Natyashastra Period
Natyashastra was written by the Acharya Bharat
belongs to a sage descendent in near about 2nd century. It has been a
huge controversy among scholars about the exact time period of Bharat Muni and inscribes of Natyashastra. Few of the scholars believe
that Bharat is like the post or the
title held by the supreme Sage Sect and others believe that Bharat is only a person. Swami Prajnanananda wrote in his book,
History of Indian Music, Bharata was really a title, and it was used to be
conferred upon those who were efficient in arts and science of drama, and
as such there were many personages with the title. He further wrote, Bharat in
ancient times, such as vriddhabharat or Brahmabharat, Sadashivabharat,
Kashyapbharat, and Nandibharat, to name only a few. If we go with the opinion with a large number of scholars in Literature and Performing Arts, the historic
book on Indian drama and its component along with music and dance were compiled
by Acharya Bharat during 2nd century BCE to 2nd century
CE (Prajnananda, 2002).
Natyashastra was the first evidence and the written text in Indian Drama and its allied subject
describes the various fundamental principle in Drama, Music, and Dance. In this
epic text, Acharya Bharat has explained the development of a methodical and
scientific system of Indian classical music along with dance and drama. It is
a large collection of 12000 verses describing the various aspect of music and
drama in a total of thirty-six chapters. Among the huge collection of Shlokas, 6000
verses of Natyashastra are found available in a part. Natyashastra is also
called the Natyaveda which forms one of the four Upavedas, covering over 36000 verses supposed to be written by Lord Brahma. It is compiled in 36
chapters (Kashi edition whereas the Kavyamandal edition, Bombay contains 37
chapters). Content related to Music is defined in chapters twenty-eight to thirty-three. The twenty-eighth chapter deals with the classification of
musical instruments in 4 categories (Tatvadya,
Avanadhyavadya, Shushirvadya, and Ghanvadya), and the definition of Gandharva music and its major division
and the meaning of Kutup. In this
chapter, he also describes the Shruti and its determination from a Sarana-chatushtai meaning and characteristic of eighteen Jatis among
which seven Suddha Jati and 11 Vikrit Jatis, seven swar, Vadi, Samvadi,
Anuvadi, and Vivadi tones and ten characteristics (Das Lakshyana) of Jati. Chapter twenty-nine deals with the Jatits and their emotions- Rasa, four kinds of Alankars, Geetis, and Dhatus.
This chapter also defines all
about the playing technique of Vipanchi
and Chitra Veena. Here Bharat
illustrates 9 String Vipanchi Veena played with Plectrum (Kona) and seven string
Chitra Veena played with fingers. The thirtieth chapter of the Natyashastra deals with the wind instrument. Here he describes various aspects of sound and sound
production in the Shushir Vadhya
category. The thirty-First chapter of the book deals with the rhythmic formation of Indian Classical Music. In this chapter, Bahrat
describes the Tala, Laya,
and Kala along with the three subdivisions of Kala- Chitra, Vartika, and
Dakshina. The thirty-Second chapter of the Natyashastra deals with the sixty-four
Dhruvas and their characteristics,
six special Dhruvas and Chhand. This
chapter also deals with the qualities of Veena-Vadak
and the merits and demerits of Gayak,
Vadak, Nats, and Natis. Thirty Third chapter of the Natyashastra deals with
the origin of Avandahya Vadhya, its
division, and its playing technique in detail.
Apart from these music
chapters, a few other chapters relating to music and drama are also discussed in
Natyashastra. Chapter second deals with the auditorium (Prekshagrihya) and its measurements. In this chapter, the writer defines the three different types of Auditorium and description and measurement
of the various angle of the stage and audio. The third chapter deals with the rituals and
sacred functions during Natyamanchan.......
To be Continue.......
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