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Nava Rasas
Indian art evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically. Rasas in the performing arts The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others. Expressing ''Rasa'' in classical Indian dance form is referred to as ''Rasa-abhinaya''. The ''Nātyasāstra'' carefully delineates the ''bhavas'' used to create each ''rasa''. The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the devadasis. There were serious public debates when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in variations ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Art
Indian art consists of a variety of art forms, including painting, sculpture, pottery, and textile arts such as woven silk. Geographically, it spans the entire Indian subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka, Nepal, and at times eastern Afghanistan. A strong sense of design is characteristic of Indian art and can be observed in its modern and traditional forms. The origin of Indian art can be traced to prehistoric settlements in the 3rd millennium BCE. On its way to modern times, Indian art has had cultural influences, as well as religious influences such as Hinduism, Buddhism, Jainism, Sikhism and Islam. In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups. In historic art, sculpture in stone and metal, mainly religious, has survived the Indian climate better than other media and provides most of the best remains. Many of the mos ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nātyashāstra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dramatic Theory
Dramatic theory is a term used for works that attempt to form theories about theatre and drama. Examples of ancient dramatic theory include Aristotle's '' Poetics'' from Ancient Greece and Bharata Muni's ''Natyasastra'' from ancient India. Dramatic theory is studied as part of theatre studies. Term In antiquity, and again from the Renaissance to around 1900, drama was the most respected genre of poetry, even if it increasingly surpassed the novel in its public significance. Therefore, there has been constant discussion about what constitutes and distinguishes the respectable form from the less prestigious other genres. In the theories of drama, for example, attempts were made to reconcile the literary quality and the social rank of a drama or to play them off against one another. This is particularly true of the traditional distinction between tragedy and comedy. Since the late 18th century, commercial success has also been a reason for positive or negative reviews. In this con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nātyasāstra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is a desired effect of performance arts but not t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kālidāsa
Kālidāsa (''fl.'' 4th–5th century CE) was a Classical Sanskrit author who is often considered ancient India's greatest poet and playwright. His plays and poetry are primarily based on the Vedas, the Rāmāyaṇa, the Mahābhārata and the Purāṇas. His surviving works consist of three plays, two epic poems and two shorter poems. Much about his life is unknown except what can be inferred from his poetry and plays. His works cannot be dated with precision, but they were most likely authored before the 5th century CE. Early life Scholars have speculated that Kālidāsa may have lived near the Himalayas, in the vicinity of Ujjain, and in Kalinga. This hypothesis is based on Kālidāsa's detailed description of the Himalayas in his ''Kumārasambhava'', the display of his love for Ujjain in ''Meghadūta'', and his highly eulogistic descriptions of Kalingan emperor Hemāngada in '' Raghuvaṃśa'' (sixth ''sarga''). Lakshmi Dhar Kalla (1891–1953), a Sanskrit scholar an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhagavata
The Bhagavata tradition, also called Bhagavatism, refers to an ancient religious sect that traced its origin to the region of Mathura. After its syncretism with the Brahmanical tradition of Vishnu, Bhagavatism became a pan-Indian tradition by the second century BCE, according to R.C. Majumdar. Historically, Bhagavatism corresponds to the development of a popular theistic movement in India, departing from the elitist sacrificial rites of Vedism, and initially focusing on the worship of the Vrishni hero Vāsudeva in the region of Mathura."A cult of Vāsudeva, known as Bhagavatism, was already in existence by the second century BC." in It later assimilated into the concept of Narayana Vishnu was by then assimilated with Narayana where Krishna is conceived as '' svayam bhagavan''. According to some historical scholars, worship of Krishna emerged in the 1st century BCE. However, Vaishnava traditionalists place it in the 4th century BCE. Despite relative silence of the earlier ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tyagaraja
