Vishnudharmottara Purana (Art and Architecture)
by Bhagyashree Sarma | 2021 | 59,457 words
This page relates ‘The Vishnudharmottara-purana and Modern Drama’ of the study on the elements of Art and Architecture according to the Vishnudharmottara Purana: an ancient text whose third book deals with various artisan themes such as Architecture, Painting, Dance, Grammar, etc. Many chapters are devoted to Hindu Temple architecture and the iconography of Deities and their installation rites and ceremonies.
1. The Viṣṇudharmottara-purāṇa and Modern Drama
Indian Art and Architecture are very much influenced by the works of Sanskrit literature. Many treatises of Sanskrit literature talk about different art forms like Dance, Drama, Music, Painting etc., and it is seen that sometimes the discussions are on the technical aspects of these art forms and sometimes these are on general contents. Likewise, many dimensions of Indian Architecture have also been reflected through some works of Sanskrit literature. In this context the Viṣṇudharmottarapurāṇa bears a great importance. This work comprises a technical and systematical discussion on different Art forms as well as Architecture. Various references of Art and Architecture found in the works of Sanskrit literature as well as the perspective of the Viṣṇudharmottarapurāṇa on Art and Architecture have already been discussed in the previous chapters of the present dissertation. So, in the present chapter an attempt has been made to highlight the modern relevance of these Art forms and Architecture as found in the Viṣṇudharmottarapurāṇa. Though different Art forms like Dance, Drama, Music, Painting, Iconography etc. have found their origin in the Vedas, they have to cross over a long journey of advancement through the ages. The outer appearances of these Art forms have been seen to undergo changes according to society, culture, traditions, advancement of civilization, livelihood and other social dimension, while their inner coordination is seen to remain same.
The Viṣṇudharmottarapurāṇa bears a great importance in the field of dramaturgy. As this work primarily follows the Nāṭyaśāstra, a huge influence of the Nāṭyaśāstra on the Viṣṇudharmottarapurāṇa is seen. The rules of Sanskrit dramaturgy as found in the Viṣṇudharmottarapurāṇa have already been discussed in chapter III. Besides, the Sanskrit dramas, the Aṅkīyā Bhāonā of Assam, Kūṭiyaṭṭam of Kerala, Kathakalī of Kerala, etc. also contain many elements of Sanskrit dramaturgy. Aṅkīyā Bhāonā is a special kind of drama created by Srīmanta Śaṅkardeva, the great Saint of Assam. Kūṭiyaṭṭam is a kind of theater and Kathakalī is a kind of Dance-drama of Kerala. Most of the elements of Sanskrit dramaturgy such as the auspicious starting, right projections of costume and make over, necessary gestures, projections of appropriate sentiments through acting etc. are seen to be maintained in these dramatic performances. In Aṅkīyā Bhāonā an auspicious nāndī i.e. benedictory verse is seen to be recited by the Sūtradhāra in the very beginning of the performance.[1] In the Kathakalī form of Dance-drama also a devotional piece is seen to be performed in the beginning, which is known as todayam puraffaln.[2] Moreover, as the Kūṭiyaṭṭam takes the plots of Sanskrit dramas in most of the times[3] , it also naturally supposed to come with a benediction in the beginning.
The proper execution of uses of masks, costumes and make over of every character is a very important part of any kind of dramatic performance. The āhārya kind of abhinaya comprises all these aspects. It has already been notified that there are four kinds of costume and make up viz. prasta, alaṃkāra, aṅga-racanā and sajjīva.[4] The Viṣṇudharmottarapurāṇa states that prasta denotes the making of artificial masks of gods, demons, demi gods, different animals and birds etc. by clay, wood, cloth, leather and iron.[5] In Aṅkīyā Bhāonās, the wearing of mask plays an important role. Particular characters like Bakāsura, Garuḍa, Jāmbavan etc. have to wear mask to project their characters in the performances. Moreover, to show the character of four faced Brahmā and ten faced Rāvaṇa, the artists in Aṅkīyā Bhāonās are seen to wear the particular masks. In Aṅkīyā Bhāonās, masks are known as chomukhā.[6] There are basically two kinds of masks used in Aṅkīyā Bhāonās. These are-half body covered masks and full body covered masks.[7] The masks of the artist who takes the role of rākṣasas, daityas and dānavas belong to the first variety of mask as their masks only cover the upper portion of the neck. On the other hand, the masks of the characters of Kalināga, Bakāsura, Garuḍa, Narasiṃha etc. belong to the second category. To perform the role of these characters, the artist is instructed to enter the stage using the fully covered mask. It is important to note that for this mask that covers the whole body of the character are prepared with bamboo, clay mixed with cow dung, cloth etc. Sometimes paper pulps are also used instead of clay mixed with cow dung to make it lighter. The following figures show some pictures of masks used in Aṅkīyā Bhāonās.
