FINE ARTS OF HINDUS ORIGINATE FROM
ETERNAL TRADITION
(Lecture to Vedanta Class by N.R. Srinivasan, June 2020)
(Lecture to Vedanta Class by N.R. Srinivasan, June 2020)
Fine Arts of Hindus owe their origin
to the Eternal Tradition (Sanatana Dharma) popularly designated and known as
Hindu Religion by the West. “Our law and politics, our arts and sciences, our
manners and morals are derived from our fundamental faith, which makes for the
spiritual unity of our community. There is a law which governs the rise and
fall of nations. Adherence to the moral law of Dharma elevates a nation;
non-adherence to it degrades it. If we are to progress we must adopt path of
virtue. We had in our country from time to time of the Rigveda down to our own
days a long line of torch bearers who stress the primacy of spiritual values.
From time to time this fabric of spiritual unity is reinforced by the presence
of poets, writers, philosophers and saint artists whose contributions have
upheld this faith” says Dr. S. Radhakrishnan. If we are to progress we must adopt the path
of virtue in all our walks of life. Hindu ancient sages notably Narada, Bharata
and Vyasa, Hindu saint-composers, Valmiki, Tulasidas, Tyagaraja and Purandara Dasa, poet saints Meera, Kabir and Tukaram and
dramatists Kalidasa, Bhavabhuti, Bhartruhari and Bhasa were all highly
spiritual and their adoration to the Supreme was through the medium of art and science of Fine Arts. This creative
art was spontaneous, coming from their inner feelings towards the Supreme. The
outcome was the blend of classical fine arts and spiritualism that has become
the very powerful vehicle for devotional form of worship (Bhaktimarga) and the
basis for Indian Fine Arts today. To the Hindu God is One but his
manifestations are many.
The most familiar and simple meter in
Indian music called Sloka Meter sprang out of strong human emotion of grief
called Soeka (grief) in Sanskrit from Sage Valmiki, the author of Epic
Ramayana—“Soekah Sloekatvamaagatah”—Sloka meter arose out of grief. Valmiki
burst into tears listening to the cry of the Krauncha bird whose partner he
shot with his arrow starting his composition of Adikavya (the first poetic
composition in the world). Lava and Kusa, the twin sons of Rama sang the entire
composition of Valmiki (25000 slokas) before Rama and his audience in their
sweet Voices. This was the origin of Music according to Mythology (Puraana).
Nataraja, the dancing incarnation of
Siva is one of the Trinities. He is the unseen director of the world’s drama
and performs his cosmic dance in the heart of each individual. He dances the
world into and out of being, his fire consuming inflated egos, greed, anger,
jealousy, lust and all aspects of darkness. Rhythm of His dance is felt in the
play of children, the wars of nations, in movement of stars, in earth quake,
conflagration, deluge, in a drop of water, in the raging torrent and others. To
dance with Siva is to know freedom from the cycle of birth and death.
Indian music and dance, though had its
origin in its ancient Eternal Tradition, called Hindu Religion, has often
transcended the religious barriers and exhibited its great impact on society
promoting harmony amongst various religions of India. Some of the Muslim
singers’ and poets’ lives symbolize Hindu-Muslim harmony as seen in the music
of Kabir, Bismillah Khan and Ghalib. The poet composer Ghalib sang in praise of
Varanasi, the holiest city for Hindus thus: “May God protect the city of Benaras
from the evil eyes; a heaven of mirth; this Garden of Eden. This place of
worship for the conch shell blowers (meaning Hindus); this is certainly the
Kaba of India… (Kaba stands for Mecca, the holiest city for Muslims)”. A renowned exponent of instrumental (Shehnai) music,
Ustad Bismillah Khan, a devout Shia Muslim was also a devotee of Goddess
Saraswathi, Hindu goddess of Learning. He sang often invocation songs on
Goddess Saraswathi, in the temple of Varanasi. Jesudas has sung several Kritis
on Hindu deities, though a Christian.
Hindu Gods are invariably associated
with Musical instruments in their iconic representation. Vishnu is associated with wind instruments
like the flute, bansuri or the conch, Sankha. Siva is always seen with his percussion
instrument Damaru. Devi, as Saraswati the goddess of learning makes music with
stringed instrument lute (veena). As Lakshmi, she is fond of her flute or conch
that is wind instrument like her counterpart Vishnu. As Parvati she rattles the
drum (damaru), a percussion instrument like her consort Siva.
Hindu Goddess Saraswathi, the goddess of
learning, art and wisdom is generally shown in iconography as having four arms.
With one hand she is holding a book, with second and third she is playing on a
Veena (lute), and with the fourth hand she is holding Rosary (Akshamala). The
book stands for all secular knowledge, the lute for fine arts and the rosary
for spiritual wisdom. Secular knowledge helps a human being to earn his
livelihood. Fine arts enrich his life giving aesthetic pleasure and emotional
satisfaction. Spiritual wisdom fulfills the ultimate purpose of life, spiritual
evolution.
