‘Abhinayadarpanam’ in a Nutshell
There exists a beautiful garland of 324 pearls strung together with the silken thread of Nrutya shastra in the ancient Sanskrit literature.(THE Abhinayadarpanam)!!
Abhinaya: To express/ To take forward to
Darpanam: Mirror
Abhinayadarpanam(AD) is a Sanskrit treatise on Indian classical dances having a detailed account of dance movements and expressions.
The entire text is composed in the poetry (Padya) form . ‘Anushtupa chhand' , ‘Sragdhara’and ‘Shardulvikridit’ are the predominantly used meters for the composition of AD
This ‘padya' format facilitates the ‘memorizing and recitation’ method of gaining knowledge. In the traditional Indian System of education ‘ Patha-Anushthan-Avabodha' was the sequence one followed to gain knowledge
The author of the work is ‘Nandikeshwara ‘ who is believed to have been an inhabitant of the southern India.
The time period ( antiquity) of the work can be fixed around 1000AD.i
The association of AD with Natyashastra (NS)( of Bharat Muni) and Sangeetaratnakar (SR) (of Sharanga Deva) can be understood as follows.
Regarding the time of composition, AD proceeds NS and proceeds SR .ii
Regarding the contents, Sharanga Devq has quoted Nandikeshwara in his work Sangeetratnakar a couple of times.
And although AD is considered to have been greatly influenced by NS, it bears a few differences as follows.
1. In the Angika abhinay aspect, there are critical explanations about movements of each limb as independent , separate movements.
2. Karana and Angahara as explained NS do not find a place in AD.
The entire treatise of Abhinaydarpanam is devoid of divisions into chapters (Adhyaya) and is instead a continuous chain of poetic verses.
The topics chronologically discussed are as follows:
1) Introduction
a) Consists of an inventory verse
Prayer to the Lord Natraj with the Simile of the 4 types of Abhinaya ( Angika , Vachika, Aharya , Sattiva) is beautifully pwoven together in the first shloka.
b) After ‘Namaskriya’ comes the (Natyopatti)
The ‘5th' veda( Natyaveda) is regarded as an amalgamation of concepts for the 4 existing veda ( Rigveda Yajurveda Samaveda and Atharvaveda)
mention of ‘Lasya' ‘Tandav' feminine and masculine manifestations of Indian classical dances
There is a precise account of the evolution of dances from celestial art form to its descend on the earth accessible to all human beings.
c) ‘Natya prashansa' the explanation of the magnificience of dance is a form of expression for celebration and invocation for God.
d) Explanation of types of dance( Natanabheda) as follows:
Nrutta- Exclusive bodily movements devoid of emotions and facial expressions
Natya- Expressions conveying traditional stories and mythology
Nritya- Combination of the above two. ( Regarded worthy to be performed in the royal courts! (etat nrutyam maharajasabhayam kalpayet sada!’) These 3 Natanabheda are intricately related with the 4 types of Abhinaya .
e) ‘Natanaprayagakaal’ – the occasions where performing Nritya are recommended. These I include religious festivities, coronations, marriages, auspicious occasions among others.
●The audience[Sabha] ( comprising Sabhapati , Mantri and the audience in general)
The Sabha is compared to a wish granting tree where the vedas are its branches, the Shastra as its adorable flowers and the learned people flocking towards it as buzzing honeybees.
The seating arrangement of the audience is described as Sabha rachana .
The stage is termed as ‘ Rang’ and the audience is seated facing it.
f)The performing troupe
● The arrangements of the performing troupe,
● The performing maiden(Patra) in the middle with a good dancer (natottam) accompanying her. (This gives an insight of the concept of a sole performance prevalent.
The Taladhari, Vocalis(geetakari), and Shrutikara flanked by two Mrudunga players should be seated on the right side of the Patra on the Ranga.
g) The characteristics of the performer are explained further in the form of
1} Patra Lakshan (virtues of the performing damsel)
2} Varjaneeya patra (characteristics to be avoided in the performing damsel)
3} Patraprana (10 cardinal qualities of the performing maiden)
● Kinkini lakshanam– the feet bells of the performer get the attention. They should be made of Kansya and tiny melodies bells 100- 200 held together with a blue thread at a distance of 1 anguli.
