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Kohala in the Sanskrit textual tradition (Study)

by Padma Sugavanam | 2011 | 95,782 words

This page relates ‘Citations of Kohala in the Bhavaprakashana� of the thesis dealing with Kohala’s contribution to the Sanskrit textual tradition of ancient Indian performing arts. The study focuses specifically on music (Gita), dance (Nritya), and drama (Natya). Although Kohala’s original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.

Go directly to: Footnotes.

Part 8 - Citations of Kohala in the 屹śԲ

屹śԲ (1175-1250 C.E.) is a very significant work in dramaturgy, even more so in the case of Kohala. The definition of bindu (ref.para 2.3.6.2), usage of bindu at the end of an act, Kohala’s optional rule of 貹첹 in ṭy the definition of ṇa according to Kohala (ref.para 2.3.4.4), the optional usage of ⲹṅg in īٳ and the number of acts (two) in ܳٲṛṣṭiṅk (ref.para 2.3.4.3)—are the contexts in which the name and views of Kohala are mentioned. 

A point of interest here is that a few topics related to Kohala, which Abhinavagupta discusses (like ṛtپ, ūṅg etc.) are not to be found in -śԲ and similarly, some that are discussed in 屹śԲ (sandhi, bindu etc.) are not found in 󾱲Բī. Furthermore, though there are common subjects like ṅk and īٳ which are discussed both in 󾱲Բī and 屹prakāśaṇa, the context and the exact point being discussed are different. This could raise a question as to whether the work of Kohala that Abhinavagupta and Śāradātanaya possessed were one and the same. Further, it can be noticed that all the subjects that Kohala is referred to relate to the tradition. According to the views of Yadugiri Yatirāja Swami[1], Śāradātanaya has perhaps referred to Kohala only in the instances where he differs from Bharata.

By the time of 󾱲Բī, a relationship between Kohala and the system of ܱ貹ū貹첹 had already evolved as is seen from references in his work. In this light, the fact that 屹-śԲ, which was a post-󾱲Բī work, not containing any references of/to Kohala in the context of ܱ貹ū貹첹, inspite of having a whole chapter (9th chapter) dedicated to the subject, seems a little strange. But it should be borne in mind that, Śāradātanaya’s delineation of the subject of ܱ貹ū貹첹 is much on the same lines as Bhoja’s Śṛṅś and many verses found herein are repeated in the 屹śԲ verbatim. And, Bhoja does not mention Kohala or for that matter, any other authority to whom he refers to on the subject of the ܱ貹ū貹첹. Therefore, Śāradātanaya might not have felt the need to quote/ refer to Kohala.

Post 󾱲Բī, there are only a few works that collectively deal with all three subjects�īٲ, ṛtⲹ and ṭy. More often than not, we find works dedicated to just one of these. However, works on saṅīٲ� are seen to contain information about both īٲ and ṛtⲹ. 屹śԲ belongs to the first category, where a detailed treatment of the aspect of ṭy is found and the aspects of īٲ and ṛtⲹ left untouched. But evidently, Śāradātanaya did have access to some work(s) of Kohala. But as seen earlier, it is possible that the source material of Kohala used by Abhinavagupta and Śāradātanaya were different. A comparison of 屹śԲ with works prior to 󾱲Բī does not yield any results due to the fact that works like Dattilam and ṛhś do not speak of ṭy and 屹-śԲ does not speak about ṛtⲹ. Therefore, even in the event that Ѳٲṅg or Dattila or both had the same work of Kohala that Śāradātanayā refers to, it cannot be proved for the reason that none of them speak on any common subjects.

Footnotes and references:

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[1]:

屹śԲ of Śāradātanaya: 1968: p.32

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