Amarakoshodghatana of Kshirasvamin (study)
by A. Yamuna Devi | 2012 | 77,297 words | ISBN-13: 9788193658048
This page relates ‘Laya (tempo)’ of the study on the Amarakoshodghatana of Kshirasvamin (in English) which represents a commentary on the Amarakosha of Amarasimha. These ancient texts belong the Kosha or “lexicography” category of Sanskrit literature which deals with the analysis and meaning of technical words from a variety of subjects, such as cosmology, anatomy, medicine, hygiene. The Amarakosa itself is one of the earliest of such text, dating from the 6th century A.D., while the Amarakoshodghatana is the earliest known commentary on that work.
Laya (tempo)
Layas (Cf. I. 6. 10; p. 50):
[Harmony]
Amarakośa gives laya as sāmya. This is elaborated upon by Kṣīrasvāmin as the harmony in music and dance i.e., where there is no disproportion–
mānameyayoranyūnādhikye śliṣṭatā layo drutādiḥ vādyādīnāmanyonyaṃ samatvamiti yāvat |
He also adds that laya as a special variety of tāla (as in Nāṭyaśāstra. XXXI. 1) is different from the above–
tālaviśeṣastu layo'nyaḥ |
Nāṭyaśāstra (XXXIII. 125) defines it as–
“The playing which follows the song equally in its performance in slow, medium and quick tempos, shows conformity of Laya (tempo)”
sthite madhye drute vāpi laye gānaṃ ca yadbhavet tathaivayad bhaved vādyaṃ tadvai layasamaṃ bhavet |
Vilambita, Druta and Madhyama (I. 6. 9; p. 50)–
Amarakośa mentions that vilambita, druta and madhyama are respectively called tatvam, ogha and ghana. These are the three layas (tempo)–slow, fast and medium and they are respectively known as tatvam, ogha and ghana
The Nāṭyaśāstra (XXXIII. 36-40)[1] also mentions these as the three layas and three gatis respectively.