“Hindu Left” is an Oxymoron by Morons

The past 3 years of NDA government has left many Hindus feeling ambivalent about party politics. After all, for all the fanfare and rhetoric, there has been little dramatic change on the ground. Sure, there has been drastic policy pushed, but how much has it been in the Hindu interest? Demonetisation was hardly a priority, whatever black money fighting slogans were touted (and cashless society has been advocated for around the world  with many advising against it).

RTE has not been touched, and illegal Bangladeshi/Rohingya migrants continue to settle across India, tipping the demographic balance. In fact, from primary English medium to AADHAR there has been much continuation in policy from the execrable UPA government. So is there really any difference with the “Party with a Difference?”.

As usual, our Internet Hindus miss the Woods for the Trees, and fail to factor in the background macro-politics that influence national politics the world over. Contrary to the narrative of Narasimha Rao or alternatively Manmohan Singh being the Father of Economic Reforms, the reality is that the Balance of Payments crisis led to a vulnerable India accepting pressures from “the International Community” (whatever that means…) to liberalise its economy. What has been the effect of this? Yes, malls and growth in retail consumption and satellite TV, but also NDTV and a host of other nominally national but phoreign owned economic realities, and ultimately political realities. That is the whole point of Breaking India’. Indians need to understand that simply studying party politics or foreign-sponsored history textbooks or foreign doctored historical sources will not tell us the whole story. Critical thinking and following the money trail is required to understand exactly who is pro-Indic and who is not.

That is why it is so ironic to see the same sanctimonious voices, making pretence to incorruptibility, equate Modi with Mamta. Seriously? TMC=BJP? I mean, really, it takes either a special kind of stupidity (or a behind the scenes complicity) to cause so-called “scholars” to mislead gullible internet hindus into believing such false equivalency. Any criticism of their positions immediately leads to echo-chamber tactics (followed by cowardly blocks) or generally labeling of people as “Right wing” or “RSS” or “mercantile”. But what of those who reject both Right wing and Left wing politics as mirror images of each other, and what of those who prefer decentralised Dharma to “hindutva”? Such uncomfortable realities can’t be acknowledged by those with private agendas. After all, if “all parties are same”, what objection is there to this?

The reality, there is a concerted effort to reconstitute Socialist/Communist politics not under the unpopular Marxist/Communist label, but under the “Hindu Left” label. A methodical approach of first appearing to stand up for the Hindu cause…through needed documentation of Human Rights violations of Hindus…followed by deconstruction of various Indian Independence Movement Figures…to reasserting the contributions of Subhas Chandra Bose…

subhashchandrabose_nation

…before ultimately using that legacy to call for a “Revolutionary” model for Hindus. How Revolutionary! Recreate the RW-LW false dichotomy by recasting them as Hindu Right vs Hindu Left.

But Dharma being their glaring weakness, they ignore the reality that the Hindu Left (as well as the Hindu Right) is oxymoronic. There is no Hindu Right or Hindu Left because Hindu isn’t even our word—Dharma is. And Dharma transcends such simplistic notions by asserting adaptability to the times not through contradictory L/R forces, but through Saamaanya Dharma, Sanatana Dharma and Yuga Dharma. Dharma may need to be updated for the times, but there is no “Dharmic left” and Dharmic right. There is only the Dharma for the times.

The RW-LW binary is product of liberal politics dating to the French Revolution (a notably ‘peaceful’ and non-tyrannical transition overthrowing aristocratic elites our temperamental triad wishes to recreate…). But before ye unwashed masses sharpen your guillotines, perhaps a deconstruction of our deconstructors is in order.

Revolution is a severe danger to any society. The irony of these recalcitrant Revolutionaries is they forget the very meaning of a “revolution”—you end up exactly where you start—crisis. Rather than circle around 360 degrees, the question before us involves understanding not only who we were and who we want to be, but what genuinely faces us today. Micro-brained micro-specialists who don’t understand the inter-disciplinary relationships between not only politics and history and culture, but even those between politico-strategic and economic/financial domains, really have no business making pretence to leadership—especially given their own poor leadership abilities and self-proclaimed dearth of serious solutions.

Further, had these one-note nincompoops come out of their echo-chambers and set aside their kupamanduka literature for a second, they would understand the danger of factions and of revolution itself.

 

China’s Cultural Revolution

 

If you believe what exists must first be torn down before solutions can even be proposed, then you are part of the problem and are aiming to exacerbate it. And if you continue to legitimise such grha shatrus long after they have declared their true intentions, you are also part of the problem (no matter what you daily twitter clipping load).

There are major issues facing Indian society in general but Hindu society in particular. Despite the rank denialism and the obvious hypocrisy of political operators, casteism still exists particularly in the intellectual domain (only recast under the mantle of IQ theories, genetics, and AIT). Pure traditionalism instinctively will alienate large sections of the Hindu population, and with good reason. What stake would the masses have in simply reviving the past? Scheduled Castes clearly have cause to pause. At the same time, continuing to map the Indian polity onto a western blueprint of Right and Left, is a bait-and-switch obvious to all but the most buffoonish.

 

Citation of the historic American “Left” ignores the reality that the modern Democratic party is itself fielding overt Socialists in its primaries. But before Bernie bros get too excited, the hypocrisy of socialism was unveiled by their hero yet again.

The reality is, both the Left and the Right wings need each other to demonise all while continuing to exploit the unsuspecting masses. Both communists and capitalists thrive while accusing each other of being the devil—what happens when both are? What happens when socialism is merely a means to an end?

What if the laundry list of ideologies that are touted in the “intellectual marketplace” are virtually all intellectually bankrupt . It is why traditional thinkers reject ideology itself, favouring philosophy, and especially, political philosophy.

Let me be perfectly clear:dignity of labour  & entrepreneurial spirit should be protected. Neither workers nor honest businesspeople are the enemy. Unlike the neo-Leninists hell-bent on demonising an entire varna, those with a modicum of foresight know that in a country where Brahmins are so openly demonised by the media, any such “leftist revolution” will ultimately target the “clericals”. After all, following the political revolution is the cultural revolution—why would the traditional custodians of culture escape unscathed?

Once the financial “bania” are dealt with, what’s to stop those ‘Revolutionary’ attacks on the other half of the B-B party? What of the traditional brahmin?

This is the danger not only of casteism, but selective vilification, rather than society-wide introspection. Those who promote such selective thinking should be ashamed of themselves, and not only lack the moral integrity to lead, but despite their jstor driven twitter rantings, the intellectual heft to lead society. The less said about publications that persist to publish such petulant drivel the better. Those who prioritise daily hits and traffic over journalistic ethics and the ramifications of a varna-based witch hunt would do well to remember exactly why Kashmiri Pandits were targeted with such ferocity in the first place. A community that preserves not only the historical memory but also the living culture of their region and civilization is an impediment to any cultural revolution, be it for desert-based or Leftist-based ideologies.

Further, if one were to do an honest accounting of all the collaborators (better termed ‘cooperators’), why stop only with the mercantile or even feudal? How many clericals and ministerials collaborated to bring down their legitimate ruler for personal gain or worked for foreign occupier governments? The name Purniah itself should ring a bell and put to pause such increasingly caste-motivated attacks. The fact is, traitors and patriots can be found in all communities.

Puerile notions of “perpetual revolution” ignore the fact that most individuals are neither traitors nor self-sacrificing patriots, but are in the middle. They simply want to live in peace and live out their lives as comfortably as they can. They will rise up if there is sufficient cause or possibility of success, or they will find ways to accommodate a foreign power when facing total destruction. Hindsight is 20-20 and so is passing judgment on entire communities. Dushtamatyas perennially quoting Kalhana would do well to remember his view of them.

The reality is neither hypocritical traditionalism nor left or right-ism are the way forward. India has its own political philosophies. There are conservative elements and free-thinking elements in any society, but constructing a polity around such binary-thinking is beyond idiotic.  Thousands of years ago, Acharya Kautilya clearly enunciated the 3 purposes of government (not 2):

Raksha, Palana, Yogakshema.

Any real Hindu society must bear these 3 directives in mind. Raksha is protection from external threat, Palana is internal law & order, and Yogakshema looks at citizen well-being.

A simplistic L/R false dichotomy is for the simple-minded, geared toward falsehood. Ironically, the only dichotomy that doesn’t matter for this bunch is dharma vs adharma. That is why rather than import obsolete, un-Indian thinking—rather than trying to appropriate Shivaji and Banda Bahadur into some inapplicable “Hindu/Indic Left”—let us recognise what they actually stood for: Rajadharma.

Rajdharma and even Svarajya can take different forms: whether is a ganarajya or samrajya, government should be premised on Dharma, not Dictatorship of the Proletariat.

The Left’s concern for the peasantry is automatically covered by Yogakshema (welfare of citizens) and the putative right’s concerns covered by Palana (law and order) and Raksha common to both (though the Communist Party (Marxist) shows ideology comes first here too). The question is of balance, with Dharma as the ultimate guide. Here merely spouting off citations of Dharmasastra alone will not do, nor will pompous proclamations by ardha-purushas of “Purandara wreaking havoc on the Dasyu”.

One must take the precedents provided by real Acharyas such as Apastamba and Kautilya and Dharma Svarupa’s such as Rama and Krishna and apply them to the present context. That is the limitation of rote-memorisation and read-and-regurgitation. It doesn’t teach application. There is a difference between critical thinking and critical theory, and the sooner some ideologues understand it the better. Critical theory is another asuric construction coming out of the intellectual cul-de-sac of Marxist thought. But critical thinking is an highly necessary, and dare I say, critical skill set in this era of pervasive untruth.

Make no mistake: the Hindu Left is a too-clever by half rebranding effort by half-wits at reconstituting the Left’s ideological moorings within the Hindu body politic. But Hindu Right (Hindutva) and Hindu Left (pseudo-intellectual pinhead rantings) are both ideologies commanding centralised unthinking obedience rather than positing contextual cultural ethics. After all, both Nagpur and Naxalbari have rightly come under criticism for hypocrisy—not only for their self-serving interpretations of culture and history, but also for the casteist natures of their respective leaderships.

Varnashrama Dharma (whatever its demerits and merits) has always posited a decentralised body politic—and with good reason. Power corrupts, and absolute power corrupts absolutely. The religio-cultural and politico-strategic must work together, but must also be divided among different classes. Philosopher-kings are well and good as are Vedic-warriors, but constructing a new “Hindu Papacy” or “Hindu Politburo” is not in the interests of real Hindus—and neither is a Hindu Right or Hindu Left.

But these rhetorical gymnastics are not accidental. After all, if a Revolutionary is to be created, then a Revolution must be sparked so the peasantry may be mobilised against the (petty) bourgeoisie. Marx himself did not engage in violence, but routinely called for it. This is called incitement, and criminally punishable.  And what is this contemptibly Adharmic series but a transparent exercise in agit-prop.

Open attempts are made to caste (spelling intentional) only the “mercantiles” as the main collaborators of foreign rule (as though feudals and clericals did not have a hand). But who exactly is a mercantile? True to the politics of Animal Farm, apparently even some mathas are more mercantile than others (only the ‘intellectually superior’ politburo will decide!)

But Subhas Chandra Bose wasn’t for democracy, he was for Socialist Authoritarianism (anyway a transitional phase to outright communism). Agenda-hawkers have no time for understanding the greys. Everything is black and white—or in their case, black and red. Here is a measured analysis of Pradhan Mantri Narendra Modi’s term, which demonstrates the precise type of level-headedness Hindus need in understanding the issues facing them and the correct course of action.

Unlike our Revolutionary Triumvirate, however, the author of the article actually had the intelligence and common sense to offer a number of small local solutions as well. It is easy to dismantle any structure—until you have to answer what the alternative is. That article, on the other hand, also did a fine job of identifying a few of the macro-political forces that make it difficult for any government, let alone politician, to enact national wide civilizational change. In an era of fibre-optics, satellite tv, and quantum computing, foreign influence is even greater than the days of Shivaji. Those proffering simplistic courses of action are proving just how simple-minded they really are.

In fact, in perpetual over-compensation regarding “Bong jokes”, they ignore criticism of Bengal courtesy of a son of the Soil. What will they say of this?

What’s more, this self-touted mod squad of manic-depressives  will quickly go mute when asked who financed the Russian Revolution to begin with? After all, it is ok if petty traders are packed off to the gallows held by proletariat courts, but international financiers and big business must escape scrutiny.

Anyone disagreeing with them is touted “conspiracy theorist”, “misogynist” and a laundry list of other totalitarian touted labels meant to muzzle dissent. Anyone with a sound understand of international politics would quickly recognise the widespread influence of Big Business and Multinational Corporations in politics. Why is the petty Hindu trader being branded as a “mercantile traitor”? And is the poor Hindu priest next on the agenda when the political revolution is followed by a cultural revolution? Right-thinking Hindus would be right to ask.

Right-thinking Hindus would also do well to reject both the “Hindu right” and proposed “Hindu Left” as obvious Oxymorons pushed by Morons.  Right-thinking Hindus, better termed Sensible Hindus, are aware that our native civilizational tradition is not ideological but philosophical in nature.  Any theory of the Hindu Left will only seek to digest Hinduism into the same memetic pattern of “revolution“, “socialism”, “brotherhood”, and a laundry list of other code words and memes meant to spark general overthrow of traditional values.

It is traditional culture that is being destroyed the world over in favour of some ambigious “Global Culture” and monoculture.

If the politburo brooks no dissent, what protection for diversity?

Whatever Bose’s contributions to the freedom movement, his Socialist Authoritarian “Revolutionary” model would have been an utter disaster for India’s traditional culture. Casteism and ill-treatment of women must be condemned. But this must be done within Dharma rather than through importation and injection of a foreign ideology within Hindu Society’s polity.

