Amarakoshodghatana of Kshirasvamin (study)
by A. Yamuna Devi | 2012 | 77,297 words | ISBN-13: 9788193658048
This page relates ‘Tala (beat) or Measure of time’ 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.
Tāla (beat) or Measure of time
Tāla (I. 6. 10; p. 50)–
[Beat:]
Tāla is defined by Amarakośa as the measure of time[1].
Kṣīrasvāmin explains that tāla is the measure of time calculated by the movement of hands to bring in harmony. The measure of time is established by various aspects of tāla like āvāpa, niṣkrāma etc.
kālasya kriyayā—āvāpa niṣkramādikayā mānaṃ paricchedakaṃ pratiṣṭhāhetustālaḥ badghapuṭādi | meyāyāḥ mānakriyāyāḥ kālaniyamaheturityeke |
It is interesting to note here that tāla represents the ghana, the last of the four ātodyas (musical instruments). Nāṭyaśāstra (XXXI. 1)[2] defines tāla as 'the instrument named tāla is of the ‘solid’ class (ghana) and it relates. “Tālas, as indicated by hands, have been broadly classified as niḥśabda (without sound) and saśabda (with sound).
Niḥśabda is further divided into:
(a) āvāpa–closed palm turned upwards;
(b) niṣkrāma–fingers spread and palm turned downwards;
(c) vikṣepa–the niṣkrāma hand moved to the right and
(d) praveśa–the hand returning to the original position.
The saśabda is also classified into:
(a) śāmya–clapping by right hand;
(b) tāla-clapping by left hand;
(c) sampāta–clapping both hands together and
(d) dhruva–snapping the fingers and moving the hand.
Scholars generally opine that the word ‘tāla’ comes from tala (the palm of the hand) and primarily refers to the beating of time by the clapping of hands. For eg. Meghasandeśa (79) read—
tālaiḥ śiñjāvalayasubhagaiḥ nartito kāntayā me |
But generally it is used in the sense of ‘time measure’.
Ekatāla (I. 6. 4; p. 48)–
[Harmony:]
Amarakośa defines ekatāla as samanvitalaya[3] or harmony. Kṣīrasvāmin explains the same as 'that in which the three layas (tempos)–druta and others, are in tune; and the measure of the beat is equal.
Kṣīrasvāmin also gives the definition of Durga for ekatāla–
samanvito'nugato layo drutādiryatra, ekaḥ samastālo mānamasyaikatālaḥ, ābhinnakālamāna ityarthaḥ | ekaṃ tananamasyaikatāno vā ekatānamanākulamiti durgaḥ |