2) Sequences of items in a performance
a. Invocation Vighnesh, Murajadhipati Gaganand Mahi with musical notes after with the performer acquires permission from guru to get ready for the performance.
b. Rang devata stuti (Prayer to the Rangadhidevata stuti
c. Pushpanjali
Vighananam Nashanam Kartum Bhutanam Rakshanaya Cha!
Devanam Tushtaye Chapi Prekshakanam Vibhutaye !!
Shreyase Nayakasyatra Patrasamrakshanaya Cha!
Acharya Shikshasidhyartnam Pushpanjalim Atharabhet!!
d. Natyrakrama
Attribute ----To be performed By
1. Song (Geetam) ---- Orally by the performer Herself(Asyena)
2. Conveying meaning (Artha pradrshan) ---- Hands(Hastena)
3. Expressing emotions(Bhava pradarshan) ---- Eyes(Chakshurbhyam)
4. Beat of time(Talam) ---- Feet (Padabhyam)
A very important dictum for effective presentation of dance is explained here.
Wherever the hands go, the eyes should follow, the mind follows the eyes and the expressions thoughts of the mind. One can say that this sutra gives a hallmark of performing classical dance in a gist.
Hasta---------Drushti-------Manas------Bhava------Rasa
Having explained all this in detail, the author proceeded to give an account of The 4 types of Abhinaya.
3) Types of Abhinaya
●Angika
●Vachika Words, kavya etc
●Ahaarya Hara keyuradibhi
● Sattvika
Angika Abhinaya sadhanan
Details of parts of the body facilitating the Express of Angika abhinaya ( Angika abhinaya sadhakani)
Description of the major 6 angas including Head ( Sheera) Arms ( Hastau) Chest ( Vaksha) Hips ( Katitatau) Flanks( Parshav) Feet ( Padau) ,
This division of body parts Bears resemblance to the Shadanga sharer explained in Sushrut samhita of Ayurveda.
Hereafter comes the explanation of pratyangas and upangas.
Opinion of others ( which the author may not want to either refute nor accept ) regarding the inclusion of neck in the Angas is also included!!
Later comes the explanation of bodily movements under following heads:
Type of Movement & Number -
1. Shirobheda(Head movements) - 9
The entire text is composed in the poetry (Padya) form . ‘Anushtupa chhand' , ‘Sragdhara’and ‘Shardulvikridit’ are the predominantly used meters for the composition of AD
This ‘padya' format facilitates the ‘memorizing and recitation’ method of gaining knowledge. In the traditional Indian System of education ‘ Patha-Anushthan-Avabodha' was the sequence one followed to gain knowledge
The author of the work is ‘Nandikeshwara ‘ who is believed to have been an inhabitant of the southern India.
The time period ( antiquity) of the work can be fixed around 1000AD.i
The association of AD with Natyashastra (NS)( of Bharat Muni) and Sangeetaratnakar (SR) (of Sharanga Deva) can be understood as follows.
Regarding the time of composition, AD proceeds NS and proceeds SR .ii
Regarding the contents, Sharanga Devq has quoted Nandikeshwara in his work Sangeetratnakar a couple of times.
And although AD is considered to have been greatly influenced by NS, it bears a few differences as follows.
1. In the Angika abhinay aspect, there are critical explanations about movements of each limb as independent , separate movements.
2. Karana and Angahara as explained NS do not find a place in AD.
The entire treatise of Abhinaydarpanam is devoid of divisions into chapters (Adhyaya) and is instead a continuous chain of poetic verses.