There are indeed serious issues facing Hindus from Jammu & Kashmir down to Kerala, and from Alwar to Assam: Demographic aggression, RTE driven destruction of Hindu schools, Temple ownership, Safety of Women, stifled entrepreneurship, growing unemployment, declining privacy, and colonial legacy within the armed forces, all number in the expanding list of concerns that Hindu society has. But is the silver bullet to all our problems to chase after some hare-brained, ill-defined “Revolutionary” approach that doesn’t even have the courage to posit solutions to our political problems?

Socialist authoritarianism and national socialism are not the answers. Hindu society rejects leftism and fascism, because Dharma is our guide, not Marxism rebranded by “Marxians”. For those who wish to replace Kautilya Vishnugupta with Karl Marx and Friedrich Engels, let us get one thing straight: only the only actual Indian in this list touted a system of political philosophy that actually worked. Marx on the other hand depended on handouts from Engels for most of his life and was a career failure.

Even his understanding of economics was poor, with Engels preferring to call him a “philosopher”. But the truth is, he wasn’t even really that. He was an ideologue posing as a philosopher who created the literary agit-prop in plainspeak for peasants to spark the bloodiest political movements in the history of man. For advocates of a “Hindu Left”, here is the death toll of Socialism.

Marx’s only value is in his critique of Capitalism. Capitalism itself is a questionable system as we have previously written, because it only prioritises 1 factor of production—capital (ignoring the other 3: entrepreneurship, land, and labour). Communism does the same, prioritising only labour instead. But the truth is, for a functioning economy, all four are required. A student of Hegel, Marx was no stranger to the Hegelian dialectic. Between Capitalism and Communism is “Socialism”.

Socialist revolutionaries are merely a halfway house to outright communism. Whatever the marxian mod squad’s artificial “critiques” of communist totalitarianism, their artifice is not as skilled as they would believe.

Gandhi’s questionable legacy deserves (dharmic) deconstruction, Indian Independence figures from Nehru to Patel all deserve fresh (dharmic) reevaluation, the jarring history of Jagat Seths deserves honest (dharmic) documentation, but Bose is not beyond critique. Shivaji and Banda Bahadur Singh are not figures of some imaginary “Hindu Left”. Both practiced Kshatriya Dharma, and reorganised society in accordance with the needs of Dharma.

Like a vampire squid seeking to attach itself to Sanatana Dharma, the “Hindu Left”/Marxians are merely a political parasitism seeking to reinvent the dying Indian left through some half-hearted appeal to the Hindu Right. I mean for God’s sake, Mamta is the same as Modi? Sensational news items and terrible crimes exist in any state or society, but the question is one of scale. Can any serious and honest person actually believe that both the border states of Gujarat and West Bengal are as bad for Hindus? Is the level of women’s safety at all the same?

False equivalency, agit-prop, echo-chamber tactics, and sophistry are all tools used by politburo tools. Academics and “intellectuals” are themselves often pens-for-hire on the payrolls of their political handlers. Anti-semitism does deserve condemnation, but can such figures who showcase Hindus for the sake of foreign audiences be trusted to safeguard Hindu interests?

Can those openly making casteist calls for witch hunts against a varna be considered well-wishers of Hindus?

Can scatter-brained, regurgitators be competent to provide Hindu leadership?

Glib bromides, census analysis, and twitter outrage are all easy. But actual competent and strategic leadership is hard. The reality is, if Hindus have become cynics, it’s because politics itself is so cynical—and social media is no exception.

Rather than simply running after what appears seemingly popular, it is high time Internet Hindus use their common sense and stop being so gullible. Reject this nonsense and the nonsensical poseurs reinventing and reimposing socialist/leftist theories. Both the RW and LW (Hindu Left or otherwise) are mimic men. They recreate the foreign within the domestic, that is why they don’t develop Dharma or a proper Dharma Paksha.

Vishvaksena Janardhana

Make no mistake: India is the Land of Dharma. The Dharma of Sri Krishna, Rana Pratap, Chhatrapati Shivaji, and Banda Bahadur Singh ji is what drives our political philosophy. Not some failed ideology of some failed newspaper editor of some increasingly flailing civilization.

The ‘Hindu Left’ is an oxymoron pushed by morons. Right thinking Hindus would do well to reject it and them.

Exigencies of the Politico-Strategic

Vishvaksena Janardhana

Recently, an Admiral of the Bharat Nau Sena discussed a strategic estimation of India:

“The Economist weekly, in a 2013 article titled “Can India Become a Great Power”, seemed to put its finger on the reason: “India has the world’s 4th largest military,” it said, “and yet its political class shows little sign of knowing or caring how the country’s military clout should be deployed.” Warning India against “an unstable but dangerous Pakistan and a swaggering and intimidating China“, it observed: “The absence of a strategic culture and the distrust between civilian-run ministries and the armed forces has undermined military effectiveness.”

This quote relies on a famous critique of India by Rand in the early 90s. While it is historically inaccurate, it nevertheless has a large kernel of truth in the present era.

The root of this lies in all theory-but-little-practice armchair chanakyas who over-emphasise the venerable Acharya Chanakya. Pure strategy in fact does not begin with his Arthasastra, but with Lord Krishna and Krishna Niti. This is because strategy is directly (not indirectly) connected with on the ground operations (institutional, military, covert, or overt). If you don’t have “skin in the game”, if you don’t have a track record of competence, you don’t count. The “Intellectual Yet Idiot” has no accountability if his theory fails. The general, the political leader, or executive does. It’s his neck that’s on the line.

Arthasastra is absolutely a foundational text on Indic Statecraft, and it is not that Strategy didn’t exist in it in some form. But Statecraft isn’t Strategy, and certainly not Pure Strategy. If Politics translates to Rajaniti, then Statecraft is connected to Arthasastra, because Arthasastra, like Soopa Sastra, means more than the literal translation. Arthasastra is translated as Science of Wealth but it is fundamentally a work of Political Economy and Statecraft. While there are elements of strategy and strategic education—just as there are in Panchatantra and Hitopadesa—it is not the same as Pure Strategy, which requires flexibility and asymmetric creativity rather than formulae and minutiae.

Sun Tsu’s Art of War is  more a work of Pure Strategy than Statecraft, and the Arthasastra is the reverse. To understand Pure Strategy (Koota Niti in Sanskrit or Kruttik Niti in Shuddh Hindi), one must first understand its true definition: Winning or managing the competitive landscape by developing asymmetric advantages through long-term planning & application.

“Know yourself and Know your enemy and you will be victorious in a hundred battles”

Asymmetry necessarily requires not only knowledge and competence,but creativity and imagination: Deployment of small ships in the tight Salamis straits to defeat larger Persian triremes, the Roman corvus to defeat the Carthaginian navy, light cavalry and Maratha forts to ground down the pondering Mughals, and the Vietnamese tunnel system to tackle adversaries with air superiority. Such solutions are indeed given inspiration by historical study, but are nevertheless produced by application of imagination. That is the importance of competence, creativity, and courage in Strategic matters. Our current Kautilyas-wannabe lack all 3.

The Art of War does not list out every solution for every situation, but rather, provides the principles which inspire new solutions that fit the new situation. Most militaries (and armchair chanakyas) are busy fighting the last war, rather than developing the foresight to win the next one. This takes more than just memorisation of current and developing armaments/technologies or reading and recitation of historical trivia, but also requires understanding what capabilities need to be developed in the first place and understanding whether they are deployable and exploitable—and then following through.

Fortunately, though few in number, there are examples of competent strategists in modern India. Sardar Patel was one, Indira Gandhi another, certainly Sam Maneckshaw and Krishnaswamy Sunderji (of Chequerboard fame), and definitely K.P.S. Gill and P.V.Narasimha Rao. More recently, Brahma Chellaney and Ajit Doval. The common denominator is neither religion, nor caste, nor regional/ancestral background, nor gender, nor even education/intellectual proclivity. It is competence, creativity, & courage proven by practice.

Start with tackling small problems to qualify yourself to tackle bigger ones. Whether Ajit Doval has a successful term as NSA is not as important as the fact that his background in the IPS & IB qualified him rather than social media pontification and gyaani-fication. All this is food for thought for our bloviating bloggers and their impuissant iq-genetics theories. Leadership, Dharmic or otherwise, is necessarily with the politico-strategic  branch.

Last year’s unprovoked attack on Rajiv Malhotra was emblematic of it. Those touting “traditional learning” attempted to take down a hardened and proven strategist like Malhotra, all in the name of ego. Those who don’t correctly understand our Dharma (and who tout nonsense like ‘beef in vedas’ have no right to preach dharma let alone lead it). Until we understand exactly how our dharmic culture feeds into strategic culture, our division of labour will continue to suffer.

Religion and culture give us strength. Veda protects the truth, in fact, Veda is Truth itself (which is why its preservers are so respected). But solutions to strategic problems come from competence, creativity, and courage. It is for this reason that the lead up to and the Mahabharata War itself was essentially a battle of wits between two Kshatriyas, Krishna and Shakuni—with everyone from Duryodhana to Drona outwitted. Shakuni himself embodies the dangers of internal enemies using strategic thinking. And the kaakollukiyam in the Panchatantra is itself emblematic of this lesson.

Whatever your caste, it is this Dharma of Kshatriyas you must hew to if you wish to have a role in strategic affairs and governance and political leadership. Every theory, every strategic plan, every battle plan is brilliant, until you make contact with the enemy (or the real world). That is the difference between pseudo-academics spouting off and a leader running a serious organization. So if you are an intellectual, do give advice when asked. But the ultimate decision remains with the strategic command, be it a Kanwar Pal Singh Gill or a Pamulaparthi Venkata Narasimha Rao.

What then is the proper training ground for the would-be strategist? Surely not digital echo-chambers where one lives in a world of assumptions. Rather it is a track record of countering the adversary through solutions application.  This doesn’t necessitate being a combat veteran, but it does require the development of direct institutional responses to current strategic exigencies. Rather than trollish reaction and reactiveness, it requires measured action and pro-activeness. Rather than brainlessly complaining and yapping after a car like a dog, it’s asking what do you do when you get it? More importantly, it’s wondering “Where is the shatru going next?”

This is where our “Internet Hindus” fail. They focus on daily news-cycle and personal (caste, college, bosom-buddy relationships) rather than working as a professional collaborative team or helping those meeting team needs. Oh sure, if you pay them or put a pistol to their scrawny necks, they will work like the dickens—but what do you do when there is neither carrot nor stick…and only principle? This is the difference between men and mere boys. This the danger of the spoiled brat mentality—it leads to strategic disaster. The Jaichand-Purniah too clever-by-half emotional ahankari-shikandi approach is what destroys civilizations, countries, communities, & families. This is the importance of team sports. You understand how futile it is to win today, but lose tomorrow.

Rather than settling a score, better to protect long-term team interest. And if your caste is your team, you are part of the problem. Garbing caste interest in state interest or national interest may fool the average fool on the street, but not the patient political observer.

In fact, part of the reason why Bharat remains hamstrung in dealing with adversaries is due to the continued and baleful influence of ahankari-shikandi intellectuals who don’t know their place. The King and General are superior to ministers and have no obligation to take their advice—because it is they who have “skin in the game”. Giving gyaan is easy, developing and implementing actionable solutions is hard.

quote_teddy_roosevelt

Just as in the corporate world, it is general management and the Chief Executive that governs an organization, so too in the politico-strategic realm, it is the executive wing that governs policy and that must balance interests between Dharma and Niti. It is the King who rules and the minister who merely advises, not the other way around. It is not for nothing that the great brahmana Pandit Kalhana decried the dushtamatyas who be-deviled Kashmiri kings.

If you are perverting Dharma in the name of “intellectualism”, you are part of the problem

If you are promoting Fraudacharyas and de Nobilis, you are part of the problem

If you operate based on popularity rather than principle, you are part of the problem

If you legitimise Socialist Revolutionaries via history salons, you are part of the problem

The laundry list of commie jnu know-it-alls today who tie themselves in knots, due to all theory and no practice, must recognise that a pound of practice is worth more than a tonne of theory. There is no place for entitlement or sentimentality on the strategic landscape. Professional breast-beaters and assorted ‘absolutist’ rudaalis and “men-of-conscience” aren’t fit for Statecraft let alone strategy. The politico-strategic realm demands mental and emotional discipline backed up by fortitude and courage of Character. It requires both foresight and prudence. Spineless, gutless opportunists, back-biting court eunuchs, and assorted hypocrites are better suited for academia (and remaining there).

Outraging over outrageously outrageous outrage is easy. Providing actual solutions to serious strategic problems is hard.

All things have their place: religion & culture have one & the politico-strategic has another.

But for a strategic culture to properly re-emerge, the current ailments have to be identified:

[Reprint Post] Are We a Serious People?

[Reprint Post] Indians are Talkers not Doers

[Reprint Post] Problem of Indians: Unrepentant Stupidity

[Reprint Post] Origins of Indian Stupidity

[Reprint Post] Culture: The Cure for Stupidity

Then tackled:

What is Needed for a Civilizational Revival?

Rebuilding the National Character

While cooperation with shatrus must become a bad word, collaboration with own countrymen must become a good one. While personality-cults and fanboy-ism must go out of fashion, team loyalty must enter into fashion. While intellect is a good characteristic, character is an even  better one. While knowledge is great, wisdom is even greater. Indians must grow from becoming masters of the small picture to painters of the big one. Vision, execution, and accountability—these are the drivers and definers of leadership.

