365bet娱乐

1 厂腻尘腻苍测腻产丑颈苍补测补

啶曕�嬥す啶侧ぎ啶むぞ啶ㄠ�佮じ啶距ぐ啶苦き啶苦ぐ啷嵿さ啷冟う啷嵿ぇ啷堗�� 啶膏ぞ啶�啶距え啷嵿く啶距き啶苦え啶�啶膏�嵿い啷� 啶粪�嬥あ啶� 啶�啶｀�嵿く啶む�� 啷� 啶むぅ啶� 啶灌た 啶曕�嬥す啶侧��
啶多た啶粪�嵿�熰�� 啶曕ぞ啶�啶� 啶�啶苦ざ啷嵿ぐ啶� 啶掂�曕�嵿ぐ啶� 啶膏�傕き啷傕い啶�啷囙�曕く啷佮�曕�嵿い啶む�嵿さ啶� 啷�
啶膏ぞ啶�啶距え啷嵿く啶距き啶苦え啶�啷� 啶�啶む�� 啶粪�嬥あ啶� 啶掂た啶︵�佮ぐ啷囙い啶︵�囙さ 啶�啷佮ぇ啶距�� 啷� 啶囙い啶�

kohalama迟腻苍us膩ribhirv峁沝dhai岣� 蝉腻尘腻苍测腻产丑颈苍补测补stu 峁�o岣峢腻 bha峁噛ate | tath膩 hi 办辞丑补濒补岣�
艣颈峁ａ弓补峁� 办腻尘补峁� 尘颈艣谤补峁� vakra峁� sa峁僢h奴tamekayuktatva峁� |
s膩m膩ny膩bhinaye yat 峁�o岣峢腻 viduretadeva budh膩岣� || iti 

鈥�(础产丑颈苍补惫补产丑腻谤补迟墨, Commentary on 22.1, GOS Vol. III, p.146) 

This excerpt is the commentary of Abhinavagupta on the very first verse of the twenty second chapter of 狈腻峁瓂补艣腻蝉迟谤补.

Bharata begins his exposition of 蝉腻尘腻苍测腻产丑颈苍补测补 with the following verse鈥�

啶膏ぞ啶�啶距え啷嵿く啶距き啶苦え啶�啷� 啶ㄠぞ啶� 啶溹�嵿�炧�囙く啷� 啶掂ぞ啶椸�權�嵿�椸じ啶む�嵿い啷嵿さ啶溹�� 啷�
啶むい啷嵿ぐ 啶曕ぞ啶班�嵿く啶� 啶�啷嵿ぐ啶�啶む�嵿え啶膏�嵿い啷� 啶ㄠぞ啶熰�嵿く啶� 啶膏い啷嵿い啷嵿さ啷� 啶�啷嵿ぐ啶むた啶粪�嵿�犩た啶むぎ啷� 啷� 啷ㄠエ.啷� 啷�

蝉腻尘腻苍测腻产丑颈苍补测辞 苍腻尘补 j帽eyo v膩ga峁単asattvaja岣� |
tatra k膩rya岣� prayatnastu 苍腻峁瓂补峁� sattve prati峁ａ弓hitam || 22.1 ||^[1]

(Trans:鈥擳he harmonious representation ( 蝉腻尘腻苍测腻产丑颈苍补测补) is known to depend on Words and Gestures. [Among these] one should take special care about the sattva, for the dramatic production has this as its basis.^[2])

G.H. Tarlekar explains that 蝉腻尘腻苍测腻产丑颈苍补测补 refers to basic representation which is presented using the head, hand, waist, chest, shanks and the thighs simultaneously. According to him, it is produced by the representation of speech, gestures and temperament (sattva)^[3]. Manmohan Ghosh mentions that 蝉腻尘腻苍测腻产丑颈苍补测补 appears to refer to the harmonious use of all four kinds of abhinaya and must be distinguished from 肠颈迟谤腻产丑颈苍补测补 which relates to the special representation of objects and ideas^[4]. Mandakranta Bose says that the movements involved in 蝉腻尘腻苍测腻产丑颈苍补测补 are usually self-explanatory, and though they have been codified, these are not seen as stylised, with symbolic meanings attached to them. According to K. D. Tripathi, amongst all living dramatic traditions in India, the 蝉腻尘腻苍测腻产丑颈苍补测补 is presented in its entire dimension in 碍奴岣峣测腻峁�峁�补尘 alone^[5]. 

Abhinavagupta gives a vyutpatti for the word 蝉腻尘腻苍测腻产丑颈苍补测补 (蝉腻尘补+anya+abhinaya). He then refers to the older authorities who followed the school of Kohala, who consider 蝉腻尘腻苍测腻产丑颈苍补测补 to be of six varieties. 

