1 Sanskrit Treatises on Music in Odisha Dr.

(Mrs) Manjushree Tripathy Music is the life inspiring force which gives real essence to the life. It is the solace of human beings. It is the most vibrant source of revealing the cultural heritage of any nation. However, it is the nadayoga, filled with purity, sanctity, serenity and spirituality for ever. Music has rightly been defined in the Natyamanorama as gitam vadyam ca nrtyamca trayam sangeetamuchyate (1.14). Thus, music is the summation of vocal, instrumental and dance taken together as a whole. This definition is also asserted by all other eminent musical treatises of India as well as Odisha. Musical treatises deal with musicology i.e. the science of music which is concerned with the Sashtric elements that mainly deal with the different technical terms, definitions and other allied components related to music, Most of the authoritative works on Indian Music are in Sanskrit. Different Siksha, the Pratishakhya Natyshatra and of other Vedic the Texts related to of

Samagana,

Bharata,

Bharatarnava

Nandikesvara, the Brihaddesi of Matanga, the Naradiya Siksa, the Sangitaratnakara of Sarngadeva, the Ragatarangini of Lochana, the Svaramelakalanidhi of Ramamatya, the Sadragachandradaya, the

Ragamala, and the Ragamanjari of Pundarika Vitthala, the Ragavibodha of Somanatha, the Sangitadarpana of Damodara, the

Caturdandiprakashika of Venkata Makhi, the Sangitaparijata of Ahbhola, the Ragatattvavibodha of Shrinivasa, Sangitasaramrita of Tulajaraja, are a few from a very long list of Sanskrit treatises on Musicology in all India level.

2 Odisha boats of a glorious tradition in the field of music. The portrait of dancers and musicians carved on ancient temple walls depict volumes regarding th rich musical heritage of Odisha. Situated on the eastern coast of India; Odisha imbibed the quintessence of cultural traditions of both Northern and Southern India, yet succeeded in developing a distinct identity of its own in the trifold realms of creative arts like the tribal, the folk and the classical art. Thus, the cultural

heritage of Odisha is one of the oldest, embracing a period of about three thousand years which exemplified the unique and commendable blend of ancient glory. Sanskrit treatises of Odisha of the past ages have left an in-

delible contribution in the field of drama, dance, music and literature. However, in the present paper the author has focused only on the Musical Treatises of Odisha those are written in Sanskrit Language. For this, references are taken mostly from the secondary sources of information like the Department of Culture as well as the Musical Treaties of Odisha explored from the internet and the primary sources of information like The Natyamanorama, Sangeeta Muktavali, Abhinaya Chandrika, etc. These treatises mainly deal with various musical elements of their respective times. The writers of these treatises have tried their best to focus on the various aspects of music along with various musical forms those existed during their time which ultimately helped in establishing a link up of the musical performances of the ancient system with the current prevailing system. The terminology of technical terms like nada, sruti, swara, abhinaya etc. pertaining to music, dance and drama are described in these treatises. It has been observed that the

3 definition of these technical terms of music abide the exact definition as has been reflected in the leading Indian musical treatises like Natyashastra of Bharata, Sangeeta Ratnakara of Sarngadev,

Swaramelakalanidhi of Ramamatya, Ragavibodha of Somanatha and others. The musicologists of Odisha have mentioned 6 Ragas and 36 Raginis. Here the title of the ragas along with their dhyana or descriptive verses regarding their characteristic features are also different. Most of these treatises follow the Panchamasara Samhita of Narada. There are some names of the ragas in Odisi music which are original and unique. They are not found in any other treatises of the

main stream of the musical system i.e. the Hindustani or Carnatic. However, some ragas are there whose names are not similar but swaras are similar and vice versa. Yet they have their own charm. The lyric poets like Jayadev and others of Odisha have composed lyrical poems to be sung in specified ragas and talas. The bards of Odisha also sang religious songs roaming here and there for spiritual

awareness. By 11th Century A.D. folk music of Odisha existing in the form of Triswari, Chatuhswari and Pancaswari were modified and transformed into classical style. Prior to this there was the tradition of Chhandas which were simple in musical outline. From 16th century onwards treatises on Music were written or compiled in Odisha. They were Sangitarnava

Chandrika, Gita Prakasha, Sangita Kalpalata, Natyamanorama, Sangita Sarani, Sangia Narayana etc. Thus, Odishi music is the classical art form that has imbibed the elements common to the Hindustani and Carnatic system of music.

