Sangit Ratnakar Part 04 Kalanidhi Sudhakara

The provided text is the seventh chapter, "Nartanadhyāya" (Chapter on Dance), of the Sangita Ratnākara, a comprehensive treatise on music and dance by Śārngadeva. This volume includes commentaries by Kallinātha (Kalānidhi) and Simhabhūpāla (Sudhākara).

Here's a summary of the content presented in the provided pages, focusing on the dance aspects:

Overall Structure and Purpose:

• Completion of the Edition: The foreword states that this fourth volume completes the edition of the Sangita Ratnākara with its two main commentaries.
• Focus on Dance: This volume exclusively deals with the "technique and the art of dancing."
• Historical Context: The text offers a survey of dance and its literature for over two centuries, from the mid-13th century (Śārngadeva's time) to the late 15th century (Kallinātha's commentary), a period of brilliant Hindu civilization.
• Relationship to Natya Sastra: The chapter's plan is similar to Nandikeśvara's Abhinaya Darpaṇa but is more extensive. While it draws heavily from Bharata's Nāṭya Śāstra, the treatment of subjects is often more brief.
• Traditional Content: The chapter largely restates traditional knowledge, with Sarngadeva potentially drawing from older authorities, including Nandikeśvara's work.

Key Topics Covered in Chapter 7 (Nartanadhyāya):

The chapter is meticulously organized, detailing various aspects of Indian classical dance. Based on the extensive table of contents and section titles provided, the major themes include:

1. Invocation and Introduction:

   • Mangalacāraṇa (auspicious invocation) to Lord Shiva.
   • Explanation of the origin of Natya and its divisions.
   • The role of Natya as a means to liberation.
   • Defining the nature and characteristics of Natya, Nritya, and Nritta.
   • The duty (kartavyatā) of Abhinaya and its types.

2. Classification of Dance:

   • Nritta: Pure dance, abstract, rhythmic movements without specific dramatic expression.
   • Nritya: Expressive dance, conveying emotions and narrative through gestures and facial expressions.
   • Natya: Dramatic representation, encompassing dance, drama, and music.

3. Types of Abhinaya (Expression):

   • Āṅgika Abhinaya: Expression through bodily movements (limbs, head, hands, etc.).
   • Vāchika Abhinaya: Expression through speech (song, recitation).
   • Āhārya Abhinaya: Expression through costume, makeup, and ornaments.
   • Sāttvika Abhinaya: Expression of emotional states through involuntary bodily reactions (e.g., trembling, tears).

4. Body Parts and their Movements: The text systematically describes the movements and positions of various body parts used in dance:

   • Head Movements (Shiro bheda): Fourteen types are described.
   • Hand Gestures (Hasta prakaraṇa):
     • Asamyuta Hastas: Single-hand gestures (24 are listed).
     • Samyuta Hastas: Double-hand gestures (13 are listed).
     • Nritta Hastas: Hand gestures primarily used in pure dance (30 are listed).
   • Body Parts (Aṅga bheda): Detailed descriptions of movements of shoulders (skandha), neck (grīvā), waist (kaṭi), thighs (ūru), legs (jaṅghā), knees (jānu), and wrists (maṇibandha).
   • Facial Expressions and Minor Parts (Upāṅga): Eyes (dṛṣṭi), eyebrows (bhrū), pupils of the eyes (tārakā), cheeks (kapola), nose (nāsā), chin (cibuka), mouth (vadana), teeth (danta), tongue (jihvā).
   • Specific Hand Movements and Variations: The text goes into great detail about the precise positions, movements, and applications of numerous hand gestures (hastas), including detailed descriptions of their forms and uses in specific contexts (e.g., conveying emotions, actions, objects).
   • Dance Caranas (Movement Patterns): Detailed classification and description of various caraṇas (footwork and movement combinations), categorized into bhūmī (earth-bound) and ākāśī (aerial) types.
   • Styles and Regional Variations (Deśī): Recognition of regional dance forms and their specific movements.
   • Dance Styles: Discussion of Tāṇḍava (vigorous dance) and Lāsya (graceful dance).
   • Karanas: Detailed descriptions of 108 fundamental dance units, combining specific hand gestures, foot positions, and body movements.
   • Angahāras: Combinations of karaṇas and hastas to create larger choreographic sequences.
   • Vṛttis: Different styles or modes of presentation (Bhāratī, Sāttvatī, Ārabhaṭī, Kaiśikī).
   • Mandalas: Specific positions and patterns of movement.
   • Chalis: Various rhythmic movements.

5. Application and Aesthetics:

   • Dharma (Purpose): Dance is presented as a means to achieve Dharma, Artha, Kāma, and Moksha.
   • Emotional Expression (Rasa): The text dedicates a significant portion to the Nine Rasas (Śṛṅgāra, Hāsya, Karuṇa, Raudra, Vīra, Bhayānaka, Bībhatsa, Adbhuta, Śānta) and their corresponding aesthetic emotions, facial expressions, and relevant bhāvas (sentiments).
   • Bhavas: Detailed descriptions of Sthāyi Bhāvas (permanent emotions) and Vyabhicāri Bhāvas (transitory emotions).
   • Performance Context: Discussion of when Nritta is performed (e.g., festivals, marriages, celebrations) and the appropriate context for different dance forms.
   • Qualities of a Dancer/Performer: Descriptions of the ideal qualities for dancers, accompanists, and the overall performance setup.
   • Stage Presentation (Sabha Samniveśa): Details about the arrangement of the stage, seating of the audience, performers, and the presiding deity.
   • Principles of Performance: Discussions on the proper application of movements, gestures, and expressions to convey emotions effectively.

Specific Details Mentioned in the Provided Pages:

• Page 1-10: These pages primarily consist of the cover, publisher information, introductory notes, and a catalog of books digitized by the Jain Education International. Notably, Sangita Ratnakara Part 04 Kalanidhi Sudhakara is listed, indicating the source of this information. The presence of "JAIN EDUCATION INTERNATIONAL FOR PRIVATE AND PERSONAL USE ONLY" suggests this is a digitized resource related to Jain traditions, likely focusing on the preservation of texts.
• Page 11-18: These are introductory pages of the Sangitaratnākara itself, including the title page, foreword by Alain Danielou (General Editor, Adyar Library), and the table of contents for the dance chapter. The foreword highlights the chapter's focus on dancing, its extensive nature, and its relation to the Nāṭya Śāstra.
• Page 19 onwards: This section presents the actual text of the Sangitaratnākara, Chapter 7, along with the commentaries. It begins with the invocation and then delves into the classification of dance (Nāṭya, Nṛtta, Nṛtta), followed by detailed descriptions of:
  • Head Movements (Śirobheda): Fourteen types are listed and described with their applications.
  • Hand Gestures (Hasta bheda): A comprehensive enumeration of Asamyuta Hastas (single-hand gestures like Patākā, Tripatākā, etc.) and Samyuta Hastas (combined hand gestures like Añjali, Kapota, etc.), followed by Nṛtta Hastas (pure dance hand gestures). The text explains their definitions, postures, and expressive potential.
  • Later pages continue with: Body parts, limbs, facial expressions, specific dance units (karaṇas), Angahāras, regional styles (Deśī Cārīs), and the classification of Rasas and Bhavas.

In essence, this text is a foundational work that meticulously codifies the art of Indian classical dance, covering its theoretical framework, practical application of movements, expressive techniques, and emotional content. The detailed descriptions of hand gestures, footwork, and bodily postures are crucial for understanding and practicing this ancient art form.