6.1. Music in the Vishnudharmottara Purana

MUSIC IN THE VISHNUDHARMOTTARA The Visnudharmottara, as we have it now, is an encyclopaedic work consisting of three khandas dealing with various subjects including music, dancing, dramaturgy, architecture, sculpture, painting, rhetorics etc. None of the other puranas, however have treated the topics of fine arts in the way in which the Vishnudharmottara (3 rd khanda) has dona. It is evident from its contents that this work has more the character of a compilation than that of an original work. Although the Vismudharmottara is indebted to earlier authorities, the treatment is very comprehensive and systematic. The Visnudharmottara has dealt with the theory of music (vocal and instrumental) in two chapters - eighteen and nineteen - of the third Khanda. It does not refer to Bharata. There is some similarity in the discussion between the Visnudharmottara and Natyasastra, so also the Naradi Siksa and the Vayu Purana. Chapter eighteen - 'Gitalaksanam' discusses the characteristics of different kinds of vocal music and throws considerable light on the technical terms in Indian music namely Grama, Svara, Murcchana, Tana (based on three gramas), Gitabhedah, Trayo Vrttayah, Rasah Svaranam Layah rasanam, Coksaprayogah (exposition of the modes), Jati, Alankara, Gitani, Gitakani, Coksagitam, and Gitaprasaisa. Chapter nineteen 'Atody am' deals with the classifi

- 34 cation and characteristics of instrumental music and the employment of particular types of instrumental music in the cases of nine Rasas including Santa. This chapter gives us information about Tala, Vrtti, Pata, Laya, Prakarana, Avanaddha, Pani-prahata, and marga. The Indian music recognises three pitches - Mandra, Madhya and Tara. Pitch is what makes the sound known as low, medium or high. It is proportional to the mumber of Vibrations. When the voice comes from the chest (uras), this sthana (1.e. the voice register) has the pitch Mandra (low). When it arises from the throat (kantha) the pitch is Madhya (medium) and when the voice comes from the head (siras) the pitch is called Tara (high). 81 The Natyasastra, Vayu Purana and Sangita Ratnakara mention these three sthanas. 82 Like Naradi siksa, Markandeya Purana and the Vayu Purana, the Vishnudharmottara also admits three gramas, seven notes, and twenty one murcchanas. The three gramas mentioned by the Vismudharmottara are Sadja, Madhyama and Gandhara. The Gandhara grama has not been dealt with by Bharata (3 rd or 4 th cen. A.D.). dence like the Vayu Purana chapters on music, we may infer that Visnudharmottara chapters on music (III.18 & 19), as materials of work, are earlier than the Natyasastra. The sapta svaras are Sadja, Risabha, Gandhara, Madhyana, Pancama, Nisada and Dhaivata. We know that the regular 83 order is violated by the Visnu-dharmottara Purana which put

• 35 Dhaivata last, while all the other works viz. Naradi siksa, Vayu Purana, Natyasastra put Nisada last. According to the Vismudharmottara there are twenty-one murcchanas, seven of each grama. seven of each grama. The seven madhyama-grama 415 murcchanas are follows (1) Sauviri, (2) Harinasva, (3) Kalopanata (4) Suddhamadhyama, (5) Margi (6) Pauravi (7) Rayaka (Hrsyaka). Seven Sadjagrama murcchanas - (1) Uttaramandra (2) Rajani (3) Uttarayata, (4) Suddhasadja, (5) Matsarikrta (6) Asvakranta and (7) Udgata (Abhirudgata in the Natyasastra). Seven Gandhara grama murcchanas (1) Alapa (2) Artrima (Kuntima in the MSS. Venkatesvara steam press) (3) Nandini (or Nanda) is omitted. (4) Suddha Suddha Gandhari, Sraddha in the Mss. V.S.P. (5) Uttara (Uttara-Gandhari) (6) Sadja (7) Pancayata. - 84 The seven murcchanas of the Devas given by the Naradi Siksa should be taken as the Gandhara-grama murcchanas. These murcchanas differ from the murcchanas of the Gandhara grama given by the Vishnu-dharmottara Purana. The murcchanas of the other two gramas are more or less the same as given in the Natyasastra (28.29). The murechanas of the Sadjagrama and the madhyama-grama given in the Naradi siksa and the sangita Ratnakara are similar and are found different from that of 85 the Natyasastra and the Visnudharmottara. Vishnudharmottara mentions the 49 Tanas of the three

