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Indeed, such mud-drums are in vogue among folks in some parts
of the country. Both Pa峁嘺va and M峁沝anga were mud-made: But a close
investigation of ancient Sanskrit texts would show the real meaning of
m峁沝-ang膩, and give us the information what exactly this ingredient
'mrd' was and where it was. The name Mrdanga was originally applied
by Bharata to the drum called Puskara.
艢膩rangadeva says
啶�啶｀さ啷� 啶�啷冟う啷嵿お啶熰す啶� 啶�啷佮ぐ啶溹�� 啶�啶班�嵿う啶侧�� 啶�啷冟う啶權�嵿�� 啶�啷冟ぃ啷嵿ぎ啶�啶� 啶� 啶忇さ 啷�
啶�啷嵿ぐ啷嬥�曕�嵿い啶�啷� 啶�啷冟う啶權�嵿�� 啶多が啷嵿う啷囙え 啶�啷佮え啶苦え啶� 啶�啷佮し啷嵿�曕ぐ啶む�嵿ぐ啶�啶�啷� 啷�
[pa峁嘺vo m峁沝pa峁璦ha岣� murajo mardala岣� m峁沝a峁単a m峁涐箛maya岣� sa eva |
proktam m峁沝a峁単a 艣abdena munin膩 pu峁�karatrayam ||
] Sangita Ratn膩kara VI - 1025
The Pu峁�kara, which was quite in vogue in K膩lid膩sa's time but not
in 艢膩rangadeva's, was more fully called, as found in the above quoted
鈫愨槄
*
line, 'Pu峁�kara-traya' - a three-faced drum. Its three faces - the right side,
the left side and upward one in the middle were tuned to different
svaras in the three different 'm盲rjanas': m膩yuri, ardham膩yuri and
k膩rmaravi (N膩峁瓂a艣膩stra, Kavyam膩la edition XXXIV, pp. 416, 421).
This drum was also called the Bhan岣峚-v膩dya and a small but very
good sculpture of this three-faced vessel-like drum, with two faces on
either side and one on top, with the divine player, is found straight in
front of the shrine of Na峁璦r膩ja at Chidambaram, at the centre of the
series on the high basement of the shrine having the Urdhva T膩n岣峚va
figure of Na峁璦r膩ja.
The inquiry on hand is Bharata's description of the make-up of this
tri- Puskara. In N膩峁瓂a艣膩stra, Bharata goes on to describe the mrittika or
mud. We are now familiar with the dark material, called "soru", and
made of powder of ki峁�峁�膩-stone and gum of cooked rice applied in a disc
form on the right side of the Mrdanga.