The topics chronologically discussed are as follows:
1) Introduction
a) Consists of an inventory verse
Prayer to the Lord Natraj with the Simile of the 4 types of Abhinaya ( Angika , Vachika, Aharya , Sattiva) is beautifully pwoven together in the first shloka.
b) After ‘Namaskriya’ comes the (Natyopatti)
The ‘5th' veda( Natyaveda) is regarded as an amalgamation of concepts for the 4 existing veda ( Rigveda Yajurveda Samaveda and Atharvaveda)
mention of ‘Lasya' ‘Tandav' feminine and masculine manifestations of Indian classical dances
There is a precise account of the evolution of dances from celestial art form to its descend on the earth accessible to all human beings.
c) ‘Natya prashansa' the explanation of the magnificience of dance is a form of expression for celebration and invocation for God.
d) Explanation of types of dance( Natanabheda) as follows:
Nrutta- Exclusive bodily movements devoid of emotions and facial expressions
Natya- Expressions conveying traditional stories and mythology
Nritya- Combination of the above two. ( Regarded worthy to be performed in the royal courts! (etat nrutyam maharajasabhayam kalpayet sada!’) These 3 Natanabheda are intricately related with the 4 types of Abhinaya .
e) ‘Natanaprayagakaal’ – the occasions where performing Nritya are recommended. These I include religious festivities, coronations, marriages, auspicious occasions among others.
●The audience[Sabha] ( comprising Sabhapati , Mantri and the audience in general)
The Sabha is compared to a wish granting tree where the vedas are its branches, the Shastra as its adorable flowers and the learned people flocking towards it as buzzing honeybees.
The seating arrangement of the audience is described as Sabha rachana .
The stage is termed as ‘ Rang’ and the audience is seated facing it.
f)The performing troupe
● The arrangements of the performing troupe,
● The performing maiden(Patra) in the middle with a good dancer (natottam) accompanying her. (This gives an insight of the concept of a sole performance prevalent.
The Taladhari, Vocalis(geetakari), and Shrutikara flanked by two Mrudunga players should be seated on the right side of the Patra on the Ranga.
g) The characteristics of the performer are explained further in the form of
1} Patra Lakshan (virtues of the performing damsel)
2} Varjaneeya patra (characteristics to be avoided in the performing damsel)
3} Patraprana (10 cardinal qualities of the performing maiden)
● Kinkini lakshanam– the feet bells of the performer get the attention. They should be made of Kansya and tiny melodies bells 100- 200 held together with a blue thread at a distance of 1 anguli.
2) Sequences of items in a performance
a. Invocation Vighnesh, Murajadhipati Gaganand Mahi with musical notes after with the performer acquires permission from guru to get ready for the performance.
b. Rang devata stuti (Prayer to the Rangadhidevata stuti
c. Pushpanjali
Vighananam Nashanam Kartum Bhutanam Rakshanaya Cha!
Devanam Tushtaye Chapi Prekshakanam Vibhutaye !!
Shreyase Nayakasyatra Patrasamrakshanaya Cha!
Acharya Shikshasidhyartnam Pushpanjalim Atharabhet!!
d. Natyrakrama
Attribute ----To be performed By
1. Song (Geetam) ---- Orally by the performer Herself(Asyena)
2. Conveying meaning (Artha pradrshan) ---- Hands(Hastena)
3. Expressing emotions(Bhava pradarshan) ---- Eyes(Chakshurbhyam)
4. Beat of time(Talam) ---- Feet (Padabhyam)
A very important dictum for effective presentation of dance is explained here.
Wherever the hands go, the eyes should follow, the mind follows the eyes and the expressions thoughts of the mind. One can say that this sutra gives a hallmark of performing classical dance in a gist.
Hasta---------Drushti-------Manas------Bhava------Rasa
Having explained all this in detail, the author proceeded to give an account of The 4 types of Abhinaya.
3) Types of Abhinaya
●Angika
●Vachika Words, kavya etc
●Ahaarya Hara keyuradibhi
● Sattvika
Angika Abhinaya sadhanan
Details of parts of the body facilitating the Express of Angika abhinaya ( Angika abhinaya sadhakani)
Description of the major 6 angas including Head ( Sheera) Arms ( Hastau) Chest ( Vaksha) Hips ( Katitatau) Flanks( Parshav) Feet ( Padau) ,
This division of body parts Bears resemblance to the Shadanga sharer explained in Sushrut samhita of Ayurveda.
Hereafter comes the explanation of pratyangas and upangas.
Opinion of others ( which the author may not want to either refute nor accept ) regarding the inclusion of neck in the Angas is also included!!
