Editing Nīlakanṭha’s Sangītār̥ṇavacandrikā treatise


Authored by '''Shalini P Vittal'''. 
Published by '''Noopura Bhramari IKS [https://www.noopurabhramari.com/ Centre]'''  

''Sangītārṇavacandrikā,'' as the name suggests, is a treatise on ''Sangīta''. Literally, the name ''Sangītārṇavacandrikā'' means moon shine on the sea of ''Sangīta''.  

== About the author ==
''Sangītārṇavacandrikā,'' belongs to the 17<sup>th</sup> CE, written by ''Nīlakanṭha'' of Orissa, that deals with dance and musical texts. The author ''Nīlakanṭha'' happened to be the King of Kerala, (which should not be confused with the present Kerala state). The Kerala, mentioned in ''Sangītārṇavacandrikā'' is a small and a fertile region in the district of Cuttack in Orissa. He is the author of both ''Sangītārṇavacandrikā'' and ''Nāṭyamanorama'' treatises (early 18<sup>th</sup> CE).  

== Contents of the treatise ==
The contents of ''Sangītārṇavacandrikā'' text are dealt with in five chapters, designated as ''Ullāsas''. The first three chapters deal with ''Gīta'', the fourth chapter on ''Tāḷa'' and the fifth on ''Vādya'' and ''Nṛtya''. It is to be noted that a combination of ''Gīta, Vādya'' and ''Nṛtya,'' was referred to as ''Sangīta'' in many of the earlier treatises. For example, ''Śārngadeva'' in his ''Sangītaratnākara'' (13<sup>th</sup> CE) states thus –

'''''Gītam vādyam tathā nṛtyam, trayam sangītamucyate''''' (''Sangītaratnākara,'' chapter 1, ''śloka'' 21'')''

The same has been influential to the following authors and their works, including the present text of discussion ''Sangītārṇavacandrikā.'' Each of the three constituents namely ''Gīta, Vādya'' and ''Nṛtya'' have been individually dealt with by the author of ''Sangītārṇavacandrikā''.

The text refers to the authors and the treatises quoted by him like ''Bharata, Matanga, Śārngadeva'' and some lesser-known authors like ''Śiromaṇi, Ratnamāla, Harināyakasangītasāra, Kalpavalli, Sangitāmbodhi'', etc.

=== Chapterisation ===
The text ''Sangītārṇavacandrikā'' begins by offering salutations to deities ''Padmanābha'' and ''Rādha-Krishna'', followed by a ''Cūrṇikam'', which is a style of prose composition. 

The text goes on to discuss on the topics of ''Nāda'' (sound), ''Śruti'' (pitch), ''Svara'' (musical notes), ''Gamaka'' (glides between the notes), ''Grāma'' (a collection of properly fixed ''svaras''), ''Mūrchhana'' (a specific selection of the ''svaras'' starting from a designated root note), ''Tāna'' (elaboration) and ''Jāti'' (a rhythmic pattern).

Further, the text deals with ''Rāgas'' (colour), ''Rasas'' (essence) with ''Nāyakas'' (heroes) and ''Nāyikās'' (heroines). Later on, the text goes on to further deal with ''prabandhas'' (compositions) and gives the characteristics of few of them. The text gives a detailed treatment of all varieties of ''Kṣudragītas'' (minor compositions) with necessary illustrative songs from different sources such as ''Gītaprakāśa, Sangīta Nārāyaṇa'', etc. A separate chapter on ''Tāḷa'' or the time measure is dealt with, followed by singers of three types – ''Uttama, Madhyama'' and ''Adhama''. The faults of the singers and qualifications of a ''Vāggeyakāra'' (a composer) have been described.

The last chapter of ''Sangītārṇavacandrikā'' deals with both ''Vādya'' (musical instruments) and ''Nṛtya'' (dance). The four kinds of ''Vādyas'' like ''Tata, Suṣira, Ānaddha'' and ''Ghana'' are described. A complete and vivid description with process of manufacture of few stringed instruments like ''Alāvani, Brahmavīna, Kinnari'' and many more can be seen.

Also, the ''Mardala, Mṛdanga, Muraja'', and different techniques of playing the ''mṛdangam,'' different kinds of strokes, different ''gatis'' (rhythmic progression), are all given.

The Ghana or the solid instruments like ''Tāḷa (Kamsyatāḷa)'' and ''Karatala'' have been described in detail.

With respect to the ''Suśira Vādyas'', the author introduced such as ''Vamśa, Pari, Mādhuri, Tittiri, Śankha, Kahaḷa, Todahi, Murali, Cukka, Sṛṇgika, Svaranābha, Sṛṇkhala, Pikavaṁśa, Carmavaṁśa''.