Sangita- ratnakara says: “Samavedamidam Geetam
sanjugaaha Pitaamahah”—Brahma, the Lord of Creation, evolved music from the
Samaveda”. Lord Brahma shared this knowledge with his wife Saraswathi who later
revealed it to Sage Narada. Kasyapa received this knowledge from Narada and
imparted it to Bharata.
Hindu art has several facets: drawing
and painting; sculpture; dance; drama; and music. Actually, these arts are
enumerated as 64 including floral designs (Rangoli), magic, culinary arts,
carpentry, composing poems, physical exercises, Yoga and so on. But drawing and
painting, sculpture, dance, drama and music are highly developed and most
popular as Fine Arts. Rangoli owes its origin to a sage called Sudharma.
(Please refer to my article on Rangoli and Kolam).
DRAWING AND PAINTING
Chitrakala or drawing and painting is
said to have originated from the Sage Narayana, the eternal companion of Sage
Nara. He is said to have created Urvashi, the most beautiful heavenly nymph by drawing a picture on his
thigh (uru) and then filling it with life. His work Chitrasootra (drawing
manual) which was taught to Viswakarma, the divine builder is not available
now.
A good drawing or painting must have
several features like form, proportion, expression of emotion, grace and
colors. The details are available in Kuttanimitta of Damodara Gupta,
Vishnudharmottara Purana (500AD), Markandeya Purana (300AD) Abhilaashitaartha-chintaamani
(AD1129) and Silparatna.
There are four stages involved in
painting: a) Preparing the basic surface like a white cloth; b) making it stiff
by starching or similar materials; c) drawing the outlines with charcoal or a
black pencil and d) finishing with appropriate colors.
Paintings can be prepared depicting
nine sentiments (nava rasas) : amour (sringara); humor (haasya); heroism(
veera); compassion (karuna); wonder (adbhuta); fear (bhayanaka); horror (raudra); aversion
(bheebasta); and peace (shaanta). Among these humor, amour, and peace are
mostly favored and sought after.
These manuals also give detailed instructions
regarding painting: whether they are objects of nature like uneven surfaces of
earth, waves of ocean, fire, smoke and clouds or living beings including every
limb of the human beings.
The oldest pictures so far discovered
in India are located in the caves of Kaimur, Vindhya Hills, Raigarh and
Mirzapur in Madhya Pradesh, belonging to prehistoric age, drawn using crude
implements of stone, depicting mostly hunting scenes. The earliest paintings
discovered are around 200 BC.
The World famous Ajanta paintings are
the creation of expert artists (100 BC to 700 AD). Various aspects of nature
like trees, flowers, animals, human beings, kings and queens, gods of heavenly
region, Buddha and Bhodisattvas are the themes of these paintings. These
paintings are outstanding due to their perfection in the shape of lines,
proportion and combination of colors, variety and expression of emotions.
Paintings of the Bagh caves; Badami
caves of Karnataka (700 AD); Sittanivaasal of Pudukote, Tamil Nadu; Ellora
(Kailasa Temple, AD 800); Brihadeeshwara Temple, Tanjavur (AD 1100), Kerala
Temples (AD 1100—1700) are other styles of paintings from the medieval period.
The next phase of development in Hindu
art is the evolution of Rajasthan School from 15th to 18th
century popularly known as Rajputana or Rajput style of art. This style
extended to Punjab and Sub-Himalayan region and got a new name –The Pahaadi
School and reached its glory during the 15th and 17th
century.
Rabindranath Tagore referred to as Father
of Modern Art has introduced Asian styles and Avant Garde Western styles into
Indian art. Jaimini Roy and S H Raza have taken inspiration from folk
traditions.
SCULPTURE
Allied with the art of drawing and
painting is sculpting. During the Vedic age, images were being fashioned out of
wood, stone, metal clay and precious stones. Silpasastra (the science of
sculpturing) is too vast a subject to be dealt here. Though closely connected
with drawing and painting, its development proceeded along with temple
architecture rather than with fine arts.
The icon as an object of reverence
satisfies not only the religious impulses of its user, but the aesthetic
expectations also. The iconographic involvement in India has been continuous at
least for about seven thousand years. Rigveda provides the background for the
nationwide iconographic tradition that has held the field till this day. Under
the Maurya royal patronage the Gandhara School of Arts flourished around 304
BC. The Gandhara type was more portraits than icons. It had the Greek influence
under the Mauryan rule. It was however short lived. Mathura under the Kushans,
emphasized the Indian idiom with idealistic symbolism. It developed the
art-form that was indigenous to India. The Bhagavata cult encouraged the
building of public shrines later. Polytheism is fundamental to Indian
iconography like any iconography in the world.
The casting of bronze icons was
perfected in India even during the days of Indus Valley Civilization. During
modern period, craftsmanship involved in South Indian bronze icons has become
world renowned. The bronze worker mainly works with wax while modeling.
Finishing the bronze is craftsman skill while wax model is the work of art.
