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Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补 is the earliest extant literature on the subjects like dance, dramatics, poetics, music and other art forms. The art of painting, sculpture and architecture has followed the aspects such as head, eye, hand movements and the stances, 肠腻谤颈蝉 and 办补谤补峁嘺蝉 prescribed in the 狈腻峁瓂补艣腻蝉迟谤补.

Bharata meant this as a holistic art in theory and practice. Abhinava says 苍腻峁瓂补 is the art of 苍补峁璦蝉 and the technical details regarding the art is the work called 狈腻峁瓂补艣腻蝉迟谤补.

苍腻峁瓂补sya na峁璦v峁泃tasya 艣腻蝉迟谤补峁� 艣腻蝉补苍辞辫腻测补峁� 驳谤补苍迟丑补峁� pravak峁�y膩m墨ti ||.^[1]

Bharata, in this work consolidates and codifies various traditions in dance, music, mime and drama. He gives all conceivable details of 苍腻峁瓂补, such as body language, choreography, direction, production, auditorium, make-up, costumes, language, voice culture, styles, norms, songs, orchestra, instruments, success, etc. He is the first author to deal with theory of aesthetics. He analyses various sentiments and their portrayal through the permanent state of mind, the determinants and consequences. He gives minute and intricate details regarding the various laws governing a proper and aesthetically pleasing dance performance.

The 狈腻峁瓂补艣腻蝉迟谤补 is considered as the sacred text of the actors and dancers. This text has influenced the dramatists, poets, painters, sculptors and many more. This can be understood from the whole lot of 办腻惫测补蝉 written during the classical period in various languages, the paintings and sculptures seen all over India and even Far East and South East Asia.

The text of the 狈腻峁瓂补艣腻蝉迟谤补 has different recentions from different manuscripts available and there are some minor differences in the number of chapters and the verses. It is in the form of 腻谤测补 and 补苍耻峁ａ弓耻产丑 verses and prose lines. Bharata has given some important aspects in a 蝉奴迟谤补 and 办腻谤颈办补 format. This work elaborates the theoretical and the practical aspects of 苍腻峁瓂补.

狈腻峁瓂补 emulates the action of all the seven continents.

saptadv墨p膩nukara峁嘺峁� 苍腻峁瓂补metadbhavi峁�yati ||^[2]

There are two works named 顿惫腻诲补艣补蝉腻丑补蝉谤墨 containing 12000 verses and 厂补峁璼腻丑补蝉谤墨 containing 6000 verses is pointed out by 艢膩rad膩tanaya.^[3] There are some references about 痴峁沝诲丑补产丑补谤补迟补 by M.Ramakrishna Kavi who says he has written 12000 verses.^[4] Bharata is referred to as 厂补峁璼补丑补蝉谤墨办腻谤补 by Dhanika.

Works of Bharata and 膧dibharata are quoted by R膩ghavabha峁�峁璦 in his commentary on 础产丑颈箩帽腻苍补艣腻办耻苍迟补濒补尘 where many of the verses of 膧dibharata are not found in the present available text of the 狈腻峁瓂补艣腻蝉迟谤补. There must have been two different manuscripts says P.V.Kane.^[5]

Many scholars such as Kohala, M膩t峁沢upta, K墨rtidhara, Udhbha峁璦, R膩hulaka, Bha峁�峁璦to峁璦, Bha峁�峁璦ta峁囜笉u, 艢a峁卥uka, Lollata, Abhinavagupta and others, wrote commentaries for the 狈腻峁瓂补艣腻蝉迟谤补. 叠丑补谤补迟补峁�墨k腻, written by an anonymous author, seems to be the earliest commentary on the 狈腻峁瓂补艣腻蝉迟谤补. According to Raghavan, Udbhata鈥檚 commentary is the first and it inaugurated an era of vigourous study of the the 狈腻峁瓂补艣腻蝉迟谤补. This period produced innumerable works and it closed with the time of Abhinavagupta, after which the 艣腻蝉迟谤补 began to flourish in Central and South India. 鈥淯dbhata wrote a commentary on Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补 which started a series of commentaries on and expositions of the 狈腻峁瓂补艣腻蝉迟谤补 by Kashmirian scholars鈥擫olla峁璦, 艢a峁卥uka, 叠丑补峁�峁�补苍腻测补办补 and Abhinavagupta, among them. These writings all demonstrate interest in the practical side of drama.

The commentary of Abhinavagupta is mine of information on the production of Sanskrit plays. Apart from his elucidations and his own views, he makes precious quotations from lost works on various questions of Sanskrit drama and production.鈥�^[6] The only available current commentary of the 狈腻峁瓂补艣腻蝉迟谤补 is Abhinavagupta鈥檚 础产丑颈苍补惫补产丑腻谤补迟墨.

Abhinavagupta, a Kashmiri scholar who belonged to late 10^th and early 11^th century,^[7] wrote a commentary called 础产丑颈苍补惫补产丑腻谤补迟颈 on Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补. During his period, the art of dance must have developed and had a parallel style to that of Bharata鈥檚 time with the due recognition. Abhinava disagrees to the view that the 狈腻峁瓂补veda and the 狈腻峁瓂补艣腻蝉迟谤补 are synonymns.^[8] He says 狈腻峁瓂补veda is the eternal knowledge comprising the entire gamut of 苍腻峁瓂补 or theatre and the record of this knowledge in the form of injunctions, aphorisms, and so on is 狈腻峁瓂补艣腻蝉迟谤补. Abhinavagupta explains in his extensive commentary to justify Bharata and make the reader understand. The evolution of 苍腻峁瓂补 from Bharata鈥檚 period to Abhinavagupta鈥檚 period is also seen in this commentary.

Abhinavagupta quotes the verses of his predisisors like Kohala, 狈腻谤补诲补, Nandi, 惭补迟补峁単补, Dattila, K墨rtidhara, 鲍诲产丑补峁璦, Lolla峁璦, Bha峁�峁璦to峁璦, 艢a峁卥uka, 搁耻诲谤补峁璦, Utpaladeva and others whose works are not available today. Thus, Abhinavagupta elaborates and explains Bharata鈥檚 work and states the discussion of post Bharata writers and thus, gives a neat picture of 苍腻峁瓂补, which was prevalent during his period.

Footnotes and references:

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[1]:

狈腻峁瓂补艣腻蝉迟谤补: I.com.p.2.

[2]:

Ibid.I.117.

[3]:

叠丑腻惫补辫谤补办腻艣补 X, pp. 34-35.

[4]:

Journal of Andhra Historical Society-M.Ramakrishna kavi, Vol.III.p.23.

[5]:

History of Sanskrit Poetics. P.V.Kane. p.27.

[6]:

Sanskrit Drama-Its Aesthetics and Production. p.60

[7]:

History of Classical Sanskrit Literature-M.Krishnamachariar p.748

[8]:

Lectures on the Natyasastra by Radha Vallabh Tripathi p.27.