Editing Maheshwara Mahopatra's Abhinaya Caṅdrikā treatise


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

''Abhinaya Caṅdrikā'' text is a small treatise on Odissi dance, describing its characteristics, that has helped to revive and re-establish the Odissi dance during 1960s. The text has been crucial to the study of Odissi dance, as it follows the principles laid down by ancient treatises, but stands out unique because it deals with some important aspects concerning regional traditions of dance. DN Pattnaik has edited and translated the text into English and Oriya, in a book form, published by Smt. Bina Mohanty from Cuttack. In addition, a critical edition and translation of this text has been done by Dr. Maya Das along with Prof. Sushma Kulshreshtha, and Prof. A. C. Sarangi, in the year 2001with Eastern Book Linkers as publishers.  

== '''About the text and author''' ==
''Abhinaya Caṅdrikā'': ''‘Abhinaya’'' means the Art of communication and ''‘Candrikā’'' means throwing light on the subject treated. Therefore, ''Abhinaya Caṅdrikā'' can be considered as the text that throws light on the subject dealing with Abhinaya; it has been written by an author called Maheshwara Mahopatra, during the 17<sup>th</sup> / 18th CE. The author’s father is said to have adorned the court of Sri Narayana Deva of Khemundi kingdom. The king is the repository of all learning and holds the title of ''Anangabhīmadeva'' and is also known as ''Gajapati'', a popular ruler.

== '''Contents and Chapterisation''' ==
''Abhinaya Caṅdrikā'' consists of about 1000 verses under 3 ''khandas'' – ''Prathama, Dvitīya'' and ''Tṛtīya''.

The '''''Prathama khanda''''' deals with ''Nṛtya khanda,'' beginning with benedictory verses on ''Gaṇeśa'' and ''Jagannātha''. Here, ''Jagannātha'' is referred to as ''Dāru Brahma'', who is the symbol of all knowledge, as the image is built of ''Dāru'', meaning wood. The text says that the learning of ''Nigam'' (''Veda,'' ''Upaniṣad''), etc is the prime source of knowledge, which is the most noble one. Amongst 18 branches of learning, four gives pleasure; and they are ''Siddha, Yakṣa, Gāndharva Vidya'' and 64 types of arts.

Further, the text narrates about ''Gāndharva Vidya'' which is the superior of other art forms. A combination of song, instruments and dance together is music. ''Laya'' (a pause in music), ''Tāḷa'' (rhythm) and ''Māna'' (a measure); practice of various musical notations, playing of ''Mṛdanga'', ''Vīṇa'' and ''Paṭaha'' in different ''tāḷas'' – all these are essential to ''Sangīta''. ''Gīta'' and ''Vādya'' are pleasant to listen; while Dance scene is more attractive to watch/witness. The text also says that a person having no knowledge on dance and song is considered as an animal.

The text continues to talk about the places where dance should be or should not be performed. It further elaborates on the origin of dance and says that though dance follows ''Tāḷa, Māna'' and ''Rasa'' as depicted in ''śāstras'', yet there are established regional dance forms. This statement clearly states that the text stands out unique as it deals with some important aspects concerning regional tradition of dance, especially that of ''Udra-Gāndharva'' dance. ''Udra'' here means the present-day Odisha.  

The text also considers two other types of presentations - ''baddha'' and ''abaddha''. ''Baddha'' is the dance that strictly follows the rules and ''abaddha'' is the dance that does not follow specific rules. The text states that ''udra nṛtya'' belongs to ''baddha nṛtya'' because it follows specific rules pertaining to hand gestures, foot movements, eye movements and songs.

The text also mentions other seven ''baddha nṛtya'' traditions including ''udra nṛtya''. They are ''Māgadhi, Souraseni, Karṇāṭa, Gauda, Kerala, Pañcanadi'' and ''Udra''. According to the above verse, ''Māgadhi'' has ‘''bhāva pradhāna''’ features which means that the dance tradition focussed primarily on emotional aspects. It can be noted that the present-day Bihar was called as ''Magadha deśa'' in ancient days. It is also possible to recall that ''Nāṭyaśāstra'' has mentioned ''Odra Māgadhi'' as one of the ''Pravṛttis''. In all probability ''Sauraseni'' belonged to the region of Maharashtra and is well known in body movement; Kerala is known for presentation; ''Gauda'' form might have belonged to Bengal and the tradition consisted of ''yugma'' (duet) dance; ''Karnāṭa'' is known in every respect.

''Karṇāta'' tradition belonged to the region of Karnataka and the author places on record that this tradition was all encompassing. ''Karṇāṭa'' tradition comprised of all the characteristics of dance which means the tradition must have had well balanced ''nṛtta'' and ''abhinaya'' aspects (‘''Karṇāṭe sarvarūpeṇa’''). This indicates that the text codified the techniques of a highly evolved classical dance, a precursor to the present day Odissi dance form.

The '''''Dvitīya khanda'',''' which is ''Bhāva khanda'', consists of ''Bhāva'' (the emotion)'', Rasa'' (essence)'', Karaṇas'' (a combination of the movement of Dance Hands, feet and postures)'', Dṛṣṭi'' (eye movements)'', Mukha bheda'' (variations of the face)'', Vakṣa bheda'' (chest movements)'', Kaṭi'' (waist movements)'', Prayoga-vidhi'' (different ways of adapting them) ''and Sarava-Nirava''. ''Sarava'' is the ''abhinaya'' or the meaningful miming on words, whereas ''Nirava'' is purely ''nṛtta'' done by using the body parts. The benefits of ''bhāva'', their patterns and varieties, in dance have also been explained.

The '''''Tritīya khanda''''', that is ''Chhanda khanda'', deals with prosody or the metres, in general. Prosody is regarded as one of the six ''Vedāngas'' or auxiliaries to the ''Vedas'', the other five being ''Śikśa'' (acquisition of knowledge), ''Vyākaraṇa'' (grammar), ''Kalpa'' (formation), ''Nirukta'' (etymologies, i.e., study of the origin of words) and ''Jyotiṣa'' (astrological science). The chapter talks about ''Baṭu Nṛtya'', which is the precursor of the present-day Odissi dance. The present-day Odissi dance performance that includes ''Baṭu Nṛtya'' consists mainly of ''nṛtta'' (rhythmic patterns) dance aspects. 

The text also gives few examples of the compositions of ''Krishnadāsa'', who was the author of ''Gītaprakāśa'' text, that deals mainly on the musical aspects, especially of Odishan region.

The text ''Abhinaya Caṅdrikā,'' stands important featuring peculiar characteristics of Odissi dance that has helped to revive and re-establish the dance during the 1960s. 

== '''References''' ==
·        Das, Maya (2001). Abhinaya-Candrika and Odissi Dance, Delhi: Eastern Book Linkers.

·        Ghosh, Manomohan (2020). Natyasastra, Varanasi: Chaukhamba Surbharati Prakashan.

·        Mohanty, Prasad (2017). Abhinaya Chandrika, Cuttack: Smt. Bina Mohanty.

·        Mohapatra, Krishnadas (1983). Geeta Prakash, Bhubaneswar: Orissa Sangeet Natak Akademi.