gramas. - 36 - 20 Tanes of the Madhyama-grama - (1) Agnistomila (2) Atyagnistomika (3) Vajapeyikam (Ven. Press edition omits it, see also the Vayu Purana ). (4) Paundarika (Paundarika, Paundraka in the Vayu Purana) (5) Asvamedhika (6) Rajasuyika (Rajasuya in the Vayu Purana) (7) Bahusuvarnika (Cakrasuvarnaka in the Vayu Purana) (8) Gosavika (9) Mahavratika (Mahavrstika in the Vayu Purana) (10) Brahmatana (Brahmadana in the Vayu Purana) (11) Prajapatya (12) Nagasraya (Nagapaksasraya in the Vayu Purana). (13) Yajnasraya (14) Godanika (Gotara in the Vayu Purana). (15) Hayakranta (16) Ajakranta (Mrgakranta in the Vayu Purana). (17) Visnukranta (18) Aranya (varenya in the Vayu Purana) (19) Mattakokila (Mattakokilavadinam in the Vayu Purana) (20) Ujjivaka 14 Tanas of the Sadjagrama (1) Prasvapana (2) Paisaca (3) Jivana (4) Savitra (5) Ardhasavitra (6) Sarvatobhadra (7) Suvarna (8) Vismu (9) Jismu (10) Visnuvara (11) Sarada (Sagara in the Vayu Purana) (12) Vijaya (13) Hamsa (14) Jyestha. 15 Tanas of the Gandbara - grama (1) Tumbarupriya (2) Mahalaksmana (3) Gandharvanumata (4) Alambusapriya (Alambusesta in the Vayu Purana) (5) Naradapriya. (6) Bhimasenapriya (7) Vitana (8) Matanga (9) Bhargavapriya (10) Abhirama (11) Samsravya (12) Kinnarapriya (13) Punya (14) Manohara (15) Kalyanakara

· 37 · (Punyakara in the Vayupurana). In the Vayu Purana we find Kalopanita Vinata, Srirakhya Adhatya and Sukra instead of Vitana, Saharyya,Matanga and Kinnarapriya. The names of the first two groups are given after vedic sacrificial names and the names of the Gandharagramika tanas are after some celestical musicians. These names are not found in the Natya sastra. Some names of the madhyama grama tanas are found in Sangita Ratnakara under the category of the 'Suddhatana', and some in the twenty eight 'Satsvara tanas' in the Sadjagrama. Savitra, Ardhasavitra and Sarvatobhadra are found in the 21 Satsvara tanas of the Madhyama-grama in the Sangita Ratnakara. Thus most of the names of the tanas in the Visnudharmottara can be found in the Vayu Purana and also in the Brhat samhita of Varahamihira with a little difference. The Visnudharmottara enumerates the four aspects of the 'Gita' i.e. Gandharvam. Viz. Svara (notes), Laya (interval of time) Pada (Verbal themes) and Avadhana (concentration). The Natyasastra does not mention the term 'Avadhana'. The Natya sastra says "that which is made by the stringed instruments and depends as well on various other instruments and consists of notes (svara), Tala (time-measure) and verbal themes (pada), should be known as the Gandharvam. It means that Gandharva is a combination of vocal as well as instrumental music. #86

- 38 According to the Natya sastra the seven notes (svaras) relate to an interval of srutis and they are of four classes such as Sonant (Vadi), Consonant (Savadi) Assonant (amuvadi) and Dissonant (Vivadi). 87 Sruti may be translated as 'interval'. 87! Svaras are divided into four kinds according to the number of srutis between them. 88 The Visnudharmottara mentions three such Svaras viz. Vadi, Samvadi and Anuvadi. Each cycle of the Murcchana, consisting of an ascent and descent through the seven notes creates a fresh set of vadi and Savadi. The three Vrttis namely Citra, Vrtti and Daksina mentioned by the Visnudharmottara in the next chapter are the styles of procedure. These three Vrttis give quality to the instrumental music as well as to the song. They take their character from the kind of instrument, its Tala, Laya, Gita, Yati etc. For example, in the citra, the Magadhi Giti, Tala of one kala, quick laya, level yati and the concise instrumental music. Next the Visnudharmottara refers to the nine sentiments (Nava Rasas) viz. Hasya, Srigara, Vira, Raudra, Adbhuta, Karuna, Bibhatsa, Bhayanaka and Santa and says that the notes madhyama and pancama should be applied to Hasya and Srigara, Sadja and risabha to Vira, Raudra and Adhhuta, nisada and gandhara to Karuna. The note Dhaivata should be applied to the Rasas, Bibhatsa and Bhayanaka and the madhyama to santa. of the three Layas namely Madhyama, Vilambita and Druta, the madhyama will suit Hasya and Srigara, Vilambita will suit Bibhat sa and Bhayanaka and Druta will suit vira, Raudra and Adbhuta Rasas.

