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360 The Sixty-four Activities in Fine Arts and Crafts 1. gita-art of singing. 2. vadya-art of playing on musical instruments. 3. nrtya-art of dancing. 4. natya-art of theatricals 5. alekhya-art of painting. 6. visesakacchedya-art of painting the face and body with colored unguents and cosmetics. 7. tandula-kusuma-bali-vikara-art of preparing offerings from rice and flowers. 8. puspastarana-art of making a covering of flowers for a bed. 9. dasana-vasananga-raga-art of applying preparations for cleansing the teeth, cloths and painting the body. 10. mani-bhumika-karma-art of making the groundwork of jewels. 11. sayya-racana-art of covering the bed. 12. udaka-vadya-art of playing on music in water. (jalatarangam) 13. udaka-ghata-art of splashing with water. 14. citra-yoga-art of practically applying an admixture of colors. 15. malya-grathana-vikalpa-art of designing a preparation of wreaths. 16. sekharapida-yojana-art of practically setting the coronet on the head. 17. nepathya-yoga-art of practically dressing in the tiring room. 18. karnapatra-bhanga-art of decorating the tragus of the ear. 19. sugandha-yukti-art of practical application of aromatics. 20. bhusana-yojana-art of applying or setting ornaments. 21. aindra-jala-art of juggler. 22. kaucumara-a kind of art. 23. hasta-laghava-art of sleight of hand.

361 24. citra-sakapupa-bhaksya-vikara-kriya-art of preparing varieties of salad, bread, cake and delicious food. 25. panaka-rasa-ragasava-yojana-art of practically preparing palatable drinks and tinging draughts with red color. 26. suci-vaya-karma-art of needle works and weaving. 27. sutra-krida-art of playing with thread. 28. vina-damuraka-vadya-art of playing on lute and small x-shaped drum. 29. prahelika---art of making and solving riddles. (29-a) praytimala--art of coping or reciting verse for verse as a trial for memory or skill. 30. durvacaka-yoga-art of practicing language difficult to be answered by others. 31. pustaka-vacana-art of reciting books. 32. nithikathayika- darsana-art of enacting short plays and anecdotes. 33. kavya-samasya-purana-art of solving enigmatic verses. 34. pattika-vetra-bana-vikalpa-art of designing preparation of shield, cane and arrows. 35. tarku-karma-art of spinning by spindle. 36. taksana-art of carpentry. 37. vastu-vidya-art of engineering. 38. raupya-ratna-pariksa-art of testing silver and jewels. 39. dhatu-vada-art of metallurgy. 40. mani-raga-jnana-art of tinging jewels. 41. akara-jnana-art of mineralogy. 42. vrksayur-veda-yoga-art of practicing medicine or medical treatment, by herbs.

362 d F 43. mesa-kukkuta-lavaka-yuddha-vidhi-art of knowing the mode of fighting of lambs, cocks and birds. 44. suka-sarika-prapalana (pralapana)?--art of maintaining or knowing conversation between male and female cockatoos. 45. utsadana-art of healing or cleaning a person with perfumes. 46. kesa-marjana-kausala-art of combing hair. 47. aksara-mustika-kathana-art of talking with letters and fingers. 48. mlecchita-kutarka-vikalpa-art of fabricating barbarous or foreign sophistry. 49. desa-bhasa-jnana-art of knowing provincial dialects. 50. puspa-sakatika- nirmiti-jnana-art of knowing prediction by heavenly voice or knowing preparation of toy carts by flowers. 51. yantra-matrka-art of mechanics. 52. dharana-matrka---art of the use of amulets. 53. samvacya-art of conversation. 54. manasi kavya-kriya-art of composing verse mentally. 55. kriya-vikalpa-art of designing a literary work or a medical remedy. 56. chalitaka-yoga-art of practicing as a builder of shrines called after him. 57. abhidhana-kosa- cchando-jnana-art of the use of lexicography and meters. 58. vastra-gopana-art of concealment of cloths. 59. dyuta-visesa-art of knowing specific gambling. 60. akarsa-krida-art of playing with dice or magnet. 61. balaka-kridanaka-art of using children's toys. 62. vainayiki vidya-art of enforcing discipline. 63. vaijayiki vidya-art of gaining victory. 64. vaitaliki vidya-art of awakening master with music at dawn