Vision doesn’t mean fantasy or  day-dreaming or “chooparpavar” bravado or brainless bragging. It means understanding what good government means in the first place and brainstorming solutions and strategy to achieve it. But a vision-less, caste-obsessed, band of clique-tards (pun-intended) can’t provide vision—only the empty braggadocio of those who hate their enemies so much, they become like them. Hate is not a solution, it is stupidity.

Scipio Africanus didn’t hate his enemy, he didn’t hate Hannibal. Scipio admired him so much he became better than him and beat him (even meeting him just before the Battle of Zama). He understood himself and his country, understood his enemy and what made him successful, and hit him where it hurt.

Shivaji-bridge

The same type of practical study was conducted by Shivaji. This doesn’t mean loving your enemies, but it means having a healthy respect for them so you can honestly evaluate them. One must neither be cowed down nor contemptuous of foes as it is as dangerous to over-estimate as it is to under-estimate. Sometimes it necessitates tactical adaptation (as in Vijayanagara and modification favouring of cavalry) and sometimes it needs a complete strategic-reorientation, as in the case of the Maratha Empire. But this isn’t done through history books and textbooks (many of which are falsified) but through training and action. Knowing what to do is easy, understanding how to do it and following through is another matter altogether. Any idiot can sit down and identify needs—do you have the competence, creativity, and courage to meet them? This is the uncomfortable question facing would-be Indic strategists today. Quick fixes and knee-jerk reactions don’t solve problems, nor do untimely power struggles.

Battle of Hakata Bay, 1274

During the Kamakura Shogunate, real power was not held by the Emperor of Japan or even the Shogun, but the shikken. The head of council (regent)  was able to defeat the Kublai Khan’s invasion forces at the Battle of Hakata Bay, not merely through the Divine Wind (Kamikaze), but through foresight and prudence. A wise and experienced general, Hojo Masamura, was entrusted with the defence of the Japanese home islands.

The Mongols sent an embassy in 1268 demanding submission, but rather than hew to protocol, Regent Hojo Tokimune and the Council of State simply bought time by refusing to send an answer (a strategem  incidentally used by the Bahmanis against the Musunuri Nayaks and Vijayanagara). A terrifying force was being prepared in 1272, and all the Kyushu vassals were recalled. When the attack finally came in 1274, Japan was ready.  After a hard-fought victory they didn’t not bust out the dhol and break into bhangra/lungi dance like so many Indians, but took advantage of the respite to build a stone defensive wall at Hakata Bay. They then levied/drilled more troops in the event of a second attack. Japan’s vigilance did not slacken even after victory! For that reason, they were even better prepared in 1281, and won again against an even more terrifying 140,000. Even then, the expensive bakufu defences were maintained for another 20 years.

They studied the enemy, bought time, prepared their ground, and acted when opportunity presented itself, rather than engaging in pompous chest thumping or loudmouth rhetoric. The Hojo regency knew it faced a dangerous enemy, and even after winning two wars over the Mongols, preparation and vigilance continued for 20 years (no matter the expense). That is the difference between strategery and strategy, navel-gazing and serious preparation. Are we a Serious People?

Vkkmenonfaintun.
V.K.Krishna Menon after delivering a “brilliant” 8 hour UN speech

Security of state or civilization belongs in the hands of serious people. Not navel-gazing pseudo-intellectuals, nor spelling bee poodles, but serious thinkers whose ability is proven by practice (unlike Nehru who appointed the incompetent Brij Mohan Kaul due to nepotism and the even more incompetent V.K.Krishna Menon due to ideology). Terrifying problems require experienced, competent people who inspire others rather than merely coasting on (alleged) pedigree. Learning must be balanced by training/application, and in matters of war, by training in arms and tactics.  This works the other way too. Centuries after Hakata Bay, Tokugawa Ieyasu issued ordinances known as buje sho-hatto, where samurai were required to give themselves both to the art of war as well as the pursuit of ‘polite learning’.  This is what is lacking today.

Absence of emotional-discipline leads to team indiscipline.Ego-maniacs, forever obsessed with proving their intellectual superiority, or that of their family or caste or region stupidly risk the safety of what they care about the most due to their own ambition.

The recent hullabaloo of halfwits over the “national language” is emblematic of another set of genetic dead-ends. “Youth aspiration for english”, “it is not the language, but the imposition!”, and my personal favourite, “no need for link language”.

No need for link language??! What else could better reflect the attitude of court eunuchs and pseudo-intellectual vidusaka-samalochakas than to ignore the national need to issue orders to the national army on the nation’s battlefields? Are jawans from rural areas supposed to use universal translators? Surely state languages should be the language of state administration, but a central administrative language is needed, for simple governmental practicality. It is this lack of pragmatism among all-theory no practice pinheads that continues to perpetuate a 70 year old debate.

There may be a case for Hindi as National Language, but even if there isn’t (and Sanskrit should replace it), surely Shuddh Hindi has a case as Central Administrative Language, out of sheer pragmatism. Anglicised elites promote English to retain their elite privileges. Global lingua francas change given global zeitgeists, as demonstrated by the phrase itself. French was once the “global language”, or at least the European language of communication. Today it is English, and tomorrow it very well could be Mandarin. Are Indians expecting to switch their national administrative language based on global fashion? Can our people be any more idiotic?

That this debate reached a fever pitch (at least on social media) at the exact time China was making war noises at the border, show exactly how immature and unserious our people are.

Is ego worth risking the lives and well-being of one’s children or womenfolk? This is the question our gasbag gyaanis need to start asking themselves. Their emotional indiscipline and mind-boggling moronery in the face of the gravest threats hardens even the softest of hearts. Preferring slogan to prudence and ambition to accomplishment, even the most Nippon-esque of fanbois forgets that the word samurai actually means ‘one who serves’.

This is the attitude that is required. One of service in the state, national, civilizational, and dharmic interest. Realpolitik is not rhetoric or tough talk. Can a bunch of clowns prioritising their position and social media celebrity have the manhood to actual defend their families, or do what it takes to ensure their defence? This is the problem today. Tough talk over tangible strategic action, fan clubs over professionalism, machine gun bursts of buffoonery over calm/measured behaviour, individual last minute heroics over collaborative collective strategy. Armchair chanakyas can clip all the books they want, but if they wish to master Koota Niti, they must first understand and practice the basics.

Those who wish to command, must first learn to obey

Literature: Dattilam of Dattila

As an appropriate aside to our recent article on the History of Sangeeta, is a Post on a particular work of Literature said by some to pre-date the work of the great Bharata Muni himself.

The Dattilam of Dattila is an oft-cited but little known work on Ancient Indian Music that, even more than the music theory it covers, is critical for what it actually represents.

Author

In his seal for brevity, Dattila becomes so laconic in his descriptions that they often read like obscure mathematical formulae. Fortunately, Bharata and also later authors have given details enabling us to interpret Dattila meaningfully. [1, 143]

Not much is known about the eponymous author of the Dattilam.  Though the composer ends with a standard colophon announcing his name, he does not provide the traditional background and lineage one is used to encountering in such works. Like Bharata before (or after) him, he is more concerned with the content.

One of the reasons for the ambiguous speculation regarding Dattila’s contemporaneity with Bharata is because Bharata muni himself refers to the text Dattilam. At the same time, one of the one hundred sons list by him includes a Dattila. Was this a namesake of the original or the original himself? All this leads to the conclusion that it is best to avoid assertion where nothing is concrete.

Nevertheless, we know Dattila and his text are indeed authentic and influential as none other than the great Acharya Abhinavagupta refers to him and even quotes from the Dattilam. [1, 49]

The author sets out to describe not only what gandharva is but its purpose as well. He tells us of 18 jatis (proto-melodies) and 7 gitikas (structured song forms) and the importance of pada (words) and taala (beat pattern).

We see many of these common elements in Natya Sastra as well indicating the common tradition from which both Dattila and Bharata were working from.

Composition

http://indicportal.org/wp-content/uploads/2017/07/samaveda.jpg

The work begins with the traditional invocation to deity. It too ultimately is constructed upon the foundation of the Saama Veda.

Consisting of 244 slokas, Dattilam is divided into a preamble, two sections, and twelve chapters, with topics ranging from technical aspects of tala and varna to methodology suggested by others. It is a terse and aphoristic treatise, that reads as a manual for experts, rather than an introduction to students. As the translator of the current edition himself notes, it not only requires the use of later texts (such as Natya Sastra or Sangeeta Ratnakara) but also begs a commentary. So concise is the text that a number of scholars have suggested that it is only part of a greater work. Irrespective…

The Dattilam is a very suitable starting point for research into the theory of ancient Indian music, as it is a concise compendium of almost all the musical terms. [3, 5]

The manuscriptology behind the Dattilam is an interesting story in and of itself. Found in a collection sponsored by Travancore’s Royal Family, it was discovered by the curator, Pandit K. Sambasiva Sastri. The manuscript he came upon was attached to a copy of the Sangeetasamayasaara. It is said to have been written in Sanskrit with Malayalam script.

The first translation into English was by a Dutch scholar named Nijenhuis. A subsequent one also conducted by a Dutchman, with the present one completed by Mukund Lath. All of them are in effective agreement however that…

Dattilam assumes a series of purvacaryas, preceding masters, and specifically names three: Narada, Kohala and Visakhila. [1, xii]

This is an important point as it establishes the existence of a tradition prior to even Bharata muni (who himself refers to previous musical masters). Dattila, does not refer to Bharata, leading to the conclusion that they were both from the same time period, or Dattila was likely senior. While Natya Sastra is presently dated to 400-100 BCE, the Dattilam is at least as older if not older.

Further evidence adduced to this point is that the text is seen as rather independent of Bharata. Nevertheless…

gandharva stands for ‘music’—all music. But the gaandharva Dattila speaks of was a specific body of music, a sacred form. It was conceived as akin to a musical yajna, and like a yajna, it could result in transcendental merit (adrsta) leading to svarga. [1, xiii]

As such, whether it is Bharata or Dattila, it is clear that the sacred is not only the origin of music, but very much immanent in the Indic musical tradition.

Another point of interest is Dattila’s reference to various regions and musical aspects attached to regions. He makes frequent mention of jatis called udeecyava (meaning from the north), and also refers to andhri (Andhra), takka raga (from NW Punjab), maalavi (from Malava/Malwa), kambhoji (from ancient Kambhoja), gaudi (from Gauda/Bengal), and gandhara jatis, in verses 70-79. [1, 117]

Other concepts beyond jati discussed include varna. “Varna was the general term used to indicate musical or melodic movement over notes.” [1, 125] Varnas are inextricably linked to padas (words) in a gita (song). In contrast, a jati is of pure note structure, laying the foundation for later ragas. Tala (a term meaning beat or beat pattern) is also discussed. It is a time measure based on beats ensuring the note (svara) was saamya (in equilibrium).

Dattilam is a fine example of a saastric text and is of living value to us in that respect. It has striking affinities of approach and spirit with many other saastras, such [a]s those of Paanini on grammar, Pingala on the science of metrics and Tandu on the dance-form taandava. [1, xiv]

Selections

Gandharvaah

I. [Pranamya paramesaanam] Brahmaadhaamscha gurumstatha |

Gaandharva-saastra-sankshepah saarathoyam mayochyathe || sl. 1

[After having made my obeisance to the Supreme Lord] and to all the gurus, the first of whom is Brahmaa, I shall now enunciate in its essence the saastra concerning gaandharva in a concise form.  [1, 1]

II. Gandharvam naaradaadibhyah pratthamaadhau svayambhuvaa |

vidhidan-naaradenaatha prithivyaam-avathaaritam || sl.2

The origin of gaandharva

Svayambhoo (the self-born one) gave gaandharva to Naarada and other sages. Narada, then, duly brought it down to this earth. [1,1]

III. Padasthah svarasamghaathas thaalena sumithas thathha |

Prayuktas-chaavadhaanena gaandharvam-abhidheeyathe || sl.3

What is gaandharva

A group of svaras, well-measured through taala and set to padas (words) when rendered with due attention (avadhaana) is called gaandharva. [1,1]

IV. Sruthayotha-svaraa graamau moorchanaas-thaana-samyuthaah |

Sthaanaani vruttayaschaiva sushkam saadhaarane thathha || sl.6

Jaathayaschaiva varnascha naana-alangkaara-samyuthaa |

Esha svara-gathodhreshah samskhepenaatha nirnayah || sl.7

Next, micro-intervals(sruthi), notes (svara), the two-tone systems (graama), scales (moorchanaa) consisting of series of notes (taana), the registers (sthaana), styles (vrtti), pure instrumental music (sushka), and the two ways of overlapping

modes (jaati) and ways of ornamentation (varna) connected with various graces (alamkaara). This is a mere description of the things relating to the notes…[3,2]

V.  This exposition is no more than a pointer towards the system of the earlier acaryas. The knowing expert (sudhee) should look up their views and reach his own conclusions if he still has any doubts. sl. 244

Iti Dattilam samaaptam

Dattila (thus) composed a saastra known by the name Dattilam [1, 47]

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References:
  1. Lath, Mukund & Ed. Kapila Vatsyayan. Dattilam. Delhi: IGNCA.1988
  2. Prajnanananda, Swami. A History of Indian Music. Volume 1. Calcutta: Ramakrishna Vedanta Math. 1997
  3. Nijenhuis, Emmie te. Dattilam: A Compendium of Ancient Indian Music. Utrecht. 1970

Classical Indic Music II: History of Sangeeta

In the preliminary article in our Series on Classical Indic Music, we re-asserted the native canon of Saastriya Sangeeta and its historical Pan-India nature. The next installment will discuss the history of Sangeeta itself, and how the various regional notes compose the classical national scale.