4 The ancient talas which are mentioned in old treatises of Odisha are found to be used even now. In Carnatic music system too one can find more or less the use of this system of talas. However, these talas are not found in the Hindustani music system. Odisi dance is a composite art-form which follows the four fold divisions of Abhinaya namely : the Angika, Bachika, Aharya and Sattwika. All these technical aspects of dance are described in detail in those treatises. The description of the various stages of the development of dances like the Mangalacharana, Batu, Pallabi,

Abhinaya and Moksha, the different forms of dances like Gotipua, Mahari, Odisi along with the various Hasta Mudras like Sanjukta and Asanjukta which are very similar to Natyashastra of Bharata are found to be described in detail in these treatises. Though the authors of Odisha are following the treatises like Natyashastra, Sangeeta Ratnakara, Sangeeta Parijata, Panchamsara Samhita etc, one can also find some uniqueness in these treatises. These treaties have been written in Sanskrit language. Most of the

treatises have been preserved in the State Museum. They are found in the form of palm leaf manuscripts. Most of them are moth eaten, However,

severely damaged and found in an undeciphered condition.

some of the important texts relating to musicology of Odisha are as follows :

1.

Gita Prakash (GP) The Gita Prakash (GP) is a Sanskrit treatise on Indian Music by

Krishnadasa Badajena Mohapatra of Odisha. Literarily, the term GP means a work that throws light on music. It deals mainly with music

5 concentrating more on vocal music of north-eastern region including Odisha. The concluding colophons of all the seven chapters bear the name of the author as Krishnadasa Baadajena Mohapatra (KBM), who was an eminent poet, musician and musicologist of 16th Century A.D. GP has been divided into seven chapters or Ullasa (means joy). The treatise as a whole has been called Pariksa or analysis of Gita. The subject matter of those seven chapters are as follows. The first one is the Suddhagitanirnaya which particularly deals with the characteristics of the pure or high class Gita, i.e.

Suddhagita. The writer defines Gita as Rajakah swarasandarbho gitam i.e, a chaming composition of pleasing notes which is also ascertained by the definition made by Sarngadeva in his Sangita Ratnakara on 13th century A.D. Thus, the authors idea of a Gita

seems to be a happy blending of fine poetry with sweet sounding words and colourful composition. He states two types of Gita namely; Anibaddha and Nibaddha. Gita, set in tala is nibaddha and without tala is anibaddha. The

nibaddha gitas are of three types such as : suddha, chayalaga and ksudra. The suddhagita is furnished with dhatus, angas and alapa.

Vakya, swara, pata and tenaka are the four angas of a prabandha. However, the writer has not focused on the varieties of Prabandha, still then he has given reference of two types of Prabandhas such as matrika and swarartha. Lastly, the chapter ends with the description of two angas. However, the vakya anga is used only in Suda Prabandha. The second chapter is Salaganirnaya which deals with the Chhayalaga, Salaga Gita or Salagasuda Gita. The ancient authors of

Odisha recommended the use of nine talas in suddhaprabandha.

6 However, Krishnadasa adds one more tala i.e. Simhanada along with the elaboration of time measure with its technical aspects, their constituents like Virama, Druta, Laghu, Guru, Pluta etc. It is stated

that a composition should begin with Aditala and be closed with Ekatali, the middle order being left to the composers pleasure. He himself composed songs in Sanskrit language. The third chapter is known as Ksudragitanirnaya for it deals with Ksudragita i.e. songs of small variety which actually is a composition possessing the characteristics of salaga-suda gita. contain dhatus and talas. These gitas

Ksudragitas are of four types such as

Chitrapada, Citrakala, Dhrubapada and Pancali. Chitrapada is a type of Ksudragita where variations in the use of words with verbal sweetness i.e. srutimadhurata is very significant. In the Chitrakala, the Dhruba consists of less number of matras than the other stanzas which constitute equal metrical length. The number of stanzas in a Chitrakala type of song may be from three to eight. In dhrubapada, we find only two stanzas like dhruba and abhoga. However, in panchali we find an extensive number of stanzas. It is of two types, namely sadhruba and adhruba. The fourth chapter is Gunarirnaya. The qualities of gitas i.e.

