Kohala in the Sanskrit textual tradition (Study)
by Padma Sugavanam | 2011 | 95,782 words
This page relates 鈥楾radition of Kohala鈥擬arga or Deshi鈥� of the thesis dealing with Kohala鈥檚 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鈥檚 original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.
Part 6 - Tradition of Kohala鈥擬膩rga or De艣墨
Besides the date of Kohala, the information obtained from other 濒补办峁峁嘺驳谤补苍迟丑补蝉 would also help to decide which tradition he belonged to. The art of performance was classified into 尘腻谤驳补 and 诲别艣墨. 艢腻谤峁単补诲别惫补 defines 尘腻谤驳补 as that which was discovered by 叠谤补丑尘腻 and first practiced by Bharata.
The 诲别艣墨 system, as opposed to this, represented that which was shaped according to the taste of the people of different regions and was primarily intended to provide entertainment.
啶ぞ啶班啶椸 啶︵啶多啶むた 啶むう啷嵿う啷嵿さ啷囙ぇ啶� 啶むい啷嵿ぐ 啶ぞ啶班啶椸 啶� 啶夃啷嵿く啶む 啷�
啶 啶ぞ啶班啶椸た啶む 啶掂た啶班た啶炧啶氞ぞ啶︵啶啶� 啶啶班く啷佮啷嵿い啷� 啶ぐ啶むぞ啶︵た啶た啶� 啷� 啷�.啷ㄠエ 啷�
啶︵啶掂じ啷嵿く 啶啶班い啶� 啶多啶啶班啶ㄠた啶い啶距き啷嵿く啷佮う啶お啷嵿ぐ啶︵ 啷�
啶︵啶多 啶︵啶多 啶溹え啶距え啶距 啶う啷嵿ぐ啷佮啷嵿く啶� 啶灌啶︵く啶班啷嵿啶曕ぎ啷� 啷� 啷�.啷ㄠォ 啷�
啶椸啶む 啶� 啶掂ぞ啶︵え啶� 啶ㄠ啶む啶む 啶むう啷� 啶多啶む啶き啶苦ぇ啷�啶い啷� 啷� 啷�.啷ㄠオ啶呧が啷� 啷�m膩rgo 诲别艣墨ti taddvedh膩 tatra 尘腻谤驳补岣� sa ucyate |
yo m膩rgito viri帽c膩dyai岣� prayukto bharat膩dibhi岣� || 1.22 ||
devasya purata岣� 艣a峁僢horniyat膩bhyudayaprada岣� |
de艣e de艣e 箩补苍腻苍腻峁� yadrucy膩 h峁沝ayara帽jakam || 1.23 ||
驳墨迟补峁� ca 惫腻诲补苍补峁� 苍峁泃迟补峁� tad 艣墨tyabhidh墨yate | 1.24ab ||鈥擲a峁叢的俨箁atn膩kara of 艢腻谤峁単补诲别惫补: 1991: Vol. I: p. 10
狈腻峁瓂补 in the 尘腻谤驳补 tradition (i.e. according to Bharata), fundamentally referred to the presentation of the 诲补艣补谤奴辫补办补蝉. In Bharata鈥檚 view 驳墨迟补, 惫腻诲测补 and 苍峁泃测补 would play only a subordinate role. In other words, the presentation of the play and generation of rasa was the sole aim, and excessive importance would not be given either to 驳墨迟补 or to 苍峁泃测补. Therefore, musical-theatre and dance-theatre would not fall into the framework of Bharata鈥檚 苍腻峁瓂补. They were given more importance in the 诲别艣墨 tradition. 艢腻谤峁単补诲别惫补, in the 苍补谤迟补苍腻诲丑测腻测补 of his work gives a very detailed account of the theatrical forms of the 诲别艣墨 tradition.
Some varieties of drama, wherein music and dance played a more substantial role were introduced by Kohala. They were called 耻辫补谤奴辫补办补蝉, or minor varieties of drama. Kohala belonged to a performing tradition that was different from Bharata鈥檚 and it appears that his system took stands quite divergent to Bharata. Could Kohala鈥檚 system then be the 诲别艣墨 tradition of those times? This aspect has been dealt with in the 3rd and 5th chapters.