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The Paumacariya reveals that the art of music, dance and drama formed an integral part of the education³ and culture of the society. This art 1, An Encyclopaedia of Hindu Architecture, P.K. Acarya-p. 245. 2. It may be an ear-ring of lotus shape made of precious metal. See p. 154,155 of the Harsacarita eka Samskrtika Adhy ayana -V.S. Agrawala. 3. 24. 5,

432 A CRITICAL STUDY OF PAUMACARIYAM was well cultivated and patronised by the royal persons and the nobles who enjoyed it with great interest and also provided for the entertainment of the public by arranging the performances of professional artists on different social, political and religious occasions. Music is denoted by 'gandhavva-gandharva' (24,5; 75.5) and 'sangiya=sangita' (66. 10). It consisted of two branches, viz. the vocal music 'geya' (39.21), giya = gita' (17.84; 78.52) and the instrumental music 'vaiya'=vaditra (78.52; 97.8) Dance is termed as 'natta'=nrtta (24. 5; 78.52). Dramatic performance is indicated by 'nadaya'=nataka (2.51; 113.11). According to Kautilya, music in wider sense includes all the four subjects singing, playing on instruments, dancing and dramatic performance¹. Music: The professional musician is called 'sangiyaa'=sangitaka (64.5) or 'gojja' = gayaka (85.19). The seven musical notes (svaras) have been specifically referred to (sattasarasam giyam 9. 89; gandhavvam tu paggiyam sattasaragayasanjuttam 37.48). The term 'saravihattijuttam'-svaravibhaktiyuktam (24. 5) denotes the denotes the details about forming modulations or melodies and tones². Musical instruments:-Vaditra has been already explained as a term used for the instruments of music in general. A number of instruments of music have been referred to in the Paumacariya They can be divided into four classes viz. the stringed, concussion, wind and percussion instruments³. (1) Vina (9.88), the lute was the stringed instrument. (2) Jhallari (3.19), a kind of cymbal; Ghanta (3.73) a kind of bell; Khinkhini (17.114)=kinkinis, a kind of small bells and Kamsalaya=Kamsyatala (57.23), the cymbal were the instruments made of bell metal and they produced ringing sound. They were the concussion instruments. (3) Sankha (3.72), the conch-shell, Pavaya (57.23), Vamsa (14.93), the reed pipe and Venu (102.123), the fife were the wind instruments. (4) Dunduhi (Dundubhi 2.35), a kettle drum; Padaha (Pataha 3.70), a kind of drum (dhola); Kahala (Kahala 61.2), a kind of large drum; Kharamuhi (Kharamukhi 57.23) (Vankakahala); Dhakka and Bhambha (57.23), a kind of big drum; 1. Kautilya, 2 27 2. Anuyogadvara Sutra, 127 and Paumacariya, 24 8-19 for the details of music 3. Bhag Su (Abhaya), 5.4. 148. 4, A kind of wind instrument (A Sanskrit English Dictionary by Sir Monier Monier-Williams.). Bheri (57.23)

EDUCATION AND ARCHITECTURE 433 (Mahadhakka); Panava (3.87), a kind of small drum; Hudukka (57,23), a kind of rattle or small drum; Muinga (3.87)=Mrdanga, a kind of tabor; Muraya or Murava (3.19;7.156)=Muraja, a kind of tabor; and Damaruya Damaru (57.23), a very small drum¹ were the percussion instruments. routine a to awaken on Ainga (3.87;96.6); Talima (61.2) Tilima (57.22); Tisariya (70.58; 96.44; 103.123) ; Vavvisa (113.11) and Saccisaya (102.123) are not identified. Talima and Tilima are called a kind of Turyavadyas². The word Tura-Turya has been used in two senses viz, an indi. vidual instrument and a band of instruments. It is said that on the occasion of war the sound of the Turas was heard (ubhayabalanam rasantaturanam 4.42; ubhayabalaturasaddo 8.92; suniuna turanigghosam 44.15). Here Tura should mean the war-horn or the trumpetting instrument. Further it is stated that Nanditura (6.161) was played on the occasion of the 'svayamvara' ceremony. It is explained to be a band of 12 different instruments played simultaneously in harmony³. There is a further reference to Vibudhatura (15.80) which was played as the the sleeping king in morning. Pahanatura (71.6) is referred to be played the occasion of the commecing of the march by the army. It is said to consist of Padaha, sankha, kahala, muinga, tilama, and panava (padupadahasankhakahalamuingatilamagahirapanavanam pahayam pahanaturam 71.6). Janmabhisekatura was played on the occassion of the birth-ablution ceremony of Rsabha (3.87). Thus the Paumacariya reveals that some allied instruments were played simultaneously to form a particular band or a concert of players on different instruments There is a reference to a kind of Kalpavrksa called Tudiyangaduma which bore different kinds of musical instruments (102.123). Tudiya and Turya are synonyms¹. Here Tudiya= Turya means a band of instruments and Tudi-yanga = Turyanga denotes individual members of a band. Panini mentions the Turya and the Turyangas in the above senses 5. Turya can be taken as an instrument in general or a war-horn or a type of tone in general 49). 1. Dance The dancing girl is termed as nattiyanartaki (37. Professional dancing girls are called Caranakanyas (37.59) See for the explanation of some of them, Bhagavati-sutra (Abhaya), 5.4.185 & Abhidhanarajendra-kosa. 2. Abhidhanarajendra-kosa. 3. Ibid. 4. Sthananga, p. 399 with Abhayadeva's Commentary. 5. India as Known to Panini, p. 168. 28