Hallow casting in the North Indian sculpture in Nepal and Tibet is to make
provision for inserting into the image a magical formula inscribed on a scroll,
a piece of scriptural writing or a guru’s message to accommodate supernatural
energy.
The excellence reached today in stone,
wood and bronze sculptures owes its gratitude to the encouragement given for
its growth and development under the patronage of royal kingdoms in India till
1947, right from the Mauryan period long before the dawn of Christian era. Some
of the notable kingdoms that encouraged this art are Maurya, Gupta, Chola,
Pallava, Hoysala, Chalukya, Rashtrkoota, Vijayanagara and Kalinga dynasties.
Uttar Pradesh and Rajasthan are famous today for their marble work, Tanjavur in
Tamil Nadu for bronze work and Mysore in Karnataka for its intricate sandalwood
carvings with minute details.
Today four distinct schools of
sculpting are firmly established in India. They are; Madurai Style; Kanchi
Style; Chalukya-Hoysola Style; and
Bengali Style (current in Bengal, Assam and Orissa), exhibiting their special
features, though all of them follow the general rules of iconography as given
in the standard works.
MUSIC
Sage Bharata said that music takes its birth from Saamaveda: “saamabhyoe geetameva cha”. Saamaveda
is the “Book of Music” or the “Knowledge of Melodies”. Saama in Sanskrit means
a metrical hymn or song of praise like the word “psalm” in English. In
Saamaveda seven sounds (svaras) are used.
These seven svaras (notes) satisfy the hunger of gods, human beings,
animals, birds, Gandharvas, Apsaras, demons and immobile things.
Samaveda was taught by Vedavyasa to
Jaimini and from him the tradition of Samaveda started. Jaimini propounded only
songs from Vedas can be taken as Sama mantras. The material on music scattered
around was collected, contemplated and systematized in Samaveda. Sage Bharata,
the father of music was therefore not wrong in saying, music took its birth
from Samaveda—Saamabhyoe geetamevacha.
Samaveda represents all the Vedas--contains poetic mantras of Rigveda,
mantras in prose form of Yajurveda and in addition has lyrical songs. The songs
sung in villages were known as Uhagaana and songs in forests were known as
Uhyagaana. With all these Samaveda becomes a complete Veda by itself and it is
therefore no wonder when Lord Krishna said in Bhagvadgeeta: “Amongst Vedas I am
Samaveda”.
Hindu sages have christened music as
“Naadayoga” dedicating it to the Supreme “Naadabrhama”. “Naadoepaasanayaa devaa
brahmaavishnumaheshwarah | Bhaav- yantyupaaseetaa noonam yasmaadete
tadaatmikaah ||”—The Trinities Lord Brahma, Vishnu and Shiva are worshipped by
worshipping ‘Naada’ which is the basis of Gandharvaveda. Hindu music allied itself with religion and
spiritual values from the very early Vedic period. Celestial beings, Gandharvas
are believed to be engaged in dance and music.
Thus having a divine origin, these arts were considered integral to the
temple worship and were used as an offering of one’s devotion. Samaveda has
been considered to be the origin of Indian music. The three basic notes of Vedic
chanting are the fundamental notes of Indian music—Udaatta, Anudaatta and
Svarita. These three notes developed later into seven in Samaveda. They are:
Krutsa, prathama, dviteeya, triteeya, chaturtha, mandra and atisvaara. They
correspond to the notes Panchama (Pa), Madhyma (Ma), Ghaandhaara (GA), Rishabha
(Ri), Sadja (Sa), Daivata (Da) and Nisaada (Ni), in modern music. Being
connected to the sounds of various animals and birds the seven notes are said
to strike harmony with nature. From the Sapta swaraas (the seven notes) are
formed the 72 Melakarta raagaas or Janaka Raagaas (parental scales). And from
these have developed countless musical modes called Janya Raagaas.
The Gandhrvas were demigods born out
of the sweet fragrance of flowers. Once they stole the Soma plant, the favorite
of Devas with its inebriating and invigorating
elixir sap. Its juice was also
considered sacred in Yajnas (Soma Yajna) and the Devas missed it badly for
their rituals. This made Devas unhappy
who sought the help of Devi Saraswati. Saraswati mesmerized the Gandharvas with the
music played on her lute (Veena); Gandharvas became eager to learn the music
from her. Saraswati agreed to teach them music in exchange of their restoring
the Soma plant to Devas. Gandharvas learnt the music from Saraswati and
Gandharvas returned the Soma plant to Devas as promised. In due course,
Gandharvas became celestial musicians. Their music had more power to bring
pleasure to the mind than even the divine elixir, Soma juice.
Ancient Vedic literature mentions
Gandharva Veda as a branch of Saama Veda (Upaveda). It includes Bharatanaatya
Saastra, Dattilam, Sangeeta Ratnaakara, Mallinaatha Ratnaakara and Sangeeta
Darpana.
