NRITYA RATNA KOSHAINTRODUCTION NrtyaRatnaKosa, published in two parts in the Rajasthana Puratana Granthamala, is part of a bigger work called Sangitaraja consisting of 16,000 verses (sodasasahasri) which is described in the colophons as Sangita-mimamsa. The Sangitaraja contains the following RatnaKosas: VadyaRatnaKosa, (4) - (1) PathyaRatnaKosa, NrtyaRatnaKosa and (5) (2) GitaRatnaKosa, RasaRatnaKosa. Of (3) these, PathyaRatnaKosa edited by Dr. C. Kunhan Raja was published in Bikaner in Ganga Oriental Series, as No.4, in 1946. AUTHORSHIP The question arises as to who is the author of the Sangitraja, of sixteen thousand verses. Two kings – Kumbhakarna and Kalasena – claim the title. The anomally arises from the fact that some Mss. Of the work in their colophons as well as the body of the text mention Kumbhakarna as the author, while some others mention Kalasena. The statistical evidence of the MSS of PathyaRatnaKosa are more confusing than enlightening. Dr. C. Kunhan Raja, on the strength of this type of evidence came to a rather amusing conclusion that, because the majority of the Mss. Examined by him, mention Kalasena as the author, a very careful examination of the position leaves no doubt that Maharaja Kumbha of Mewad is definitely the author. Thus as far as the three Mss. of NrtyaRatnaKosa are concerned the majority of the references gives the title of authorship to Kumbhakarna. Puratatvacarya,Muni Jinavijay – from Rajasthana Puratana Granthasala mentioned that they also consulted the other RatnaKosa in the Sangitaraja MS belonging to the NRK 1 This. A comparative study of Nritya Ratna Kosha and Sangita Ratnakar of Sarngdeva shows that the former is based upon the later. This. but a long quotation from Kalanidhi (of Kallinatha) a commentary on Sangita Ratnakar is given in the Nritya Ratna Kosha. Baroda. but it is straining our credullty to accept that he was proficient in telugu also. it is possible to accept. Vasanta Tilika. though possible in both. The NrtyaRatnaKosa is composed in Karika form in Anustupa Meter also following various other canda’s like Sardula Vikridita.S. They unanimously reveal Kumbhakarna as the author in their colophons. So the only way in which we can explain this NRK 2 . however. Kumbhakarna’s proficiency in Sanskrit and Prakrit. This shows that whoever wrote N. has a different mother and a different queen. he was well versed in Sangita Ratnakar and its commentary Kalanidhi. The name Kumbha was surpressed deliberately and that this other name was put in place. Sragdhara. however. University. we are told that he wrote a drama in telugu also. His reason for this rather queer procedure is that someone was using the copy for dancing girls and he was purposely conceiling the name. and so this double attribution of authorship remains unexplained. however. Kunhan Raja guesses particular MS. would be possible for Kalasena or Kaluji as he is often called. can be more easily accepted for Kalasena. Familiarity with Sangita Ratnakar and Kalanidhi. As we shall see the several places mentioned in the colophons of Kalasena are different and situated in the Marhatta country round about the region of Nasik and Tryambak. raises another question.library of the Oriental Institute of the M. Kalasen has a genology of his own which is different from that of Kumbhakarna. Sikharani. how to explain the attribution of authorship of the work to kalasesna? Dr. but this explanation leaves other related questions unsolved. Not only that. Still.R. So there is no doubt that Kalasena is a person different from Kumbhakarna. In the colophon of Kumbhakarna. the attribution of Sangita Mimamsa to Kumbhakarna being supported by stronger evidence cannot be shaken by these considerations. ERA One of the titles of Kalasena is meaning ‘one who is undertaken firmly the task of setting up the kingdom of Indraseana Raja of the solar dynasty’. But this is not possible in case of our Kalasena who is the claimant of the authorship of Sangita Mimamsa as we shall see. KALASA KARANAS The meaning of the word Kalasa has no prior references. Even the grammarians have not defined