39 Then the Visnudharmottara describes the ten of characteristics the Jatis. Jatis are primitive melodies from which the 'Ragas' of later Hindu music were developed. They are eighteen in number, seven Jatis in the Sadjagrama and eleven Jatis in the Madhyana grama. The ten characteristics of Jatis given by the Visnudharmottara are similar to the 89 The Natya sastra. The ten characteristics of the Jatis are : Graha, Ahsa, Tara, Mandra, Nyasa, Apanyasa, Alpatva (reduction), Bahutva (Amplification), Sadava (hexatonic treatment) and Audavita (Pentatonic treatment) Natya sastra has given detailed description of these ten distinguishing characteristics. Graha is the note in which the song begins. The Graha and the Ansa are taken as synonymous by Sangita Ratnakara.90 The Asa has been compared to the Governing or the Key-note of the Western music. Though the Graha and the Ansa are synonymous, there is a distinction between the two as stated by Catur Kallinatha. 91 Natyasastra has enumerated the ten characteristics of the Amsa. The Ansa is that note in the song on which its charm (raga) depends and from which the charm proceeds. It is also called Vadin (Sonant) note and is the basis of the melodious structure of a song (gita). It is related to the Graha, Apanyasa, Vinyasa, nyasa and other notes and lies scattered throughout the song. The Tara and Mandra denote loud and low pitched notes. 92 The Nyasa occurs at the conclusion of the song and is of twenty-one kinds. The Apanyasa occurs within the song and is of fifty six kinds. Alpatva and Bahutva (reduction and amplification) denote whether the note is used often or once in a while. The Sadava

· 40 · and Audavita meant the hexatonic and pentanonic treatment of notes. Next the Vishnudharmottara mentions four Alamkaras such as 'Prasannadi', 'Prasannadyanta; 'Prasannanta', and 'Prasannamadhya'. The mumber of Alankaras given in the 93 Natya sastra is thirty-three. The Alankaras are ornaments without which the song remains merely a chant. They are appended to the varnas which are two according to the Visnudharmottara. The varnas in their different combinations give rise to the Alankaras. The number of Alankaras varies with authors according as they are early or late. The Vayu purana and the Natyasastra refer to four varnas which are Ascending(arohin), descending (avarohin), monotonic (Sthayin staying) or mixed. The four Alankaras mentioned by Visnudharmottara are monotonic (sthayi) Alankaras, as described by the Natyasastra. The Natyasastra gives the definitions of these Alankaras. Prasannadi - that in which a note rises (lit. becomes brilliant) gradually( from the low pitch). Prasannanta is enunciated in the reverse order. Prasannadyanta - that in which the beginning and the ending notes are in a low pitch ( and the middle one is in high pitch) Prasannamadhya when note in the middle is of low pitch (but notes in the beginning and in the end are in high pitch). 94 The Vishnudharmottara, after the Alankaras gives the names of the seven types of songs, as Aparantaka, Ullopya, Mandraka, Prakari, Uvenaka, Sarovinda and Uttara. These are very old and traditional types of songs. In the Natyasastra Th 3567

- 41 we find full description of these seven types of songs in the 'Taladhyaya. 195 The later Indian music seems to ignore these seven types of songs. These songs are rhythmic. Besides these seven types of 'Gitakas', Vishnudharmottara mentions four hymn type 'Gitas' viz. Rk-gathas, Panika and Daksavihita Brahms-gitika. In addition to the seven types of songs, aparantaka etc. Sangita katnakara has mentioned another seven types viz. Chandaka, Asarita, Vardhamanaka, Panika, Rk, Gatha and Sama. 96 At the end of the chapter, in the 'Gitaprasansa' the Vishnudharmottara says that if a musician does not attain the 'Paramapada', then surely he will rejoice with the Lord as his attendant.