=== Details of Dance and Abbhinaya in the text ===
Moving on to the subjects like ''Nāṭya, Nṛtya'' and ''Nṛtta'', all these three could be either ''Mārga'' or ''Deśi''. ''Nṛtta'' is further classified as ''Viṣama (acrobatic), Vikaṭa (crooked in form, dress)'' and ''Laghu (graceful)''. Next, the author has given about ''Prākāra'' dance. The specific types of this are ''Kāṣṭhi Nṛtya, Jakkaḍi Nṛtya, Sāvari Nṛtya, Kuranjī Nṛtya'' and ''Mattāvalī Nṛtya''.

The author has given the method and technique of constructing play houses, its status-befitting seating arrangements specially on the occasion of a play, the president for the occasion and his qualifications, the suitable hours and duration of a play, the qualifications of the hero and the heroine of the play, qualifications of spectators, the qualifications of a good dancer, the body-building exercises so as to attain endurance, suppleness and tenacity, the qualifications of dance master and directors and so on.

Special emphasis is laid on the physical and also intellectual accomplishments of a danseuse who is always to be preferred to a male dancer. Young women are supposed to be the cause and root of ''Rasas''. So, the three stages of youth have also been described after specifying the merits and de-merits of ''pātras (characters)''.

The ''Jarjara Pūja (the puja offered to the danḍa/stick representing the presiding deity of the play house)'' indicates the starting of a performance, followed by the curtains of different colours. The usage of different colours indicates the predominant sentiment of the particular situation. Then comes the dressing up and decorating the danseuse from head to foot with befitting ornaments of various kinds, painting and annointing her with sandal paste, dyeing her feet with lacquer, her eyes with collyrium, etc.

The text prescribes the four-fold histrionic representation (''Abhinaya''), which is very important in dance. They are ''Āngika'' (body gestures)'', Vācika'' (speech)'', Āhārya'' (dress, make-up) ''and Sāttvika'' (natural, pure).

Dress, paint, beard, arms and ornaments, masks, etc , belonging to ''Āhārya'' ''abhinaya'', have to be used appropriately for the different characters according to their status, gender, profession, etc. different types of costume, ornaments, even garlands and flowers have been specified with meticulous care.

With respect to the ''Vācika'' ''Abhinaya'' the rules on the use of languages like ''Samskṛta'' and different types of ''Prākṛt'' such as ''Māgadhi, Āvanti'', etc, the appropriate language for the different characters of the play in keeping up with their social status, the different appropriate modes of address, the conventions of giving suitable names to the different types of characters, the four styles of Abhinaya (''Kaiśiki, Bhārati, Sāttvati and Ārabhaṭi'') and their origin, etc deserve attention.

The author has dealt with the three different grades of ''Pātras'' (dancers or actors) namely ''Uttama, Madhyama'' and ''Adhama''. This gradation is applicable to both genders.

The ceremonial entrance of the ''pātra'' to the stage from the greenroom is an important item because the first aesthetic impression of the ''pātra'' on the expectant spectators is of immense value. So, the text narrates with relevant quotations from ''Sangītaratnākara'' through ''Sangīta Nārāyaṇa''. The procedure involves consonant tuning of the musical instruments and playing of the instrumental compositions. At this juncture the ''pātra'' stands in a pose expressing ‘''Sauṣṭhava''’ (symmetry) with a handful of flowers (''puśpānjali''). 

After ''puśpānjali'' is offered, the ''pātra'' begins dancing to the ''prabandhas''.

With her major and minor limbs, with ''Rasa'' and ''Bhāva'' this danseuse is advised to build up a coordinated performance just as a garland maker prepares a well-knit garland with flowers of various hues and different shapes.

The next items for discussion are the actions to be avoided, in a show, the duration of performance and lastly, the spectators’ duty to cheer up the performer and not to expose the faults that might have come to their notice.

''Āngika abhinaya'' is discussed at the last. This type of representation depends on meaningful movements of different ''angas'' of the human body. The text talks about Head, shoulders, chest, sides, hasta, waist and feet as ''angas''. The ''pratyangas'' are neck, arms, wrists, back, belly, thighs, knees, ''Bhūṣaṇam (ornaments)''. The ''upāngas'' are sight, pupils, eyebrows, eye-lashes, mouth, nose, breath, chin, tongue, cheeks, teeth, lips, palms, fingers, heels, ankles, toes, soles, breasts. 

The text concludes by naming its author and the date on which the compilation of the text was completed.

With a keen observation, it can be understood that the text follows the very desire of the author in preservation of purity in vocal music, instrumental music and dance. Arts like music and dance, moving towards progression and evolution, have to cater to the taste of the people who enjoy it.


'''References:'''

Panigrahi Nilamadhab (1995). ''Sangītārṇava chandrikā,'' Bhubaneswar: Orissa Sangeet Natak Akademi.

Sastri, Subrahmanya (1953). ''Sangītaratnākara'' of ''Śārngadeva'', Madras: Vasanta Press.