Later, Saint-composers like Tyagaraja,
Purandaradasa, Meerabhai, Kabir, and Tukaram contributed significantly for its
growth and development. They expressed their inner feelings towards God through
the medium of music which served as a powerful and very appealing medium for
the spread of Bhaktimarga (devotional form of worship). Mythological saint
composer was sage Narada, who is invariably shown carrying his Taanpura.
During the early period of Indian
history, music, dance and drama were treated as one unit, called Natyasastra.
Sage Bharata’s Natyasastra (100 AD) is the earliest authoritative treatise on
the subject. The later works are: Sangita Ratnamala by Mammata (AD 1100),
Sangita Ratnakara by Sarangadhara (AD 1260), Sangitasaara by Vidyaranya
(AD1380), and Swaramelakalaanidhi by Raamayaamaatya Todaramalla (AD 1600).
In Indian music the two invariable
basic notes are ‘sa’ and ‘pa’. the others—‘ri’, ‘ga’, ‘ma’ ‘da’, and ni are of
two varieties each making a total of 12 notes. Sometimes 16 notes are
described, though for all practical purposes 12 notes are enough. Sa, Ri, Ga, Ma,
Pa, Da, Ni, Sa are like Do, Ri, Mi, Fa, Sol, La, Ti, Do in Western music.
The various Raagas or tunes are
capable of rendering a variety of feelings and sentiments such as love, anger,
tenderness, sorrow, disappointment pity and joy and so on. Specific Raagas
assigned to specific periods of the day or night. For example, Raagas like
Bhairavi (Maayaamaalava gaula) are sung in the early morning and Raagas like
Yaamani(Or Kalyaani) are sung in the night. The derived Raagas can be limitless
and are invented every now and then by talented musicians.
Sruti (drone or basic musical sound as
the one produced by the Taanpoora), Raaga (tune), Taala (fixed number of beats
for each unit) and Laya (uniform speed for the beats) are the basics for the Indian
music, like the symphony which is the heart of Western music. Unlike the
Western music which is based on harmony, Indian music is linear—Melody (Raaga);
complex nature of time measure (Taala); use of ornamentation techniques
(Gamakas).
A Raaga is described by musicians as
the sound adorned with Svaras and motives which delight the mind of listeners.
Taala is meter in music and is cyclic (aavartana) in
nature. Gamaka, a melodic device is unique to Indian music; when a set of
svaras is accented and intoned in such a manner that the raga gains an
emotional content, those nuances are known as Gamakas. They depend on the talent
and ingenuity of the musician adding great beauty to his music. Each Raaga has
peculiar Gamakas giving it a distinct quality. Besides Taala, Rhythm also
includes Laya, tempo, which may be Slow (Vilambitha) Medium (Madhyama) or Fast
(Druta). Taala and Laya are essential elements providing rhythm to the music.
In the Carnatic music the proportion of Tempi (Layas) are precise whereas in
the North Indian music the different Tempi are relative without precise ratio.
With the Persian influence exerted
during the Mughal Period, Indian music branched into two schools: the North
Indian Style called the Uttaradi and the South Indian Style called the
Dakshinadri, more popularly known as Carnatic Music, named after the coastal
region from where the music came. After the Sangita Ratnakara of Sarangadeva
(1210 to 1247) the word “Carnatic” came to represent South Indian music as a
separate system of music.
During Mughal Emperor Akbar’s time the
North Indian music flourished under the royal patronage and the famous composer
and singer Tansen. He was one of the Nine Gems in Akbar’s court. He wrote two
books on the theory of Hindustani music, the Sangeeta Saara and Raajamaala.
There are many similarities between the two styles as well as notable
distinctions. The North Indian style got subdivided into Gharaanas or
Traditions which are actively popular today.
Rabindranath Tagore added a new dimension
to the musical concept of India in general and Bengal in particular. Rabindra
Sangeet has evolved into a distinct school of music. Songs of Rabindranath
Tagore are the outcome of 500 years of literary and cultural churning that
Bengali community has gone through. These songs transcend the mundane to the
aesthetic and express all ranges and categories of human emotions. The poet has
given a voice to all—big or small, rich or poor, says Dhan Gopal Mukherji.
Musical performances are generally
centered round a vocalist in both the styles. Usually the Carnatic Music is
accompanied by the Violin and Mridangam (two sided percussion stretched
instrument) players. The Taanpoora is a must as the basic instrument (sruti).
Occasionally the vocalist is also accompanied additionally by other instruments
like Ghatam (a mud pot) and Ganjira (a disc like percussion instrument and Morsing
(a tiny metal instrument played by mouth and hand). In the North Indian
classical music vocalist is accompanied by Harmonium and Tabla (a percussion
instrument in two pieces). Here also, Taanpoora is a must. Sometimes the
vocalist is also accompanied by stringed instruments like Saarangi or Dilruba.