434 A CRITICAL STUDY OF PAUMACARIYAM and Vilasini girls (36. 39). Kings employed girls for entertainment. These girls are called Catukaris (46. 78). Dance was performed with musical accompaniment i. e. singing of songs and playing of instruments (36. 39; 3. 89-92; 39. 21-22). The Paumacariya reveals that dancing had reached a developed stage. It refers to various aspects of dancing. Thus Kaikeyi is said to have been trained in the art of dancing with all its characteristics and qualities (salakkhanagunam 24. 5). There are reference to the clapping of palms (apphodana 3, 89) on the occasion of a dance recital. It indicates that the 'tala' and 'laya' were regulated by the clapping of the hands. Display of emotions through gestures and movements of the limbs of body have been mentioned (sabhavahavattham 3.91). Dancers have been referred to be producing nice expressions through smile, side glances, movement of eyebrows, breasts, waist, hand and feet (37. 50; 39. 22). Members of the royal family, especially the women, are regularly referred to as trained in the art of music and dance. The Paumacariya reveals that Kaikeyi was trained in the art of music and dance (24.5). Sita danced before the monks on the Vasasthalagiri and in her accompaniment Rama played on Vina (39.21-22). The daughters of Sugriva sang songs and performed dances to entertain Rama (48.1). Laksmana's wives are referred to have played on Vina and danced before Laksmana (11.16-18). Ravana played on Vina while eulogising the Jinas on the Kailasa mountain (9.88-89). Similarly Candragati played on Vina and sang in praise of the Jinas in a temple (28.46). Manicula Gandharva played on Vina and his wife sang in his accompaniment to entertain the exiled Anjanasundari in the forest (17.85). The reference to the disguising of Rama, Laksmana and the soldiers as dancing girls and then their dancing in accompaniment of musical performances, to capture king Anantavirya deceptively, indicates that males were also trained in dancing (37.45f). The above description indicates that playing on Vina was very popular in those days. There is a reference to the greeting of a monk by the public with various performances and dances (115.6). It indicates that the general public also cultivated the art of music and dance. Music and dance were arranged for individual or public entertainment on various occasions. The Paumacariya reveals that social occasions such as birth ceremony (3.70; 7.90; 97.9), marriage ceremony (6.161; 36.39: 106.16), and happy oceasions of reunion (18.54) were made gay with the performances of music and dance. Royal persons enjoyed music even while taking their bath (7.156; 77.130). Noble and wellto-do families enjoyed music and dance very luxuriously (31.45,80.21).

EDUCATION AND ARCHITECTURE 435 Married couples took great delight in music and dance during the night hours (70.58-61). The arrival or departure of great persons was also greeted with music (78.52; 96.6; 17.118). Thus we find that any happy social event was made colourful by the performances of dance and music. Then there is a reference to public entertainers who used to entertain the public on the Catvaras of public roads with their musical and dance recitals (2.5). The political occasions on which music and dance were performed, were the coronation ceremony (19.5; 85.18), and the occasion of victory of a king (6.235; 76.2). Music was also associated with military and war. Whether the army was ordered to mobilise (70.63; 71 12), or it commenced its march or was on the course of marching (802; 44.11; 57.22; 61.2; 7.6) or was on fighting (4.42), the playing of musical instruments was always connected with every occasion to instil the spirit of courage into the hearts of the soldiers. Religious occasions were similary made gay. The consecration ceremony of new born Jinas (3.17), the event of their renouncing the world (3.133), the occasion of offering alms to a Jina (4.14) and the attainment of omniscience by a Jina (4.19) were greeted with divine musical performances. Celebration like the worship of Jinas in shrines on religious festivities (5 229; 28.4; 40.10; 66 24,28; 92.22) and the greeting of monks (39.21) done with the performance of music and dance. Drama About the staging of dramas it is said that on every door of the Samosarana i.e. the assembly hall of a Tirthankara, eight dramas were danced (atthatthanadayaim dare dare ya naccanti 2.51). It seems to be a reference to the dance-dramas. One more reference is to the entertaining of dead Laksmana by Rama who had become made It is said that Rama was trying to please Laksmana through the play of various musical instruments and dramatic performances, (vavvisavamsatisariyavinagandhavvavivihanadaesu thuvvai avirahiyam so Somitti Ramavayanenam 11 3.11). It also indicates the playing of dancedramas. The Rayapaseniyasutta mentions thirty-two of dance-dramas¹ which were played by celestial before lord Mahavira. These performances represented auspicious things. Of them in the first kind of divine dance kinds beings various drama eight auspicious things-Svastika, Srivatsa, Nandyavarta Vardhamanaka, Bhadrasana, Kalasa, Matsya and Darpana were represented. Tae Paumacariya probably refers to this kind of eightfold drama or dance. The Paumacariya elsewhere (80. 5) refers to a Pecchahara 1. Ibid, 22 (Battisaibaddham Bhagavati-sutra, 11.11.429-430. nattavihim); see also Naya, 1. p, 23

436 of Rama. A CRITICAL STUDY OF PAUMACARIYAM In the Rayapaseniyasutta (Su. 23) the significance of a Picchagharamandava is that of an audience-hall where musical and dance performances were exhibited. Thus the Peccchahara of the Paumacariya indicates a Theatre.