. Alike GP , this chapter
focuses on tala , i ts definit ion and enumeration of hundred and one
talas along with nine suddhatalas .
The third chapter of SK deals with Ksudragitas , their four-fold
varieties (l ike Chitrapada, Chitrakala, Dhrubapada and Pancali) with
examples. However, they have no fixed talas . The speciality prevalent
in Odishi music are traceable in these Ksudragitas .
The fourth chapter describes the gitagunas (qualit ies of a good
gita), laya, yati, graham,mana, gamaka, tana, ragas, angas of
prabandha l ike swara, pata, tena etc. The fifth chapter deals with the
demerits (dosas) of both (Desi and Margi) songs. Sixth chapter deals
with ragas , their names and time of singing. He follows the ragaragini
system for the classif ication of the ragas . He has mentioned six ragas
with thirty six raginis along with their t i t les and descriptive verses (i.e.
dhyanas). There are also names of many unusual raginis l ike
prapacani, gunamanjari, lal i ta, gundakeri, suracika, kadhu, cinta etc.
The seventh chapter deals with the technical terms of gita l ike
sruti, swara, grama, murchhana, tana, tr isaptaka, ragas etc. The
----------------------------------------------
** Melapaka (dhatu) is not mentioned.
8
eighth chapter is entit led as ‘Vadyanirupanam ’ which deals with the
vadyas i .e. instruments. The author of SK mentioned four types of
instruments namely tata, abanaddha, susira and Ghana . The author
has given the description of the vina vividly. In order to f ix up the
swara of a raga in the rudravina he has given the reference of
murchhana . He used the term ‘samsthana ’ in the sense of ‘mela ’ .
The art of dancing (nrtya) is very vividly discussed from ninth to
sixteenth chapters. The general aspects of nrtya l ike hastas, charis,
sthanakas, sirabhedas, drstibhedas are discussed in the ninth chapter.
Chapter ten focused elaborately on twentyfour kinds of asamjukta
hastamudras and thirteen kinds of sanjukta hastamudras . Chapter
eleven discussed about the different head movements i.e. sirabhedas
for the expression of different bhavas which are mostly required for
abhinaya . Chapter twelve deals with the eye movements ( drstibhedasI)
based on rasas . Thirteenth chapter deals with the movement of the
eyebrows. Chapter fourteenth deals with the sthanakas and the body
movements. Fifteenth chapter describes the charis . Chapter sixteenth
discusses the different Karanas . Chapter seventeenth focuses on
different types of arts (Kalas). In chapter eighteenth the writer
describes the suddha paddhati of presenting a dance performance,
starting from the entry to the stage ti l l the exit, along with the different
accompanying music with different stages of dance performances.
3. Sangita Narayan (SN)
SN is a Sanskrit treatise on music and dance written in 18th
Century. It is ascribed to Gajapati Narayan Deva , the king of
Paralakhemundi, Odisha who ruled from 1718 to 1767. From the
colophons at the end of every chapter his l ineage is known as
9
Chodaganga Vansa and he is said to be the son of king Padmanabha .
The work is divided in to 4 chapters known as Parichhedas . The first
chapter ‘gita prakarana’ is extensive and contains many musical
subjects together. The author quotes extensively from the Vishnu
Purana, Narada Samhita, Kohaliyam, Sangita Sara, Sangita Damodara .
The author begins with an invocation to the pioneer of dance, music
and instruments – Lord Hari . This chapter has five hundred and forty
six slokas . It deals with the technicalit ies of Indian Music such as
Nada, Swara, Grama,Murchhana, Raga and Raginis . The first seventy
seven slokas describe Ahata Nada and Anahatanada, Swaras, their
origin, birth place, colour and l ineage. He has also given the names of
their deit ies. The author has described the 22 srutis with their names.
These names are similar to those in Sangeeta Makaranda,
Panchamasara Samhita, Geeta Prakash, Sangeeta Kaumudi etc.
Gramas, Murchanas, Tanas etc. are also defined. He describes 62
Alamkaras with the 4 Varnas . From the seventy eighth sloka the Jati
Laksanas are described. But the author mentions only Graha, Ansa and
Nyasa and elaborates the eighteen Jatis i .e. seven shuddha and eleven
vikrita Jatis with their names and other descriptions. From the ninety
ninth sloka the term ‘Raga ’ is defined and male and female Ragas are
named following Sangeet Damodara. Six Ragas and thirty six Raginis
are described and their meditating verses are also given. The time
theories of Ragas are given according to Panchamasara Samhita .
