Kohala in the Sanskrit textual tradition (Study)
by Padma Sugavanam | 2011 | 95,782 words
This page relates ‘Works attributed to Kohala� of the thesis dealing with Kohala’s 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’s original works have not been found, numerous references to him across Lakshana-Granthas (treatises) and works by modern scholars indicate his significance.
Go directly to: Footnotes.
Part 7 - Works attributed to Kohala
Information about works attributed to Kohala is found in ṣaṇaԳٳ over a period of time. In addition, there are some works which are still in manuscript form. Thus, the works attributed to Kohala can be divided into two categories. One being works available to us from primary sources (manuscripts) and the other representing works which we come to know from secondary sources (other works which refer to them). The following is a list of works in each of these categories
Primary Sources | Secondary Sources |
i. Kohalamatam | i. Uttaratantra |
ii. Kohalarahasyam | ii. ṅgīٲ |
iii. ṣaṇa | iii. dzīⲹ |
iv. dzīⲹ Abhinayaśāstram | iv. ⲹ |
v. ٲśٰ | |
vi. ٲٳپdzīⲹ | |
vii. ܳīⲹśṣ� |
Works known through Primary sources are dealt with in detail in chapter 4. As seen in the above table, there are number of works of Kohala that are known through secondary sources. Due to the very nature of these sources, it is many a time difficult to gauge the authenticity and trustworthiness of these works. Nevertheless, these are important in the process of understanding Kohala. Modern scholars have put forth many theories regarding the nature of these works of Kohala. A brief introduction to these works and the theories of modern scholars on each of these works are presented in the coming paragraphs. A detailed evaluation of these works based on these theories, along with a good understanding of the concepts that Kohala stood for (which are discussed in chapters 2&3) will be taken up later.
i. Uttaratantra / ʰٲԳٰ
The first mention of a work of Kohala is seen in ṭyśٰ, where Bharata says that Kohala will explain all that has been left unsaid by him in the �Uttaratantra�[1]. V. Raghavan is of the opinion that if this (so-called) work of Kohala supplements all the information found in ṭyśٰ, then Bharata’s own creation would be ‘something like a ūٲԳٰ�[2]. The term �Tantra� in a generic sense could refer to any grantha. Since Kohala’s work was to follow ṭyśٰ, it was perhaps given the prefix �Uttara�, hence the title—�Uttaratantra�.
The readings of the name of this work seem to be different in different editions of the ṭyśٰ. For instance the GOS edition bears the name �Uttaratantra�. In this book we also find the variant reading of �ʰٲԳٰ� mentioned in the footnote. Scholars have adopted either of these two titles. While M. Krishnamachari[3] and S. K. De[4] read �ʰٲԳٰ�, others like P. V. Kane[5], V. Raghavan[6] and Ramakrishna Kavi[7] read the title of the work as �Uttaratantra�.&Բ;
It is noteworthy that while speaking of a work called Bharatottaram, M. R. Kavi mentions that it is a work composed by Kīrtidhara and that it is unavailable to us. Subsequently, he also cites the possibility of this work being the same as the Uttaratantra of Kohala[8]. In the work ṛtٲٲ屹ī, ⲹ 貹پ mentions the eminent post-Bharata authors who wrote the Anutantras or supplementary works. V. Raghavan points out the closeness of the words �Anutantra� and�Uttaratantra� and speculates its connection with Kohala[9].
ii. ṅgīٲ
The first reference to the work ṅgīٲ is found in the commentary of Kallinātha on the ٲⲹ of ṅgīٲٲ첹[10]. This work has been written in the form of a dialogue between Śū and Kohala, where Śū poses questions and Kohala answers them. The material from ṅgīٲ that is available to us represents the most voluminous quotations of Kohala by any single author.
In the quotations available in the Ծ, we find Kohala’s opinions on ٲ-s, cālaka-s and madhupa ī. There are references to many ū峦ⲹ such as ṭṭtaṇḍu, 岹, Ś, Ѳٲṅg, Sumantu, ʳܰ, Lauhityabhaṭṭaka, ṣeᲹ and Kīrtidhara in the available material of ṅgīٲ. According to V. Raghavan, the names ṭṭtaṇḍu, Sumantu, ṣeᲹ and Lauhitabhaṭṭaka look like those of historical personalities[11] while R. Sathyanarayana calls ṣeᲹ and Lauhitya ṭṭ ‘much later names�[12]. The mention of Ѳٲṅg creates some confusion. This is because Ѳٲṅg himself quotes Kohala in his work.