Figure: Half body covered masks[8]
Figure: Full body covered masks[9]
Figure: Characters of Hanumāna and Sugrīva in half body covered masks[10]
Figure: Character of Narasiṃha in full body covered mask[11]
In the Kūṭiyaṭṭam as well as in Kathakalī, the face mask is seen to be painted. In this process, different kinds of stone with red, green, yellow, blue and black colours are crushed to make powder and then it is filtered. After that, sulphur and an oily substance which is generally the coconut oil in most of the time, are mixed with the stone dust to make a paste by which the facial masks are painted.[12] It looks like a mask, but it does not create any difficulty to the actors in giving facial expressions. The facial make-over of the characters of Kūṭiyaṭṭam and Kathakalī has been categorised as Minnuku, Pachcha, Kathi, Tadi (three varieties), and Kari according to the taste of an individual actor and the school of tradition to which it belongs.[13] Minnuku is a special kind of facial make-up with a coating of a mixture of yellow and red pigments. An oily kind of collyrium is used to paint the eyes and eyelashes and to contour the face. Sometimes the face is decorated with white or cream-colour dots and this should remain going from the cheeks to the forehead in a bow-shape. Here the lips are reddened and the forehead is decorated with a special mark.[14] Face painting with deep green colour, represents the Pachcha make over. The term kathi that literary means knife is so called because the shapes of colour positions resemble here a bent and sharp kukri (dagger).[15] Uses of different kinds of beard are noticed in Kathakalī which is known as Tadi. Three kinds of beard are used in Kathakalī, which are Veluppa Tadi (white beard), Cokanna Tadi (red beard) and Karuppa Tadi (black beard).[16] Characters portrayed in the form of Kari are painted all full black colour. The following figures shows the pictures of different characters of Kūṭiyaṭṭam and Kathakalī in these five kinds of facial make over.
Figure: Minnuku[17]
Figure: Pachcha[18]
Figure: Kathi[19]
Figure: Tadi[20]
Figure: Kari[21]
Moreover, in the Puruliyā Chau Dance of West Bengal also, the uses of masks can be seen. The following figure shows the pictures of different characters Puruliyā Chau Dance.
Figure: Goddess Dūrgā and Mahiṣāsura in Puruliyā Chau Dance[22]
Thus, though in outer cases in connection with masks, there remain some differences in these performances and that in the Viṣṇudharmottarapurāṇa, but the inner purpose of wearing masks and representing the particular character bears the stamp of similar tradition.
Moreover, though the costumes, ornaments, headgears are very particular in these three kinds of dramatic performances, the norms of Sanskrit dramaturgy are found to be maintained here. For example, according to the Viṣṇudharmottarapurāṇa the costume of king should be graceful.[23] In Aṅkīyā Bhāonā also the royal characters are seen to wear the dress of vibrant colours. The royal characters like Rāma, Bhīṣma, Indra, Pāṇḍavas, Duryodhana etc. are seen to wear the cāpkon colā and put on a decorated piece called nimāi. They put on the nimāi in their necks on both in front and back side. The cāpkon colā of those royal characters are very colourful and the nimāi is decorated with colourful lashes.[24]
They are also seen to wear colourful dhutis as their lower garment. According to the Viṣṇudharmottarapurāṇa, the kings should wear crowns which have five crests.[25] In Aṅkīyā Bhāonā also the royal characters are seen to wear decorated crowns. The following figure shows the picture of the characters of king in Aṅkīyā Bhāonā.
Figure: Royal characters in Aṅkīyā Bhāonā[26]
On the other hand the Viṣṇudharmottarapurāṇa suggests that the costume of the villain should be very gaudy.[27] In the Kūṭiyaṭṭam and the Kathakalī, the costume of the negative characters like Rāvana should be in Kathi make-over[28] and this character has to wear very gaudy and tacky costumes and ornaments. The figure mentioned below shows the picture of the character of Rāvana in Kūṭiyaṭṭam.
Figure: Rāvana in Kūṭiyaṭṭam[29]
Footnotes and references:
[3]:
D. Appukuttan Nair, The Art of Kūṭiyaṭṭam, p.12
[4]:
Vide, ch.3. f.n.50
[5]:
Vide, ch.3 f.n.51
[6]:
Karuna Bara, Satrīyā Nṛtyar Rūp Darśan, p.19
[7]:
Ibid., p.195
[8]:
Source: Google, Picture Credit: Paulus Veltman, Date of picture taken: 23.03.2008, https://www.flickr.com/photos/paulveltman/2416235215.
[9]:
[10]:
Source: Google, Picture Credit: Pradeepta Das.
[11]:
Source: Google, https://punemirror.indiatimes.com/entertainment/unwind/steps-of-devotion/ articleshow/ 70095972.cms Picture Credit: Navjyoti Dalal
[12]:
C. Pandeya, The Art of Kathakali, p.121
[13]:
C. Pandeya, The Art of Kathakali, p.116
[14]:
Ibid., p.118.
[15]:
Ibid., p.117.
[16]:
Ibid., p.118.
[17]:
[18]:
Source: Google, Picture Credit: Bippin Daftardar, https://in.pinterest.com/pin/499688521127512261/
[19]:
Source: Google, Picture Credit: Shankar Ramachandran, https://www.flickr.com/photos/38273539@N05/3522559374
[20]:
Source: Google, Posted by: Mayabhargav, Date: 04.10.2012. https://discover.hubpages.com/entertainment/KATHAKALI-The-Great-Indian-Classical-Dance
[21]:
Source: Google, Picture Credit: Renee Yadollahi,
[22]:
[23]:
Vide, ch.3. f.n.60
[25]:
Viṣṇudharmottarapurāṇa, 3.27.33-34
[26]:
Source: Google, https://www.readofia.com/indian-folk-dance-interesting-historical-facts-toknow/ Picture Credit: Samy, Posted on: 09.09.2016, Venue: Nagaon.
[27]:
. Vide, ch.3, f.n.62
[28]:
D. Appukuttan Nair, The Art of Kūṭiyaṭṭam, p.20
[29]:
Source: Google, Picture Credit: Suresh Malooty.