365bet娱乐

啶むう啷佮�曕�嵿い啶� 啶曕�嬥す啶侧�囙え
啶膏え啷嵿ぇ啷嵿く啶距く啶距�� 啶ㄠ�冟い啷嵿く啶む�� 啶多ぎ啷嵿き啷嬥ぐ啷嵿き啶曕�嵿い啷嵿く啶距そ啶班�嵿う啷嵿ぐ啷� 啶ㄠぞ啶班う啶� 啶�啷佮ぐ啶� 啷�
啶椸��啶むさ啶距�傕じ啷嵿い啷嵿ぐ啶苦お啷佮ぐ啷嬥え啷嵿ぎ啶距ぅ啶� 啶む�氞�嵿�氞た啶む�嵿い啶膏�嵿い啷嵿さ啶� 啶椸��啶む�曕�� 啷�
啶氞�曕ぞ啶班ぞ啶�啶苦え啶�啶� 啶�啷嵿ぐ啷�啶むじ啷嵿い啶むじ啷嵿い啶｀�嵿ぁ啷佮�� 啶� 啶膏�嬥そ啶�啷嵿ぐ啶掂��啶む�� 啷�
啶ㄠぞ啶熰�嵿く啷嬥�曕�嵿い啷嵿く啶距き啶苦え啶�啷囙え啷囙う啶� 啶掂い啷嵿じ 啶�啷嬥�溹く 啶むぞ啶｀�嵿ぁ啶掂ぎ啷� 啷� 啶囙い啶� 啷�

tadukta峁� kohalena
sandhy膩y膩峁� n峁泃yata岣� 艣ambhorbhakty膩'rdro 苍腻谤补诲补岣� 辫耻谤腻 |
g墨tav膩峁僺tripuronm膩tha峁� taccittastvatha g墨take ||
cak膩r膩bhinaya峁� pr墨tastatasta峁囜笉u峁� ca so'brav墨t |
n膩峁瓂okty膩bhinayeneda峁� vatsa yojaya 迟腻峁囜笉补惫补m || iti || 

鈥�(础产丑颈苍补惫补产丑腻谤补迟墨, Commentary on 4.267, GOS Vol. I, p.178) 

Abhinavagupta starts a discussion on whether 苍峁泃迟补 has the element of abhinaya. 

Having substantiated that 苍峁泃迟补 is but a limb of 苍腻峁瓂补, he proceeds to discuss forms such as 谤腻驳补办腻惫测补 which are predominantly 苍峁泃迟补 based. 

