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Stories in the Pur膩峁嘺s highlight the universal theme of the
receiving of musical knowledge as a divine boon. The Pur膩峁嘺s also bring
out the prestige that music was accorded in human and social life.
It is believed that all the major Pur膩峁嘺s were in circulation by 100
AD. They were gradually compiled and consolidated between 400 AD
and 1000 AD. Of the 18 Pur膩峁嘺s, three dwell at some length on music.
V膩yu Pur膩峁嘺 - The V膩yu Pur膩峁嘺 is regarded as a very early
Pur膩峁嘺 that originated around 300 AD. It refers to music as a gandharva
art. The Pur膩峁嘺 deals with the rituals performed during the different
phases of a sacrifice and the place of music in them.
The M盲rkandeya Pur膩峁嘺 is one of the smallest pur膩峁嘺s. It is
assigned to the period between 400 and 500 AD. Through a dialogue
between Sarasvati and A峁ａ弓avaktra, a king of N膩g膩s or serpents, it offers
interesting insights into music. Sarasvati offers a boon to the King who
desires nothing but the knowledge of the music notes or svaras.
The Vi峁ａ箛udharmottara Pur膩峁嘺, which is traced to 400-500 AD,
touches upon almost all the arts. Most of the materials in this section
seem to have been borrowed from other sources. It devotes one chapter
each to Gita and V膩dya.
2.9 The Indus Valley Civilization
The Indus Valley civilization is believed to have flourished during
the 3rd and 2nd millennia BC. Some musical instruments, such as the
arched or bow-shaped harp and several varieties of drums, have been
identified from the small terracotta figures and from the pictographs on
the seals that were probably used by merchants. Further, the famous
bronze statuette of a dancing girl, probably representing a class of
temple dancers, clearly indicates the presence of music. Evidence of
Rudra-worship during this period has also been found. Rudra was later
to become popular as 艢iva - the supreme deity of dance, drama and
music.