Thyagaraja (Telugu: త్యాగరాజ) (4 May 1767 – 6 January 1847), also known as Thyāgayya and in full as Kakarla Thyagabrahmam, was a composer and vocalist of Carnatic music, a form of Indian classical music. Tyagaraja and his contemporaries, Shyama Shastri and Muthuswami Dikshitar, are regarded as the Trinity of Carnatic music. Thyagaraja composed thousands of devotional compositions, most in Telugu and in praise of Lord Rama, many of which remain popular today, the most popular being "Nagumomu". Of special mention are five of his compositions called the ''Pancharatna Kritis'' ( "five gems"), which are often sung in programs in his honour, and ''Utsava Sampradaya Krithis'' ( Festive ritual compositions), which are often sung to accompany temple rituals. Tyagaraja lived through the reigns of four kings of the Maratha dynasty — Tulaja II (1763–1787), Amarasimha (1787–1798), Serfoji II (1798–1832) and Sivaji II (1832–1855), although he served none of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natya Shastra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic Rasa (aesthetics), "Rasa" theory, which asserts that entertainment is a desired effect of performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ātman (Hinduism)
''Ātman'' (; sa, आत्मन्) is a Sanskrit word that refers to the (universal) Self or self-existent essence of individuals, as distinct from ego ('' Ahamkara''), mind (''Citta'') and embodied existence (''Prakṛti''). The term is often translated as soul, but is better translated as "Self," as it solely refers to pure consciousness or witness-consciousness, beyond identification with phenomena. In order to attain moksha (liberation), a human being must acquire self-knowledge ('' Atma Gyaan or Brahmajnana''). ''Atman'' is a central concept in the various schools of Indian philosophy, which have different views on the relation between ''Atman'', individual Self ('' Jīvātman''), supreme Self ('' Paramātmā'') and, the Ultimate Reality (''Brahman''), stating that they are: completely identical (Advaita, Non-Dualist), completely different ( Dvaita, Dualist), or simultaneously non-different and different (Bhedabheda, Non-Dualist + Dualist). The six orthodox schools ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abhinavagupta
Abhinavagupta (c. 950 – 1016 Common Era, CE) was a Indian philosophy, philosopher, Mysticism, mystic and Aesthetics, aesthetician from Kashmir. He was also considered an influential Music of India, musician, Indian poetry, poet, Theatre in India, dramatist, exegesis, exegete, Theology, theologian, and Indian logic, logicianRe-accessing Abhinavagupta, Navjivan Rastogi, page 4 – a polymathic personality who exercised strong influences on Indian culture. Abhinavagupta was born in a Kayastha family of scholars and mystics who whose ancestors were immigrated from Ujjain by the great king of Kashmira, Lalitaditya Muktapida. He studied all the schools of philosophy and art of his time under the guidance of as many as fifteen (or more) teachers and gurus. In his long life he completed over 35 works, the largest and most famous of which is ''Tantraloka, Tantrāloka'', an encyclopedic treatise on all the philosophical and practical aspects of Kaula (Hinduism), Kaula and Trika (know ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kashmir Shaivism
Kashmir Shaivism or Trika Shaivism, is a nondualist tradition of Shaiva-Shakta Tantra which originated sometime after 850 CE. Since this tradition originated in Kashmir it is often called "Kashmiri Shaivism". It later went on to become a pan-Indian movement termed "Trika" (lit. The Trinity) by its great exegete, Abhinavagupta, and particularly flourished in Odisha and Maharashtra.Wallis, Christopher; Tantra Illuminated, chapter II, The History of Śaiva Tantra Defining features of the Trika tradition are its idealistic and monistic ''Pratyabhijna'' ("Recognition") philosophical system, propounded by Utpaladeva (c. 925–975 CE) and Abhinavagupta (c. 975–1025 CE), and the centrality of the three goddesses Parā, Parāparā, and Aparā. While Trika draws from numerous Shaiva texts, such as the Shaiva Agamas and the Shaiva and Shakta Tantras, its major scriptural authorities are the ''Mālinīvijayottara Tantra'', the ''Siddhayogeśvarīmata'' and the ''Anāmaka-tantra.'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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