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The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is a voluminous 辫耻谤腻峁嘺 which is mainly divided into three parts called 办丑补峁囜笉补蝉. Each 办丑补峁囜笉补 contains chapters called 补诲丑测腻测补蝉. Though 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is not included in the lists of Upa辫耻谤腻峁嘺s given by the K奴rma辫耻谤腻峁嘺, Dev墨bh膩gavata辫耻谤腻峁嘺 and Ek膩mra辫耻谤腻峁嘺, the B峁沨addharma辫耻谤腻峁嘺 includes this work in the list of Upa辫耻谤腻峁嘺.^[1] It is important to note here that even though the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is regarded as an Upa辫耻谤腻峁嘺, it has great academic and social value. Before going to make an elaborate discussion on the contents of this great work, some information about the date, authorship, subject matter, meaning of the title, importance etc. of this work are taken up here for discussion.

1. Date and Authorship:

Whenever the context of the date of 辫耻谤腻峁嘺s comes forward, uncertainty prevails there. In the context of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also a certain date of this work is not fixed anywhere. To know the exact time of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, we have to go through a long discussion. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is seen to be influenced by 碍腻濒颈诲腻蝉补 and this can be evidently proved from the fact that the 129^th -137^th chapter of the First 办丑补峁囜笉补 of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 containing the story of 笔耻谤奴谤补惫腻 and 鲍谤惫补艣墨, which is the main theme of the drama named 痴颈办谤补尘辞惫补谤艣墨测补 of 碍腻濒颈诲腻蝉补. Moreover, in the 208^th Chapter of the First 办丑补峁囜笉补 of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, it is found that the women of the royal palace became so excited to have a glance of Bharata, which episode is also described in the 搁补驳丑奴惫补峁兣沘.^[2] Thus, the influence of the 搁补驳丑奴惫补峁兣沘 can be seen on the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺. Hence, it can be assumed that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 cannot be earlier than 400 A.D. R.C. Hazra also agrees on it.^[3]

Moreover, Matsya辫耻谤腻峁嘺 has contained various chapters such as chapter 115^th -120^th deal with the story of 笔耻谤奴谤补惫腻 and 鲍谤惫补艣墨, chapter 208^th -214^th comprises the story of 厂腻惫颈迟谤墨 etc. which are seen to be borrowed from the 129^th -137^th chapters of first 办丑补峁囜笉补 and 36^th -41^st Chapters of the second 办丑补峁囜笉补 of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 respectively. So, it can be assumed that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 must have been written not later than 600 A.D. R.C. Hazra also keeps his view point in the same way.^[4] Again, in later period, various 蝉尘峁泃颈 digest writers and 苍颈惫补苍诲丑补办腻谤补蝉 viz. Bhavadeva, Vij帽膩ne艣vara, 闯墨尘奴迟补惫腻丑补苍补, 础辫补谤腻谤办补, Aniruddhabha峁�峁璦 etc. also seem to mention the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 in various context of their works.^[5] The K膩lik膩辫耻谤腻峁嘺 of 11^th Century also seems to be concern about the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.^[6] Moreover, in the 顿奴谤驳辞迟蝉补惫补惫颈惫别办补 of 艢耻濒补辫腻峁噄 it is stated that 叠腻濒补办补^[7] and 艢谤墨办补谤补^[8] utilize the contents of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 in their treatises. According to P.V. Kane, the date of 叠腻濒补办补 is 1100 A.D and 艢谤墨办补谤补 had flourished somewhere between 800 to 1050 A.D.^[9] So, from this it can be assumed that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 gained a great popularity from 8^th to 11^th Century A.D. Moreover, the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 accepts ten incarnations of lord 痴颈峁ａ箛耻, where this work accepts 碍峁涐梗峁嘺 补惫补迟腻谤补 and does not accept the Buddha 补惫补迟腻谤补. In this context an assumption arises that as 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 does not mention Buddha 补惫补迟腻谤补, this work does not belong to the earlier period of 500 A.D. as Buddha had been started to believe as an incarnation of 痴颈峁ａ箛耻 not very much earlier than 500 A.D.^[10]

Again, According to P.V. Kane the 3.40 verse of 笔补谤腻艣补谤补蝉尘峁泃颈 is taken by the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 which is鈥�

补苍腻迟丑补峁� 产谤腻丑尘补峁嘺辫谤别迟补峁� ye vahanti dvij膩taya岣� /
pade pade 峁泃u phala峁� c膩nup奴rv膩llabhanti te//^[11]

From this, it can be assumed that the age of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 relates to the era after the 笔补谤腻艣补谤补蝉尘峁泃颈 i.e., 500 A.D. Priyabala Shah also agrees on it in the introductory note of her edition of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.^[12]

From the available information, it can be seen that the origin of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 cannot be earlier than 400 A.D. and later than 500 A.D. B眉hler also states that the date of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 cannot be placed later than about 500 A.D.^[13] R.C. Hazra also agrees on it.^[14] So, it can be assumed that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 relates vaguely the first half of 5^th century A.D. and it had been flourishing to the 10^th century A.D. M. Winternitz also keeps his view point in the same way in his work History of India Literature.^[15]

Different 辫耻谤腻峁嘺s contain different references regarding the authorship of the 辫耻谤腻峁嘺s. According to the Matsya辫耻谤腻峁嘺, the authorship of all the eighteen 辫耻谤腻峁嘺s is attributed to 痴测腻蝉补, the son of 厂补迟测补惫补迟墨.^[16] The V膩yu辫耻谤腻峁嘺 admits that 痴测腻蝉补, the son of 笔补谤腻艣补谤补 has composed the 辫补耻谤腻峁噄办墨 办补迟丑腻 i.e., the ancient narrative stories.^[17] Thus the tradition would attribute all of the 辫耻谤腻峁嘺s to 痴别诲补惫测腻蝉补. From this practice it can be said that as a 辫耻谤腻峁嘺 in nature, the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also belongs to the collection of works authored by 痴别诲补惫测腻蝉补. As the tradition relates that there may be more than one 痴测腻蝉补, the same dictum can be applicable to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also.

2.Content:

The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 contains different aspects of knowledge. Along with the narratives, this work bears immense information in various fields of study. The first 办丑补峁囜笉补 of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 consists of 269 补诲丑测腻测补蝉. The first 办丑补峁囜笉补 contains the discussion about various subject matters such as Geographical account, Astronomy, Astrology, Religion, Politics, Chronography and Genealogies of kings and sages and their stories. Among the legends, the story of 笔耻谤奴谤补惫腻 and 鲍谤惫补艣墨 is a remarkable one, which is depicted in the 130^th -137^th 补诲丑测腻测补蝉 of the first 办丑补峁囜笉补 of this work. Moreover, the first 办丑补峁囜笉补 contains some rules and regulations of 艣谤腻诲诲丑补蝉 and vratas. The stotras, dedicated to various deities are also compiled in this 办丑补峁囜笉补. The second 办丑补峁囜笉补 comprises 183 补诲丑测腻测补蝉, where mainly various aspects of dharma and 谤腻箩补苍墨迟颈 are nicely discussed. Here, the rules and regulations of four 腻艣谤补尘补蝉 viz. brahmacarya, 驳腻谤丑补蝉迟丑测补, vanaprastha and 蝉补苍测腻蝉补 are elaborately explained. Moreover, a few chapters of this 办丑补峁囜笉补 are devoted to Astronomy and Medicine. The third 办丑补峁囜笉补 contains 118 chapters which are dedicated to various contents such as Sanskrit and Pr膩k峁泃 Grammar, Lexicology, Metrics, Poetics, Dance, Drama, Music, Painting, Iconography, Architecture etc.