In the same chapter Prabandhas are also dealt with. He
mentions Suddha Salaga and Sudha Sankirna Prabandha . Six Angas
and four Dhatus are mentioned.
10
The Tala with its definit ion and 10 Pranas are also explained. 108
Desi Talas and 9 Suddha Talas have been mentioned. This is also
found in Carnatic tala system.
The unique feature of the works written by authors of Odisha is
the description of Ksudra Gita which are available in 3 fold manner.
Such as Divya, Manushi and Divya-Manushi. Divya is a Ksudra Gita
which is set in Margi Tala and Sanskrit Language is used in the verbal
structure. Manushi is sung in Prakrit language and is set in Desi Talas.
Divya Manushi is a mixture of both. The Gamaka , the merits and
demerits of music, musicians and master composers are also discussed
in the 1st Chapter.
The Second Chapter : The 2nd Chapter, ‘Vadya Prakarana ’ is
devoted to the various instruments, different kinds of drums and their
construction techniques. This is a small one consisting of one hundred
thirtyone (131) slokas . In this chapter 4 main types of instruments
(tata, vitata, Ghana & susira ) are described.
The Third Chapter : is the longest chapter containing eight
hundred twenty eight slokas . This chapter ‘natya prakarana ’ is devoted
mainly to dramaturgy, dance and description of the auditorium,
stagecraft & subjects related to performance of dance and drama. It
begins with the definit ions of Nritta, Nritya, Nartana and Natya . The
king and the court, courtiers, scholars and artists are described. The
participants, heroes and heroines are also included in the description.
The special feature of this work is the description of cosmetics and
make-up materials l ike moustaches, dresses and the method of making
them. Then comes the language to be used and specif ic terms and
address to king, Brahmin, Danava , etc. In short, al l the forms of
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dialogue, metre and expressions related to drama are explained. The
comprehensive description of topics related to dramaturgy ends with
the scenes to be avoided while performing a drama and proper t ime for
holding the show. From sloka number two hundred fifty f ive to the end
of the chapter discuss the dance, the various postures of body,
movements of hands, waist, eyes, eyebrows, legs, feet, sthanakas, etc.
They are similar in descriptions as in Natyashastra and Sangeet
Damodara .
The Fourth Chapter : contains i l lustration of various Sanskrit
songs set in different Talas and Ragas . This is the chapter entit led
suddhaprabandhodharana .
This book is f irst published by Odisha Sangita Nataka Academy in
1966 under the joint editorship of Pandita Banambaracharya,
Kalicharana Patnaik and Kedarnath Mohapatra. In national level also,
this has been edited and translated by Mandakranta Bose in two
volumes, published by Moti lal Banarasidass, Delhi. It was also been
edited by Janothan Katz of Oxford in 1987 which has not been
published.
4) Natyamanorama & Sangeetarnava Chandrika
The Natyamanorama is a treatise on the science of music based
on a palm-left manuscript preserved in the Odisha State Museum,
Bhubaneswar. It is known from the concluding verses of the last
chapter (PP.71-72) that the author, Raghunath Ratha , composed the
Natya Manorama under the patronage of King Nilakantha of Kerala.
Raghunatha further states that he was a contemporary of
Gajapati Divyasimha (King of Odisha – 1693 – 1720 A.D. which is
evident from the last stanza of the last chapter.
12
In the last quatrain of the 1st of the slokas at page 72, the
Natyamanorama has been described as “Sangitarnava
Candrikantargata“ i.e. i t is based on or rather included in “Sangitarnava
Candrika“, which Raghunatha had completed before he composed the
Natyamanorama . This is corroborated by a similar statement found in
the “Curnika“ (P.1) in which the author introduces himself to his
readers.
The Natyamanorama may therefore, be taken to be a compendium
of “Sangitarnava Candrika“, either in respect of some portions dealing
in detail with the topics discussed in the present text or of the whole
work.
Raghunatha has not mentioned anything about the place of his
birth but apparently, he belonged to Odisha because he has used
‘Anka ’ or the year of reign of the then King of Odisha .
