Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 1 - Music in the Puranas
9 (of 72)
External source: Shodhganga (Repository of Indian theses)
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it is called the Gandhara gr膩ma. According to Narada the 25 G膩ndh膩ra gr膩ma is used only in heaven. By the time of
Bharata the Gandhara gr膩ma went out of vogue. Consequently
the two gramas viz. the Sadja grama and Madhyama gr膩ma are
practised in the Svarasastra. Bharata gives particulars of
26 two of the three gramas, the Sadja Grama and the Madhyama
Grama.
The Gandhara Grama is not mentioned until the
Sangita Ratnakara. They are really fundamental scales
starting from the notes Sa, Ma and Ga respectively.
The Vayu Pur膩峁嘺 (Uttarakhanda, 24.38 - 41), the
Skanda Pur膩峁嘺 (Nagarakhanda, 254, 61), the Brahmanda Purana
(Madhyabhaga, Upodgh膩ta, 61.31 34) and the Vismudharmottara
-
Pur膩峁嘺 (third Khanda Ch. 18) - all these Pur膩nas have admitted
the three gramas.
The intervals between successive notes are of three
kinds : Catu岣ruti, Trisruti and Dvisruti.
The three kinds
27 of intervals can be demonstrated on the flute.
The formation of the Sadja Grama and the Madhyama Gr膩ma
is fairly clear. The Sruti values of the Sadja Grama are as
follows s
Sa
Ri
Ga
Ma
Pa
Dha
4 3
2 4
3 2
The Sruti values of the Madhyama Grama are as follows:
Ma
Pa
3 Dha
2 Ni
蝉腻
Ri
3 2
Ga
