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
7 (of 72)
External source: Shodhganga (Repository of Indian theses)
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-7- The notes of the Samagas The notes on a lute Pancama (Mandra) Dhaivata Sastha (Atisv膩ra) Saptama Nisada Pancama The sequence of the 'Dhaivata' and the Nis膩da is changed in the discussion of the Naradi Siksa. N膩rada Purana (1.50.50-60) has quoted exactly the verses from the N膩radi Siksa. From this it is clear that this Saptaka is not in a regular order (Arohi - Sa, ai, Ga, Ma, Pa, Dha, Ni) but in a descending series (Pa, Ma, Ga, Ri, Sa, Ni, Dha, Pa). In the great epice like R膩m膩ya峁嘺 and Mahabharata and in the Puranas like Markandeya, Vayu and Visnudharmottara, we get ample material on the Gandharva or Marga music. Most of the historians are of the opinion that the compilation of the great epic Ramayana began before 400 B.C. and that of the Mahabharata from 300 to 200 B.C. Ramayana was sung by the two sons of Rama in the Marga style in the seven modes of melody called Jatis. In the Balakanda canto 4, Valmiki says that the poem is meant for both recitation and singing to the accompaniment of lute (Ram.1-4-8). Here we get reference to Murcchanas, Sthanas (Ram. 1.4.10), Srutis (R膩m. 1.4.27) and the classical modes of singing (Marga) (R膩m. 1.4.36). 22 After the knowledge of seven notes, scales were
formed from them. Thus after the 'Svarasaptaka' the next