V. Raghavan presents an interesting opinion that this work is an elaborate one composed in a period much later than that of the original Kohala but passed off under his name. He also says that this might be the work which Abhinavagupta uses as reference material for all his quotations of Kohala found in Բī[13].
iii. dzīⲹ
There are two works that bear the word dzīⲹ in their title. One is titled �dzīⲹ� and the other �dzīⲹ Abhinayaśāstram�. Details about the former are collected from secondary sources but no manuscript bearing this title is available. The latter is not mentioned in any previous ṣaṇaԳٳ, but the manuscript is listed in the Descriptive Catalogue of GOML (Acc. No. D12989) (ref. para 4.5). The present research scholar saw this manuscript in powdered and unsalvageable form in 2008. At present it is unavailable at the GOML.
The work titled �dzīⲹ� (as gathered from secondary sources) has dealt with a wide variety of subjects covering īٲ, ⲹ, ṛtⲹ, architecture and such like. The name of Kohala has appeared in ṣaṇaԳٳ right from the time of Bharata’s ṭyśٰ. But the work called �dzīⲹ� does not find mention in any of the early treatises like the ṛhśī, Բī etc. References to dzīⲹ are found in a string of treatises such as Saṅīٲnārāyaṇa, ṅgīṇaԻ, and Saṅīٲsaraṇi written in the Orissa region from the 16th century C.E. onwards. There is some confusion as to the dates of these works. Saṅīٲnārāyaṇa is attributed to Gajapati ⲹṇadeva and is believed to have been written between 1718 and 1767 C.E. Nīlmādhab Pāṇigrāhi mentions that this work was actually written by ʳܰṣoٳٲ Miśrā in 1645 C.E.[14]. ṅgīṇaԻ of Raghunāth Rath (or ī첹ṇṭ?) was written in 1689 C.E. Another work called Saṅīٲsaraṇi was written by ⲹṇa Miśrā, the son of ʳܰṣoٳٲ Miśrā in the 18th century C.E. Mukund Lath mentions the work called پٲ첹 by an 18th century Bengali poet named Narahari. In this, he says there is a quotation from dzīⲹ regarding the occasion and purpose of using certain 岵[15].
It is interesting to note that all these works (except پٲ첹) belong to the Orissa region and also that the same quotations from dzīⲹ are repeatedly found in all of these works. The work of Kohala, as found in these Orissa texts, covers a wide range of topics.
iv. ⲹ
This work owes its association to Kohala via a reference by M. Krishnamachari[16]. He has mentioned that this work titled ⲹ is a fragment a work of Kohala with a Telugu commentary. No other scholar mentions this work among those that they list out as being creations of Kohala. This work is available in manuscript form in the GOML. It is a palm-leaf manuscript in good condition and has been written in Telugu script with 24 folios. The accession number is MD 12996. The work is incomplete. There is no mention of Kohala either in the descriptive catalogue or in the manuscript itself. This being the case, it is unclear as to how M. Krishnamachari attributes this work to Kohala.
Footnotes and references:
[1]:
śṣa� uttaratantreṇa kohalastu kariṣyati | 37.18 |—Naṭyaśāstra of Bharatamuni: 2006: GOS Vol. IV: p.517
[3]:
History of Classical Sanskrit Literature: 1974: p.822
[6]:
DzᲹ’s Śṛṅś: 1963: p.519
[7]:
ٲDzś:1999: p.153
[8]:
śṣaܳٳٲٲԳٰṇa dz� 첹ٳ⾱ṣyīپ� bharatena uktatvāt, tacchiṣyeṇa kohalena praṇītamapi bhavediti cābhiprayanti |—Bٲś: 1999: p.431
[9]:
ṛtٲٲ屹 of ⲹ Sesnāpati: 1965: Intro: p.43
[11]:
Collected Writings on Indian Music: 2007: Vol. II: p.80
[12]:
Բٲṅg:1960: Intro: p.LVI-LVII
[14]:
ṅgṇaԻ: 1995: p.52
[15]:
A Study of Dattilam: 1978: p.434
[16]:
History of Classical Sanskrit Literature:1974: p.822