Introduction

First off, why a survey of Indian music chronology at all? The antiquity of Ancient Indian Music may be difficult to calculate, but it is foolish to contest. As previously established, the indigenous classical canon of India is a matter of great discussion, but its integral unity cannot be denied. Ironically, the greatest revisionists of Indian Music history and even Indian history itself, accuse others of historical revisionism. Everything from the sitar to the tabla to classical music itself has been projected as being introduced by outsiders—eager to establish their own primacy and dominance. That foreign accounts can be given greater credence than native ones is the greatest sleight-of-hand of present times. All this makes a study of the History of Sangeeta all the more relevant to our times.

The ancient history of Indian Music is funda-mentally the history of her people, civilization and culture. The continuity of Indian civilization and culture, from the most ancient time uptil now, has one of its sources in the geographical configuration of the country. Many historians are of the opinion that as Hinduism was a common faith and the Hindu kings were in power, there was a religious and cultural unity and affinity among the Indian people as a whole.” [4,1]

As such, to properly understand ourselves and where we are going, we must first properly understand who we were and where we came from. Music History is crucially important to this.

Second, what is a history of music? A history of music is, therefore, a systematic and chronological records of musical thoughts and materials that evolved in different ages in a gradual process. It requires collection, arrange-ment and preservation of the facts and findings relating to music in a systematic order. ” [4, 9]

Rather than mere recitation and regurgitation of what has been taught by self-appointed “eminent experts”, it necessitates an investigation of the facts as available to us. This means not only questioning existing factoids, but questioning existing paradigms as well.

Third, what is the nature of a history of music?A history of Indian music is a saga of musical thoughts of the Indian people, as written in their subconcious mind. It has its birth, growth and progress in Indian society, and has religious and spiritual out-look. A history of Indian music is a wide subject, the range of which is extended from remote antiquity upto the present time.” [4, 9]

Thus, a proper history of Indian music must be a history of music rooted in Indian society and values and especially Indic Civilization. This then leads to the matter of valid sources of history.

Historical materials can be gathered from the following in order of descending importance:

  1. Various texts and treatises of music compiled from various authors across the ages
  2. Archeological evidence. These include rock and architectural inscriptions, copper-plate proclamations and tablets from various kings and aristocrats, coins and paintings.
  3. Private diaries of the local musicians and local folklores, including anecdotal evidence.
  4. Foreign accounts as well as the history of music from other nations

The native accounts must be given highest priority. Foreign accounts, which lack the insider understanding of a culture or civilization, can only be used to fill gaps or facilitate in the verification of facts.

Most of the historians both of the East and the West admit that many of the civilized nations of the world are indebted to India for their materials of civilization, art and culture. India does not lack in authentic materials for constructing a history of music of her own, for putting before the admiring gaze of the world, her glorious heritage in the field of art education and culture. [4, vii]

This then leads us to the imperative of challenging the false notion of indigenous Indian music being only ritual temple chants. Since apparently anything favourable to ancient India is considered jingoistic these days, let us turn then to the foreign-sponsored’s favourite sources: foreign: “From the writings of the Greek historians we come to know that in the Royal courts of Champaa, Raajgriha, Koshala, Vaishaali, Kau-shamvi, Paataliputra, Kalinga (in Southern  Orissaa), classical dances and music were fully encouraged… even the ladies of the Royal household allowed to culture dance and music. In the 2nd century B.C.” [4, 99]

Indeed, as far back as Paanini (presently dated to 500 BCE) and Patanjali (3rd Century BCE), we find descriptions of the practice of music and use of various musical instruments. In the Mahabhasya, there are a multitude of musical instruments listed including the mridanga, veena, and dundubhi. From the Buddhist canon we find Avadanas, Jatakas, and Pithakas reffering to music, musical instruments, and mudras. Hymns such as the thera, theri and sthavir were sung by Bhikkus. 107 poems and 1279 gathas make up the theras.

Further, we know from our own sources that music was highly encouraged, particularly within certain conventions, to virtually all classes. “In the 2nd century B.C., Vaastyaayana has mentioned about 64 kinds of art including dance music, and has said that they were freely cultured even by the married and unmarried girls“. [4,99] Whatever the traditional rules between castes, it appears that within castes—particularly the most orthodox—there were fewer taboos regarding performance of sangeeta and natya. This also provides further illumination into the nature of the conservatism of Hindus in the medieval period.

But a proper history is more than just a mere chronology or chronicle. It provides a systematic understanding and analysis of the nature and origin of events and realities. To properly do so, one must study the theoretical foundations.

Theoretical Foundations

The materials for history of Indian music of the ancient period can be collected from the Vedas and specially from the Saamaveda, the womb of music, the Shikshaas and the Praatishaakhyas, the Naatyasaastra and its commentaries, the classical Sanskrit dramas and literature, the Buddhist literature and the Jaatakas, the Brihaddeshi and the Sangitasamayasaara, the Silappadikaram and the Tevaram and other ancient Tamil literature, as well as from the rock-cut instructions and sculp-tures, chiselled on the railings, facades and walls of different Buddhist, Hindu and Jain Stupas, Vihaaras and temples. [4, 4]

Traditionally, Indian music has been divided not only into marga and desi but also vaidika and laukika. The Sama Veda in particular is considered the root of all music.

Veda

The Vedas are considered by the orthodox to be apaurusheya, that is, without human origin. Therefore, dating a specific period according to the conventional Western timeline becomes difficult. This is because they are considered the very embodiment of the Divine itself, hence all the rules and rituals related to paaraayanam (chanting).

In the Ka[u]shitaki-braahmana (29.5), it has been stated that the arts of dancing, singing and playing the musical instruments formed and important part of certain Vedic rites“. [4, 90]

Nada-brahma is considered the origin of the Universe and Paraa-Barahman emanating from the vibrations themselves. There is a famous quote in Matanga Muni’s Brihaddesi on precisely this point. Along with the Shruthi (Veda) is the notion of shruti (harmony/micro-tones.

The microtones (shrutis) are the minute percep-tible (“shravanayogya”) tones or musical sound-units that constitute the structures of seven tones like shadja, rishabha, gaandhaara, madhyama, pan-chama, dhaivata and nishaada (corresponding Vedic tones, chaturtha, mandra, atisvaarya, krusta, pra-thama, dvitiya, trituya).” [4,15]

Saamagaana is considered the earliest systematic method of singing in india. It had three base tones (anudaatta, svarita, and udaatta). According to Professor Sambamoorthy, “The Rigveda was recited to the three notes, udaatta, anudaatta and svarita, corresponding to ri, ni and sa of frequencies.” [4, 19] These partial and middle tones are considered the nucleus of the Classical Indic Scale (thaata, mela/melakarta).

Interestingly while the Sapta svara of Sa Ri Ga Ma Pa Da Ni which is dated to Bharata Muni (6th-3rd centuries BCE, if not much earlier), the solfa system of Europe dates only to the 10th century CE, credited to Guido d’Areezzo. [4, 20]

Saama Veda is considered the foundational source of all music. It is divided into the purvaarchika and uttaraarchika. Songs of common people were known as graamageya, songs of the forest people known as aranyageya, and those of the mystics, rahasyageya.

The saamagaana or singing process of the saamans was divided into six or seven categories, and they were (1) humkaara, i.e., the priest will utter ‘hum’ (yes) at the beginning of the singing: (2) prastora i.e., which the Prastotris (prastotri—priest) used to sing at the beginning of the saamagaana: (3) udgitha, i.e., which the Udgaatris used to repeat to the tune of the saamagaana; (4) pratihaara, i.e., the Pratihaatris used to sing the part of the song after the third stanza of the saamagana; (5) upadrava, i.e., which the Udgaatris used to sing at the end of the third stanza; (6) nidhaana, i..e., that used to be sun by the sacrificial priests at the end of the saamans; and (7) pranava, i.e., omkaara. The saama-gaana sued to be sung in this way before the blazing fire on the sacrificial alt[a]rs, invoking the presiding deities.” [4, 93]

However, all this remains in the realm of the sacred. What of the material world and the inclination to sing and celebrate the world and worldly things? This is where the Divine descends into the semi-divine and celestial.

Gandharva

Gandharvaah

Sometimes attached as an upaveda, Gandharva Veda is often simply known as Gandharva. Such is its connection with those semi-divine beings.  Per the tradition it is reputed that the microtones were devised by Brahma or Brahmabharata, the first promulgator of the gandharva type of music, and afterwards it was made perfect by Naarada and finally Bharata muni. [4, 16]

Considered to have been collected from the Sama Veda, Gandharva Veda since took on a character of its own. In line with the pleasure-seeking ways of the Gandharvas it is named after, it adapted to the tastes and needs of more material humans. It created pleasure and enjoyable auditory sensations and good vibrations for all. It is the original systemised form of the systemised form of music we have today.

Nevertheless, it is considered the origin for the laukika (material world) music that has definite historical records dating back to 600 BCE, if not long before. Interestingly, the Ramayana makes reference to the tradition of wandering bards skilled in the science of gandharva, when it mentions Lava and Kusha singing of their parents travails. This ultimately brings us to saastra.

Sastra

rp_basis1.png

Although there are works and personalities considered anterior to this magnum opus and its composer, the Natya Sastra is considered the foundational text of Saastriya Sangeeta, and takes us from the realm of Sacred History to Pure History.

Bharata Muni propounds the existence of 22 microtones with associated jatis. The seven svaras (notes) each cover a set of these shrutis. For example tivraa, kumudvati, manda, and chandovati shrutis are all attached to the preliminary svara Sa. This division of shrutis is accepted by the Carnatic System to this day.

This then leads to the 10 essentials, or dasa-lakshanas, for qualities in determining the genuine nature of ragas. These are initials (graha), sonant (amsha), higher (taara), lower (mandra), concluding (nyaasa), medial (apanyaasa), rare (alptva), abundance (vahutva), hexatonic (shaadava), and pentatonic (audava).  Through these qualities, raagas can be examined and their real forms ascertained. All of these date back to Bharata Muni, though he himself says he is indebted to Brahma. All of these are also better discussed in detail in a future article. For our purposes, however, the saastric understanding of raaga is important.

A raaga is the product of permutation and com-bination of tones which creates sweet and sooth-ing impressions (samskaara) in the mind. This definition we get from Matanga’s Brihaddeshi [4, 33]

The 72 melakartha ragas have been listed in the introductory article of this series. What is interesting here for our purposes is when the gandharva or marga type of music began formalising the various ragas. The Ramayana (parsimoniously dated to 400 BCE) contains 7 jaati-raagas in its gaana. “Jaatis are the causal or basic raagas, from which evolved all kinds of raagas, maarga and desi“. [4,35] In the Mahabharata and Harivamsa we find 6 graamaraagas.We see these extend into the Naatya Saastra, where 18 jaatiraagas are mentioned.

Incidentally graamaraagas are found in Naarada’s Sikshaa as well as in Pallava dynasty rock inscriptions, attributed to King Mahendravarman, at Kudumiaamaalai in Tamil Nadu. [4, 36] Interestingly, we see that 2 of the 18 jati-raagas are named after regions (Andhri and Gaandhara-panchami). As such, we see not only a continuity, but a Pan-India pervasiveness, literally from Kashmir to Kanyakumari. By the time of Sarngadeva, a Kashmiri residing South of the Vindhyas at the Maharashtrian court, we find a total of 264 raagas evolving from the original melodic structures.

This of course leads to another modern concocted controversy over the origin of the melakartha system (or thaat of the North). Ever eager to find a foreign origin to all things Indian (even Indians!), Europeans and their current sepoys-at-arms have attributed a Persian background to the thaat on account of the name and the first emphatic definition of mela coming from Pandit Somanatha in the 1600s. But this is a risible notion, as Swami Vidyaranya, known for his native orthodoxy and revivalism, had formulated 15 melas by the 1300s itself. Somanatha asserted that 960 melas could be evolved, though eventually 72 were settled upon by Venkatamakhi.

Instruments

Indian Instruments

The history of Classical Indic Musical Instruments could be an article, or series of articles, in and of itself (incidentally, we already started one here). Nevertheless, no discussion of the History of Music is complete without mention of the vaadya or atodya of Sangeeta.

Basic stringed instruments are found in Lothal dating at least to 2000 BCE and are described in great detail not only by Natya Saastra, but reverential commentators on it, such as the Andhra Nayaka, Jaya Senapati in his Nrtta Ratnavali. [8, 437]

Generally classed as sushira (winds), thantri/thatha (strings), avanadha (percussion), ghana (metal), here are the most traditional of traditional vaadyas in the Indian vaadyabrnda (orchestra).

rudravina

Veena—Arguably the most ancient and most Indian of all Ancient Indian instruments, the veena is the vaadya of legends. Said to have evolved from the dhanuryantram (a bow instrument), it has since multiplied into varied forms and types. The shata-tantri is a 100 stringed veena, and the vaana veena is one with grass. These are known in the Kalpasutras with the former fittingly called kaatyaayani-veena. The sitar is itself a chitra-veena, tweaked for Turkic tastes.

Dundubhi—A very ancient and imposing atodya, the Dundubhi is associated with war drums of old and often foretells of a coming cataclysm. Often shaped from the hollow trunk of a tree and covered with leather skin, it has a deep and resonant sound that captivates audiences and armies alike, as it can be heard from great distances. The bhumi-dundubhi form is thought to be the oldest of percussion instruments.

Mridangam—The most pervasive of the classical percussion vaadyas is the mridangam. Still used today in carnatic, it is part of the standard repertoire of classical conclaves and katcheris. A related instrument is of course the Damaru, but this is better discussed elsewhere. Interestingly, there is an old folk story about how the tabla is merely a mridangam cut in half.