Kalasa as a word in the dictionary. therefore.D. Some southern Pandita or Panditas who wrote the Telugu play and tSangita Mimamsa. The enquiry about the times of the kings mentioned in the Prasastis of Kalasena leads us to put him somewhere between 1430-1530 A. performing artistes have to rely on the permutations and combinations of different syllables.D. NRK 3 . first presented the authorship to Kumbhakarna and then transferred it to Kalasena. But we must state that there is no solid evidence to support this guess and so for the present we must leave the question here. in which case Kalasena becomes a contemporary of Indrasena Raja. Considering the fact that Lakhumadevi belonged to the Nikumbha family we can reasonably identify the Surya Vamshya Indrasena Raja with Indra Raja in the geneology of the Nikumbha family. If we take the words ‘Satata-parabhuta’ as qualifying Indrasena Raja it would mean ‘Indrasena Raja who was constantly over powered’. This would put Kalasena in the 12 th century A.plagiarism is to take it as rather transference of authorship. ‘Kala’ means a practical art (mechanical or fine). For instance.e. Kalasa means a dance which is happy. Action involving dance which is the graceful placement of the limbs. But the usage as Karana alone is explained with analogy of the usage of the name Bhima instead of Bhimasena. one must emulate the body language of a pregnant female deer. ‘Pleasure’. Karanas are the concerted movements of the hands and feet. joyful and pleasurable performance.‘Ka’ according to The Student’s Sanskrit – English Dictionery written by Vaman Shivram Apte means ‘Happiness’. all arts are connected to each other. in Mrga Kalasa. In general. The Kalasa are joyful movements of the complete body where the Anukarana (i. ‘Manasa vaca karmana: tridha karanani’ – actually Karanas are executed when the body as well as the mind are united in dance. Often the word Nrtta is prefixed to the term as Nrttakarana. one moves the body according to lightening and so on. There are 64 such practical arts and as mentioned in the Visnu Dharmottara Purana. This action is different from the ones involved in rejecting something or taking something as in common activities. word and deed. in Vidyut Kalasa. It can be defined as the co-ordination of movements of the hands and feet. one must imitate the body movements of the Crane. ‘Las’ on the other hand means ‘to dance’. ‘Joy’. So after combining the two syllables. in Baka Kalasa. ‘Atma : Kaya samayoga : Nrttasya Karanam bhavet :’ The term ‘karana’ stands for action. According to the popular usage it means the act of thought. so one can also translate the Kalasa Karanas as ‘Kala and Karanas combined together’. imitation) is an important factor. NRK 4 . ‘to grace’ and ‘to adorn’. Parsvaprasaritam. Citraswastikam. Karana is a unit of dance. Fullam. Cidambaram. Padma Subramaniam “the sthana represents the definite lines of the body. it is observed: (Ibid. References to Karana are to be found in many ancient works. (Verses 197-305) and gives the description of some karanas but he has not elaborated them. Sangita Candra follows the Sangita Ratnakar in the description of 108 karanas. The Sangita Malika added to it and called it “Nohari” quite in agreement with the Sangita Ratnakar. 108) “Each Karana is a movement and not a static posture. Purahapascannatam. He also gives some Desi Karanas. but none of these are mentioned by the Natya Shastra or the previous writers. caris are performed within the frame work of sthana’. Pratyanga & Upanga. Prafullam. The author does not go into detail of these varieties & only gives their different names. Even when the Nrttahasta undergo their course of action. Citram and Vcitram as Margi Karanas. In this connection. Only in some places the language used by Vipradasa differs from Sarangdeva. have excellent sculptures of Karana in a systematic manner. Sangita Muktawali gives Sundaram. Subhankara of Sangita Damodaran gives one chapter for dance titled as Sruti which also includes the Anga. Parsvadvayanatam. 