啶忇さ啶� 啶ㄠぞ啶熰�嵿く啶距�權�嵿�椸い啶� 啶ㄠ�冟い啷嵿い啶膏�嵿く 啶椸��啶むぞ啶︵た啶掂う啷佮お啶�啷嬥�椸ざ啷嵿�� 啶膏ぎ啶班�嵿ぅ啶苦い啶� 啷� 啶呧ぇ啷佮え啶� 啶ㄠ�冟い啷嵿い啶�啷嵿ぐ啶оぞ啶ㄠぐ啶距�椸�曕ぞ啶掂�嵿く啶距う啶苦ぐ啷嵿さ啶苦し啶�啶� 啶曕ぞ啶掂�嵿く啶� 啶� 啶ㄠぞ啶熰�嵿く啶距�權�嵿�椸ぎ啶苦い啶� 啶︵ぐ啷嵿ざ啶�啶ㄠ�嵿お啷佮ぐ啶距�曕げ啷嵿お啶氞�嵿�涏ぞ啶�啶�啶� 啶�啷嵿ぐ啶曕ぞ啶班ぞ啶ㄠ�嵿い啶班ぎ啶�啶� 啶ㄠ�冟い啷嵿い啶膏�嵿く 啶膏ぎ啶班�嵿ぅ啶�啶苦い啷佮ぎ啶距す鈥斷う啷囙さ啷囙え啷囙い啷嵿く啶︵た 啷� 啶氞�曕ぞ啶� 啶忇さ啶曕ぞ啶班ぞ啶班�嵿ぅ啷� 啷� 啶︵�囙さ啷囙え啷堗�� 啶�啶灌�囙ざ啷嵿さ啶班�囙ぃ啷堗�� 啷� 啶むぃ啷嵿ぁ啷佮�� 啶膏え啷嵿い啷嬥し啶�啷傕ぐ啷嵿さ啶曕�� 啶�啷嵿ぐ啶曕ぐ啷嵿し啷囙ぃ啶距う啶班�囙ぃ啷嬥�曕�嵿い啶� 啷� 啶曕た啶�啶苦い啷嵿く啶光�斷�椸��啶�啶� 啶囙い啶� 啶椸��啶む�� 啶曕ぞ啶掂�嵿く啶�啷� 啷� 啶むじ啷嵿く 啶�啶� 啶�啷嵿ぐ啶曕ぐ啷嵿し啷囙�� 啶�啷嬥�椸じ啷嵿い啶︵ぐ啷嵿ぅ啶距え啷佮お啷嵿ぐ啶掂�囙ざ啶侧�曕�嵿し啶｀じ啷嵿い啶�啶距ざ啷嵿ぐ啶苦い啷嵿く 啶� 啶涏ぞ啶�啶距ぎ啷� 啷� 啶嗋じ啶距ぎ啶ㄠ�嵿い啶距�氞�嵿�涏�嵿ぐ啶苦い啷嵿さ啶� 啷� 啶呧�權�嵿�椸さ啶苦�曕�嵿し啷囙お啶苦い啶距�權�嵿�椸い啷嵿さ啶� 啶膏ぞ啶�啶班じ啷嵿く啶侧く啶膏い啷嵿い啷嵿さ啶距う啶苦え啶� 啶ㄠ�冟い啷嵿い啶� 啶む�氞�嵿�涏が啷嵿う啶膏�嵿さ啶�啶距さ啶�啶�啶� 啶�啶︵き啷傕い啷嵿い啶距ぃ啷嵿ぁ啶掂お啷嵿ぐ啶�啷冟い啶� (啶ㄠ�冟い啷嵿い啶� 啶むう啷嵿�椸��啶�啶�啶距え啶班�傕お啶曕�椸い啶掂ぐ啷嵿ぃ啶距げ啶權�嵿�曕ぞ啶班げ啶�啶�啶︵ぞ啶班�嵿ぅ啶掂ぞ啶曕�嵿く啶距ぐ啷嵿ぅ啶膏ぎ啷嵿ぎ啶苦げ啶苦い啶� 啶�啶む�嵿い啶む�嵿お啷嵿ぐ啶掂ぐ啷嵿い啷嵿く啶むぞ啶�啷�) 啷�

eva峁� n膩峁瓂膩峁単at膩 苍峁泃迟补sya g墨t膩divadupayoga艣ca samarthita岣� | 补诲丑耻苍腻 苍峁泃迟补pradh膩nar膩gak膩vy膩dirvi峁�aya岣� 办腻惫测补峁� ca n膩峁瓂膩峁単amiti dar艣ayan辫耻谤腻kalpacch膩yay膩 prak膩r膩ntaramapi 苍峁泃迟补sya samarthayitum膩ha鈥�devenetyadi | 肠补办腻谤补 evak膩r膩rthe | devenaiva mahe艣vare峁嘺iva | 迟补峁囜笉耻岣� santo峁�ap奴rvaka峁� prakar峁�e峁嚹乨are峁噊kta岣� | kimityaha鈥�g墨yata iti 驳墨迟补峁� k膩vyam | tasya ya岣� prakar峁�e峁嘺 yogastadarth膩nuprave艣alak峁�a峁嘺stam膩艣ritya na ch膩y膩m | 膩s膩mant膩cchritv膩 | a峁単avik峁�epit膩峁単atva峁� s膩marasyalayasattv膩din膩 苍峁泃迟补峁� tacchabdasvabh膩vamapi yadabh奴t迟腻峁囜笉补惫补prabh峁泃i (苍峁泃迟补峁� tadg墨yam膩na谤奴辫补办补gatavar峁嚹乴a峁卥膩ralaya辫补诲腻谤迟丑补惫腻办测腻谤迟丑补sammilita峁� yattatpravartyat膩m) |

鈥�狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 1992: Comm. on 4.267: GOS Vol. I: p.178

He says that, in order to introduce another element into 苍峁泃迟补, 罢补峁囜笉耻 was told by Lord 艢颈惫补 to delve deeply into the meanings of the 驳墨迟补蝉 and make a physical representation through the 迟腻峁囜笉补惫补 dance. He prescribes the performance of the dance called 迟腻峁囜笉补惫补, with befitting bodily movements and balanced laya, in that variety of a 谤奴辫补办补 which has a combination of musical aspects of 惫补谤峁嘺, 补濒补峁卥腻谤补 and laya and brings out the combinations of the 辫补诲腻谤迟丑补 (word-meaning) as well as 惫腻办测腻谤迟丑补 (sentence-meaning). 