Further, he has referred to authors of works of Odisha such as
Raya Ramananda , Harinayak, the author of Sangitasara,
Mammatacarya, the author of Ratnamala, Krishna Das , the author of
Gitaprakash and the court poet of Mukunda Deva , King of Odisha) and
Purusottama Mishra (the Minister in the Court of Narayana Deva, the
king of Paralakimdi).
However, i t is not known how he received the patronage of the
King of Kerala . May be the King of Kerala would have favoured him for
his learning or he might have motivated the King of Kerala with his
learning while the king has come to Puri on pilgrimage whatever may it
be, the author of the treatise has made a commendable contribution to
the l i terature on music in India.
13
Whatever, thanks should be give to Shri Kedarnatha Mohapatra ,
Curator of the Orissa State Museum who acquired a manuscript of the
“Natyamanorama” in 1952 from Puri and also to Shri Prananatha
Mahanty , M.A., I.A.S, Secretary to the Government of Orissa,
Education Department, who brought it to l ight a couple of years ago.
Thus, this treatise is very helpful for all music lovers in general and of
Sanskrit Studies, in particular for the attempt of the Odisha Sahitya
Akademi for i ts publication – under the patronage of Dr.H.K.Mahtab ,
the then Chief Minister of Odisha .
The text is divided in to f ive chapters or Padas . In the 1st
chapter after the benediction to Lord Krishna, Raghunatha has given
the justif ication for the composit ion of this treatise in a ‘churnaka’ .
Then immediately he has started defining ‘Sangeeta ’ as the art of ‘Gita,
Vadya and Nrtya ’ to be taken together with the two-fold varieties of
‘Gita ’ i .e. ‘nibadha ’ and ‘anibaddha ’ . He also has tried to define the
various technical terms associated with ‘Sangita ’ l ike the ‘nada, swara,
saptaka, Gita, sruti, Grama (Sadaja-madhyama-gandhara), twentyone
murchhanas (3 gramas x 7 swaras), tana, jati etc. He has also tried to
justify the origin and manifestation of the ‘swaras ’ and how these seven
‘swaras ’ are related with seven letters, seven ‘Chhandas (anustupadi),
‘Kulas’, ‘devatas’, ‘birds and animals (mayuradi)’, ‘Vedas’, ‘Veda
sakhas’, ‘Varnas (Brahmanadi)’, ‘dvipas (Jambwadi)’, ‘desas
(Kanyakubjadi)’, ‘seven lokas (bhuradi)’, ‘seven days (rabyadi)’,
‘Vadyas (tatadi)’ along with their practical uses.
The second chapter devotes to ragas , their dhyanas , lakshanas
and time of singing. 16,000 ragas are found to be mentioned. Out of
these ragas only 36 female raginis and 6 male ragas were prevalent in
14
those days. In the same chapter he dealt with the threefold variety of
‘Gitas ’ such as : ‘suddha, chhayalaga and Ksudra ’ . He also mentioned
the ‘Prabandhas ’ along with their ‘dhatus, angas, jatis ’ and different
varieties l ike ‘matruka prabandha ’ with two-fold decisions (i.e. Divya
and Manusi), Sakayabala Prabandha, Talarnava Prabandha, Simhali la
Prabandha and Suda Prabandha.
Then in the third chapter he explained Chhayalaga Suda
Prabandha with its all ied elements. He also defined the tala , f ive
different talangas, matras, laya, druta, anudruta, laghu, guru, yati,
makaradyastaganah, sasabda, nisabda etc. He narrated different talas
such as : Adi, Yati, Suddhayati, Nihsara, Masruka (misra), Jhampaka
(Jhampa), Rupaka, Triputa, Adu, Ekatali, Kudka, Sashipriya,
Chatustala, Nalakubara, Vadyakakula, Simhanandana .
In the 4th Chapter he explained about the Ksudra Gita . They are
found in four varieties such as : Chitrapada, Chitrakala, Dhruvapada
and Pancali . He discussed about the divine music (divya sangita) and
the wordly music (manushi sangita). He also discussed about the Gita
gunas i .e. the qualit ies of good Gita . He again discussed about the
different grahas i .e. the catchment point of a song and their varieties
l ike ‘samagraha ’ , ‘atitagraha ’ . He discussed about other important
elements l ike laya, yati, mana, gamaka, dhatu and other things l ike the
elements required for beautifying a raga , Sanskrit and prakrit songs,
the disqualif ication of a singer, the qualit ies of a good singer, etc.