Dhanurveena of the Vedic period is
said to be the forerunner of violin which is now a Western instrumen adapted to
Indian style. Veena, Vaana (an instrument with 100 strings) Dhanurveena,
Dundhubi (drum), Aadambara and others find references in Vedic and puranic
literature. Many other instruments like, Baansuri, Flute, Sitar, Gottuvaadyam,
Pakhvaj, Khol, Naadaswaram, Tavil, and Shehnai have been in use from the medieval
period. Some of them are played in solo consorts accompanied by suitable
instruments. Of late Indian instrument players have successfully adopted Clarinet,
Mandolin, Saxophone and other instruments from different cultures to play
Indian Music.
According to Hindu Mythology music was
originally composed by celestial beings called Gandharvas and their
compositions were known as Gandharva Veda. But we have no proof of that today.
Hindu mythology also frequently speaks of heavenly musicians called Kinnaras
singing during joyous occasions. These are the followers of Kubera the God of
Wealth, with human bodies and horse heads. They were either sons of the sage
Kashyapa or those who sprang from the toes of Brahma. The last six chapters of
Natyasastra, written by the sage Bharata in 300 AD, deals with music and it is
said that some part of the music was written by the mythological sage Naarada
who is always shown in iconography with a Taanpoora in his hand.
DANCES
Human beings try to give expression to
their inner feelings through the medium of dance, like music. Rustic villagers
even now express their gratitude to the deities through their folk dances
during harvest season and Holi. In most of the societies there are dances for
every social occasion.
Indian dance is said to have originated from
Lord Siva and his consort Parvati, the divine couple. Hindu dances originated
from Lord Shiva’s famous dance, namely, Tandava Nritya, which is the most
horrendous dance of Lord Shiva with his crew (gana) after the annihilation of
his father-in-law Daksha. Another one is “Dance of Death” accompanied by
Bhringi, a skeleton attendant. A third form popularly known as Nadanta, in which
the dancer as a toothless old man desperately dances the vigorous dance of Lord
Shiva. The last one is the dance of Shiva mounting Nandi (his bull), and this
dance results in the creation of earth. Mythology also tells that fine arts of
dance and music flourished under the patronage of Lord Indra, the King of
Devas. Chitrasena, a Gandharva, was the leader of the royal crew of artists.
Urvashi, Rambha, Menaka and other nymphs were the celestial bewitching dancers
in his court. Arjuna, the son of Indra and one of the Pandavas later mastered
both music and dance under the guidance of Chitrasena. This helped him to play his
disguised role as Brihannala effectively in King Viraata’s place, teaching
dance to Sudishna and Uttara. Nandikeshwara learning Nritta (Pure form of dance)
from Shiva taught the same to Bharata. This had two styles—Tandava, forceful
form and Laasya, soft form. Here the whole body is a means of depicting
symmetry in movement.
Sarangadeva of 12th century
AD and other scholars refer to Nritya, which represents both Nritta and
Abhinaya. Abhinaya, gesticulation, refers to the art of communication and
consists of four media of expression—Aangika, Vaachika, Aahaarya and Saatvika.
Aangika pertains to graceful movements of major and minor limbs, hand gestures
(mudras) leg gaits etc. Vaachaka includes dialogues and songs. Aahaarya
consists of make-up, cosmetics, ornamentation etc. Saatvika consists of facial
expressions invoking emotions and feelings.
We often find icons in dancing poses
in all Indian sculptures and paintings—Siva-Parvati, Ganesha, Krishna-Radha,
Bhringi, Saraswathi indicating Gods are pleased with dancing as a medium of
expression of love from the devotees. Nataraja and Ganesha are invoked at the
beginning of the dance like Saraswati and saint-composers at the beginning of
music performance. Dance is used as a powerful media for Bhaktimarga
(devotional form of worship) by the
Hindus.
Sangeetaratnakara (AD1260) names the
art of dancing as a branch of Vedas called the Naatyaveda. Lord Brahma, the
Creator taught dance to Sage Bharata, who exhibited it before Shiva in Mount
Kailasa. Then Shiva taught the Tandava dance to Sage Tandu, who later taught
this dance to Bharata. Parvati, Siva’s spouse taught the Daasya dance to Usha,
the daughter of Baana, specially suited to women. Hindu Mythology thus speaks
of the origin of the dances and how it got spread in this world. Vedas refer to
dancing as also several musical instruments. Indus Valley excavations as early
as 3000 BC reveal figurines in the dancing poses.
Under the royal patronage the art of
dancing, music and sculpture flourished and developed further right from the
Mauryan period till Independence in India. The Devadasi custom, despite its
evil effects, also helped in the development of the art of dancing by the
devoted artists. The Devadasi (God’s
servant) institution is no longer in vogue in India which earned a bad name as
an institution of prostitution over a period. All dancers are treated with
respect and admiration throughout India today and every girl tries to learn
dancing in India and abroad including some boys, under the direction of some
Guru. Union Government also encourages fine arts by instituting State-awards
the highest of which is Bharat Ratna. Bharat Ratna has been awarded to top
artists Satyajit Ray, M.S. Subbalakshmi, M.G. Ramachandran (posthmus), Ustad
Bismillah Khan, and Bhimsen Joshi in recognition of their valuable contribution
to Fine Arts.