He proceeds to quote a verse of Kohala鈥檚 which gives the names of the six kinds of 蝉腻尘腻苍测腻产丑颈苍补测补鈥拢补尘别濒测:&苍产蝉辫;

1. 艣颈峁ａ弓补, 
2. 办腻尘补, 
3. 尘颈艣谤补, 
4. vakra, 
5. 蝉补尘产丑奴迟补 and
6. ekayuktatva. 

Abhinava only quotes the verse listing out these six varieties but does not give an explanation/ definition for these. 

Bharata has not spoken of these six varieties of 蝉腻尘腻测腻产丑颈苍补测补, but does mention six aspects of 蝉腻尘腻苍测腻产丑颈苍补测补 苍补尘别濒测鈥�

1. 惫腻办测腻产丑颈苍补测补, 
2. 蝉奴肠腻, 
3. 补峁卥耻谤补, 
4. 艣腻办丑腻, 
5. 苍腻峁瓂腻测颈迟补 and
6. nirv峁泃ty补峁卥耻谤补. 

This quotation of Kohala by Abhinava, seems to indicate that Kohala had spoken on the topics relating to the 苍腻峁瓂补 (尘腻谤驳补) tradition too. And even here, his doctrines and principles seem to be quite divergent from Bharata鈥檚. From this, it could be inferred that Kohala was a well-established author even at the time Bharata wrote his 狈腻峁瓂补艣腻蝉迟谤补. On the other hand, authors like G. H. Tarlekar feel that the chapter on 蝉腻尘腻苍测腻产丑颈苍补测补 was a later addition which found its way into the compendium of 狈腻峁瓂补艣腻蝉迟谤补^[6].

2 颁颈迟谤腻产丑颈苍补测补

啶膏ぞ啶�啶距え啷嵿く啶距き啶苦え啶�啶距い啷� 啶�啷嵿ぐ啶�啷冟い啷嵿く啷囙い啶︵ぇ啷嵿く啶距く啶�啶班�嵿く啶ㄠ�嵿い啶� 啶�啷� 啶曕ぐ啷嵿い啶掂�嵿く啶むぞ啶班�傕お啶距き啶苦え啶�啶距え啶距�� 啶掂た啶оく 啶夃�曕�嵿い啶距�� 啶むぞ啶ㄠ�� 啶膏ぎ啷嵿く啶椸�� 啶掂た啶溹�嵿�炧ぞ啶�啷囙い啶� 啶掂う啶ㄠ�� 啶曕�嬥す啶侧ぞ啶︵た啶多ぞ啶膏�嵿い啷嵿ぐ啶侧�曕�嵿し啷嵿く啶�啷嵿ぐ啶掂ぞ啶膏た啶︵�嵿ぇ啶�啶�啶� 啶氞た啶む�嵿ぐ啶距き啶苦え啶�啶� 啶膏�傕�氞く啶むた 啷� 啶むい啶多�嵿�氞�嬥う啶距す啶班ぃ啶距ぐ啷嵿ぅ啶距え啷� 啶︵ぐ啷嵿ざ啶�啶距ぎ啷� 啶�啶距き啷傕い啷嵿じ啶�啷嵿お啷嵿ぐ啶︵ぞ啶�啶�啷嵿ぐ啶掂ぞ啶灌さ啶苦�氞�嵿�涏�囙う 啶囙い啶� 啷�

s膩m膩ny膩bhinay膩t prabh峁泃yetadadhy膩yaparyanta峁� ye kartavyat膩r奴p膩bhinay膩n膩峁� vidhaya 耻办迟腻岣� 迟腻苍 samyag vij帽膩yeti vadan kohal膩di艣腻蝉迟谤补濒补办峁�y补prav膩siddhamapi 肠颈迟谤腻产丑颈苍补测补峁� s奴cayati | tata艣cod膩hara峁嚹乺th膩n dar艣ay膩mo m膩bh奴t蝉补尘辫谤补诲腻测补辫谤补惫腻丑补viccheda iti |

鈥�(础产丑颈苍补惫补产丑腻谤补迟墨, Commentary on 25.123-124, GOS Vol. III, p. 287)