Tabla—Believe it or not, the tabla is not as young as we’ve been told. Whatever cute little ‘syncretic’ stories have been concocted by communist ‘mythologists’, the tabla is not a recently rendered percussion instrument. It very likely doesn’t even date to the medieval period. “These drums are known as pushkara. The two drums of identical-size, that have been depicted in the temple-halls of Muktesvara and Baadaami are the forebears of the modern tabal and baayaan, which are erroneously taken to be the two halves of the mridanga (or paakhawaaj), introduced…by Amir Khusrau“.[4, 106] While final confirmation of the modern tabla originating in the ancient pushkara drums found in these sculptures and bas-reliefs of Late Antiquity, one can quite obviously see that seeing foreign influence in all things Indian is more than a little suspect.

Tambura—Erroneously called “tanpura”, Tambura has a lineage of great antiquity and is associated with the Rishi Tamburu. It is used by Sages such as Narada, to keep sruthi. In modern times, the violin has taken its place, but the time may be approaching to restore the prominence of Tamburu’s namesake.

Venu—The bamboo flute, also known as vamsee or now bansuri (in Hindustani), rose to everlasting fame through that eternal romantic of Vrindavan. The murali may be forever associated with Lord Krishna, but its use is even more ancient.

Karathaala—These are the famed castanets of Narada Muni. They are still prominently used in Rajasthani folk music, and are called Khartal.

However, we know them better today, not in India, but among those Indic people properly called Romani (commonly known as Gypsy). This instrument has taken a distinctly romantic flavour in the flamenco music of Spain. But of course, as wikipedia will currently tell you…place of origin is…”unknown”…

Nadasvaram

Known as the Nagaswaram in the South and the Shehnai in the North, Nadasvaram is the original and is a pan-Indian pipe-reed instrument that can stop even the bagpipe in its tracks.

If nada is the origin of the universe, this instrument gives us a glimpse into why.

There are numerous other instruments that could be discussed. Nevertheless, for historical purposes, these serve for now.

But along with understanding the foundations and instruments is gaining a grasp of the common Indic terminology.

Terminology

  • Shruti—(literally sound, generally Vedas, but in music specifically, microtones).
  • Svara—Notes or tonal sounds. Sa Ri Ga Ma Pa Da Ni
  • Sthaana—Registers in music
  • Geethi—Musical rendering
  • Geetha—Song
  • Sangeetha—Music
  • Jati—Pronounced jaathee. Organised tones. Depending on context, proto-melodies. A tune type or species. [5, 19]
  • Raga—Pronounced raaga, it is defined as “‘ranjayata it raaga.’ i.e., that, which produces pleasing and soothing impressions in the mind, is a raaga.” [4, 98] It is the basic melody of music and made up of various permutations and combinations of tones. There are 72 melakarta ragas.
  • Murcchana—elaboration of the seed-form of a raga. This is made possible when 7 tones of a raga manifest themselves via ascent (arohana) and descent (avarohana). It possess a unit of aesthetic sentiment. Bharata states there were 14 murcchanas.
  • Tana—Pronounced thaana. Similar to murcchana. The difference is that tana only has arohana [5, 69]
  • Varna—Manifesting of a song. There are 4 kinds: aarohi, avarohi, sthaayi and sanchari. They typically consist of pallavi, anupallavi, charanam, muktayisvara and chittasvara. [1, 57] The term is also used to refer to the syllables of a svara.
  • Kaaku—variation of vocal sounds. These are used to express the Nava Rasa.
  • Tala—Pronounced thaala, it means beat. While traditionally these reached as high as 108 different types, in Carnatic there are now 35 (i.e. dhruvaa, mantha, rupaka, jhampa, triputa, adda, ekataala) and are made up of different maatras (finger positions).
  • Laya—Rhythm or tempo. These are generally divided into 3: vilambita (slow), madhya (medium) and druta (rapid). [4, 73]
  • Vaadya/Atodya—Musical Instruments.
  • Vaadyabrnda—Orchestra. Also known as kutapa, the vaadyabrnda is distinctly mentioned in Saastra. The Indian orchestra is certainly nothing new, only has a different set of instruments.
  • Sangeetha-shaala—Music hall for singing and dancing. Found since at least the court of Pushyamitra Sunga.
  • Prekshagriha—Threatre auditorium for dramatic performances, musical and otherwise. The first Sunga ruler had a separate premises for these as well.
Personalities

Brahma

Personalities in the History of Music are myriad and manifold. Indeed, many are bracketed in the category of ‘mythological’. Being concerned with serious history, we will merely make reference to those sacred historical figures as legendary, and begin with  Bharata, Kohala, and Dattila as the first confirmed historical figures with associated texts.

Nandikeshvara

Nandikeshvara is known by many names and must be mentioned as he is the originator of one of the three original sampradayas of Sangeeta. The texts Nandikeshvara-samhita, Bharataarnava, Abhinaya-darpana, Kaishikaavritti are credited to him, but do all of them refer to the same person?  It is indeed very possible that there were many so-called historical (and human!) Nandis who were responsible for the texts associated with this figure, and yet, they have not been confirmed or even fully theorised. As such, Nandikeshvara along with Lord Brahma will have to be placed, rather than in the purely historical, in the realm of the sacred instead, but with textual attributions intact, much like the son of Brahma himself.

Narada Muni

Much like Nandeeshvara, many are reluctant to consider conflating the mythical Narada muni with the texts associated with him: Naaradi Sikshasaastra, Sangita-makaranda, Raaga-nirupana, and the Gandharva-rahasyam (on dance, drama, and music). Is he the great Sage of our stories, forever singing the glories of Lord Vishnu, or were there many ‘historical’ Naradas? When in doubt, it is better to preserve the chronology assigned in the tradition, and merely assert what has been confirmed by historical evidence. It is also important to catalogue his contributions as he is the second of the great sampradaya founders.

Bharata Muni

The third and most historical of the three founders of the original schools of Sangeeta, Sage Bharata is a storied name in not only music, but literature, dance, drama, poetry, and indeed, aesthetics itself. Though he mentioned only 8 of the Nava Rasas, the theory of 9 sentiment itself is said to commence with him.

Muni Bharata brought a renaissance in the domain of dance, drama and music, and scientifically devised laws and priciples of twenty-two mircortones (shrutis) or subtle tones on the basis of five mircrotones (jaati-shrutis), as promulgated by Naarada of the Siksha.” [4, 118]

Most important of all, this sagacious sage propounded his theory of Sangeeta for the purpose of Natya. There are a number of musicologists considered to have been either immediate contemporaries or successors to Bharat. These include Kohala (wrote Sangitameru), Durgashakti, Yaashtika (Sarvaagama-samhita), Shaardula , Svaati (considered the inventor of the pushakara drum), Vaayu, and Vishvavasu. One name associated with the significantly later King Vikramaditya of Ujjain is Matrgupta (appointed to rule Kashmir in the name of his Avanti overlord). Nevertheless, the most immediately relevant name is one who is often thought to perhaps even precede Bharata.

Dattila

The eponymous work Dattilam is the legacy of this sage. He is said to have continued in the tradition of Bharata, and discusses sangeeta in the context of natya. He lists 18 jatiraagas, various murcchanas and 66 thaanas. Not much is known about him, but he is considered to be a contemporary of Bharata Muni.

Matanga

The contemporary paradigm parsimoniously dates this great musicologist to the 5th or 7th centuries CE; however, to traditional Hindus, he is no mere Matanga, but Matanga Muni. Considered an ancient Sage, his background dates back, in all likelihood, to not too much after the Natya Sastra himself. He makes references to the most ancient commentators, including Bharata Muni, Kohala, and Dattila. Where he stands out, however, is in his treatment of the desi ragas and styles of music (hence the name of his work Brihaddesi, discussed below).

Though he is clear on the central nature of Marga, Matanga nevertheless discusses the different regional and national styles of music. For those wondering whether the orthodox ever admit to foreign influence, it is here that contemporary yet conservative commentators of India note that while the classical marga style of saastriya sangeeta remains indigenous, different national styles such as those of the Sakas found their way into myriad quilt of desi regional music and folk music. [5]

Emperor Samudra Gupta with Veena

 

It is a long gap between Matanga Muni and Maharaja Bhoja, but given the antiquity of Indian history, a single article Chronology is better focused on the reified names of history, rather than those who are still being confirmed. Though Fa Hien records the splendour of Indian music during the Gupta Period (no doubt due in no small part to the great veena playing Emperor Samudra), musicologists and evidence of direct contribution will better help mark the historical record.

Maharaja Bhoja Paramara

King Bhoj of Dhar is one such contributor. The storied lord of Dhaarangagari was arguably the most talented and scholarly of Royal Commentators on the Arts, including music, and is considered a true polymath. Though better associated with literature and architecture, his contributions to sangeeta cannot be gainsayed. Sringara-Prakasa is a work of his containing precepts of dramaturgy. Though only some of his 84 books are known to have survived, he was considered an authority on music by Maharana Kumbha.

Abhinavagupta

Undoubtedly one of the towering polymaths of Indian history, the great Kashmiri  Acharya Abhinavagupta widely commentated on everything from Tantra to the Arts. His commentary on the Natya Sastra, is known as Abhinava Bharati. This Bharatabhasyam elaborates the various issues pertaining to drama, dance, and music. He not only cites Bharata Muni, but also Kohala, considered an ancient authority in naatyaadhikaara and geyaadhikaara. His 1000th Birth anniversary took place this past year.

Mammata

He is credited with the Sangita-ratnamaalaa, and is dated to the 11th century. Also hailing rom Kashmir, he categorised raagas per the janya-janaka (genus-species) method. He lists a number of principal ragas suh as karnata and maalava. [4, 158]

Parshvadeva

In a long list of names, stands this prominent Jain musicologist who wrote Sangeeta-samayasaara. Thought to  date back to between the 9th and 11th centuries, Parshvadeva gives us a full description of various kinds of prabandhas. These were further elaborated upon by Sarngadeva. Nevertheless, the prabandha-gitis took inspiration from the ancient form of dhruvapada and eventually is known today in Hindustani as the dhrupad. The dhrupad is a shortened name for the saalaga-suda dhruva-prabandha, given patronage by Raja Man Tanwar. [4, 56] In Maharashtra, we find abhangas as the prized musical form instead.

Nanyadeva

Better known as King Nanyadeva, he is one of many royal comentators on music. A descendant of the Kannada Rashtrakuta dynasty, his kingdom was situated in land straddling Bihar and modern Nepal. Nanyadeva is notable for his commentary on Bharata’s Natya Sastra, called Sarasvati-hridayaalankaara. Other influences include Naarada, Yashtika, Kaasyapa and Matanga. He discussed various raagagitis and jati-ragas

Someshvara III

Author of the Abhilasha-Chintamani, the Chalukya Emperor Someshvara more closely associated with the alternate name of the same work: Manasollasa. This veritable encyclopadia deals with many topics ranging from Classical Cuisine to Music. He is considered one of the prominent Royal authorities on Natya and Sangeeta.

Jayadeva

Subject to a great war between Odias and Bengalis, as on the rasagolla front, Jayadeva the musical and literary personality appears almost certainly to go in favour of Odisha as well. His ashtapadis were heavily popularised at the court of the Odia King Prataparudra Deva Gajapathi. Jayadeva’s great Gita-Govinda had an impact as far as western India, with none other than Maharana Kumbha later commentating on it.

Chaitanya Mahaprabhu

One undeniable Bengali, however, is Chaitanya Mahaprabhu of the 16th century. His impact extended beyond the Gaudiya Vaishnavism, a guru-sishya parampara that extends to that founder of the Hare Krishna movement, Srila Prabhupada (whose translation of the Gita remains the most widely read today). Nevertheless, it was the founder of his own parampara, who would have the greatest impact on the folk music of Eastern India. The Bhakti songs of Bengal very much bears the stamp of Sri Chaitanya to this day.

Sarngadeva

Known as ‘Nissanka’ (one who is doubtless), Sarngadeva was born in Varshagana gotra to Soddala Deva. His grandfather was Bhaskara, a Kashmiri Pandit who settled in Maharashtra.

He is regarded as an outstanding Sanskrit scholar and wrote the Vedanta work called Adhyatma Viveka. But he is best known for his Sangeeta Ratnakara (13 th century), which he wrote while residing at the Seuna Court at Devagiri. This soon became the classical standard in the medieval period, influencing both Hindustani and Carnatic.

Gopala Nayaka

Maharashtra musician Gopala Nayaka of Devagiri was eventually  to Delhi some time in the late 13th century. [9,27] This is said to have laid the actual foundation for what is known as the Hindustani School today.

Swami Vidyaranya

Considered by many to be a foundational influence on Carnatic music, the Vijayanagara Samrajya Sthapanacharya made an incalculable contribution to the revival of Saastriya Sangeeta at a time when Saastriya Samskruthi was under threat. His Sangeeta-Saram of the 1300s mentions 50 janya ragas originating from 15 melakartha ragas.  The head of the Sringeri Peetham, he oversaw a commission of scholars to revive traditional sangeeta that was under threat from destruction by invaders.

Kallinatha

A musicologist from the Vijayanagara Court, he wrote an authoritative commentary on Sarngadeva’s influential work.

Annamacharya

annamayyastatue

One of the most beloved classical musicians of Andhra, Annamacharya (1408-1503 CE) remains one of the critical bridges between the ancient Saastriya Sangeeta of old and the birth of the Carnatic Tradition.

Though his story and advocacy for upanayana for women and lower caste temple entry is what he had been remembered for throughout history by the masses, it was only recently that his keerthanas were rediscovered and set to music by Carnatic stalwart, Nedunuri Krishnamurthy.

The sheer volume of Annamacharya’s contribution remains virtually inmatched. Though less than half of his estimated 32,000 padams have been found, compositions such as this one below, reverberate throughout the Telugu states to this day.