3. The Title 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺:

As a specimen of 笔耻谤腻峁嘺 literature, the term 痴颈峁ａ箛耻dharmottara obviously follow the word 辫耻谤腻峁嘺. The term 惫颈峁ａ箛耻dharmottara辫耻谤腻峁嘺 is an amalgamation of three words viz. 惫颈峁ａ箛耻, dharma and uttara. On the basis of the addition of the word 惫颈峁ａ箛耻 here, this work is naturally included in the group of vai峁ａ箛ava辫耻谤腻峁嘺s. The group of vai峁ａ箛ava辫耻谤腻峁嘺 contains the 辫耻谤腻峁嘺s viz. 痴颈峁ａ箛耻, 狈腻谤补诲墨测补, 叠丑腻驳补惫补迟补, 骋补谤耻岣峚, Padma and 痴补谤腻丑补. Again, the eighteen Mah膩辫耻谤腻峁嘺s are divided into three groups viz. 蝉腻迟迟惫颈办补, 谤腻箩补蝉颈办补 and 迟腻尘补蝉颈办补 according to their qualities.^[18] The vai峁ａ箛ava辫耻谤腻峁嘺s possess the 蝉腻迟迟惫颈办补gu峁嘺 i.e., the quality of purity or goodness.^[19] The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 also belongs to the group of 蝉腻迟迟惫颈办补辫耻谤腻峁嘺 as it is a vai峁ａ箛ava辫耻谤腻峁嘺. Again, the word dharma is supposed to bear the meaning of quality^[20] here. If the words 惫颈峁ａ箛耻 and dharma are combined together, it comes as 惫颈峁ａ箛耻dharma i.e., the quality of 惫颈峁ａ箛耻 and in this way this work directly inclines to the quality of the 痴颈峁ａ箛耻辫耻谤腻峁嘺. So, it can be said that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is an appendix of 痴颈峁ａ箛耻辫耻谤腻峁嘺 which has the similar qualities with 痴颈峁ａ箛耻辫耻谤腻峁嘺.

Stella Kramrisch also agrees it the introduction of her work entitled The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 Part IIIA.^[21] The addition of the word uttara i.e., subsequent^[22] in the title 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 clearly shows that 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 was a later work and it obviously came after the 痴颈峁ａ箛耻辫耻谤腻峁嘺. Considering the word uttara as to mean later, it can be said that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 had flourished during later period or so to say, it is closer to the modern period. The probability of being a composition of 5^th to 7^th century A.D. also proves this point of consideration.

4. Subject Matter and the Importance of the T峁泃墨ya办丑补峁囜笉补 of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺:

The T峁泃墨ya办丑补峁囜笉补 i.e., the third part of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is fully dedicated to the discussion of different Art forms and Architecture. Besides Art and Architecture, a few chapters contain the discussion about Sanskrit and Pr膩k峁泃 grammar, lexicology, metrics, poetics etc. The elements of different Art forms are discussed here elaborately and thoroughly, which can be considered as a great significance of this work. A point to be noted here is that most of the 辫耻谤腻峁嘺s like the Li峁単a辫耻谤腻峁嘺, the V膩mana辫耻谤腻峁嘺, the 痴颈峁ａ箛耻辫耻谤腻峁嘺, the Agni辫耻谤腻峁嘺, the Brahma辫耻谤腻峁嘺, the Brahmavaivarta辫耻谤腻峁嘺 etc. contain the subject matter related to various Art forms. But the discussion found here appears to be a bit haphazard.

Eight books that discuss the matter systematically are:

1. the Matsya辫耻谤腻峁嘺,
2. the Agni辫耻谤腻峁嘺,
3. the Brahm膩峁囜笉a辫耻谤腻峁嘺,
4. the 狈腻谤补诲墨测补辫耻谤腻峁嘺,
5. the 骋补谤耻岣峚辫耻谤腻峁嘺,
6. the Skanda辫耻谤腻峁嘺,
7. the Bhavi峁�ya辫耻谤腻峁嘺,
8. the V膩yu辫耻谤腻峁嘺 and
9. the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺.

Among those the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 appears to be very pragmatic and systematic in this regard.

Though the whole work is regarded as very comprehensive, the T峁泃墨ya办丑补峁囜笉补 i.e., third part of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 appears to be a very special one. This part covers different Art forms viz. Music, Dance, Drama, Painting and Iconography and discusses each and every Art form in a very detailed manner. Moreover, Architecture remains a very pre-dominant concern of the third part of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺. The Architecture of Hindu temples of Indian Territory is nicely discussed in this work.