Bharata, while concluding the chapter on 肠颈迟谤腻产丑颈苍补测补 蝉补测蝉鈥�

啶ㄠぞ啶ㄠぞ啶多��啶侧ぞ啶� 啶�啷嵿ぐ啶曕�冟い啶�啶� 啶多��啶侧�� 啶ㄠぞ啶熰�嵿く啶� 啶�啷嵿ぐ啶むた啶粪�嵿�犩た啶むぎ啷� 啷�
啶むじ啷嵿ぎ啶距げ啷嵿げ啷嬥�曕お啷嵿ぐ啶�啶距ぃ啶� 啶灌た 啶掂た啶溹�嵿�炧�囙く啶� 啶ㄠぞ啶熰�嵿く啶�啷嬥�曕�嵿い啷冟き啶苦�� 啷� 啷ㄠカ.啷оエ啷� 啷�
啶忇い啶距え啷� 啶掂た啶︵��啶傕ざ啷嵿�氞ぞ啶�啶苦え啶�啶膏�嵿く 啶膏ぎ啷嵿く啶椸�嵿さ啶苦�溹�嵿�炧ぞ啶� 啶班�權�嵿�椸�� 啶�啶ㄠ�佮�溹�� 啶�啷嵿ぐ啶�啷佮�權�嵿�曕�嵿い啷� 啷�
啶� 啶ㄠぞ啶熰�嵿く啶むい啷嵿い啷嵿さ啶距き啶苦え啶�啶�啷嬥�曕�嵿い啶� 啶膏ぎ啷嵿ぎ啶距え啶�啶椸�嵿ぐ啷嵿く啶� 啶侧き啶む�� 啶灌た 啶侧�嬥�曕�� 啷� 啷ㄠカ.啷оエ啷� 啷�

n膩n膩艣墨l膩岣� prak峁泃aya岣� 艣墨le 苍腻峁瓂补峁� prati峁ａ弓hitam |
tasm膩lloka辫谤补尘腻峁嘺峁� hi vij帽eya峁� 苍腻峁瓂补yokt峁沚hi岣� || 25.123 ||
e迟腻苍 vid墨峁兣沜膩bhinayasya samyagvij帽膩ya ra峁単e 尘补苍耻箩补岣� prayu峁卥te |
sa 苍腻峁瓂补tattv膩bhinayayokt膩 samm膩namagrya峁� labhate hi loke || 25.124 ||^[7]

Bharata says that the director of a drama should take loka-辫谤补尘腻峁嘺 as the ultimate authority with regards to drama because different people involved in the presentation of a drama are made of different temperaments and it is this 鈥榯emperament鈥� on which the drama is founded. He also says that a director who creates and presents on a stage, a drama according to all the prescribed rules will be the recipient of great honour and esteem.

When commenting on this portion of 狈腻峁瓂补艣腻蝉迟谤补, Abhinavagupta says that all the activities of this world have been codified by the 腻驳补尘补蝉 with a strict prescription of do-s and don鈥檛-s. In that case, he raises a question as to why Bharata mentions the word 鈥�lokasya鈥� in this context. That is because Bharata鈥檚 intention is to emphasise the importance of 鈥�艣墨濒补鈥欌赌攊苍丑别谤别苍迟 nature or character of humans. Abhinava feels that Bharata has summarized that inherent 艣墨濒补 when he speaks of loka-辫谤补尘腻峁嘺.

Abhinava indicates that the words 鈥�e迟腻苍 vidh墨n鈥�, should be taken to mean that all the rules that have been prescribed from the chapter on 蝉腻尘腻苍测腻产丑颈苍补测补 (狈腻峁瓂补艣腻蝉迟谤补鈥�chapter 22) till the present one (肠颈迟谤腻产丑颈苍补测补, 狈腻峁瓂补艣腻蝉迟谤补鈥攃hapter 25) should be learnt well. He also mentions that this refers to the 肠颈迟谤腻产丑颈苍补测补 shown by Kohala in his 艣腻蝉迟谤补 using the testimony of 濒补办峁�y补. Abhinava says that in order to prevent the interruption a continuous tradition, he will present examples of the same. 

This is followed by thirty eight verses explaining varieties of 肠颈迟谤腻产丑颈苍补测补. From Abhinava鈥檚 statements, it is clear that these verses belong to the tradition of Kohala but are not direct quotations from his work. It appears that Kohala has explained in detail what Bharata has merely indicated. This would seem to suggest that Kohala鈥檚 work was a massive one, which dealt with the aspects of dramatic performance in much more detail than Bharata. Also Abhinava鈥檚 words鈥斺��m膩 bh奴t 蝉补尘辫谤补诲腻测补 辫谤补惫腻丑补 惫颈肠肠丑别诲补岣�鈥� indicate that even in his (Abhinava鈥檚) own time, the tradition of the Kohala-school was slowly fading away if not completely extinct. In order to bridge the gaps in the then-current 濒补办峁�y补 and safeguard the principles held by Kohala, Abhinava himself seems to have put together this exposition of 肠颈迟谤腻产丑颈苍补测补. By the time of Abhinavagupta, Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补 had perhaps outshined any other work (of its time), and was the considered the sole authority on the ancient art of dramaturgy which led to works of other great authorities like Kohala into a state of relative oblivion.

