Sangitopanishat Saaroddhaarah: V. V. Srivatsa
Authored by Shri Sudhakalasha; edited and translated by Allyn Miner; published by IGNCA, New Delhi – 110 001 & Motilal Banarsidass Publishers Pvt. Ltd. New Delhi – 110 007. Price : Rs. 400/-
estern India was the epicentre of musicological activity in the fourteenth, fifteenth and sixteenth centuries, a fact not accorded due cognisance. The Sangitopanioshat Saroddhaarah is a treatise by a Jain monk, Shri Sudhakalasha. It is positively antecedent to the Sangita Ratnakara and precedent to Srikanta’s ‘Rasakowmudi’ and Pundarika Vitthalas’s ‘Sadragachandrodaya’. Modelled after Sarngadeva’s magnum-opus, this monumental work, through its six major chapters gives an adequate macro-picture of the musico-aesthetic scenario that was in vogue.
The author concurs more or less with the origin of nada and the functionality of the bio-system in respect of sound-production, with the views of earlier authors. It is interesting to note that swaras are given corporeal forms and are described in detail. Consequently ragas also have forms; perhaps, this is an early insight into the raga-ragini system of Hindustani Music. Shri Sudhakalasha defines geeta and prabandha and is emphatic in his view on nibaddha and anibaddha sangeeta. We note with interest, the monk’s interpretation of the term, roopaka – used primarily to denote some types of musical compositions.
Shri Sudhakalasha refers to margi and deshi forms of music but does not provide adequte data to distinguish between the two types. The dhruva-pada type has been discussed in detail, which we now know as the dhrupad form. There are separate sections for instrumental-classification and tala-prakarana; as well. Credit has to be given to the author for his correct enunciation of terms relating to performance contexts lakshya and musicological contexts lakshana.
Shri Sudhakalasha has no qualms in ascribing musical facets to traditionally Hindu Divinites like Brahma, Vishnu, Shiva and Shakti but frequently reaffirms his faith in the supremacy of the Jaina. The contribution of Jain musicologists to Indian Music is hardly appreciated. We have monumental contributions, such as Brihatkathakosha of Harisena, Tilakamanjari of Dhanapala, Prabhandhakosha by Rajashekara and others. We should not forget that the peerless Parshwadeva was a Jain. Perhaps, Sangeeta was accorded a lofty status in Hinduism, higher than that accorded in Jainism. A perusal of books like that being reviewed, will establish the fact that even nihilistic faiths like Jainism did espouse the cause of culture.
The translation and interpretation by Allyn Miner is precise and faithful. We note with some regret the reasons attributed to the lack of popularity of the Sangitopanishat Saroddaroh – they being the advent of sampradaya (gharanas) and the lack of royal patronage. We have to concur with this view, duly bearing in mind, the fact that Pundarika Vitthala, enjoyed the patronage of the Shatrushalya (Chattarsal) dynasty.
The musicological fraternity owes a debt of gratitude to the Indira Gandhi National Centre for the Arts and to Motilal Banarasidass Publishers, for having published this book, which, without doubt, would be a welcome addition to any library.
V.V. Srivatsa
We duly acknowledge the Madras Music Academy & Dr. V.V. Srivatsa, member of the Academy’s Advisory Experts Committee and founder of Guruguhanjali, a movement to propagate the compositions of Muthuswami Dikshitar. We are grateful for their permission to reproduce the review which had earlier appeared in the Journal of Music Academy.
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