21 VARIETIES OF DRUMS & 21 VARIETIES OF HASTAPATAS (According to Sangita Ratnakara) No. DRUMS No. 1. Pataha 1. HASTAPATAS Kalaka 2. Mardala 2. 3. Hudukka 3. 4. Karata 4. Utpullaha Dandahasta Panvanterani Kuttikha 5. Ghadasa 5. Pindahasta 6. Ghata 6. Mogahasta 7. Dhavana 7. Urdhvahasta 8. Dhakka 8. Stulahasta 9. Kudukka 9. Ardhapani 10. Kuduva 10. Parsvapani 11. Runja 11. Ardhardhapani 12. Damaru 12. Kartari 13. Dakka 13. Samakartari 14. Mandidakka 14. Visamakartari 15. Pakkuli 15. Samapani 16. Selluka 16. Visamapani 17. Jhallari 17. Panihasta 18. Banastrivali 18. Nagabandha 19. Dundubhi 19. Avaghata 20. Bherini 20. Swastika 21. Sasatumbaka 21. Samagraha 363

364 2. Marga Tala Dasa Pranas 1. Kala The amount of time span, which a needle needs to pass through 100 petals of lotuses, arranged one above other. Mode of counting the aksaras in each kala. It is of 6 types (i) Daksina (ii) Vartika (iii) Citra (iv) Citratara (v) Citratama (vi) Aticitratama 8 Matras 4 Matras 2 Matras 1 Matra 1/2 Matra 1/4 Matra 3. Kriya- (i) Sasabda kriya Action showing the count. It is of two types action with sound (ii) Nisabda kriya Sasabda kriya Druva action without sound ticking the finger Samaya Tala tapping the right hand with the left tapping the left hand with the right Sannipata clapping by both hands Nisabda kriya Alapa bending the fingers Viksepa Pravesa Niskrama 4. Anga opening the fingers taking the hand to the right side showing the hand upwards Characteristic marks for the appropriate parts, which are six called Sadangas. SADANGAS Anudruta Druta Laghu I U Guru Pluta Kakapada I 1 8 8 + These angas have their own respective permutations and combinations.

365 5. Graha Place at which the song or jati starts. It is of two types Sama & Visama. Song or Jati starting along with the Tala is Sama. Visama is of two types Atita song starts before the Tala Anagata song starts after the Tala 6. Jati 7. Kala 8. Laya 9. Jati Tatpurusa Aghora Vamadeva Satyojata Isana Types of time counts which is of five types Catusra Kanda Tisra Misra Sankirna - 453 D 7 9 The Aksara span at each Jati (eg. for Kanda - 2 1/2, 5, 10, 20 etc.) Pause in time count The Jatis are solfa syllables, which are said to have sprung out from the five face of Lord Siva. Ta Ti Thom Nam Jam Yati is the formation of the Jatis in a particular pattern. Samayati Visamayati Mrdangayati Vedamadyamayati Gopucchayati Srotovahayati 10. Prastara equal unequal like the Mrdanga like the Damaru like a cow's tail like a river's flow The Artistic Expression and impromptu improvisation is Prastara.

Sapta Talas - The Seven Principal Talas. Dhruva Matya Rupaka Thampa Triputa Ata Eka Mode of striking the drums Ahata Anahata Dandahasta Karahata Vatahata Materials used for making instruments Wood Metal Horn Guts Ivory Horsehair Skin Coconut shell Gourd Measurements for the making of the musical instruments Angula - equal to thumb's width Vitasta - equal to ten angulas Hasta - equal to two vitastas Musti - fist Phala - unit of weight (in Ghana vadyas) 366

Angas and Pratyangas for Avanaddha Vadyas Paste of cooked rice Tiny stones powdered Ash etc Suska Gitanuga Nrttanuga Manner of usage of percussion instruments - solo - accompaniment - for dance Ubhaya anuga - for both dance and music Professional musicians in Vedic times. Srtta Sailusa Ganaka Tanatrada Anukrasa Panisangabhin Sankha dhaman Vina vadaka A Musician for dancing Dance master and dance director Expert in Svara, Sruti and Tala Accompanist on the holed instrument Time Keeper Jester (Vidhusaka) Conch-blower Vina player SAPTA SVARAS 1. Sadja 2. rsabha 3. gandhara 4. madhyama 5. pancama 6. dhaivata 7. nisada 367

Suladi Sapta Talas (Ahobala's Equivalent Technical Names) 1. Dhruva 1101 Indranila 2. Matya 101 Mahavajra 3. Rupaka 01 Nirdosa 4. Jhampa 1 U 0 Sira 5. Triputa 100 Kokila 6. Ata 1100 Avartam 7. Eka 1 Sadananda 35 Talas Dhruva Tala Purna Bhuvana Mani Srikara Pramana Matya Udaya Udhirna Rava Sara Sama Rupaka Chakra Patthi Raja Kula Bindu 368

Jampa Madhura Cana Sira Kara Kadamba Triputa Adi DuSkara Lila Bhoga Sanga Ata Leka Vitala Loya Dhira Gupta Eka Ratha Raga Vasi Sita Mana PANCHA GATHIS-FIVE GAIT VARIATIONS 1. CATUSRA 2. TISRA 4 3 3. KANDA 4. MISRA 5. SANKIRNAM 579 I I 369