As it is already stated that the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 is an encyclopedic type of work, it bears a great importance both from content and context. In the perspective of the study of different subject matters like Astronomy, Astrology, Geography, Medicine, Politics etc., this work provides substantive information. As an appendix of the 痴颈峁ａ箛耻辫耻谤腻峁嘺 as well as a vai峁ａ箛ava辫耻谤腻峁嘺, this work has a religious aspect too. But basically, this work is totally free from T膩ntric influence as it does not recommend 迟腻苍迟谤颈办 yantra as a medium of worship. Instead, this work promotes image worship and recitation of Vedic mantras both in vows and worship. R.C Hazra has offered his opinion in this line.^[23] Along with different subject matters of different branches of knowledge, this work gives emphasis on different Art forms and Architecture. There are many 辫耻谤腻峁嘺s which possess encyclopedic nature. But none of these have proclaimed the topics of Art and Architecture in the way in which the third part of the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 has done. The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 gives the ideas of different characteristic features of Drama, different elements of Drama, its execution etc. Different elements of Music, the gestures and postures of Dance are also very elaborately discussed here. This work has a systematic discussion on Temple building and Iconography. Moreover, this work comprises fullest account of various branches, methods and principles of Indian Painting. Actually, the systematic and improvised discussion of each and every subject makes this work very prominent and authoritative. Thus, this work can be taken as a reliable guidebook of different subject it has discussed. From this discussion the title of the work appears to be apt and effective. It corroborated with the subject matter in almost all aspects.

Footnotes and references:

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[1]:

tath膩pyupapur膩峁嚹乶i kathay膩mi鈥︹赌�/ 鈥�.. 惫颈峁ａ箛耻dharmottara峁� tath膩鈥︹��.// B峁沨addharma辫耻谤腻峁嘺, 25.23-26

[2]:

tatastad膩lokanatatpar膩峁嚹佱箖 saudhe峁�u c膩m墨karaj膩lavatsu/ babh奴vurittha峁� purasundar墨峁嚹佱箖 tyakt膩nyak膩ry膩峁噄 vice峁ａ弓it膩ni// 搁补驳丑奴惫补尘艣补, 7.5

[3]:

膩峁� R.C. Hazra, Studies in the Upapur as, Vol.1, p.206

[4]:

Ibid., p.210

[5]:

Ibid., p.207

[6]:

惫颈峁ａ箛耻dharmottare tantre 产腻丑耻濒测补峁� 蝉补谤惫补迟补岣� puna岣�/ K膩lik膩辫耻谤腻峁嘺, 92.2

[7]:

鈥︹��.惫颈峁ａ箛耻dharmottaravacanam膩tradar艣in膩 b膩laken膩tra vi峁�aye p奴rvadine 苍补惫补尘墨 办峁泃测补峁�鈥︹赌�/ 顿奴谤驳辞迟蝉补惫补惫颈惫别办补, p.16, quoted by R.C. Hazra, Studies in the Upa辫耻谤腻峁嘺s, Vol.1, p.209

[8]:

鈥︹�� 惫颈峁ａ箛耻dharmottaravacana峁� tu sandhip奴j膩vi峁�aya峁� iti 艣r墨karami艣ra岣�/ Ibid., p.209

[9]:

P.V. Kane, History of 顿丑补谤尘补艣腻蝉迟谤补, pp. 283-284 & 266-268

[10]:

R.C. Hazra, Studies in the Pur膩峁噄c Records, pp.41-42

[11]:

痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, 2.7.2

[12]:

[...] 艢r墨-痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, Third Part, p.10

[13]:

Indian Antiquity, Vol-XIX, p.408

[14]:

R.C. Hazra, Studies in the Upa辫耻谤腻峁嘺s, p.206

[15]:

M.Winternitz, History of India Literature, Vol-1, p.580

[16]:

Matsya辫耻谤腻峁嘺, 50.73

[17]:

辫补谤腻艣补谤补蝉耻迟辞 惫测腻蝉补岣� 办峁泃惫腻 辫补耻谤腻峁噄办墨峁� 办补迟丑腻m/ sarvaved膩rthagha峁璱t膩峁� cintay膩m膩sa cetasi// V膩yu辫耻谤腻峁嘺, 104.20

[18]:

Thaneswar Sarma, Sa峁僺krit S膩hityar 滨迟颈惫峁泃迟补, p.106

[19]:

M.Winternitz. The History of Indian Literature, Vol.1, p. 532

[20]:

V.S Apte, The Student鈥檚 Sanskrit-English Dictionary, p.268

[21]:

Stella Kramrisch, The 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 Part IIIA, Treatise on Indian Painting and Image Making Primary source edition, p.4

[22]:

V.S Apte, The Student鈥檚 Sanskrit-English Dictionary, p.101

[23]:

R. C. Hazra, Studies in the Upa辫耻谤腻峁嘺s, Vol.1, p.218