The standard works dealing with the
art of dancing are; Natyasastra of Bharata, Bharataarnava of Nandikeshwara and Abhinayadarpana
of Nandikeswara. Both the authors seem to be legendary figures like Narada.
These might have been works of hundreds of saints whose identity is not
revealed. Natyasaastra in some aspects
resembles Aristotle’s Poetics.
Hindu dance is closely linked with
emotions. It resembles a perfect harmony between classical music and body
movement. In fact, its objective can be summed up as the creation of different
moods in the minds of the audience. Outward expression of inner emotions is the
heart of the dancing art. It is done by abhinaya or rhythmic movements of
limbs, various types of stances and mudras or poses with hands. Dresses
suitable for the occasion and music with all the accompaniments enhance the total
effect. Modern light and sound effects has enhanced this further. The themes
are generally chosen from the Epics and Puranas.
The major dance traditions under
classical dances today as recognized by the Sangeeta Natak Academy of India
are: Bharata Natyam; Kathak; Kathakali; Mohini-aattam; Kuchipudi; Manipuri;
Odissi-Naatya; Sattriya Natya; and Yakshagana.
BHARATA NAATYA
Bharata naatya is the art and science
of dance taught by sage Bharata. It is popular in South India. In this form of
dancing supple body grace coordinated movement of hands, feet, fingers etc. are
blended with facial expression including movement of eyes, eyebrows etc. A
Bharata Natya dancer is more or less a Yoga practitioner because through
various poses and exercises the dancer has to attain full control of the body. No
movement is isolated but is synchronized into an expression of dancing form.
Earlier Vijaya Nagara Empire in Hampi
was the center for this art; later the artists migrated to Tamil Nadu and
developed it further especially in Tanjaavur. The word Bharata aptly describes
the various components that constitute this art. Bha stands for Bhaava (abstract
idea); ra stands for Rasa (emotion); and ta stands for Taala (musical time or
measure). It has now branched off into three traditions: The Sadir Nritya; the
Bhaagavata Melaa and Kuravanji.
There are six varieties of Bharata
Naatya. These are: 1) Alaripu--an introductory and short form of dance; 2) Jethi
Svaram—more advanced form of dance; a rhythmic form of footwork and body movements
associated with different patterns of music; 3) Varnam—This is the dance which
can make the audience spell-bound by its vigorous tempo, very elaborate and
complex; 4) Saadanam—a dance associated with a poem; 5) Padam—another dance associated with a
poem; and, 6) Tillaana—closely associated with Carnatic Music. It is most
popular with the audience.
The Sadir Nritya was originally
performed by the temple dancers (devadasis) to the background of Carnatic Music
with greater stress on foot-work. The Bhaagavata Melas are actually dance
dramas with religious themes and are enacted in temples. Kuravanji is a
religious dance performed in temples. The dance represents the individual soul
in search of the divine who is the deity of the temple.
KATHAK
Kathak means story teller. In ancient
days the story teller at the religious discourses or gatherings used to make
suitable gestures. These gestures later on took the separate form of the dance
style called Kathak.
The Kathak dance tradition has its
origin in the devotional dances (by Devadasis) current in Rajasthan and Uttar
Pradesh. The dance calls for proper combination of Abhinaya, Mudra and Gati. It
is based on different mythological stories out of which the dance of Lord
Krishna and his beloved consort Radha is very popular with the audience. Devotees
of lord Krishna used to dance to the accompaniment of Bhajans (devotional
songs) trying to express the sentiments contained therein. Kathak dancing was patronized by Wajid Ali
Shah of Lucknow who transformed the dance to the palace court. Kathak is now
branched into two traditions; the Jaipur Tradition and, the Lucknow Tradition.
Subtlety and speed are the characteristics of the former and latter is marked
by acting and grace.
KATHAKALI
Kathakali dancing originated in
Malabar in Kerala. Kathakali means a play depicting a story. This is a
dance-drama form narrating mythological stories in dance format lasting almost
the entire night. Almost all the dancers are men and they are masked to depict
the mythological characters. It has three varieties: Kuttu; Raamanaattam; and
Krishnanaattam.
The Kuttu dance used to be exhibited
in temples during dance festival days; the themes chosen are from mythology
including famous incidents called from the history. The other two are identical
form of depicting episodes from the epics Ramayana and Bhagavata. In Kathakali,
the dancers do not sing or speak but express their sentiments through acting.
In this dancing ankle bells are worn
and the foot and hand movements express beats, expression, emotion and
situation. The dancers wear gaudy dresses, head gears with heavy face paintings
and the dress of the dancer includes an inflated umbrella like skirt. The
coloring on the face of the dancer indicates the moods and status of the
personality represented in the dance—the green painted face represents
nobility, valor etc., while green with red patch is the status of a noble foe.
