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- 78 - character in dance-drama, wherein he is usually depicted as dancing (Rasalila) with Gopis on the banks of the Jamuna or with Radha in the gardens of Vrndavana. During the days of Buddha the art of dance flourished considerably. Dancer Amrapali was renowned at that time. In the fifth century A.D. during the golden Gupta period Kalidasa glorified dancing in his dramas. Both general and technical references to it are found in his dramas. Dr. Kaplla Vatsyayana has elaborately mentioned all the references to dance from the vedic period 7 to the classical Kavya period.
We have seen that in India in the remote antiquity, the
sages had codified the rules and regulations relating to the
art of dance, drama and music in a very systematic way. The
technique of four types of Abhinaya, the diverse elements of
the Dharmi, the Vrtti and the gestures or the movements of
different parts of the body (Angas, Upangas and Pratyangas) are
elaborately discussed. Each glance, and each movement of the
eyeball and eyebrow is related to the corresponding Vyabhicari
bhava, Sthay墨 bhava and Rasa. we find a detailed account of
the codification of the theory and technique of the classical
Indian dance in the Natya sastra of Bharata as well as in the
Abhinayadarpana of Nandikesvara (6th or 7th C.A.D.).
Dhananjaya's Dasarupa and Sangita Katn膩kara of Sarangadeva
are two other medieval authentic works. All these texts give
more or less the same account.
The technique of dance or the technique of movement is