Lastly, in the 5th chapter he discussed about the vadya and four-
fold vadya prakaras namely tata , anaddha, susira and Ghana . He
mentioned the different types of vinas such as alavani, brahmaveena,
kinnari, laghukinnari, bipanchi, vallaki, jyestha, chita, Ghasavati, Jaya,
15
Hastika, Kubjika, Kurma, Sarangi, Paribadini, Trisari, Sarngatantri,
Nakulausya, Chatuhsari, Audumbari, Pinaki, Nibaddhah, Puskala,
Gadabarana, Hasta, Rudra, Swaramandala, Kapilasa, Madhusyandi,
Ghosa. He narrated about the Rudraveena in detail. Apart from these
he discussed about the definit ion, necessity, importance, types,
divisions and subdivisions of Nrtya .
In the same chapter he explained the ‘Tandava Nrtya ’ with its
two-fold, varieties ‘Prerani ’ and ‘Bahurupa ’ . He also explained the
‘Lasya Nrtya ’ with its two-fold varieties. ‘Sphurita and Yauvata ’ . He
elucidated the different variety of folk dances l ike ‘ Kasthi ’ (stick
dance), ‘Jakadi ’ (group dance), Savari (Savara dance), Kurangi (group
dance of ladies) and Mattavali . He elaborated the Sabha (stage),
Sabhasadas (audience), the qualit ies of a dance, the rules for
jarjarapuja , the rules of Jabanika (screen), decoration of a dancer,
masi, haritala, costumes (besas), garlands (malyas), ornaments
(alamkaras), the language of natya , bharatyadi vrtt ’s of natya in
accordance with Bharata. He also explained different varieties of nrtya
(nrtya prakarah), unacceptable elements of nrtya , acceptable elements
of nrtya l ike sirabhedas (head movements), hastabhedas (hand
movements), caris, abhinaya, rasa, nandi, etc.
5) Abhinaya Chandrika (AC)
Abhinaya Chandrika (AC) is an ancient Indian treatise on Odisi
Dance . It deals with the mudras and techniques of Odisi Dance form.
It was written by Maheswar Mohapatra under the royal patronage of
Sriman Narayan Deva of Khemundi Kingdom in 18th Century A.D. This
text contains 284 verses. The first two verses are in praise of
Ganapati and Lord Jagannath . Til l the 18th verse, the author gives an
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account of Nrtya Prasansa (the praise of dance) and then he describes
the origin of Odisi dance . The author has vividly described the
Padamudras (various forms of the feet) of the Odisi dance . According
to him there are four basic posit ions of the feet such as Stambha Pada
(Samapada), Kumbhapada (ayatamandalapada), Dhanupada and
Mahapada . Then he has enumerated Sama, Bisama, Ghatita
(Udghatita), Suchi and Agratala Sanchara . The author of Abhinaya
Chandrika has described only sixteen mudras with different names. He
has described twenty eight Hasta Mudras . He has given a detail
description of the ‘Bandhas ’ (acrobatic poses) of ‘Bandh Nrtya ’ . Other
things which find mention in the text are ‘Sapta Tandava of Lord Siva ’ ,
dances of different regions, folk dances of Odisha , ‘Bhumis’, ‘Charis’,
‘Karakshetras’, ‘Mukharagas’ etc.
This text is most signif icant among the ancient treatises on the
performing arts as it gives a detailed description of Tala, costume,
ornaments and make up in Odisi dance. In fact, the costume mentioned
in the Abhinaya Chandrika is fol lowed by the Maharis or the Devadasis
of the Jagannath Temple . The ornaments described in the Abhinaya
Chandrika are all tradit ional and most of them are represented in the
temple sculpture of Odisha . The ornaments of the Maharis of today
bear the influence of the south.
The verses in the famous treatise of Abhinaya Chandrika say that
Lord Siva taught the ancient art of dancing to his son Lord Ganesh and
Ganesh to Rambha, the gem among the Apsaras who in turn taught it
to the sage Bharata Muni . After Bharata Muni the tradit ion was carried
on in turn by Gargacharya, Bikatacharya, Kumaracharya, Ranti Deva
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and finally Attahasa . In the book Attahasa has been described as Ordra
Nrtya Visarada , the grand master of Odisi dance.
The Abhinaya Chandrika is one of the earl iest and most authentic
treatises on Odisi which dance. According to the scholars, the Odisi
dance of today have highly been obliged for this text.
