NARTANANIRNAYA of SRI PANDARIKA VITTHALAISBN : 81-208-1217-9Edited By :R. SATHYANARAYANA
(1994, Vol. I, xiii+357pp.)
The Nartananirṇaya is one of the notable Sanskrit treatise on Indian music and dance, appearing after the Saṅgītaratnākara of Śārṅgadeva. Its author Śrī Paṇḍarīka Viṭṭhala (sixteenth century) was a profound and versatile scholar who had also written Ṣaḍrāgacandrodaya, Rāgamālā, Rāgamañjarī, Dūtīkarmaprakāśa and Śīghrabodhinī-nāmamālā.Read MoreHe adorned the courts of Hindu and Muslim kings, including those of the rulers of Jaipur and Mughal Emperor Akbar.
With a unique methodical plan, the Nartananirṇaya progresses through stepwise contributions of the cymbal player, the mṛdaṅga-player and the singer to dancing, in the first three chapters before culminating in its longest and fourth chapter on the dancer. This chapter contains many novel features in the performance conventions and repertoire including some dance forms of both the south and north India. Its delineation of bandha nṛtya and anibandha nṛtya deserves serious attention of both traditionalist and innovative dancers.
The presentation is based on extensive and wide-ranging critical apparatus; it offers detailed text-critical and exegetical comments. The text is supported by a readable translation as well as comprehensive and erudite commentary and numerous indices.
Volume ISBN Price 1994,Vol. I, xiii+357pp. 81-208-1217-9 Rs. 450 1996,Vol.II,xi+491pp 81-208-1218-2 Rs.650 1998 Vol. III, xi+557pp. :81-208-1219-0 Rs 800
RAGALAKSANA SRI MUDDHUVNKATAMAKHINISBN : 978-81-208-3408-8Edited By :R. SATHYANARAYANA
(2010, xvii + 376 pp)
The Rāgalakṣaṇam was composed by Mudduveṅkaṭamakhin in Tanjore in the early eighteenth century CE. It is an important text of Karnataka music and appeared in an effervescent epoch in the development of this music system of which it deals only with rāga…Read MoreIt collects, classifies, codifies and characterizes the entire music base of the Indian peninsula. The author was a musician, musicologist and music composer of high order. His contribution to the world of music is twofold; systematization of the theory of rāga content of his times and creating music to crystallize the character and scope of each rāga described.
The author derived his inspiration from his great-grandfather, Veṅkaṭmakhim who revolutionized the theory and practice of Indian music through his scheme of seventy-two melas. His Caturdaṇḍīprakāśīkā illustrates the four fun dam en tal components ( daṇḍī of music-gīta, ālāpa, ṭhāya and prabandha, which his paramaguro (teacher’s teacher) Tanappa postulated and illustrated. His own guru was his father Govindadīkṣita who made the first daṇḍīs in practice in his Saṅgītasudhā.
Thus a line of four important musicians musicologists-composer of south India – Tānappā, Govindadiīkṣita, Veṅkaṭamakhin and Mudduveṅkaṭamakhin -built up or reorganized a textual tradition which supported a living dynamic tradition of performed music in which hundreds of composers, thousands of performers and countless listeners endeavoured to continuously strengthen and nourish it. The Rāgalakṣaṇam marks an important phase of this great evolution.
RAGAVIBODHAISBN : 978-81-208-3794-2
The Ragavibodha is a masterpiece on musicology from the 17th century. It was composed by SomanŒtha to address the existing contradictions between the ancients’ theory and prevailing performance practices; thus making it an indispensable treatise, to be included in the Kalamulasastra series of the IGNCA.
SANGITANARAYANA of SRI PURUSOTTAMA MISRAISBN : 978-81-208-3289-3Edited By :Mandakaranta Bose
(2009, xix + 968 pp)
The Saṅgītanārāyaṇa is a Sanskrit text on music and dance written in the seventeenth century by Puruṣottama Miśra, a minister at the court of King Gajapati Nārāyaṇadeva of Parlākimiḍi in Orissa and his instructor in musicology, with the assistance of the king…Read MoreWhile the precise date of the Sang”itaniiriiya1Ja is not known, its relationship to Puruṣottama Miśra and Gajapati Nārāyaṇadeva prompts us to place it in the first half of the seventeenth century.
One of the most valuable and extensive texts on music and dance from eastern India, the Saṅgītanārāyaṇa consists of four chapters, the first on vocal music (gītanirṇaya), the second on instrumental music ( vādyanirṇaya), the third on dance and dramatic art (nāṭyanirṇaya), and the fourth chapter that provides examples of musical compositions (śuddhaprabandhodhāraṇa).
Altogether fifteen manuscripts of the text are known to exist, some full and some fragmentary. An edition of the text comprising all the four chapters was published first by Orissa Sangeet Natak Akademi in 1966 under the joint editorship of Pandit Vanambaracarya, Kavichandra Kalicharan Patnaik and Shri Kedarnath Mahapatra. A more recent edition of the three musicological chapters was accomplished in 1987 by Jonathan Katz at Oxford but remains yet unpublished. Present edition is the first critical edition, which also provides an English translation of the text.