SIX TYPES OF YATI 1. SAMA YATI 2. VISAMA YATI 3. MRDANGA YATI 4. VEDAMADHYA YATI 5. GOPUCCHA YATI 6. SROTOVAHA YATI THE TEN PRASTARAS 1. NASTA 2. UTTHISTA 3. PATALA 4. DRUTAMERU 5. LAGHUMERU 6. GURU MERU 7. PLUTA MERU 8. SAMYOGA MERU 9. KANDA PRASTARA 10. YATI PRASTARA DASA GAMAKAS - TEN TYPES OF GAMAKAS 1. AROHANA 2. AVAROHANA 3. DALU 4. SPURITA 5. KAMPITA 6. AHATA 7. PRAYAHATA 8. TRIPUCCHA 9. ANDOLITA 10.MURCHANA 370

SODASANGAS OF TALA LAKSANA 1. ANUDRUTA 2. DRUTA 3. DRUTA VIRAMA 4. LAGHU 5. LAGHU VIRAMA 6. LAGHU DRUTA 7. LAGHU DRUTA VIRAMA 8. GURU 9. GURU VIRAMA 10.GURU DRUTA 11.GURU DRUTA VIRAMA 12.PLUTA 13.PLUTA VIRAMA 14.PLUTA DRUTA 15.PLUTA DRUTA VIRAMA 16.KAKAPADA TYPES OF SOUND PRODUCTION 1. SARIRAJA - VOCAL 2. NAKHAJA 3. VAYUJA 4. CARMAJA 5. LOHAJA 6. DANURAJA - PLUCKED (TATA) - BLOWN (SUSIRA) - -SKIN (AVANADDHA) - CYMBALS (GHANA) - BOWED 371

372 Another Tradition referred in Agamas (E.M.Kandaswami Sarma, 1974 Kumaratantram Madras p-103) is the playing of Panchavadyam and the Offering of Balitalam -Navasandhi. The nine Nayakas have their own Sandi Talams, which are the Navasandhi Talas. These instruments in Rhythm are also played to the accompaniment of Nrtta Dance. NAVASANDHI TALAS The Table is given below: Navanayaka Tala Gita Nrtta Brahma Brahma Megha Dandapada Indra Agni Sama Maddhavarana Gandhara Urdhvapada Kolli Mandala Yama Bhrngini Kousika Bhujanga Trasita Nairuttya Malla Vattabhasana Bhujanga Trasita Varuna Nava Srikamara Nartani Vayu Bali Takkesi Bhramari Soumya Natta Takka Alida Aisana Takkesi Salapini Pratyalida The traditions of Nama Sankirtanam, Tevaram, Divya Prabhandam, Tiruppugazh, etc which are still in vogue are standing examples for Music in temples. These great treatises also refer a lot of Musical Instruments in their perspectives. Thus Music and Musical Instruments form an Integral Part of the Temples.

373 The various kinds of plucking or Mittus, mentioned in ancient musical works 1. Tarjani Mittu 2. Madhyama Mittu 3. Kanistika Mittu 4. Laya Mittu / Pakka Mittu Lo Mittu / Kil Mittu Ul Mittu 5. Veli Mittu / Mel Mittu 6. Periya Mittu 7. Sanna Mittu 8. Gotu Mittu 9. Pattu Mittu 10. Vidupu Mittu 11. Kodi Mittu 12. Kuttu Mittu 13. Vidi Mittu 14. Kathiri Mittu 15. Svara Mitttu 16. Sahitya Mittu Plucking the strings with right hand index finger. Plucking the strings with right hand middle finger. Plucking the Tala strings with the right hand finger or upwardly. Striking the strings downwardly with the right hand forefinger Striking the strings upwardly with the right hand forefinger. Plucking the string forcibly. Plucking the strings softly. Lo Mittu and Laya Mittu done simultaneously. Plucking the string with the right hand index finger and stopping it immediately with the right hand middle finger. Letting the strings free after the Pattu Mittu. Placing the finger lightly on the first playing string and then lifting it. Plucking all the four playing strings with right hand index, middle and ring fingers simultaneously. Plucking the third, second and first string one by one. Plucking with the right hand index finger and middle finger sharply one after another so as to produce a tremulous effect. Plucking the strings for all the svaras. Plucking the strings for sahitya letters alone. There are also other Mittus like Tadai Mittu, Idai Mittu, Sama Mittu, and Tunai Mittu etc. The right hand technique developed earlier than the left hand technique. The Sarasvati Vina is found to be in use in South India during the last three or four centuries. Its northern counterpart is called Rudra Vina.