6) Abhinaya Darpana Prakash (ADP) - ADP is an important treatise
of Odisi , has discussed in detail about the technical styles of the dance
as a whole. Jadunatha Singha is the author of Abhinaya Darpana
Prakash . The author refers to Bharata many times but he does not
quote from Natyashastra or any other text. In every description he
shows marks of peculiarity. He begins with invocation to Goddess
Saraswati, Lord Siva and Lord Ganesha and goes on describing Gita
(songs), Vadya (musical instruments) and Nrtya (dance), Natya Vritt is,
Natya, Nrtta and Nrtya (Lasya and Tandava). Then detailed
descriptions of four varieties of Tandava dances (Nari Nrtya, Jankadi,
Madhumatta and Bandha Natya), six varieties of Lasya dances (Rasa,
Vilasa, Hall isaka, Bhramari, Prerani and Halapayana) and three
varieties of dances performed together both by males and females such
as Kairata, Bahurupa and Chitra Nrtya are also found in the book.
Other details discussed in the text are Sthanaka (8 varieties),
Abhinaya (4 varieties), Anga and Upanga, Hastaka (28 Asamyuta
hastas with viniyogas), Mastaka Bheda (10 varieties) Sira Lakshana (9
and then 5 varieties), Drstiveda (8 and then 7 varieties), Hastaprana
(12 varieties), Hasta prasara (10 varieties), Hasta byapara (8
varieties), Nrtya Prasara (12 varieties), Tala (10 varieties) and Laya (3
varieties). The Odiya translation includes few more terms such as :
Natyotpati, Nartakilaksana, Nartaka Laksana, Panca Devata Stuti , etc.
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In this regard, the author has followed Sarngadeva’s Sangita Ratnakara
to a great extent.
In addit ion to these details, the author of ADP also discusses
about the different Mudras . He discusses 17 asamyuta hastas . While
discussing these techniques, the author points out that Banahasta is
the oldest of the lot. The work is remarkable in its elaboration and in
the direction of the movement of different mudras to indicate their
meanings.
This treatise on Odisi has not been published yet. It exists in a
palm-leaf manuscript t i l l this date. ADP with its exclusive details on the
techniques of Odisi ranks as one of the f inest treatise on this classical
form of dance.
7) Tala Sarvasara Samgraha : was written by Shri Padmanava
Narayan Deva in 1896 A.D. The writer mentions that at the t ime of Lord
Siva’s Tandava Nrtya seven Talas , namely, Dhruva, Matha, Rupaka,
Jhampa, Triputa, Adatali, originates. In this text, there is description of
ten Pranas of Tala , six Jatis, seven Talas, Laya, Anga etc. It also
discusses the history of the origin of Tala . He has given the names
and characteristics of 110 Talas , which are based on Sastras .
Some of the original Talas used in Odisi music include Kuduk,
Triputa and Sariman Talas . The Kuduk is mainly used in the Dhrubapad
style of singing. So this tala is called dhruba padangatala . The
Sariman Tala is very old and is tradit ional Tala of Odisi music.
8. Sangeeta Muktavali (SM) is a small Sanskrit treatise on music
and dance written by Harichandan, the son of Gopinath Bhanja, the
king of Kanika on 1690 A.D. It contains four chapters (granthas).
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The first chapter of SM describes the technical terms of the vocal
music. He gives the definit ion of nada, swara, graha, sruti, grama,
murchhana, tana, varna, alamkara, jati etc.
The second chapter deals with the definit ion of gita, dhatu, matu,
raga, six ragas with thirty six raginis, divisions and names of ragas with
regard to gender and place. He referred Mammatacarya and Sangeeta
Kaumudi (sangita muktavali ; p.47&48) for this purpose. He gives the
names and definit ion of the Sampurna ragas . Chapter three deals with
the Sadava and audava ragas , their definit ion and svarupa .
He also enumerates the sankirna ragas with their definit ion and
time of singing. He has described the ganas, laghu, guru, tala . The
enumeration of naba talas l ike adi, jati, nisaru, adda, tr iputa, rupaka,
jhampaka, mantha and ektali along with hundred and one talas l ike
cancatputa etc. focuses the rhythmic knowledge of the author.