gitagunas are discussed in this chapter which consists of a) the use of different types of gamakas, b) variation of the laya (tempo), yati (pause), and time measure, c) simplicity of the verbal structure, d) elaboration of the ragas in which the gitas are set, e) the tena is to be performed only after pata and swara. Moreover, it is stated that the

accessories like guna, alamkara and rasa in vakya are helpful for the composition of successful gita. It also deals with the technical aspects

7 of gita. Lastly, it concludes the chapter focusing on the actual

performance. The fifth chapter is raganirnaya which focuses on the definition and description of the ragas. Likewise swaranirnaya is the sixth

chapter of this treatise which deals with the technical terms like jati, swara, grama and sruti. Lastly, the concluding chapter (i.e. seventh) deals with the flaws and demerits i.e. dosas found in the verbal structure of the composition of the Gita as well as in its performance. 2. Sangitakalpalatika or Sangitakalpalata (SK) SK is a Sanskrit treatise of 18th Century A.D. written by Haladhara Mishra (HM)*, the famous Odishan writer whose work is found in the Odisha State Museum in the form of ancient palm leaf manuscript, which focuses significant insight on Indian music. It covers the entire field of Sangita i.e. gita, vadya and nrtya. It consists of 18 chapters or stavakas out of which seven stavakas are devoted to Gita, ten to nrtya and one to vadya. Thus this treatise gives more

importance to nrtya than gita and vadya. ---------------------------------------------------------------* Haladhara Mishra was the son of Dinakara and Padmavati and was the grand son of Sambhukara Mishra, the famous expert of Dharmasastra. Sangeeta Kalpalatika and Basant Utsava Mahakavyam are two important Sanskrit works of Haladhara Mishra to Odisha.

8 Alike GP, the first chapter of SK deals with the definition of Sangita, the divisions like nibaddha and anibaddha, the varieties like Suddha, Chhayalaga, Ksudra and three dhatus.** Accordingly to HM, the Suddhagita is comprised of alapa, dhatua,matu and anga. The alapa should have meaningful words. He has given examples of selfcomposed prabandhas set in nine talas. The writer of SK has given the description of Suddha Prabandhas like Chhayalaga or Salaga with examples. Alike GP, this chapter focuses on tala, its definition and enumeration of hundred and one talas along with nine suddhatalas. The third chapter of SK deals with Ksudragitas, their four-fold varieties (like Chitrapada, Chitrakala, Dhrubapada and Pancali) with examples. However, they have no fixed talas. The speciality prevalent in Odishi music are traceable in these Ksudragitas. The fourth chapter describes the gitagunas (qualities of a good gita), laya, yati, graham,mana, gamaka, tana, ragas, angas of

prabandha like swara, pata, tena etc. The fifth chapter deals with the demerits (dosas) of both (Desi and Margi) songs. Sixth chapter deals with ragas, their names and time of singing. He follows the ragaragini system for the classification of the ragas. He has mentioned six ragas with thirty six raginis along with their titles and descriptive verses (i.e. dhyanas). There are also names of many unusual raginis like

prapacani, gunamanjari, lalita, gundakeri, suracika, kadhu, cinta etc. The seventh chapter deals with the technical terms of gita like sruti, swara, grama, murchhana, tana, trisaptaka, ragas etc. ---------------------------------------------** Melapaka (dhatu) is not mentioned. The

9 eighth chapter is entitled as Vadyanirupanam which deals with the vadyas i.e. instruments. The author of SK mentioned four types of instruments namely tata, abanaddha, susira and Ghana. The author has given the description of the vina vividly. In order to fix up the swara of a raga in the rudravina he has given the reference of murchhana. He used the term samsthana in the sense of mela. The art of dancing (nrtya) is very vividly discussed from ninth to sixteenth chapters. The general aspects of nrtya like hastas, charis, sthanakas, sirabhedas, drstibhedas are discussed in the ninth chapter. Chapter ten focused elaborately on twentyfour kinds of asamjukta hastamudras and thirteen kinds of sanjukta hastamudras. Chapter

eleven discussed about the different head movements i.e. sirabhedas for the expression of different bhavas which are mostly required for abhinaya. Chapter twelve deals with the eye movements (drstibhedasI) based on rasas. Thirteenth chapter deals with the movement of the

eyebrows. Chapter fourteenth deals with the sthanakas and the body movements. Fifteenth chapter describes the charis. Chapter sixteenth discusses the different Karanas. different types of arts (Kalas). Chapter seventeenth focuses on In chapter eighteenth the writer

describes the suddha paddhati of presenting a dance performance, starting from the entry to the stage till the exit, along with the different accompanying music with different stages of dance performances. 3. Sangita Narayan (SN) SN is a Sanskrit treatise on music and dance written in 18th Century. It is ascribed to Gajapati Narayan Deva, the king of

