Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 1 - Music in the Puranas
6 (of 72)
External source: Shodhganga (Repository of Indian theses)
Download the PDF file of the original publication
Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)
Atisv膩rya is the extreme low svara and Krsta is the extreme high svara. The Narada Purana also has given the names of the seven svaras used in the Samasinging. Krsta, Prathama, Dvitiya, fritiya,Caturtha, Mandra (or pancama) and Atisvara (or Atisvarya). 19 We do not know when the Saman came to be sung in Seven Svaras. Dr. V. Raghavan has stated that "In more than one context the words Arcika, Gathika and Samika are used in referring to Svaras, intervals of one, two and three, from which we may assume that to begin with, the Saman was sung to three or four notes; the next svara came to be simply called the other svara, svar膩ntara."20 Narada in his siksa has equated the seven notes of the Samagas with the secular notes on the venu (lute-a susira instrument). The 'Prathama' svara of the Samagas is the 'Madhyama' on the lute, the 'Dvitiya' is the 'Gandhara,' the 'Trtiya' is the 'Risabha; the 'Caturtha' is the 'Sadja', the 'Pa帽cana' is the Dhaivata, the 'Sastha' is the 'Nisada' 21 and the 'Saptama' of the Samagas is the Pancama on the lute.
The table will be as follows :
The notes of the Samages
Krsta
Prathama
Dvitiya
罢峁泃颈测补
Caturtha
The notes on a lute
Pancama
Madhyama
骋腻苍诲丑盲谤补
Risabha
Sadja