In this context, Abhinava quotes a verse of Kohala which describes a scene where Lord 艢颈惫补 is dancing in the twilight. Sage 狈腻谤补诲补, drenched with feeling, is singing a song about 鈥�罢谤颈辫耻谤辞苍尘腻迟丑补鈥� (Killing of Tripura) with his mind fully focused on the 驳墨迟补办补. Lord 艢颈惫补, being pleased, then performed abhinaya and tells 罢补峁囜笉耻 to add the element of abhinaya to 迟腻峁囜笉补惫补. 罢腻峁囜笉补惫补 is a synonym of 苍峁泃迟补. 狈峁泃迟补 is 补峁単补惫颈办峁�e辫补, which essentially indicates non-representational dance. 

But even Bharata while describing 迟腻峁囜笉补惫补 says that it has emerged from 艣峁涐箙驳腻谤补谤补蝉补. 

啶膏�佮�曕�佮ぎ啶距ぐ啶�啷嵿ぐ啶�啷嬥�椸ざ啷嵿�� 啶多�冟�權�嵿�椸ぞ啶班ぐ啶膏じ啶�啷嵿き啶掂�� 啷� 啶むじ啷嵿く 啶むぃ啷嵿ぁ啷佮お啷嵿ぐ啶�啷佮�曕�嵿い啶膏�嵿く 啶むぞ啶｀�嵿ぁ啶掂じ啷嵿�� 啶掂た啶оた啶曕�嵿ぐ啶苦く啶距ぎ啷� 啷� 啷�.啷ㄠガ啷� 啷�

sukum膩raprayoga艣ca 艣峁涐箙驳腻谤补谤补蝉补sambhava岣� | tasya ta峁囜笉uprayuktasya 迟腻峁囜笉补惫补sya vidhikriy膩m || 4.269 || 

鈥敱纺遽弓y补艣腻蝉迟谤补 of Bharatamuni: 1991: GOS Vol.I: p.180

But rasa is the aesthetic import of 苍腻峁瓂补 and not of 苍峁泃迟补.

Bharata, in the 辫奴谤惫补谤补峁単补 chapter, has also indicated performing of a dance for the 驳墨迟补办补. 

啶�啷嵿ぐ啶｀ぎ啷嵿�� 啶︵�囙さ啶むぞ啶�啷嵿く啶多�嵿�� 啶むい啷嬥そ啶�啶苦え啶�啶�啶距�氞ぐ啷囙い啷� 啷� 啶�啶む�嵿ぐ啶距き啶苦え啷囙く啶� 啶椸��啶む�� 啶膏�嵿く啶距い啷嵿い啶む�嵿ぐ 啶掂ぞ啶︵�嵿く啶� 啶� 啶�啷嬥�溹く啷囙い啷� 啷� 啷�.啷ㄠキ啷� 啷�

pra峁嘺mya devat膩bhya艣ca tato'bhinayam膩caret | yatr膩bhineya峁� 驳墨迟补峁� sy膩ttatra 惫腻诲测补峁� na yojayet || 4.276 ||

鈥�狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 1991: GOS Vol.I: p.184

These would imply that Bharata was perhaps aware of a variety of 苍峁泃迟补 which included abhinaya. He has just not said so in so many words. Therefore, Abhinava, in order to defend this stand of Bharata鈥檚, takes up this discussion and also quotes the above verse of Kohala to add strength to the argument.

Abhinaya is employed in 惫颈产丑腻惫补, 补苍耻产丑腻惫补 and 惫测补产丑颈肠腻谤颈产丑腻惫补 in order to convey a particular rasa. This would make the four abhinayas the only medium to communicate any sentiment to the audience. But in the case of 苍峁泃迟补, there is no sentiment that is being attempted to be communicated. Then, why would there be a need to use abhinaya in 苍峁泃迟补? The abhinaya used in 苍峁泃迟补 is different from that used in 苍腻峁瓂补. In the case of 苍峁泃迟补, it is used purely to add aesthetics and beauty to the body movements. Abhinava quotes from Kohala just to bring out the fact that there can be two types of 苍峁泃迟补鈥攔epresentational and non-representational.