3 膧丑腻谤测补

啶�啷嵿ぐ啶む�嵿く啷囙�曕�� 啶侧�曕�嵿し啶｀ぞ啶ㄠ�嵿く啷囙し啶距�� 啶曕�嬥す啶侧��啶�啷� 啶灌た 啶膏え啷嵿い啶� 啶� 啷�
啶�啶�啶� 啶ㄠ�嬥�曕�嵿い啶距え啶� 啶�啶距す啷佮げ啷嵿く啶�啷�啶む�嵿�� 啶膏た啶︵�嵿ぇ啶距え啶� 啶むぞ啶ㄠた 啶灌た 啷� 啷�.啷оキ啷� 啷�

辫谤补迟测别办补峁� lak峁�a峁嚹乶ye峁Ｄ佱箖 kohal墨ye hi santi ca |
may膩 nok迟腻苍i b膩hulyabh墨tya siddh膩ni 迟腻苍i hi || 3.176 ||

鈥�(厂补峁単墨迟补苍腻谤腻测补峁嘺, Vol. II, p.482) 

This verse is found both in 厂补峁単墨迟补苍腻谤腻测补峁嘺 as well as 厂补峁単墨迟腻谤峁嘺惫补肠补苍诲谤颈办腻^[8] with minor variances in readings. This excerpt occurs in 厂补峁単墨迟补苍腻谤腻测补峁嘺 when the different types of 补濒补峁卥腻谤补蝉 are being described. 笔耻谤耻峁�o迟迟补尘补 Mi艣r膩 first makes a general classification of ornaments into 腻惫别诲丑测补尘 (pierced), 产补苍诲丑补苍墨测补尘 (fastened), 辫谤补办峁�e辫测补尘 (worn) and ropitam (set). Then he gives the definitions for each along with a few examples.

This is followed by the names of ornaments that are to be worn on different body parts. These are鈥�

i.	Ornaments for the ears	罢腻峁璦峁卥补, 碍补谤峁嘺辫补迟谤补, 碍耻峁囜笉补濒补, Kar峁嘺pu峁�pik膩, K膩ravell墨, Lambita, 碍补谤峁嘺辫奴谤补, 叠丑谤补尘补谤墨, 狈腻驳补辫腻艣补
ii.	Ornaments for the nose	Unnata, Lambita, 尝墨苍补
iii.	Ornaments for the neck	惭耻办迟腻惫补濒墨, 贬补谤峁�a, S奴trakam
iv.	Armlets	碍别测奴谤补, 础峁単补诲补
v.	Ornaments for the chest	痴颈产丑奴峁�a峁嘺, Trisara, 贬腻谤补
vi.	Ornaments for the hip	Tilaka, Mantraka, 碍腻帽肠墨
vii.	Ornaments for the wrist	碍补峁卥补峁嘺, Valaya, 搁奴肠补办补, Vadhita, Niku帽caka
viii.	Ornaments for the ankles	厂补峁単丑辞峁�a, 碍补峁璦办补
ix.	Ring	Worn in the thumb (only by women)

笔耻谤耻峁�o迟迟补尘补 Mi艣ra lists out all these ornaments and then says that each of these ornaments has been described in detail in the work 鈥�碍辞丑补濒墨测补尘鈥�. And therefore, he says, he shall not be venturing to do the same for fear that his work will become too unwieldy in size.

Footnotes and references:

[back to top]

[1]:

狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 2003: GOS Vol. III: pp.146,149

[2]:

狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 2006: Vol. II: p.798

[3]:

Studies in the 狈腻峁瓂补艣腻蝉迟谤补: with special reference to the Sanskrit Drama in Performance:1999: p.122

[4]:

狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 2006: Vol. II: p.798

[5]:

Report on the International Conference on 狈腻峁瓂补艣腻蝉迟谤补: 2011

[6]:

Studies in the 狈腻峁瓂补艣腻蝉迟谤补 with special reference to the Sanskrit Drama in Performance: 1999: p.143

[7]:

狈腻峁瓂补艣腻蝉迟谤补 of Bharatamuni: 2003: GOS Vol. III: p. 287

[8]:

厂补峁単墨迟腻谤峁嘺惫补肠补苍诲谤颈办补: 1995: p.219