Nīlakanṭha’s Sangītār̥ṇavacandrikā treatise

Authored by Dr Shalini P Vittal. Published by Noopura Bhramari IKS 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^th 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^th 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^th 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 Abhinaya 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.

Conclusion

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.

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