Sangit Ratnakar Part 01 Kalanidhi Sudhakara - Book Summary

The provided text is a multi-volume catalog entry and introductory material for the Sangitaratnakara, a seminal treatise on Indian music. The publication details and the introductory text by C. Kunhan Raja offer significant insights into the work and its reception.

Here's a comprehensive summary based on the provided pages:

1. Publication Details:

Title: Sangitaratnakara of Sarngadeva with two commentaries: Kalānidhi of Kallinatha and Sudhakara of Simhabhupala.
Author: Sarngadeva (original author), Kallinatha (commentator), Simhabhupala (commentator).
Publisher: Adyar Library (Madras).
Volume: Vol. I - Adhyaya 1.
Year: 1943.
Editor: Pandit S. Subrahmanya Sastri (who had prepared the material for all seven adhyayas).
Additional Information: The text was scanned by Gitarth Ganga Research Institute. The catalog link provided points to Jainqq.org, suggesting an interest in Jain traditions and possibly translations or scholarly works related to Jainism, although Sangitaratnakara itself is a classical Hindu text on music. The presence of Jain educational international materials suggests a potential parallel interest or a broader scope of the repository.

2. Introduction by C. Kunhan Raja (Adyar Library):

Gratitude to the Editor: The introduction begins by expressing gratitude to the late Pandit S. Subrahmanya Sastri, who undertook the monumental task of editing the Sangitaratnakara. He had prepared the material for all seven adhyayas before his death.
Significance of Sangitaratnakara:
- It is considered one of the most important and comprehensive available works on Indian music.
- It is one of the longest Sanskrit works on the subject.
- It has been the standard work on music since its composition, serving as an authority for all subsequent writers.
- It may have obscured or led to the disappearance of earlier works but has never been superseded itself.
Previous Editions:
- A Calcutta edition with Simhabhupala's commentary was published in 1879. It contained the Svaradhyaya (first adhyaya) and promised further volumes, but it is unclear if they were published. This edition noted a defective copy of Kallinatha's commentary.
- The Anandasrama Sanskrit Series published the text with Kallinatha's commentary in 1896.
Current Edition's Methodology:
- Pandit Subrahmanya Sastri utilized both previous editions.
- The text was compared with manuscripts from various libraries in and near Madras.
- Kallinatha's commentary was compared with a manuscript from the Tanjore Palace Library.
- Printed editions were carefully cross-referenced with manuscripts to improve readings.
Translation and Publication Plans:
- The initial plan was to include an English translation with each volume.
- Unfortunately, Pandit Subrahmanya Sastri could not complete the translation. The responsibility devolved on C. Kunhan Raja.
- The first volume was delayed due to the time needed for the English translation and issues with printing paper.
- The English translation for the entire text is planned for a separate volume.
- The second and third adhyayas are printed, and the fourth is being printed. The second volume containing these will be released soon.
Appendices: The volume includes appendices illustrating details from the text, such as Svaraprastaras, prepared by Pandit Subrahmanya Sastri.
Structure of Sangitaratnakara:
- It is divided into seven adhyayas (chapters): Svara, Raga, Prakirnaka, Prabandha, Tala, Vadya, and Nritya.
- The first adhyaya (Svara) is further divided into eight sections (prakaranas) covering: Padarthasangraha, Pindotpatti, Nada-sthana-sruti-svara-jati-kula-daivata-rsi-chando-rasa, Grama-murchana-krama-tana, Sadharana, Varnalankara, Jati, and Giti.
About the Author (Sarngadeva):
- Sarngadeva provides information about himself in the beginning of the work.
- His family originated from Kashmir and traced its lineage back to the sage Vṛṣagana.
- His father was Sodhala, who was patronized by King Singhana of the Yadava dynasty, ruling in Deogiri (modern Daulatabad) from 1210 to 1247 AD.
- Sarngadeva identifies himself as Nisśśanka ("free from doubts") and Karanagraniḥ ("accountant-general"), indicating a high official position in the king's service.
About the Commentators:
- Simhabhupala:
  - His commentary is earlier.
  - He belonged to the Recherla dynasty, ruling from Rajukonda and Devarakonda.
  - His works include the Rasarnavasudhakara (published in Trivandrum Sanskrit Series) and the Kuvalayavali or Ratnapanchalika (a drama).
  - He was a versatile scholar and patron of arts.
  - The introduction clarifies that the Simhabhupala who wrote the commentary is the same one who authored Rasarnavasudhakara, refuting theories that they were different individuals.
- Kallinatha:
  - He belonged to the Karnata country.
  - He lived in the city of Vidyanagari (Vijayanagar) during the reign of King Devaraya (likely Devaraya II, who reigned from 1423 to 1446 AD).
  - His grandfather was Vallabhadeva, and his father was Lakshmidhara.
  - He belonged to the Sandilya Gotra.
  - He commented on Sangitaratnakara under the king's orders.
Relationship between Government and Culture: The introduction highlights the close ties between the government and cultural development, with the original author being a high official, one commentator being a king (Simhabhupala), and the other a prominent court figure (Kallinatha).
Adyar Library's Mission: The Adyar Library aims to publish works across all aspects of ancient Indian culture, emphasizing music and fine arts as vital components. It views Indian music as deeply connected to religion and philosophy, with musical notes manifesting the divine Nada-Brahman. The library's publications aim to showcase the unity and harmony within Indian culture.
Acknowledgements: The introduction concludes by thanking the staff and the manuscript libraries that provided transcripts.

3. Table of Contents (Vishaya Suchi):

The table of contents details the breakdown of the first Adhyaya (Svara), listing the Prakaranas (sections) and their corresponding page numbers and subject matter. This includes detailed sections on:

Padarthasangraha Prakarana (Principles of Music and its elements)
Pindotpatti Prakarana (Origin of the physical body and its relation to music)
Nada-Sthana-Shruti-Svara-Jati-Kula-Daivata-Rishi-Chanda-Rasa Prakarana (Nada, places of sound, Shruti, Svara, Jati, family deities, Rishis, meters, and sentiments)
Grama-Murchana-Krama-Tana Prakarana (Grama, Murchana, Krama, Tana)
Sadharana Prakarana (General principles)
Varnalankara Prakarana (Varna and Alankara)
Jati Prakarana (Jatis)
Giti Prakarana (Gitis)

4. The Textual Content (Beginning of the Sangitaratnakara):

The provided pages begin with the invocation (Mangala) and the author's introduction, tracing his lineage and the purpose of the work. The commentaries by Kallinatha (Kalanidhi) and Simhabhupala (Sudhakara) are also presented, offering explanations and interpretations of Sarngadeva's verses. The text delves into the fundamental concepts of music, starting with "Padarthasangraha," discussing the nature of Nada (sound), the origin of the body ("Pindotpatti"), and the various elements that constitute musical expression.

Overall, the provided material showcases:

The critical scholarly effort involved in bringing a classical text with its commentaries to a wider audience.
The depth and comprehensiveness of Sarngadeva's Sangitaratnakara, covering a vast range of musical theory and practice.
The historical context of Indian music, including the evolution of commentaries and the social and royal patronage of the arts.
The philosophical underpinnings of Indian music, linking it to religion and the divine.
The meticulous detail in analyzing musical elements like ragas, talas, varnas, and alankaras, as evident from the table of contents.

The inclusion of the Jain catalog link is interesting; it might indicate a broader context for the repository or a cross-disciplinary interest in cultural heritage. However, the core content presented is unequivocally about the Sangitaratnakara, a cornerstone of Indian classical musicology.