Purandara Dasa

 

PurandaraDasa

Karnataka Sangeeta Pitamaha Purandara Dasa is a name known to all South Indians, and is one that should soon be known to all Indians. He re-established the native canon of authentic Classical Indic Music at a time when it was subject to many external influences and even outright corruptions.

Born Srinivasa Nayaka in 1484 at Pandaripur (Karnataka), he became the disciple of Sri Vyasa Teertha in 1525. He composed thousands of songs and codified the Carnatic Music Tradition. He passed away in 1564.

Maharana Kumbha

Image result for maharana kumbha

If ever there were proof that a fierce warrior, gifted general, and dignified king could be talented musician and musicologist as well, it is Maharana Kumbhakaran Singh of illustrious Mewar. Dreaded by his opponents, beloved by his subjects, and honoured by his scholars, one of Mevaad’s most ferocious veeras was also the author of the Sangeeta-raja and Sangeeta-krama-deepika.

He is also credited with re-setting the tune to Jayadeva’s Geeta-Govinda. Though Jayadeva was considered singularly skilled poet, the ragas he set his poems to were re-adjusted in what is widely considered to be a Rajasthani improvement on the Odia original. In any event, the skilled deputee of Eklingji held Jayadeva in high esteem, and thus, is credited with a commentary on the Gita-Govinda.

Narayana Teertha

Narayana Teertha Yatindra is the author of Sri Krishna Leela Tarangini. Living in the 16th century, he was another stalwart of Andhra, hailing from its Krishna district.

Krishna Leela Tarangini is considered a standard of Sanskrit opera. It is composes in 12 cantos with its various songs preceded by slokas and short prose passages. KLT is ranked with Geeta Govinda as work of Sringara. Its theme is the story of Krishna and Rukmini. [6, 83]

Tansen

Celebrated across divides and boundaries, Tansen is often considered to be the real founder of the Hindustani tradition. Born to Makarand Pandey at Gwalior, he learnt music from Swami Haridas. Rajput royals such as Rani Mrignayani (also of Gwalior) and Raja Sanmukhan Singh of Ajmer, were classmates. He later went to the Agra Court in the 1600s and wrote the Sangeeta Sara and Rajmala.

Tansen is said to have standardised 300 ragas in Hindustani. Miyan ki Todi is one of the ragas attributed to him. He had 5 children including a daughter named Sarasvati, who was a veena player. His sons played the rhabab—a string instrument modified by the great musician himself. [9]

Venkatamakhi

Ramamatya, Somanatha and Venkatamakhi consti-tude a group by themselves. They are respectively the authors of the following standard works in Sanskrit on Karnatic music: Svaramelakalanidhi, Raga Vibodha, and Chaturdandi Prakasika” [6, 85]

Ramayamatya is the earliest, dating back to the 1500s. At the request of Emperor of Vijayanagara, he wrote the svaramela kalanidhi and enumerated 20 melas and their janya ragas. He rejects Sarngadeva’s theory of 12 vikrta svaras in favour of 7.

Somanatha was another traditional scholar from Andhra desa. His Raga vibodha picks up from where Ramamatya left off. In contrast, he elected to posit a scheme of 960 melas with 15 vikrta svaras.

Finally, the most impactful of the 3 was Venkatamakhi. The second son of Govinda Dixitar, he studied under his brother Yajna Narayana. He later came under the tutelage of Tanapapacharya, a famous musician from Northern India. With the patronage of Vijaya Raghava Nayaka, Venkatamakhin wrote the Chaturdandi Prakasika in 1660. This Comprehensive work covers the gamut of the usual traditional concepts, but is credited most for standardising the 72 melakarta ragas used in Carnatic music today. [6, 86]

Meerabai

Meerabai & khartal

Mewar’s musical contribution to India includes the female as well as the male. The storied Princess Meerabai gave up all for her love of Lord Krishna. She is remembered today not only for her skill with the tambura and khartal, but for her voice as well. This songstress of Sri Krishna is known for devotional ballads such as these.

Lochana

Lochana Kavi is another notable scholar. Hailing from Mithila (in Bihar),  he is best known for his Raga Tarangini, which deals with Indian music in a time of great change. He mentions 12 janaka melas and uses 12 svaras to describe his ragas. A fitting homage to the historical Rajatarangini is the musical Ragatarangini. It is considered a useful study on the music of Northern Indian during a time of foreign ascendancy.

Kshetragna

A celebrated composer of Telugu padas, Kshetreyya was born in Muvvapuri graamam, near Chandragiri (Chittoor district). He was a tremendous singer, scholar, and litterateur. Dedicated to Lord Gopala, he worth 4000 padas in honour of his ishta devata. He travelled throughout peninsular India, and made his greatest impacts at the court of Madurai and Thanjavur.

Thyagaraja

The most famous of the Carnatic Trinity, Thyagaraja was born as Kakarla, Thyagabrahmam in a Telugu Brahmin family that migrated to Thiruvaiyaru from Prakasam district in 1767. He received his early music lessons from his guru Sonti, Venkata Ramanayya.

Thyagayya composed close to 24,000 kirthanas in his life time but only 700 kirthanas survived the vagaries of time. He also wrote two musical plays in Telugu “Prahlada bhakthi Vijayam” and “Nauka Charitram”. His Pancharatna (five gems) Krithis are considered finest gems of Carnatic music.

Every year in the month of January and February a music festival, Thyagaraja Aradhana, is held in Thiruvaiyaru to celebrate and honour his musical genius. On Pushya Bahula Panchami thousands sing his Pancharatnas together. Now it’s a worldwide event, Thyagaraja aradhana is conducted world wide by the patrons and practitioners of Carnatic music and attended by thousands of music lovers and devotees.

The language of Thyagaraja compositions is simple but yet beautiful, and the choice of words in the compositions add to the melody of raga and the rhythm of tala to create the ecstasy of bhava and rasa.

Syama Sastri

http://www.andhraportal.org/wp-content/uploads/2016/04/1985-shyama_sastri.jpg

Syama Sastri hailed from the Vadamar community connected to Tamil Nadu, but originally hailing from Andhra. He was born in Thiruvarur to Visvanatha Iyer, in 1762. He was a friend of Thyagaraja and guru to the third of the Carnatic Trinity, who will be discussed subsequently.

Syama Sastri’s achievements in classical music include around 300 total compositions, 9 kritis to Meenakshi Devi, and humbling a number of court musicians in sangeeta contests. His works are known for their intricate taalas. Above all, he refused royal patronage and never deigned to engage in nara-stuti, saving his musical talents to sing the praises of the Divine. He was a great sangeeta and spiritual power, the like of which rarely walks in this modern world. His most famous composition is considered to be Devi Brova Samayam Idhe.

Muthuswami Dixitar

The most famous student of the second of the Carnatic Trinity is the only true blue Tamilian among 2 Telugus. Nevertheless, he set a tradition that would continue on to make his home state the greatest patron of Saastriya Sangeeta in this era. This legacy continues on to the present day in the great Carnatic sabhas of Chennai.

Rajas Shahaji & Tuloji

The Maratha rulers of Madurai would continue the outstanding legacy of its previous Nayak rulers, and become tremendous patrons of Sangeeta themselves.

Tuloji (1765-1787) wrote the treatise Sangeeta Saramritam in 1770. He too was a great supporter of Saastriya Sangeeta.

Raja Swati Thirunal

The ruler of the Kerala kingdom of Travancore between 1829 and 1847, he is considered one of the great Royal composers of Saastriya Sangeeta (in both Carnatic & Hindustani schools). He was a poet, scholar and linguist, with songs credited to him in the Sanskrit, Malayalam, Marathi, Hindustani, Tamil, and Telugu languages. Considered a genius and generous patron of music, his court was adorned with musicians such as Paramesvara Bhagavatar, Govinda Marar and Vadivel.  He is highly respected for his technical beauty (svarakshara) and composed more than 300 kirthanas, padas, varna, thillanas, and raga mallikas under the ankitam Padmanabha. [6, 71]

There are, of course, many, many more personalities who could be discussed. But the ones above have had the most noted impact on Saastriya Sangeeta across the spectrum.

Let us now commence with a more detailed survey of the Important Texts of the Classical Indic tradition.

Important Texts

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Natya Sastra, 400 BCE (or earlier) [2,8]

The Naatya Saastra has already been discussed in detail in this previous article. Nevertheless, for those short on time and long on interest, here is a brief description of its impact on music. “Saaradatanaya (1175-1250 A.D.), the author of the Bhaavaprakaashan, informs us that the original editon of the Naatyasaastra consisted 12,000 shlokas and afterwards it was reduced to 6,000.” [4, 123] It 37 chapters make up one of the most systematic treatments on the arts. The 22nd chapter is considered the most important to music. There are at least 9 commentaries on it, with Abhinavagupta’s considered the most incisive. [6, 76]

Dattilam, 400 BCE (or earlier)

Brihaddesi, 400 CE (or earlier)

Quoted in numerous texts from the ancient period down through the 17th century, Brihaddesi is considered an exquisite exegesis on how classical Indic music balances between marga and desi. It demonstrates how the native tradition preserves its indigenous character, while allowing the tunes of various Indic desas and the folk music of the non-Indic to contribute to the Civilizational body. “The source of musical structure and composition, both of Hindustani and Carnatic, has to be traced back to the Br[i]haddesi“. [5] It is here that we first see clear distinctions between Jatis, Murchanas, and Raga.

Perhaps the best known quote from the Brihaddesi is the one on nada:

There is no geeta (song, music) wiithout naada, there are no svaras (musical notes) without naada, there is no nrtta (dance) without naada, hence the world is of the essence of naada. [5, 7]

Silappadikaram  ~2nd Century BCE-5th Century CE

Arguably the most famous work of Sangam Literature, Silappadikaram is a Tamizh epic that is also authoritative on poetry, music , and drama. It allong with the Tivaakaram and Paripadal is used to divine the divine music of that era in the Tamil regions. The Silappadikaram in particular describes 22 alaku (shrutis, much like the earlier Bharata Muni). There are also descriptions of various musical instruments such as the yazh and the kudamulabu.

Natyalochana, 800-1000 CE

Composed by an uncredited author, it is a text on drama and music that is wide in scope. Ragas are divided into shuddha (pure), saalanka (impure) and sankeerna (mixed). A total of 44 ragas are listed, with only 8 pure ragas.

Manasollasa of Somesvara III (Karnataka), 1131 CE

Abhinava Bharati (Kashmir), 1000CE

Bhaava-prakaashan

Composed by Saaradaatanaya, it is another work of Natya and Rasalankaara (aesthetics). Interestingly, he makes provision for acoustic enhancement through prescription of various shapes of theatres. For example, a circular theatre is ideal for a mishra dance (where marga and desi are mixed), and a triangular theatre is ideal for marga. [4, 164]

Gita Govinda, 1100 CE

Songs of Geetha Govinda are called prabandha-gitis. This is because they are characterised by saahithya, raaga, thaala, dhaatu, anga, murcchana, rasa, and bhaava. Gitinaatya as a genre in the present era is traced to this work due to its widespread influence. Written in the ashtapadi form (8 stanzas), popularised by the author itself, Gita Govinda celebrates the Rasa-leela of Krishna with Radha and the Gopikas.

Considered a classic work of Sringara Mahakavya, it contains 24 songs in 12 sanskrit sargas.  Ramashtapadi of Ramakavi and Sivashtapadi of Chandrasekharendra Sarasvati are said to have taken after it. [6, 78]

Sangeeta Samayasaara of Parsvadeva (Karnataka) 1100 CE

Sangeeta-Ratnakara  of Sarngadeva 1200 CE

Nrtta Ratnavali (Andhra), 1200 CE

nrttaratnavali

Geeta Ratnavali (Andhra), 1200 CE

Better known for his Nrtta Ratnavali (above), Jaya Senapati’s Geeta Ratnavali was a great text on music lost to us during the pillage of Warangal by Delhi Turks. While his treatise on dance leaves us to wonder what musical wonders were lost to us, the commander of the Kakatiya King’s elephant corps deserves mention for his contributions to music (glimpses of which can be found in his surviving work).

Bharatabhaasya of Naanyadeva

Sangeetopanisat

Sangeeta-Sudhakara ofJagadekamalla, ~1300 CE

Another work by a Chalukya sovereign, the Sangeeta-Sudhakara was written by the son of Someshvara III (of Manasollasa fame).  Prince Jagadekamalla is therefore another key royal musicologist and patron of music.

Sangeeta-Saram by Swami Vidyaranya, 1300 CE

Saaroddhara of Sudhaakalasa (Gujarat), 1350 CE

Dasar Padams (Karnataka), 1400 CE

Sangeetaraja & Sangeet-krama-dipaka by Maharana Kumbha (Rajasthan), 1400 CE

Sangeeta Kaumudi (Odisha)

Svaramela-kalandhi by Rama Amatya, 1500 CE

Raaga Vibodam of Somanatha, 1500 CE

Sangeetha Sudha of Govinda Dixitar, 1600 CE

Chaturdandi Prakaasikai of Venkatamakhin, 1600 CE

Sangitadarpana of Daamodara

Sangitataranga of Radhamohan Sen

Krishna-leela-tarangini (Andhra), 1600 CE

Ragatarangini of Lochanakavi (Bihar), 1620 CE

Kshetragna Padams (Andhra), 1600 CE

Sangita Parijata, 1650 CE

Written by Pandit Ahobala, it is a popular treatise on North Indian music. Ahobala is reputed to be the first writer to refer to the svaras by the lengths of veena wires. The kaphi raaga of Hindustani is attributed to him. His work was subsequently translated from Sanskrit into Persian in 1724.