Announcing about the Kathakali
program, invocating verses from behind the scenes, beating of the drums, entry
of the first dancer, narration of the story from the back-ground, dance and
acting by the artists playing the various roles, their conversation being
narrated from the back-ground mark the features of this color rich program.
MOHINIYAATTAM
The word Mohiniyaattam means “Dance of
the Enchantress”. This is a traditional dance from Kerala. This name might have
been coined after “Mohini” the bewitching incarnation of Vishnu as a female who
bewitched both Lord Shiva as well as the assembly of Asuras (demons) during
churning the ocean of milk to obtain divine nectarine, Amrita. Devadasis used
to perform this dance in temples. The main theme of the dance is love and
devotion to Lord Krishna or Vishnu. It has also elements of “Koothu” and
“Kottiyaattam”. It is a drama in dance and verse.
This dance has elements of both
Bharata Naatya and Kathakali. There are forty basic movements known as
“atavukal”. This dance was formulated by Vadivelu in the court of the famous
music exponent King Swathi Thirunaal. The dance involves the swaying of broad
hips and the gentle movements of erect postures from side to side, reminiscent
of the swinging of palm leaves and the gentle flowing rivers which abound in
Kerala.
The dance is performed exclusively by
ladies. The costume includes white Kerala Sari with golden brocade known as
“Kasavu” at the edges. The vocal music involves variations in rhythmic
structures known as “chollu”. The lyrics are in Manipravalam a mixture of
Sanskrit and Malayalam. The subtle gesture of footwork and the movement of eye
lids in a very coy and yet sensual manner to enchant the mind without enticing
the senses highlight the enchanting dance.
KUCHIPUDI
During Vijaya Nagara Empire, this
typical dance of Andhra Pradesh flourished under the royal patronage. It is
known for its saatvik (benign) sentiments and acting. The themes usually
selected are from the 17th century works of Brahmakalpam and Paarijaatam
of Siddhaananda Yogi and Gollakalpam containing Vedantic conversations between
a cowherd and a Brahmin and others. Dasaavataram (Ten Incarnations) themes are
also popular.
MANIPURI
The protagonists of Manipuri dance
claim that this form of dance was started by Lord Shiva himself at the instance
of his consort Parvati. Legends tell that Arjuna of Mahabharata fame married
Chitrangadha, princess of a royal family from Manipur, who was an accomplished
dancer of this type.
Manipuri dancing is usually performed
by the hill people residing in Manipur in the State of Assam in India. Both men and women take part in this dance
accompanied by chorus singers. The costumes of the dances are very colorful,
with girls wearing long, wide skirts. These dances are centered round Lord Shiva
and Parvati, and, Lord Krishna and his beloved consort Radha. Bhaagyachandra, the
king of Manipur (18th century) after building a temple for Lord
Krishna introduced Raasaleela dance. With passing of time, six modes of dancing
suitable for six seasons (ritus) evolved. These are: Vasantaraasa; Nartaraasa;
Kunjaraasa; Kartaaraasa; Divaaraasa; and Mahaaraasa. Another style called
Laay-harayba is also current. This is deemed to be very ancient and considered
to be the original of Manipuri dances. It includes enactment of the various
stages of creation by God and is generally spread over a month. Raasaleela, the
dance of Lord Krishna with the Gopis (cowherds) of Vrindaavan is another school
of Manipuri dance. It also depicts the various incidents from the incarnation of
lord Krishna and the performance is spread over the whole night.
ODISSI NAATYA
This is an ancient tradition of
dancing based on Sage Bharata’s Natyasaastra influenced by the Oriya style of
music. It was originally a dance by the Devadasis (temple danseuse) before Lord
Jagannath in the famous temple of Puri around 12th century. Around
14th century, the tradition of boy-dancers (Nartaka Baalakas) was
also introduced to this art of dancing.
The Odissi dance today has integrated
both North Indian and South Indian styles. The back-ground music is North
Indian. Some characteristic features of Bharata Naatya, Kathakali and Kathak
are also found in this art of dancing.
Present day Odissi dance centers round Jayadeva’s (AD1200) Ashtapadi
devoted to Lord Krishna and his consort Radha.
SAATTRIYA NAATYA
The religious Vaishnava Monasteries
(Matths) established by Sankaradeva (AD 1486-1568) in Assam started Sattras,
which are centers for religious instructions. These Sattras introduced
devotional dances called Saattriya Naatya to propagate their religious
Vaishnava tradition. These dances have
two branches—Jamursaali and raas. The former is connected with Krishna’s life
and the latter with the Raasleelaa or Krishna’s dance with Gopis (cowherds).
The Jamursaali is a kind of religious exercise specially practiced and enacted
by young men of the Sattras who dedicate their lives for this purpose. The old
teachers who train them support the dance with the background music.