Paralakhemundi, Odisha who ruled from 1718 to 1767. From the colophons at the end of every chapter his lineage is known as

10 Chodaganga Vansa and he is said to be the son of king Padmanabha. The work is divided in to 4 chapters known as Parichhedas. The first chapter gita prakarana is extensive and contains many musical subjects together. The author quotes extensively from the Vishnu Purana, Narada Samhita, Kohaliyam, Sangita Sara, Sangita Damodara. The author begins with an invocation to the pioneer of dance, music and instruments Lord Hari. six slokas. This chapter has five hundred and forty

It deals with the technicalities of Indian Music such as

Nada, Swara, Grama,Murchhana, Raga and Raginis. The first seventy seven slokas describe Ahata Nada and Anahatanada, Swaras, their origin, birth place, colour and lineage. He has also given the names of their deities. The author has described the 22 srutis with their names. These names are similar to those in Sangeeta Sangeeta Makaranda, Kaumudi etc.

Panchamasara

Samhita,

Geeta

Prakash,

Gramas, Murchanas, Tanas etc. are also defined. He describes 62 Alamkaras with the 4 Varnas. From the seventy eighth sloka the Jati

Laksanas are described. But the author mentions only Graha, Ansa and Nyasa and elaborates the eighteen Jatis i.e. seven shuddha and eleven vikrita Jatis with their names and other descriptions. From the ninety ninth sloka the term Raga is defined and male and female Ragas are named following Sangeet Damodara. Six Ragas and thirty six Raginis are described and their meditating verses are also given. The time theories of Ragas are given according to Panchamasara Samhita. In the same chapter Prabandhas are also dealt with. mentions Suddha Salaga and Sudha Sankirna Prabandha. and four Dhatus are mentioned. He

Six Angas

11 The Tala with its definition and 10 Pranas are also explained. 108 Desi Talas and 9 Suddha Talas have been mentioned. This is also found in Carnatic tala system. The unique feature of the works written by authors of Odisha is the description of Ksudra Gita which are available in 3 fold manner. Such as Divya, Manushi and Divya-Manushi. Divya is a Ksudra Gita which is set in Margi Tala and Sanskrit Language is used in the verbal structure. Manushi is sung in Prakrit language and is set in Desi Talas. Divya Manushi is a mixture of both. The Gamaka, the merits and

demerits of music, musicians and master composers are also discussed in the 1st Chapter. The Second Chapter : The 2nd Chapter, Vadya Prakarana is devoted to the various instruments, different kinds of drums and their construction techniques. This is a small one consisting of one hundred thirtyone (131) slokas. In this chapter 4 main types of instruments

(tata, vitata, Ghana & susira) are described. The Third Chapter : is the longest chapter containing eight hundred twenty eight slokas. This chapter natya prakarana is devoted mainly to dramaturgy, dance and description of the auditorium,

stagecraft & subjects related to performance of dance and drama. It begins with the definitions of Nritta, Nritya, Nartana and Natya. The king and the court, courtiers, scholars and artists are described. The participants, heroes and heroines are also included in the description. The special feature of this work is the description of cosmetics and make-up materials like moustaches, dresses and the method of making them. Then comes the language to be used and specific terms and address to king, Brahmin, Danava, etc. In short, all the forms of

12 dialogue, metre and expressions related to drama are explained. The comprehensive description of topics related to dramaturgy ends with the scenes to be avoided while performing a drama and proper time for holding the show. From sloka number two hundred fifty five to the end of the chapter discuss the dance, the various postures of body, movements of hands, waist, eyes, eyebrows, legs, feet, sthanakas, etc. They are similar in descriptions as in Natyashastra and Sangeet Damodara. The Fourth Chapter : contains illustration of various Sanskrit songs set in different Talas and Ragas. suddhaprabandhodharana. This book is first published by Odisha Sangita Nataka Academy in 1966 under the joint editorship of Pandita Banambaracharya, This is the chapter entitled

Kalicharana Patnaik and Kedarnath Mohapatra. In national level also, this has been edited and translated by Mandakranta Bose in two volumes, published by Motilal Banarasidass, Delhi. It was also been

edited by Janothan Katz of Oxford in 1987 which has not been published. 4) Natyamanorama & Sangeetarnava Chandrika The Natyamanorama is a treatise on the science of music based on a palm-left manuscript preserved in the Odisha State Museum, Bhubaneswar. It is known from the concluding verses of the last chapter (PP.71-72) that the author, Raghunath Ratha, composed the Natya Manorama under the patronage of King Nilakantha of Kerala. Raghunatha further states that he was a contemporary of

Gajapati Divyasimha (King of Odisha 1693 1720 A.D. which is evident from the last stanza of the last chapter.

