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
36 (of 43)
External source: Shodhganga (Repository of Indian theses)
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favourite kadha. At the Rasamandala of Brahmavaivarta, R膩dh膩
is accompanied by thirtysix of her most chosen friends amongst
the Gopis, but they are each attended by thousands of inferior
persons and none of them is left without male multiple of
Krena. The only mysticism hinted at is that they are all one
with Krsna.
Arana sang the strain that was appropriate to the
dance. When Krsna led, the CopIs followed him when he returned,
they encountered him, and whether he went forward or backward
they ever attended on his steps.
In the incident of killing the snake Kaliya
(Brahmavaivarta, V. 7. 45-46) Krsna danced wonderfully on
Aaliya's head. Here the expressions are 'Krsnasya Recakaih'
and 'Dandapatanipatena'. Recake and Dandapata are said to be
different dispositions of the feet in dancing, variations
of the 'bhrama' or pirouette; the latter is the descent. It
is also read 'Dandapadanipata', the falling of the feet, like
that of a club.
The Harivansa is supposed to be a rich source of
dance and drama. The term 'HallIsaka' is specially used in
the Harivansa for the performance of a Rasa dance of Srikrisna
which is elaborately described. The other Vaisnava Puranas
do not use this word HallIsaka for the 'Rasakrida' of Srikrsna
with the Gopis of Vindavana. The life of Srikrsna is minutely
described in the Harivansa and the 'Rasa' is the important
aspect of it. It is the mixed entertainment of singing and
