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Essay name: Hastalaksanadipika a critical edition and study

Author: E. K. Sudha
Affiliation: Government Sanskrit College (Tripunithura) / Department of Sanskrit

This is an English study on the Hastalaksanadipika—a manual depicting the Mudras (gestures) of the Kerala theatre. It is a very popular text supposedly dating to the 10th century A.D. This study also touches the subject of Krsnanattam, Kathakali and Kutiyattam—some of India's oldest theatrical traditions in Kerala.

Chapter 2 - Bharata’s Dramaturgy

Page:

25 (of 56)


External source: Shodhganga (Repository of Indian theses)


Download the PDF file of the original publication


Copyright (license):

Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)


Warning! Page nr. 25 has not been proofread.

are designed according to their occupation. This shows the keen observation and scholarship that Bharata had and his expertise to handle any subject without loosing its essence. For this he accepted the way of symbolism by which the ideas are etched deep into the minds of the readers. Bharata further describes the gifts given by various deities to the actors. Lord Visṇu gave crown, the Sun gave umbrella, Goddess Sarasvati gave eloquence, Lord Brahmā gave a bent stick, Varuna gave a water pot, all the animals gave their characters and Lord Siva gave divine skill to perform. The above narration is also symbolic. For example, "The Sun giving the umbrella". From the Sun the extreme heat and radiation emerge. He himself should suggest a protective or control measure for it. This is symbolised by the umbrella. The stick of jester is also symbolic. He is supplied with a bent stick as he is expected to have flexibility, command and power of interpretation. It is the symbol of a commanding authority. But the bent stick suggests that the authority is not rigid. He may use it for interpreting the different aspects of the theme, pointing out the exit and entries of characters, giving a narration wherever it is needed by which an implied division of the theme is possible. That means the stick is flexible. The jester can use it wilfully for the over all control of the stage activities imaginatively and artistically. It could be observed that the colour, presiding deity and the svara (musical note) of each rasa speak for the commendable use of the 57

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