13 In the last quatrain of the 1st of the slokas at page 72, the Natyamanorama has been described as Sangitarnava

Candrikantargata i.e. it is based on or rather included in Sangitarnava Candrika, which Raghunatha had completed before he composed the Natyamanorama. This is corroborated by a similar statement found in the Curnika (P.1) in which the author introduces himself to his readers. The Natyamanorama may therefore, be taken to be a

compendium of Sangitarnava Candrika, either in respect of

some

portions dealing in detail with the topics discussed in the present text or of the whole work. Raghunatha has not mentioned anything about the place of his birth but apparently, he belonged to Odisha because he has used Anka or the year of reign of the then King of Odisha. Further, he has referred to authors of works of Odisha such as Raya Ramananda, Harinayak, the author of Sangitasara,

Mammatacarya, the author of Ratnamala, Krishna Das, the author of Gitaprakash and the court poet of Mukunda Deva, King of Odisha) and Purusottama Mishra (the Minister in the Court of Narayana Deva, the king of Paralakimdi). However, it is not known how he received the patronage of the King of Kerala. May be the King of Kerala would have favoured him for his learning or he might have motivated the King of Kerala with his learning while the king has come to Puri on pilgrimage whatever may it be, the author of the treatise has made a commendable contribution to the literature on music in India.

14 Whatever, thanks should be give to Shri Kedarnatha Mohapatra, Curator of the Orissa State Museum who acquired a manuscript of the Natyamanorama in 1952 from Puri and also to Shri Prananatha Mahanty, M.A., I.A.S, Secretary to the Government of Orissa,

Education Department, who brought it to light a couple of years ago. Thus, this treatise is very helpful for all music lovers in general and of Sanskrit Studies, in particular for the attempt of the Odisha Sahitya Akademi for its publication under the patronage of Dr.H.K.Mahtab, the then Chief Minister of Odisha. The text is divided in to five chapters or Padas. In the 1st

chapter after the benediction to Lord Krishna, Raghunatha has given the justification for the composition of this treatise in a churnaka. Then immediately he has started defining Sangeeta as the art of Gita, Vadya and Nrtya to be taken together with the two-fold varieties of Gita i.e. nibadha and anibaddha. He also has tried to define the various technical terms associated with Sangita like the nada, swara, saptaka, Gita, sruti, Grama (Sadaja-madhyama-gandhara), twentyone murchhanas (3 gramas x 7 swaras), tana, jati etc. He has also tried to justify the origin and manifestation of the swaras and how these seven swaras are related with seven letters, seven Chhandas (anustupadi), Kulas, devatas, birds and animals (mayuradi), Vedas, Veda sakhas, Varnas (Brahmanadi), lokas dvipas (Jambwadi), seven days desas

(Kanyakubjadi),

seven

(bhuradi),

(rabyadi),

Vadyas (tatadi) along with their practical uses. The second chapter devotes to ragas, their dhyanas, lakshanas and time of singing. 16,000 ragas are found to be mentioned. Out of

these ragas only 36 female raginis and 6 male ragas were prevalent in

15 those days. In the same chapter he dealt with the threefold variety of Gitas such as : suddha, chhayalaga and Ksudra. He also mentioned the Prabandhas along with their dhatus, angas, jatis and different varieties like matruka prabandha with two-fold decisions (i.e. Divya and Manusi), Sakayabala Prabandha, Talarnava Prabandha, Simhalila Prabandha and Suda Prabandha. Then in the third chapter he explained Chhayalaga Suda

Prabandha with its allied elements. He also defined the tala, five different talangas, matras, laya, druta, anudruta, laghu, guru, yati, makaradyastaganah, sasabda, nisabda etc. He narrated different talas such as : Adi, Yati, Suddhayati, Nihsara, Masruka (misra), Jhampaka (Jhampa), Rupaka, Triputa, Adu, Ekatali, Kudka, Sashipriya,