The last chapter focuses on gita, nibaddhagita, suddhagita,
alapa, dhatu, prabandha, prabandhajati, gitabhedas l ike suddha,
chhayalaga, ksudra, pancali, gita gunas, divyadibhedas of gita,
grahalaksana, khanda, yati, mana, demirts of gita, anibaddha gita,
gayaka gunas, gayaka dosas, vadyalaksana and nrtya prakarana .
Thus, we find those aforesaid Sanskrit treatises have highlighted
on musicology having comparative and contemporary relevance with
the Indian Musical System both in Hindustani and carnatic . Apart from
these, other texts l ike Sangita Darpana, Sangitarnava Candrika of
Raghunath Rath, Sangita Kaumudi, Sangita Ratna of Narayan Brahma,
Sangita Kamoda by Damodara Acharya, Talasamgraha of Kabiratna
Purusottam Mishra, Sangita Sarani, Sangita Chandra of Vipradasa,
Sangita Sastra, Tala Nirnaya, Gita-Vadya-Tala Nirupana, Vadya
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Nirupana, Mrdanga Vadya, Nrtya Sarvasva, Nartana Nirnaya, Nrtya
Bilasa, Nrtya Sagar are worth mentioning for their commendable
contribution towards musicology along with special reference to the
origin and development of Odisi dance and music.
However, the common in all these treatises are the emphasis on
‘Ksudragitas ’ which give a fundamental and sound base to ‘Odisi ’ music
system which ult imately develop into four-fold portals l ike Citrapada,
Citrakala, Dhrubapada and Pancali . Second common aspect is the
recognit ion of ‘Odra Magadhi style’ by almost all the aforesaid
treatises, which has already been recommended by Bharata Muni in his
Natyasastra in 2nd-4th century basing on which the Odisi system of
music developed.
BIBLIOGRAPHY
Badajena Mohapatra Krishnadasa, “Gita Prakash”; Mishra Haladhara, “Sangitakalpalata” ; Ratha Raghunath, “Batyamanorama” as available on www.orissaculture.gov.in/dance.asp, last visited on 09/-1/2011.
Badajena Mohapatra Krishnadasa, “Gita Prakash”; Deva Narayan, “Sangita Narayan”; Mohapatra Maheswara,”Abhinaya Chandrika”; Ratha Raghunath, “Natyamanorama” as available on www.indianetzone.com/51treatises-on-arts-orissa.htm, last visited on 12/02/2012
Ratha Raghunath, “Sangeetarnava Chandrika” ; Badajena Mohapatra Krishnadasa, “Gita Prakash”; Mishra Haladhara, “Sangita- kalpalata”; Ratha Raghunath; “Natyamanorama” as available on www.orissatourism.org/orissa-dance-and-music/index.htm, last visited on 12/02/2012.
Ratha Raghunath, “Sangeetarnava Chandrika”; Badajena Mohapatra Krishnadasa, “Gita Prakash”; Mishra Haladhara, “Sangitakalpalata”; Ratha Raghunath, “Natyamanorama” as available on www.en.wikipedia.org/wiki/Arts of Orissa, last visited on 12.02.2012.
Ratha Raghunath, “Sangeetarnava Chandrika” & “Natyamanorama” as available on www.bharatonline.com/orissa/culture/music. html, last visited on 12/02/12.
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Badajena Mohapatra Krishnadasa, “Gita Prakash”; Harichandan, “Sangita Narayan”; Mishra Haladhara; “Sangita Narayan”; Mishra Haladhara; “Sangita Kalpalata” as available on www. Chandrakantha.com/misra/odissi.html, last visited on 12.02.12.
Mohapatra Maheswara, “Abhinaya Chandraka” as available on http:// www.indianetzone.com/45/abhinaya chandrika, last visited on 19.01.11.
Singh Jadunatha, “Abhinaya Darpana Prakash ” as available on http:// www.indianetzone.com/45/abhinaya-darpanaprakash.htm, last visited on 19.01.2011.
Deva Narayan Padmanava, “Tala Sarvasara Samgraha ” as available on http://www.indianetzone.com/51/tala-system-odissi-music. .htm, last visited on 20.01.2011.
Harichandan, “Sangita Muktavali ,” translated and edited by Acharya Banambara, published by Utkal University, Vani Vihar, 1955.
Ratha Rathunath, “Natyamanorama”, published by Odisha Sahitya Academy, 1959.
--------------------------------------------------------Reader & Head, Department of Sanskrit,
Ravenshaw University, Cuttack – 753003 [email protected]
M: 7894929644
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