Sangeetha Saaraamrutham by Tuloji Maharaj (Maharashtra/Tamil Nadu), 1700 CE

Sangeeta-narayana

Meladhikara Lakshana

A comparatively recent but valuable work for students sand scholars of Carnatic music, its author is unknown. It appears to date after Venkatamakhin and has an expanded system of 4,624 melakartas. This is divided into 136 chakras, with each chakra containing 34 melas.

This concludes the discussion of traditional texts on music. While any complete list is putatively longer (and any elaboration on the treatises even more so), these should suffice to provide an historical foundation for textual sangeeta.

Conclusion

[3,8]
We end as we began, with a discussion of not only the History of Classical Indic Music, but the pervasiveness of its influence. In fact, no discussion of Indian music is complete without mention of the expansive travels and tragic story of those wandering minstrels of global fame: the Romani. Though pejoratively called Gypsy or Gitanos, their musical influence is undeniable, not only via their own stories which they tell, but in the obvious impact they had on music wherever they went.

Nevertheless, the history of Indian Music and its spread predates these nomads of Northwestern India.

Specially the music of greece was indebted to indian music, which was introduced to Greece by Pythaagoras and the Pythaagoreans. It is said that Pythaagoras visited India and returned to Greece, carrying with him the cultural, religious, and philosophical ideas of India. [4, 110]

Furthermore, the Emperor of North India, Harshavardhana Shiladitya was a renowned supporter of classical music and dance.In 581 A.D., a band of musicians was sent from India to China at the invitation of the Chinese Emperor, and it is said that music missions weres sent to distant lands like Samarkanda, Bukhaara, Japan, Corea, Kaamboja (Cambodia) and other Middle and East Asian countries.” [4, 111-112]

Another trend of late is to create false cultural distinctions within India. Contrary to progressively-regressive revisionistas, time assignation for ragas exist in Carnatic. Of course, one does not expect them to have read the works of Karnataka Sangeeta Vidwans like A.S. Panchapakesa Iyer, but here is what he had to say:

27. Time for Singing Ragas

In a day consisting of 24 hours, we have morning, afternoon, evening and night….

There are some ragas meant for waking people up from deep slumber. The ragas Bhupalam, Bowli and Revagupti are fit for being sun during this period….

In the afternoon, that is from 10 a.m. to 4 p.m., people will be busy engaged in their work…Begada, Danyasi, Madhyamavathi, Manirangu, Bhairavi are the ragas suitable for this time…

In the evening, that is from 4 p.m. to 8 p.m. when people return home after work, they would like to be happy in the company of their wives and children. Ragas like Sankarabharanam, Kalyani, Kambhiji, Bhairavi, Thodi, Kharaharapriya and Pantuvarali are suitable for this time.

During the night around 8 p.m. after taking food, one prepares to go to sleep. Ragas like Nilambari, Ananda Bhairavi and Edukula Kambhoji are suitable for this period” [ 1, 62-63]

Other names and concepts will become more relevant, particularly when discussing the distinctions between Carnatic and Hindustani, which incidentally had many intentional recent origins rather than historically organic ones. Hindustani, much like a particular persianised register of Hindustani (the language), is very much a product of politically driven motivation. Even the sitar (originating in the ancient chitra veena) and the tabla (clearly visible in ancient sculpture as the pushkara) have not been left untouched by colonial and neo-colonial revisionism. That is the importance of studying classical texts with the emic lens, rather than the etic. [11]

But perhaps it is best to conclude, not in our own words, but in those of the experts.

In conclusion, it can be said that ancient period is the most important, nay, the golden age in the history of Indian music. The cultural history of this period is glorious and eventful, and the age has undou[]btedly a charm, beauty and value of its own for the historians as well as for the students of the history of music. The most remarkable aspect of this period is this that most of the valuable and essential materials of music evolved during this period…So the ancient period of history of Indian music must be given special attention and be studied with proper care.” [4, 190]

References:
  1. Appa Rao, P.S.R. A Monograph on Bharata’s Natya Sastra. Hyderabad: Natyakala Press.1967
  2. Iyer, A.S. Panchapakesa. Karnataka Sangeeta Sastra: Theory of Carnatic Music. Chennai: Ganamrutha Prachuram.2008
  3. Lavezolli, Peter. The Dawn of Indian Music in the West. New York: Continuum.2006
  4. Prajnanananda, Swami. A History of Indian Music. Volume 1. Calcutta: Ramakrishna Vedanta Math. 1997
  5. Sharma, Prem Lata, asst. by Anil Bihari Beohar. Brihaddesi of Sri Matanga Muni. Delhi: IGNCA. 1992
  6. Sambamurthy, P. Syama Sastri and other Famous Figures of South Indian Music. Chennai: The Indian Music Publishing House. 1999
  7. Vatsyayan, Kapila. Bharata: The Natyasastra. Sahitya Akademi.2007
  8. Pappu, Venugopala Rao. Nrtta Ratnavali of Jaya Senapati. Kakatiya Heritage Trust. 2013.
  9. http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/The-Tansen-legacy/article14951168.ece
  10. http://www.thehindu.com/features/friday-review/of-notes-and-notations/article8025724.ece
  11. http://www.rediff.com/news/column/column-why-the-battle-for-sanskrit-needs-to-be-joined/20160120.htm

Literature: Paaka Darpana

Continuing Food Week here on the Indic Civilizational Portal is a work of Literature mentioned in our preceding Post on Classical Indic Cuisine.

The Paaka Darpana of King Nala of the Nishadas is the oldest available text on Indian Cookery.  Although we already conducted a brief expository on it, it’s important to—pardon the pun—flesh out the details of this little known composition.

Any mention of Culinary Literature is incomplete without discussion of the Paaka Darpana. Meaning ‘Culinary Mirror’, it is an ancient work with modern applications. It helps us understand not only what unites Indian cooking—real Indian cooking—from Kashmir to Kanyakumari, but also gives insight into what many Ancient Bharatiyas actually ate.

Author

The legendary lord of the Nishaadas, Nala is a famed hero mentioned in the Mahabharata as the other half of that Pauranic Power Couple Nala & Damayanti.

It is said that he was extremely good looking, truthful, brave, just and endowed with eight boons. [1]

Nevertheless, as is famously recounted in the Naisadheeya or Naisadha Charita of Sriharsa , Nala (like another famous Mahabharata character) was not good at dice. He lost his kingdom in a wager with his brother Pushkara, and he too had to go into exile. It was in these circumstances that he became a chef in the Royal Kitchen of Rtuparna, King of Ayodhya. To preserve his real identity, Nala took the name Bahuka, and explained the Art of Cuisine to Rtuparna.

Interestingly enough, Nala later mentions his name in the Paaka Darpana and describes his travails. Damayanti is also discussed as is her later svayamvara.

King Nala himself is a member of the Nishada tribe. While the tale he is best known for is for another time, some of the slokas in this work give us insight into not only his surface-qualities, but also his substantive ones as well.

The king (Rtuparna), addressing Nala, asked him many questions regard-ing the dietics and regimens to be observed in various seasons. He puts forth many epithets to Nala…O, supreme one amongst the expert cooks having parexcellence knowl-edge of the science of cookery, authority of science of cooking, all round expert of sorts, of cooking procedures, O observer of auster-ity, O, proficient O, personified lion among the elepha[nts]. O, Baahuka (Nala), kindly exhibit the procedure of consumable articles, beneficial to everybody, to be taken in various seasons.” [1, 79]

The traditional seasons per the Indic Science of Time-Keeping are “the seasons of spring (Vasanta), summer (greeshma), early rains (praavrt), rains (vaarshikaa), autumn (saarad) and winter (hemanta) are observed in fore-noon (purvaahna), midnoon (madhyaahna), afternoon (aparaahna), evening (pradosha), midnight (ardharaatra) and dawn (pratyushas) respectively.” [1, 79] It’s clear the great Nala of the Nishaadas has a solution for every season.

Whatever your tastes, however, it’s quite clear what he had in mind for good food was the Royal Rajbhog and all the intricacies of its preparation. However, the composition itself explicates the breadth of his knowledge more than any would-be biographer could do.

Composition

Credited to Nala of Nishada rajya, Paaka Darpana is a Sanskrit work. It contains 761 slokas and is divided into 11 chapters.

In this wo[]nderful book the author has described the recipes of vegetable & non-veg. preparations. Dishes prepared from Neem, Mandan, Guduchi, Jackfruit etc. become cures also besides being very tasty, the dishes are made fragrant before being served.[2,1]

A manuscript exists at the Saraswati Bhavan Library of Sampurnanand Sanskrit University at Varanasi.

  • Chapter 1: By far the longest chapter (half the work), it introduces the topic and deals with the five key categories of food: pulses, rice, and meat.
  • Chapter 2: Discusses the various seasons and the food regimens to be observed. The influence of Ayurveda is obvious here.
  • Chapter 3: Treats the item of Bhaksyaraaja and various other dishes containing Egg
  • Chapter 4: Focused on Phirni (kheer). Interestingly, different varieties of Paayasa are mentioned, as well as syrups such as Paanaka (Sri Rama‘s favourite).
  • Chapter 5: Surveys the process pertaining to the preparation of different varieties of soft beverage, particularly their storage.
  • Chapter 6: Presents the various processes and properties of different soups (yoosa)
  • Chapter 7: Discusses the aspects of various Ghee preparations (Ghrtannapaaka) & Cereals.
  • Chapter 8: Lehya (lickable) foods, such as the mango, are mentioned
  • Chapter 9: Surveys the process of cooling water, giving fragrance, and preparing delicacies
  • Chapter 10: Ksheera-paaka, or general cooking of mixed dish milk preparations
  • Chapter 11: The last chapter overviews the processes of creating curd from milk

As a matter of interest, the original manuscript does not have these 11 paricchedas, and was found as one continuous composition (without punctuation).

Nala describes the various qualities of a cook (sooda ) and expert chef (soodaraat), which the reader can review among the selections. Nevertheless, the Nishaada king also describes the qualities of a proper waiter. Here is the gist below:

The waiter-at-meals (parivesaka) should attend to ablu-tions…followed by cleanliness of the feet and hands. He should be a fulfiller of culinary desires, attentitive to mind, firm/adherent, familiar with the timing of the meals of the king. Thereafter, he should serve the meals and food-prepara-tion in set order having come to know the appropriate time set for a king and considering its wholesomeness. [1,9]

The importance of cleanliness is quite apparent from the outset. Uniquely the cleanliness specified is not only a physical one, but a mental and even spiritual one. While the feasibility of ensuring such a level of saucha may indeed stretch credulity in our era, the emphasis on hygiene should, nonetheless, be feted and emulated. Whether chef or waiter or sommelier, one who furnishes food for others should take care to honour their trust.  There is an implied guarantee of cleanliness.

In the same chapter, Nala also outlines the work in slokas 28-32, albeit in greater detail than the list at the top:

The first section of the treatise deals with boiled rice (odana) with its various preparations; second one appraises the variet-ies of pulse (soopa); third one describes the clarified butter (sarpis); fourth one presents various varieties of recipes (vyanjana); fifth one depicts several preparations of meat (maamsa) and vegetables (shaaka); sixth one narrates a number of preparations of semi-hard food (bhakshya); seventh one introduces the preparations of Paayasa (rice cooked in milk with sugar added to it); eighth one elucidates an elixir (rasaayana); ninth one describes the preparation of syrup (paana) with its varieties; tenth one considers the varieties of soup (yoosa); eleventh one contemplates the food and its varieties processed by clarified but-ter; twelfth one exhibits the lickable (lehya) articles with its varieties; thirteenth one focuses the various beverages (paaneeya); thirteenth con-fines to several preparation of milk (ksheera); fifteenth one puts forth various preparation of curd (dadhi) and the last sixteenth one states the various preparations of butter-milk (takra).” [1,9]

Thus, one can see from this exegesis an inclusion of not only common staples such as rice, supplemented by vegetables, but also different types of meat.

Meat Recipes

Meat (maamsa) is reviewed with precision, particularly with regard to preparation and cleaning. Many different exotic meats are also discussed (it is not known if Nala’s tribal background influenced the selection). These range from curries to rice dishes. The most important however is referred to as simply maamsodana.

Preparation process of Maamsodana (Pulaava)—The cook skilled in processing should fill up the 3/4 part of the cauldron (Sthaali) by the water hereafter it should be kept on fire place (stove or chulha). When water becomes heated the well-washed rice should be dropped in the quantity of one fourth of the [vessel]. When the Sali rice becomes semi-cooked, meat either, completely cooked or semi-cooked in the form of minute pieces alike rice should be mixed along with salt. This cooked rice should be fired with clarified ghee. After disappearance of watery residue, it should be put on the coalfire (Angar). Afterwards the coconut water and new ghee should also b[e] mixed and should be scented with the flower of screw pine (Ketaki). Hereafter the pieces of Parpata should be dropped and it should be made scented through the product of Camphor and Musk (Kastooree).” [1,22]

A rice dish known as chitrapaaka is discussed, and a full recipe given (sl.86). It is to be prepared in a special non-metal vessel known as Pugapada. It is mixed with salt, musk and ketaki flower, camphor, saffron and water. Lemon, mushroom, coriander, ringer and onion are also to be included. Option of adding meat after all this is prepared exists as well.

There are many, many other recipes including those for kukkutamaamsatailodana (chicken pulao with asafoetida, sl.100), sooksmaamsoddana (minced chicken pulao, sl.103), etc.

As such, many of the items he mentions are not only non-traditional to modern Hindus, but also notable for lacking any dishes with cow meat. Thus, even a tribal king with even fewer restrictions than so called “savarna” Kshatriyas, did not advocate beef.  Therefore, we can see an integral unity in this myriad diversity.