Chatustala, Nalakubara, Vadyakakula, Simhanandana. In the 4th Chapter he explained about the Ksudra Gita. They are found in four varieties such as : Chitrapada, Chitrakala, Dhruvapada and Pancali. He discussed about the divine music ( divya sangita) and the wordly music (manushi sangita). He also discussed about the Gita gunas i.e. the qualities of good Gita. He again discussed about the

different grahas i.e. the catchment point of a song and their varieties like samagraha, atitagraha. He discussed about other important elements like laya, yati, mana, gamaka, dhatu and other things like the elements required for beautifying a raga, Sanskrit and prakrit songs, the disqualification of a singer, the qualities of a good singer, etc. Lastly, in the 5th chapter he discussed about the vadya and fourfold vadya prakaras namely tata, anaddha, susira and Ghana. He

mentioned the different types of vinas such as alavani, brahmaveena, kinnari, laghukinnari, bipanchi, vallaki, jyestha, chita, Ghasavati, Jaya,

16 Hastika, Kubjika, Kurma, Sarangi, Paribadini, Trisari, Sarngatantri, Nakulausya, Chatuhsari, Audumbari, Pinaki, Nibaddhah, Puskala,

Gadabarana, Hasta, Rudra, Swaramandala, Kapilasa, Madhusyandi, Ghosa. He narrated about the Rudraveena in detail. Apart from these he discussed about the definition, necessity, importance, types,

divisions and subdivisions of Nrtya. In the same chapter he explained the Tandava Nrtya with its two-fold, varieties Prerani and Bahurupa. He also explained the He

Lasya Nrtya with its two-fold varieties. Sphurita and Yauvata.

elucidated the different variety of folk dances like Kasthi (stick dance), Jakadi (group dance), Savari (Savara dance), Kurangi (group dance of ladies) and Mattavali. He elaborated the Sabha (stage), Sabhasadas (audience), the qualities of a dance, the rules for

jarjarapuja, the rules of Jabanika (screen), decoration of a dancer, masi, haritala, costumes (besas), garlands (malyas), ornaments

(alamkaras), the language of natya, bharatyadi vrtts of natya in accordance with Bharata. He also explained different varieties of nrtya (nrtya prakarah), unacceptable elements of nrtya, acceptable elements of nrtya like sirabhedas (head movements), hastabhedas (hand

movements), caris, abhinaya, rasa, nandi, etc. 5) Abhinaya Chandrika (AC) Abhinaya Chandrika (AC) is an ancient Indian treatise on Odisi Dance. It deals with the mudras and techniques of Odisi Dance form. It was written by Maheswar Mohapatra under the royal patronage of Sriman Narayan Deva of Khemundi Kingdom in 18th Century A.D. This text contains 284 verses. The first two verses are in praise of

Ganapati and Lord Jagannath. Till the 18th verse, the author gives an

17 account of Nrtya Prasansa (the praise of dance) and then he describes the origin of Odisi dance. The author has vividly described the Padamudras (various forms of the feet) of the Odisi dance. According to him there are four basic positions of the feet such as Stambha Pada (Samapada), Mahapada. Kumbhapada Then he has (ayatamandalapada), enumerated Sama, Dhanupada Bisama, and

Ghatita

(Udghatita), Suchi and Agratala Sanchara. The author of Abhinaya Chandrika has described only sixteen mudras with different names. He has described twenty eight Hasta Mudras. He has given a detail description of the Bandhas (acrobatic poses) of Bandh Nrtya. Other things which find mention in the text are Sapta Tandava of Lord Siva, dances of different regions, folk dances of Odisha, Bhumis, Charis, Karakshetras, Mukharagas etc. This text is most significant among the ancient treatises on the performing arts as it gives a detailed description of Tala, costume, ornaments and make up in Odisi dance. In fact, the costume mentioned in the Abhinaya Chandrika is followed by the Maharis or the Devadasis of the Jagannath Temple. The ornaments described in the Abhinaya Chandrika are all traditional and most of them are represented in the temple sculpture of Odisha. The ornaments of the Maharis of today

bear the influence of the south. The verses in the famous treatise of Abhinaya Chandrika say that Lord Siva taught the ancient art of dancing to his son Lord Ganesh and Ganesh to Rambha, the gem among the Apsaras who in turn taught it to the sage Bharata Muni. After Bharata Muni the tradition was carried on in turn by Gargacharya, Bikatacharya, Kumaracharya, Ranti Deva

