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 2 - Dance in the Puranas
14 (of 43)
External source: Shodhganga (Repository of Indian theses)
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- 86- in its entirety relates to the six major limbs (anga) viz. head, hands, breast, sides, waist and feet and the six minor limbs (upanga) viz. eyes, eyebrows, nose, lower lip and chin. All these Gestures support many sentiments (Rasa) and states (Bhava). These are discussed by Bharata as a part of dramaturgy and histrionics and not only in the context of Dance, but the later texts like the Abhinayadarpana of Nandike svara, the Sangita Ratnakara of Sarangadeva and also the Visnudharmottara Purana discuss these principles in relation to dance only. The Engikabhinaya which expresses Rasa and Bhava and which is guided by the principles of Tala and Laya is called Nrtya or Dance. Nrtya is also an initative art like Natya or drama. ANGIKABHINAYA (GESTURES OF MAJOR AND MINOR LIMBS) The Visnudharmottara devotes three chapters viz. 24, 25 and 26 of the 3rd Ahanda to the angikabhinaya and gives exhaustive treatment of all its aspects. The Natyasastra, in chapters 8 and 9, discuss the angikabhinaya in detail. The angikabhinaya portrays actions and reflects emotions through movements of the various parts of the body. The importance of Gesture-language in Indian Dance is described in the Sangita Ratnakara of sarangadeva. HASTA-MUDRAS (GESTURES OF THE HANDS) 23 Hastamudra or Gestures of the hands play a very
important part in Indian dancing. The hands in dance are like
the voice of the singer. They express either an emotion or
