Sangit Natya Rupavali

Here's a comprehensive summary of the Jain text "Sangit Natya Rupavali" by Vidya Sarabhai Nawab, based on the provided content:

Book Title: Sangit Natya Rupavali (Concert, Drama, Forms) Author: Vidya Sarabhai Nawab Publisher: Sarabhai Manilal Nawab Publication Year: 1961 (First Edition)

Overview:

"Sangit Natya Rupavali" is a significant Jain scholarly work that delves into the intricate and visually rich aspects of Indian music and drama, particularly as understood and depicted within the Jain tradition. The book's primary contribution lies in its meticulous documentation and presentation of a vast collection of rare and previously unpublished illustrations from a 15th-16th century illustrated manuscript of the Kalpasutra. These illustrations vividly depict various concepts related to music (Sangeet) and dance/drama (Natya).

Key Themes and Content:

1. Preservation of Ancient Arts: The book was conceived with the aim of preserving and popularizing ancient Jain art forms related to music and dance. The author, Vidya Sarabhai Nawab, took on the monumental task of publishing these illustrations, many of which were appearing for the first time.

2. Visual Depiction of Musical Concepts:

   • Grama (Gram): The text explains and illustrates the three types of Gramas: Mandra (low), Madhya (medium), and Tara (high).
   • Svara (Notes): It details and depicts the seven primary Svaras (Sadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, Nishada). For each Svara, it provides information on their associated colors, animal sounds (Swānukaraṇa), presiding deities (Adhiṣṭhātā), divine consorts (Gātrā), dominant emotion (Rasa), and seasonal association (Svaraṛtu).
   • Śruti (Microtones): The book meticulously describes and illustrates the 22 Śrutis, explaining their significance in music and their relationship to the Svaras.
   • Mūrcchanā (Melodic Modes): It elaborates on the 21 Mūrcchanās derived from the seven Svaras and three Gramas, providing illustrations for each.
   • Tāna (Melodic Phrases): A significant portion is dedicated to illustrating the various Tānas, categorized by Svara, with descriptions of their forms and associated imagery. The text notes that there are 49 Tānas in total, and the book presents 47 of them.

3. Visual Depiction of Dance and Drama Concepts:

   • Natyaśāstra and Bharata Muni: The book refers to the foundational text of Indian performing arts, the Natyaśāstra, attributed to Bharata Muni, and acknowledges its importance.
   • Types of Dance: It differentiates between Natya (drama), Nṛtta (pure dance), and Nritya (expressive dance). It also touches upon Lāsya (graceful) and Tāṇḍava (vigorous) styles of dance.
   • Anga-Upānga (Body Parts and Limbs): The text discusses the classification of body parts into Anga (major limbs) and Upanga (minor limbs).
   • Śirobheda (Head Movements): It details various movements of the head (e.g., Kapita, Dhūta, Vidhūta).
   • Hastas (Hand Gestures/Mudras): A very extensive section is dedicated to the classification and illustration of numerous Hastas (hand gestures). These are categorized into:
     • Asaṃyukta Mudra (Single-Handed Gestures): 24 fundamental Mudras are described and illustrated, forming the "alphabet" of dance language. The book notes variations in names and representations across different texts and traditions.
     • Saṃyukta Mudra (Double-Handed Gestures): 13 major combinations of Hastas are illustrated.
     • Nṛtta-Hasta (Dance-Specific Hand Poses): A section focuses on Hastas used purely for aesthetic and decorative purposes in dance, emphasizing their role in balance and beauty.
   • Cārī (Foot Movements): The book comprehensively illustrates and describes 16 Bhūmi Cārīs (earth-bound movements) and 19 Ākāśiki Cārīs (aerial movements), which are fundamental to dance choreography.
   • Other Body Movements: Sections are also dedicated to other aspects of body movement and expression relevant to Natya, such as Bhrukuti (eyebrow movements), which are linked to various emotions.

4. Artistic Merit and Interpretation:

   • Illustrations: The illustrations themselves are highlighted as being of exceptional quality, depicting figures with detailed costumes, jewelry, and musical instruments. The manuscript is noted to be from the 15th-16th century.
   • Artist's Contributions: The text mentions that the artist's names were often written alongside the illustrations in the original manuscript, aiding in their identification.
   • Cultural Context: The book suggests that these detailed depictions indicate a period when Jain communities in Gujarat had a profound appreciation for music and drama, leading to a high level of development in these arts.

5. Scholarly Foundation: The author, Vidya Sarabhai Nawab, consulted foundational texts like "Saṅgīta Upaniṣat Sāroddhāra" and "Saṅgīta Ratnākara" to provide detailed descriptions and interpretations of the illustrations, particularly for musical concepts where the original manuscript might lack explicit textual explanations.

Significance:

"Sangit Natya Rupavali" is invaluable for several reasons:

• Art Historical Resource: It serves as a primary source for understanding the visual representation of music and dance in Jain manuscripts and, by extension, broader Indian artistic traditions of the period.
• Cultural Preservation: It has played a vital role in preserving and disseminating knowledge about these ancient performing arts.
• Scholarly Contribution: The detailed cataloging, analysis, and illustration of these complex concepts make it a crucial reference for scholars of Indian music, dance, art history, and Jain studies.
• Inspiration: The Preface indicates the hope that the book would inspire contemporary artists and enthusiasts, fostering continued interest in these art forms.

In essence, "Sangit Natya Rupavali" is a remarkable fusion of art, scholarship, and cultural heritage, offering a deep dive into the visual language of music and performance as preserved within Jain Jain manuscripts.