18 and finally Attahasa. In the book Attahasa has been described as Ordra Nrtya Visarada, the grand master of Odisi dance. The Abhinaya Chandrika is one of the earliest and most authentic treatises on Odisi which dance. According to the scholars, the Odisi

dance of today have highly been obliged for this text. 6) Abhinaya Darpana Prakash (ADP) - ADP is an important treatise

of Odisi, has discussed in detail about the technical styles of the dance as a whole. Jadunatha Singha is the author of Abhinaya Darpana Prakash. The author refers to Bharata many times but he does not quote from Natyashastra or any other text. In every description he shows marks of peculiarity. He begins with invocation to Goddess Saraswati, Lord Siva and Lord Ganesha and goes on describing Gita (songs), Vadya (musical instruments) and Nrtya (dance), Natya Vrittis, Natya, Nrtta and Nrtya (Lasya and Tandava). Then detailed

descriptions of four varieties of Tandava dances (Nari Nrtya, Jankadi, Madhumatta and Bandha Natya), six varieties of Lasya dances (Rasa, Vilasa, Hallisaka, Bhramari, Prerani and Halapayana) and three

varieties of dances performed together both by males and females such as Kairata, Bahurupa and Chitra Nrtya are also found in the book. Other details discussed in the text are Sthanaka (8 varieties), Abhinaya (4 varieties), Anga and Upanga, Hastaka (28 Asamyuta hastas with viniyogas), Mastaka Bheda (10 varieties) Sira Lakshana (9 and then 5 varieties), Drstiveda (8 and then 7 varieties), Hastaprana (12 varieties), Hasta prasara (10 varieties), Hasta byapara (8

varieties), Nrtya Prasara (12 varieties), Tala (10 varieties) and Laya (3 varieties). The Odiya translation includes few more terms such as : Natyotpati, Nartakilaksana, Nartaka Laksana, Panca Devata Stuti, etc.

19 In this regard, the author has followed Sarngadevas Sangita

Ratnakara to a great extent. In addition to these details, the author of ADP also discusses about the different Mudras. He discusses 17 asamyuta hastas. While discussing these techniques, the author points out that Banahasta is the oldest of the lot. The work is remarkable in its elaboration and in the direction of the movement of different mudras to indicate their meanings. This treatise on Odisi has not been published yet. It exists in a palm-leaf manuscript till this date. ADP with its exclusive details on the techniques of Odisi ranks as one of the finest treatise on this classical form of dance. 7) Tala Sarvasara Samgraha : was written by Shri Padmanava

Narayan Deva in 1896 A.D. The writer mentions that at the time of Lord Sivas Tandava Nrtya seven Talas, namely, Dhruva, Matha, Rupaka, Jhampa, Triputa, Adatali, originates. In this text, there is description of ten Pranas of Tala, six Jatis, seven Talas, Laya, Anga etc. It also discusses the history of the origin of Tala. He has given the names

and characteristics of 110 Talas, which are based on Sastras. Some of the original Talas used in Odisi music include Kuduk, Triputa and Sariman Talas. The Kuduk is mainly used in the Dhrubapad style of singing. So this tala is called dhruba padangatala. Sariman Tala is very old and is traditional Tala of Odisi music. 8. Sangeeta Muktavali (SM) is a small Sanskrit treatise on music The

and dance written by Harichandan, the son of Gopinath Bhanja, the king of Kanika on 1690 A.D. It contains four chapters (granthas).

20 The first chapter of SM describes the technical terms of the vocal music. He gives the definition of nada, swara, graha, sruti, grama, murchhana, tana, varna, alamkara, jati etc. The second chapter deals with the definition of gita, dhatu, matu, raga, six ragas with thirty six raginis, divisions and names of ragas with regard to gender and place. He referred Mammatacarya and Sangeeta Kaumudi (sangita muktavali; p.47&48) for this purpose. He gives the names and definition of the Sampurna ragas. Chapter three deals with the Sadava and audava ragas, their definition and svarupa. He also enumerates the sankirna ragas with their definition and time of singing. He has described the ganas, laghu, guru, tala. The