SARASVATIKANTHABHARANAMISBN : 978-81-208-3281Edited By :Sundari Siddhartha
(2009, 466pp., abb., intra.)
The Sarasvatīkaṇṭhābharaṇam is a work on poetics (Bhoja has another work on grammar under the same name). This encyclopaedic compilation is a record of the wide range of human experience and knowledge that interested Bhoja…Read MoreIt discusses the usual topics of poetics in an unusual manner- doṣa, guṇa, doṣaguṇa, alaṁkāra, rasa, dṛśya and śravya kāvya. There are many earlier editions of this work, some with even two commentaries. But this alone has an English translation. The text has been exhaustively and incisively edited, without obscuring Bhoja’s thought and intent.
Poetry cannot be fitted into rigid classes either of matter or of manner. Rightfully is Bhoja unfettered by the terms and definitions, armed with which writers try to study “great poetry”. Bhoja has a practical approach and does not involve in the speculation on the soul of poetry. He holds rasa to be the crux of poetry. Śṛṅgāra is the foremost which can gather into itself all the other rasas. Bhoja uses Abhimāna and ahaṁāra as synonymous with rasa. It is, hence, inferred that the identification with the action and with the chief character, on the part of the reader, brings about this delight. The self-transcending state of aesthetic delight, spoken of by Abhinavagupta may be a more advanced stage of this joy.
SILPA-PRAKASAISBN : 81-208-2052-5Edited By :BETTINA BÄUMER, RAJENDRA PRASAD DAS AND SADANANA DAS
(2005,xix+471pp., 21 figs., plates, notes, gloss., bibl., indexes)
“The Śilpa-prakāśa is an important addition to the existing literature on Indian Śilpa texts” (V.S. Agrawala)…Read MoreThis early text on Orissan Temple architecture (possibly from the tenth century CE) describes various temple types of Orissa, but especially a tantric temple termed Vimānamālinī with its sub-types padmagarbha and Kāmagarbha. The latter could be identified with the tenth century Vārāhī Temple at Caurāsī near Koṇārka. The text goes into great detail of the architecture, the iconography and the symbolism of all the parts of the temple. Its unique contribution lies in the description of yantras or symbolic diagrams underlying the architecture as well as sculpture.Read less
The original author was not only a practising tantric, but also an expert architect speaking from experience. The text was first discovered, edited and translated by Alice Boner with the help of Pandit Sadasiva Nath Sarma of Purī, and published by Brill (Leiden) in 1966. The present edition is a completely revised version of text and translation, with new illustrations, on the basis of a palmleaf manuscript, with added indices.
This edition will be extremely valuable for understanding not only the temple construction but
the entire symbolism underlying the unique temples of Orissa.
SILPARATNAKOSAISBN : 81-208-1216-0-1Edited By :BETTINA BAUMER and RAJENDRA PRASAD DAS
(1994, ix+228 pp.,illus., plates, gloss., bibl., indexes)
The Śilparatnakośa is a seventeenth-century CE Orissan text describing all the parts of the temple and the most important temple types of Orissa, such as the Mañjuśrī and Khākāra…Read MoreIt also contains a section on sculpture (Prāsādamūrti) and an appendix on image-making. The text, though much later than the temples described, reflects the still-living tradition and contributes much to clarify the terminology of Orissan temple architecture. It also contains interesting references to the symbolism of the temple and its elements. The most important contribution of this text, however, lies in the identification of the Mañjuśrī Temple with the Śrīcakra, which has helped to re-identify the Rājarānī Temple at Bhubaneswar as a temple dedicated to Rājarājeśvarī in the form of a Śrīcakra.
ŚRĪHASTAMUKTĀVALĪ OF SUBHANKARA KAVIISBN : 81-208-0829-0Edited By :MAHESWAR NEOG
Many texts on music, dance and drama continued to be written in different parts of India through the seventeenth century.Read MoreBetween the twelfth and the sixteenth century, regional styles emerged.Of the medieval texts Śubhaṅkara Kavi’s Śrīhastamuktāvalī belongs to the eastern tradition and is significant for its detailed treatment of the hastas (hand gestures). While there is ambiguity with regard to its origins, the text has been found in Maithili and in Assamese transcripts. It throws light on the language of the hand gestures which may have been followed in the eastern regions.
The editor points out the similarities as also differences in the treatment of the subject in Śrīhastamuktāvalī, Nāṭyaśāstra and the Saṅgītaratnākara traditions.
ŚṚṄGĀRAPRAKĀŚA : SAHITYAPRAKASHISBN : 181-85503-14-1Edited By :Revaprasad Dwivedi and Sadashiv Kumar Dwivedi
(2007, 860pp., abb., Intro.,)