YAKSHAGAANA
Yakshas are celestial beings
celebrated in Puranas talented in the fine arts of music, and dance. Yakshagaana,
named after them is prevalent in parts of Karnataka in India, also known as
Bayalaatta (Field play), a dance drama similar to Kathakali. This is also based
on Bharata’s Naatyasaastra with added local colors. The artists not only dance
but also sing and talk according to the roles they play. The themes are
invariably taken from the mythological stories.
FOLK DANCES
There are several varieties of folk
dances spread all over the country in addition to traditional dances described
above, the defined and the cultured systems of dancing developed as an art. The
folk dances are intended for joyous occasions like marriages, child births,
festivals and sacred days, harvest seasons etc., by the common folks. Men and
women, young and old dance in their own style. These have become popular over
the ages in different parts of the country. They are: Bhaangraa (Punjab);
Garbhaa (Gujrat); Ghamar (Rajasthan); Holi (Manipur); Kolaatta (Karnataka): Luadi
(Punjab); Pangi (Himachal Pradesh); Suggi Kunita (Karnataka); Tabal Congbi
(Manipur); Tiyaan -Baaghi (Punjab); and Kummiyaattm (Kerala) etc.
Dances have not only enriched our
national culture but have also added new dimension of joy and pleasure to the
life of our masses though motivated originally by the devotion to the Supreme.
Hindu dances represent the vibration
(spandhanam) in every being and every atom in the universe. Lord Nataraja, the
Lord of Dances, symbolizes the rhythm of the universe—the perpetual cycle of
creation and annihilation. In his famous book, The Tao of Physics, Fritjof
Capra explains dance as the most basic and relevant of all forms of expression,
and uses such phrases as “the dance of creation and destruction” and “energy
dance”, probably inspired by the dancing poses of Nataraja, who is the dancing incarnation of Shiva.
DRAMA
The basic theme of the Drama is
conveyed through conversations and music with appropriate acting. The total
effect is enhanced by proper dresses, ornaments and equipment. The code of
practice for all these is dealt at length in the Naatyasaastra of Bharata. Dresses
and ornaments and also different hair styles appropriate for the roles played
are described in detail in the works of Naatyasaastra. Masks are also in use.
It may be safely assumed that dramatics was a well developed art even during
the very early period of Christian era.
For the enactment of a drama a
suitable place called “Rangasthala” was planned during the old days. It could
be rectangular, square, circular or semicircular. This was divided into two parts—Rangabhoomi
(Stage), and Prekshaagriha (auditorium). In earlier period these two were
almost equal. These gradually improved to have a green room, a back stage, a
front stage and a rest room. Screens were very much in use. The sound and light
effect with rotating stages and screens with multi scene stages have enhanced
the audience appeal despite the keen competition and popularity of cinema
theaters.
In ancient days the themes of the
drama have been chosen from the mythological literature. With the advent
classical Sanskrit literature, social themes also became popular as evidenced
by the dramas of Kalidasa, Bhavabhuti (8th century), Sudraka (3rd
century) and others.
Today dramatics have developed further
in theme, style and design of theaters to compete with cinema theatres. There
are innumerable numbers of drama literature available in all the major regional
languages of India today, catering to the varied tastes and interests of the
people.
Hindu Fine arts over the years have
reached high standards of artistic sophistication. India witnessed a vast
outpouring of literature in the form of plays, songs, dance-dramas and epics
from the Gupta dynasty onward. Performing Arts were noted for portraying human
emotions—the nine Rasas: love; humor; compassion; anger; heroism; fear;
disgust; tranquility and wonder. Through Fine Arts Early and Medieval Vedic
Culture brought Hindu Principles and Values into the lives of common people
very effectively. For a devoted Hindu artist, his fine arts have originated
from the Supreme itself. For a dedicated Hindu artist, his art is the best means
of worship and best medium for the expression his love to Supreme. All Hindu
Fine Arts performances begin with the worship and salutation to one’s favored deities
Ganesha or Nataraja (Siva) or Radha and Krishna or Saraswati or great saints
like Tyagarja, Purandaradasa, Meera, Kabir and others.
This lecture has been prepared for the
Vedanta Class at Sri Ganesha Temple by N.R.Srinivasan by extracting texts and
suitably and editing from the following sources which is gratefully
acknowledged:
- Swami Harshananda, An Introduction to Hindu Culture, Ramakrishna Math, Bangalore, India.
- S.K. Ramachandra, Early Indian Thoughts, Kalpataru Research Academy, Bangalore 560004, India.
- Ed. Viswanathan, Am I A Hindu? Rupa & Co., New Delhi 110002
- Wikepedia, Indian Classical Dances, Internet.
- Alpha Books, Outstanding Indians, Alpha Land Books, Chennai, 600034, India.
- Suzanne Fisher Staples, Shiva’s Fire, Harper Trophy, New York, NY 10019.
- A.K. Mitra, Know about India, Sai Books, New Delhi 110014.
- Sunita Ramaswamy & Sundar Ramaswamy, Vedic Heritage Teaching Program, Swami Dayananda Ashram, Rishikesh
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