enumeration of naba talas like adi, jati, nisaru, adda, triputa, rupaka, jhampaka, mantha and ektali along with hundred and one talas like cancatputa etc. focuses the rhythmic knowledge of the author. The last chapter focuses on gita, nibaddhagita, suddhagita, alapa, dhatu, prabandha, prabandhajati, gita gunas, gitabhedas like suddha, of gita,

chhayalaga,

ksudra,

pancali,

divyadibhedas

grahalaksana, khanda, yati, mana, demirts of gita, anibaddha gita, gayaka gunas, gayaka dosas, vadyalaksana and nrtya prakarana. Thus, we find those aforesaid Sanskrit treatises have highlighted on musicology having comparative and contemporary relevance with the Indian Musical System both in Hindustani and carnatic. Apart from these, other texts like Sangita Darpana, Sangitarnava Candrika of Raghunath Rath, Sangita Kaumudi, Sangita Ratna of Narayan Brahma, Sangita Kamoda by Damodara Acharya, Talasamgraha of Kabiratna Purusottam Mishra, Sangita Sarani, Sangita Chandra of Vipradasa, Sangita Sastra, Tala Nirnaya, Gita-Vadya-Tala Nirupana, Vadya

21 Nirupana, Mrdanga Vadya, Nrtya Sarvasva, Nartana Nirnaya, Nrtya Bilasa, Nrtya Sagar are worth mentioning for their commendable contribution towards musicology along with special reference to the origin and development of Odisi dance and music. However, the common in all these treatises are the emphasis on Ksudragitas which give a fundamental and sound base to Odisi music system which ultimately develop into four-fold portals like Citrapada, Citrakala, Dhrubapada and Pancali. Second common aspect is the recognition of Odra Magadhi style by almost all the aforesaid

treatises, which has already been recommended by Bharata Muni in his Natyasastra in 2nd-4th century basing on which the Odisi system of music developed. BIBLIOGRAPHY Badajena Mohapatra Krishnadasa, Gita Prakash; Mishra Haladhara, Sangitakalpalata; Ratha Raghunath, Batyamanorama as available on www.orissaculture.gov.in/dance.asp, last visited on 09/-1/2011. Badajena Mohapatra Krishnadasa, Gita Prakash; Deva Narayan, Sangita Narayan; Mohapatra Maheswara,Abhinaya Chandrika; Ratha Raghunath, Natyamanorama as available on www.indianetzone.com/51treatises-on-arts-orissa.htm, last visited on 12/02/2012 Ratha Raghunath, Sangeetarnava Chandrika; Badajena Mohapatra Krishnadasa, Gita Prakash; Mishra Haladhara, Sangitakalpalata; Ratha Raghunath; Natyamanorama as available on www.orissatourism.org/orissa-dance-and-music/index.htm, last visited on 12/02/2012. Ratha Raghunath, Sangeetarnava Chandrika; Badajena Mohapatra Krishnadasa, Gita Prakash; Mishra Haladhara, Sangitakalpalata; Ratha Raghunath, Natyamanorama as available on www.en.wikipedia.org/wiki/Arts of Orissa, last visited on 12.02.2012. Ratha Raghunath, Sangeetarnava Chandrika & Natyamanorama as available on www.bharatonline.com/orissa/culture/music. html, last visited on 12/02/12.

22

Badajena

Mohapatra Krishnadasa, Gita Prakash; Harichandan, Sangita Narayan; Mishra Haladhara; Sangita Narayan; Mishra Haladhara; Sangita Kalpalata as available on www. Chandrakantha.com/misra/odissi.html, last visited on 12.02.12.

Mohapatra Maheswara, Abhinaya Chandraka as available on http:// www.indianetzone.com/45/abhinaya chandrika, last visited on 19.01.11. Singh Jadunatha, Abhinaya Darpana Prakash as available on http:// www.indianetzone.com/45/abhinaya-darpanaprakash.htm, last visited on 19.01.2011. Deva Narayan Padmanava, Tala Sarvasara Samgraha as available on http://www.indianetzone.com/51/tala-system-odissi-music. .htm, last visited on 20.01.2011. Harichandan, Sangita Muktavali, translated and edited by Acharya Banambara, published by Utkal University, Vani Vihar, 1955. Ratha Rathunath, Natyamanorama, published by Odisha Sahitya Academy, 1959. -------------------------------------------------------Reader & Head, Department of Sanskrit, Ravenshaw University, Cuttack 753003 Email-manjushreetripathy@yahoo.co.in M: 7894929644