Later comes the explanation of bodily movements under following heads:
- Method of performing the movement
- Application (Viniyoga )
Type of Movement & Number -
1. Shirobheda(Head movements) - 9
2. Greevabheda(Neck Movements) - 4
3. Drishtibheda(Glances of the eyes) - 8
B)Movements of the parts from ‘Hasta Anga’
3. Drishtibheda(Glances of the eyes) - 8
B)Movements of the parts from ‘Hasta Anga’
●Asamuyta hasta (Single hand gestures ) 28 in number.
●Samyuta hasta(Combined gestures) 23 in number.
Description of Nritta hasta, Devata hasta, Dashavtar hasta and Bandhav hasta is present.
C)Movements of the parts from ‘Pada Anga’
A) Mandala bheda( Forms of standing)-10 types
This first mandala bheda is further classified as followed:
A1) Sthanaka bheda- Further divided into 6 types – samapada ekapada nagabandha aindrq garuda brahma
A2) Ayata
A3) Alidha
A4)Prenkhana
A5)Prerita
A6)Pratyalidha
A7)Swastika
A8)Motita
A9)Samasuchi
A10) Parshvasuchi
B) Utplavana bheda (Types of leaps)- 5 types
Alaga, Kartari, Ashva, Motita, Krupoalaga.
C) Bhramari bheda(Types of gyral movements-7 types
Utpluta, Chakra, Garuda, Ekapada, Kuncita, Akasha, Anga
D) Chari bheda(Types of strides)-8 types
Chalan, Chankramana, Sarana, Vegini, Kuttana, Luthita, Lolita, Vishama
E) Gati bheda(Types of gait)-10 types
Hansa, Mayuri, Mruga, Gaja, Turangini, Sinhi, Bhujamgi, Manduki, Veera, Manavi
With detailed account of movements, explanation of numerous varieties and their intricate association with each other. These must be learnt from direct observations of traditions and the benevolent grace of the righteous people. (Satam Anugrahanena!)iv
________________________________________________________________
REFERENCES:
i Nandikeshwara's Abhinayadarpanam edited and translated by Dr Manmohan Ghosh – Introduction ii Nandikeshwara's Abhinayadarpanam edited and translated by Dr Manmohan Ghosh-Intrdoduction iii AD verse 1
iv Dance Gestures ‘Mirror of Expressions’ Abhinayadarpanam, Sanskri with English translation by P Ramachandrashekhar Page 161 verse 324
●Samyuta hasta(Combined gestures) 23 in number.
Description of Nritta hasta, Devata hasta, Dashavtar hasta and Bandhav hasta is present.
C)Movements of the parts from ‘Pada Anga’
A) Mandala bheda( Forms of standing)-10 types
This first mandala bheda is further classified as followed:
A1) Sthanaka bheda- Further divided into 6 types – samapada ekapada nagabandha aindrq garuda brahma
A2) Ayata
A3) Alidha
A4)Prenkhana
A5)Prerita
A6)Pratyalidha
A7)Swastika
A8)Motita
A9)Samasuchi
A10) Parshvasuchi
B) Utplavana bheda (Types of leaps)- 5 types
Alaga, Kartari, Ashva, Motita, Krupoalaga.
C) Bhramari bheda(Types of gyral movements-7 types
Utpluta, Chakra, Garuda, Ekapada, Kuncita, Akasha, Anga
D) Chari bheda(Types of strides)-8 types
Chalan, Chankramana, Sarana, Vegini, Kuttana, Luthita, Lolita, Vishama
E) Gati bheda(Types of gait)-10 types
Hansa, Mayuri, Mruga, Gaja, Turangini, Sinhi, Bhujamgi, Manduki, Veera, Manavi
With detailed account of movements, explanation of numerous varieties and their intricate association with each other. These must be learnt from direct observations of traditions and the benevolent grace of the righteous people. (Satam Anugrahanena!)iv
________________________________________________________________
REFERENCES:
i Nandikeshwara's Abhinayadarpanam edited and translated by Dr Manmohan Ghosh – Introduction ii Nandikeshwara's Abhinayadarpanam edited and translated by Dr Manmohan Ghosh-Intrdoduction iii AD verse 1
iv Dance Gestures ‘Mirror of Expressions’ Abhinayadarpanam, Sanskri with English translation by P Ramachandrashekhar Page 161 verse 324
Comments
Post a Comment