108 such Karanas are described in the NRK 5 . Similarly.According to Dr. Natya shastra gives 108 Karanas. Tribhangivalitam. It may be a position of the body with the knees erect or bent. Tribhangi. p. Vriddhacalam. Kumbhakonam. Tiruvannamalai. Srikantha in his Rasakaumudi concludes the nrtyadhyaya by giving the mere number of the varieties of karanas etc. sthana may not change. The temples of Tanjore. within the frame work of which the cari to be performed. These Karanas are of various qualities and are all common for both the sexes. Recakas. Bharat and other followers till Sarangdeva do not use this term with reference to Karana. They give the necessary soft and virile touch of these movements”. thunder etc. Thus. The word Kalasa is used with reference to Karana in NrtyaRatnaKosa. here division of Kalasa Karana is mainly based on body language according to animals. Therefore in a nutshell Kalasa Karana are used in different styles and different forms. viz. Thus our statement saying that Kalasa Karanas is a novel concept of Kumbharaja remains as it is. Thus Kalasa Karanas are like caris and gatis of Abhinaya Darpanam or some Karanas similar from Natyasatra. Desikarana (trtiya ullhas – 2 pariksan) Bhramari prakarnam Cari Angaharas. birds. Vema puts Kalasa as Desi nrtyanga whereas Devana puts them under Desi lasyanga. to bring out the mood or meaning of the whole sentence through physical action. taking into account the inevitable psycho-physical relationship. historical. They are beautified through Recakas which are ultimately responsible for the artistry of these movements. The Karanas are to be used according to the characterization. The Karanas are meant for Vakyarthabhinaya. Basically Natyasastra describes 108 Karanas and Abhinava Gupta in his commentary refers to these Karanas as part of both Nrtta and Abhinaya.Natyasastra. Vrttis etc. further he also dealt in Suddhakarana. Visama – complicated and acrobatic. they added this Kalasa term to Karana. lightening. But the later writers were influenced by their geographical. NRK 6 . Kumbharaja already mentioned about 108 Karanas in Nritya Ratna Kosha. and Vikata – hilarious. The Nrtta or dance based on Karanas can be broadly classified as Laghu – flowing gracefully. and cultural surroundings and so. well-highly impossible to be persistent till its end. They relate to reclining position. There are six such asanas. Angaharas. Caris & Gatis is a prerequisite. since a good deal of that tradition is now obsolete. The description of the asanas occurs in the twelfth chapter of the N. Even if one gets all the requirements fulfilled and undertakes this study. Pratyangas. The knowledge of Angas. Sthanakas and Mandalas also. the Natya Shastra enlists certain asanas which are sitting postures.e. The asanas do not bear any nomenclatures but are known by the purpose they serve. The N. These Sthanakas are used to depict some feelings or to represent some deities. & Visnu Dharmottar Puran enumerates sthanakas similarly. Agni Purana & Natya Darpana are silent on this NRK 7 . Upangas. Sangita Ratnakar and Nritya Ratna Kosha gives 23 Desi Sthanakas which are used in ordinary cause or in folk dances.S. Karanas. if one wishes to delve into the profundity of the study and discussion on Angika Abhinayan as appearing in the Natyasastra. The words Sthanakas and Mandalas are almost synonymous.S. enumerates nine Sthanakas into: six male Sthanakas in the 10 th chapter& three female ones in the 12 th. Besides the Sthanakas and Mandalas.STHANAKA – MANDALA It is a common knowledge that Bharata’s Natyasatra is the most ancient text on Bharata Natyam. Sangita Ratnakar. it is very difficult. Nritya Ratna Kosha. They follow Natya Shastra and called them as a Margi Sthanakas. It is regarded as the authoritative text on the present topic i. yet their connotations differ from each other considerably when they are used in the Natya Shastra. NRK 8 . Abhinaya Darpanam describes 6 different types of Sthanakas & represents altogether a new tradition. Abhinava Gupta’s commentary on this topic is available.topic. Kalasa Karnas & Sthanaka .BIBLIOGRAPHY 1. Nritya Ratna Kosha NRK 9 .Mandala Bheda by Dr. Sandhya Purecha 2.