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is conveyed through the movements of the body, the 膧ngik膩bhinaya or histrionic representation is very important and it forms a separate unit due to its technical nature. The NS gives two types of 膧ngik膩bhinaya, one being the movements of different parts of the human body and the other being the discussion on the combination of these primary movements. Unlike the other dance treatises such as S峁沶g膩raratn膩kara, Bharatarnava etc. the BRB deals only with the first type of histrionic representation as the main topic. The author refers to other technicalities such as cari, ma峁囜笉ala etc. in the context of the viniy艒gas (uses) of the particular limbs. Many of the other topics relating to N膩峁瓂a are summed up in up艒dgh膩ta portion which is mainly devoted to a definition of Bharatanatya on the model of other 艥astras. Thus, an attempt is made here to give a detailed analysis of the contents of the up艒dgh膩ta portion of the BRB. 106 SOURCES
Many earlier texts and authors became the source of the BRB.
Among them the prominent text is 膧dibharata.
脕DIBHARATA:- M.R. Kavi in his preface to the first edition of the NS
(Gaekwards Oriental Series) says that there is an earlier work called
Dv膩da艣as膩hasri, which is the source of the present NS and that this work
is simply called Adibharata, which is in the form of a dialogue between
艢iva and Parvati. He also says that there are fragments of this work. The
author of the BRB mentions the Adibharata on two occasions. In the