The cow remains sacred for all Dharmic peoples.

Slokas 341-344 also discuss different spices. It appears the addition of ginger and garlic is nothing new to Indian cookery, as there is clear mention of it here.  But shakaharis and sattvik chefs need not fear. There are also a number of vegetarian main courses mentioned as well.

Vegetarian Recipes

Preparation of pulses is discussed in great detail with the mixing of turmeric and asafoetida. Different types of pulses are also described such as horse-gram (kulattha), black-gram (masa), flat bean (nispava) in sl.121. Pulse itself is described as an alleviator of pitta and a promoter of health [1, 27]. Thus, we again see the background influence of Ayurveda here.

Shigruphalam (drum-stick), plantain (kadhalee), audambara (Indian fig), tiktaalaabu (bitter gourd),  are all vegetarian options and their dishes all discussed as well. For sake of familiarity, a recipe for a brinjal (vrnthaakam) dish will be described here:

Method of preparing the vegetable of Brinzal and its properties. The lovely young fruit of brinzal should be taken and its upper portion should be cut by a sharp-edged knife. After cutting the brinzal into two parts, it should be dropped into a pot filled with water. The round brinzal fruit should be cleansed by the water and it should be dipped into the water medicated with ginger. It should be mixed with asafoetida, Kaayaphala (Kaidarya) and coriander powder. It should be added  by the pieces of garlic and ginger and it should be kept on fire. The round brinzal fruit cut into pieces should be kept in hot water for a while and it should be brought out of the water. After making the paste of spices containing black pepper coriander, cumin seeds (jeera) mixed with ripe tamarind and curd should be pasted on the pieces of brinzal fruit and it should be fried in cow’s ghee (clarified butter). After taking it out, it should be made fragrant with the camphor. Hereafter it should be kept in clean pipe of puga-putta boiling ghee. After taking out it should be eaten.” [1, 38] It is praised as “an alleviator of Tridosha” and an enhancer of strength. [1, 38]

But the best of all vegetarian dishes is described as Bhakshyaraaja, King of the Edibles:

The cook should take on part of the pieces of raw wheat along with the one part of fragrant article in order to cook it properly. The well cooked pulse of Bengal gram (canaka) taken as half part and one part of fat and one part of the flat bean (Nispaava) along with the five pieces of co[co]nut, fruit mixed with cardamom (elaa) and salt in appropriate quantity. All the above substances should be cooked properly and the butter ex-tracted from the scented milk should be mixed in boiled milk. after mixing all these, the pills should be prepared like seeds of lemon and these should be kept in pugapatta. These pills, after some time should be again cooked and dropped in the ghee. This preparation is called Bhakshyaraaja.” “It is celebrated as an alleviator of vaata and pitta, promoter of digestive power, palatable, and a strength promoter.” [1, 86]

In terms of vegetarian items of regional interest, Odias would be interested to hear about the preparation of the Kalinga fruit (sl. 444). Kashmiris might relish the description of Lotus flower, Padma-patra-shaaka (sl.477), as a dish.

Rasa & Ayurveda

The editor’s note gives a detailed discussion of rasabhinivritti (Manifestation of taste) and expounds  on how “Location (desa) plays a great role in manifestation of various tastes in one substance, e.g.grapes and pomegranates growing in the Himaalayas are sweet in taste whereas those growing elsewhere are sour“. [1, 11] Taste which manifests immediately is referred to as rasa, while that which manifests later and slightly is called anurasa.  Nala himself specifically mentions 8 demerits in food, along with various characteristics of starch.

Medicinal aspects are also discussed, such as how to alleviate pain from a scorpion-sting. This circles back to the overall connection to Ayurveda. Although naturally Nala being not just an ordinary cook, but a royal chef is expected to be mindful of taste, the centrality of nutrition and health is apparent. Incidentally, seasonal regimes (for purposes of health) are avidly described in chapter 2. Special care is taken to assert the need for more caution during the changing of seasons.

Nala himself recommends certain meats in certain seasons, suggesting deer in spring, goat in summer, chicken in rainy season, fish in autumn, pork in winter, and sparrow in late winter (sl.31).

Of course, no discussion of the composition would be complete without mention of the desserts. While foreign attribution of all things Indian may be popular (even phirni!), here is King Nala’s recipe for Kheer, better known as Ksheerapaaka.

Milk, unmixed with water, should be kept in a milk vessel. it should be cooked in slow heat in cauldron and stirred with ladle…Milk which has become drinkable is to be added by the jack-fruit. in the milk, which has become more solidified, the ginger should be added by another fruit. Later on the flowers of Punnaga should also be added to it. the milk known as ghatika is to be added by the mango fruit along with ghee and honey. In this way, the flower of pomegranate and rice should be added, when the milk becomes in ‘Sarkara’ form, banana fruit is to be added along with sugar.” [1,109] It is described as glorified by the Gods and alleviates the disorders of Tridosha.

Selections

Ekaaki naishadhah kadaachit kalinaashanah |

Rtuparnasya nagaree raajaanamidhamabraveet || sl.1

Long ago, having reached the city (Ayodhyaa) of Rtuparna, Naisadha (king of Nisadha county as Nala) the persecutor of Kali (the demon who rules in Kali Yuga) alone spoke thus to the king. [1,1]

§

(Panchavidha bhojanasya bhedhaah) Bhakshyam bhojyam tatha lehyanchoshyam peyam payogatham |

Bhedham rasaanaam shannaancha shuddha-samskaara-bhedhathah | sl.4

(I know the food-stuff classified into five categories viz., bhakshya [semihard food like sweet-ball (laddu) etc.] bhojya (soft food like rice, pulse etc.), lehya (relishable or lickable articles like sauce), cosva (suckable articles like sugarcane, pomegranate etc.) and peya (drinkables or beverages like fruit-juice, wines etc.) possessing either the six tastes (sweet, sour, salt, bitter, pungent and astringent) on the basis of preparation and processing. [1,2]

§

“Bhujyathe yena yatnena tasyaarogyam bhaved bhruvam |

vaatajam pittajam rogam sleshmajam hanthi sarvadaa ||

Sakrunnishevanenaiva tripuram tryambako yathaa || sl.6

Person, who relishes the aforesaid dishes (citrapaaka) with care and prepared by me, gets positive sound health. If this preparation is taken even once, alleviates the diseases caused by Vaata, Pitta and Sleshman as Lord Siva (Tryambaka) had killed the demon Tripura.” [1,3]

§

Asminnaarthe mayo’kaari grantho leka hithaaya cha|

loka paala-prasaadena paakadarpanaaamathah||

Tasyaava-lokanenaiva drsyanthe vividhaah kriyaah |

Soodasya lakshanam thaavad vakshye samkshepatha prabho || sl.22

O lord (prabhu) king Rtuparna. I have composed a trea-tise entitled Paakadarpana in this regard by the grace of gods (lokapaalas) for the benefit of people. All the process of (cooking) would be conspicuous by going through it. Now, I shall narrate the characteristics of cook (sooda) succinctly).

§

Svadesamsabhavah prajnha sarva-lakshana-laksithah |

Sadaachaara-samaayuktho visishta-kulasambhavah ||

Shaantho daantho daanasheelo raajapoojyo shuchismathah|

svadaaraniratha shuddhah paradaaravivarjithah ||

Bhitha-bhaashee sadaa daathaa dayaaluscha subhasitah |

Dhaathujno desakaalajno vayo’vasthaadhividh budhah||

The cook (soodha) appointed in a particular place, must belong to that habitat. He should be intellectual, endowed with all the required merits and characteristics, possessing the moral and ethical values, hailing from a respectable family, qu[iet], subdued, generous, honored by the royal families, pious, smiling, devoted to his wife, averted from other’s wife, holy, speaking measured words, liberal, com-passionate, soft spoken, familiar with various metalic utensils, conversant with place and seasons and detector of age and phases of life and also wise. [1,8]

Image result for paka darpana nala

§

Sarveshaam praaninaam praanam-annam prathama-muchyathe |

Brahma-roopamidham samyak-trishashti-rasa-roopakam ||

Doshashtakena rahithamaahared-annam-uttamam || sl.37

Food is primarily said as sustainer of vital force (Praana) of all living beings. Food, containing the sixtythree types (on the basis of combinations and permutations) of rasa (tastes) is factually personi-fied as Brahma (creator of the universe). The best food is that which is devoid of eight types of impurities. [1, 10]

§

Soodha-vedamakhilam susooksmayaa savidaa samavalokya sarvathah|

paaka-roopam-abhidheya-maa-daraadhyo bibarthim hrdhayena soodhaaraat || sl.498

Attainment of the post of expert cook. The best cook is one, who, having gone through cookery very attentively and pre-cisely from all the aspects; possesses the knowledge of all sorts of cooking by heart. He is also known as the king of the cooks. [1,78]

§

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References:
  1. Madhulika, Dr. & Ed. Jayaram Yadav. Paka Darpana. Varanasi: Chaukhambha Orientalia. 2013

Classical Indic Cuisine: Soopa Sastra

Indian_Spices

Why Soopa Sastra? Elsewhere cooking is referred to specifically as Paaka, in Sanskrit. The rationale for this is manifold. The first Sanskrit text known to us on the culinary arts is in fact called Soopa Sastra, and is credited to Sage Sukesa. In addition, “The cook went by many names, such as alarika, soopakaara, odanika, bhojanadatr, and sudas”. [1, 108] Further, much like Dhanurveda refers to the Military Arts (despite Dhanur being ‘bow’), Soopa Sastra refers to the Culinary Arts despite soopa meaning only Soup (or broth). Finally, Paaka refers to cooking, but Soopa is a broader term encompassing Cuisine in general. Thus, Soopa Sastra is Culinary Science which encompasses not only Cooking, but Civilized Dining as well.

For all these reasons, Soopa Sastra is the more preferable phrase for the present time.

Introduction

What did our ancestors eat? Was it similar to what we eat now? Is it all a patchwork of regional cuisines or are there Pan-Indian commonalities?

More importantly, as one culinary author asks, “What do you mean by ‘good food’? Good to the taste? By ‘good’ do you mean food which has inherent values, i.e. values which are good for the well-being of the eater?”. [7, 16] Or does this merely mean food which satisfies? As in all things, the key to life is balance. It is only when there is imbalance that man either becomes deprived or depraved. Between being dull and being diseased is the middle path.

Food was also part of the ‘discipline’ in daily living of the Hindu way of life….The peak of ascetic glory was to be able to live on air and water and the perfect ‘yogi’ was revered because he had taught himself to subsist on a mi[n]imum of food. The bogi learnt the pleasures of eating, and descended to eating two meals a day, while the rogi was the gourmet given to self-indulgence and excess which resulted in ill-health. Hence the same word rogi is used for a man sick with disease (from roga=disease).” [7,17]

Thus, one need not be a yogi to live a healthy life. The wise man or wise woman finds balance and eats in moderation—knowing to generally eat healthy, while responsibly indulging on special occasions. Thus, between the yogi and the rogi is the bhogi. Herein lies the importance of the Rajbhog.

Whether it was the Rajabhoga (King’s meal) or the saamaanya bhojana, food was so important that cities themselves have been named after food items. One such prominent example is  Vidarbha‘s Amraoti (not to be confused with Andhra’s Amaravati). The original named of this Maharashtrian municipality was in fact Audambaravati, named after the Indian fig (udambara). [1. 35]

Vegetarianism is also a frequent flower in the garland of Dharma. Not only those following the Sattvic way of life, but also The Buddha favoured ahimsa to animals, though he permitted non-veg in cases of unintentional slaughter.  [1,55] Jainism of course stands as the most dedicated to the concept of non-injury to animals, and many Sikhs observe vegetarianism (except in times of war).

Buddhism, Jainism and Sikhism crystallized out of a Hindu matrix. In terms of food practices they have naturally many features in common with the Hindu ethos. [1.70]

Despite the large contingents of vegetarians (sakaharis) and non-vegetarians (maamsahaaris), one dietary thread is common to them: the sanctity of the cow.

Contrary to murkhapanditas peddling ‘beef in vedas’ theories, the cow was—and is—aghnya, that which should not be killed.

the Rigveda has a whole hymn to nutrition (peelu) in which only vegetable foods are listed, and carries two verses in praise of ‘the cow, Aditi, the sinless’. The word gau is used for the cow, and the term aghnyaa (‘not to be eaten, inviolable’) is employed no less than sixteen times, in contrast to three references to the bull, using the masculine form aghnya [1, 55]

These go-bhakshaks advocating a go-mamsa theory of Dharma are high on Ego and low on Sattva guna. This age old food restriction characterises our Dharmic way of life, yet nevertheless leaves a wide variety of not only other meats, but also a myriad of fruits, vegetables, grains, beverages, divine dishes, and savoury sweets.  Whether veg or non-veg, let us all survey together what is common in their presentation and preparation.

History of Culinary Unity

“May for me prosper, through the sacrifice, milk, sap, ghee, honey, eating and drinking at the com-mon table, ploughing, rains, conquest, victory, wealth, riches. May for me prosper, through the sacrifice, low-grade food, freedom from hunger, rice, barley sesame, kidney beans, vetches, wheat, lentils, millets, panicum grains and wild rice. May for me prosper, through the sacrifice, trees, plants, that which grows in ploughed land, and that which grows in unploughed land.” —Yajurveda [1, 28]

The influence of the Vedas on disparate spheres of life is so widespread that even food and agriculture are not untouched by it. We see from this quote from the Yajur Veda that agriculture was very much a part of Vedic Society.  Rather than a Central Asian pastoral culture, we see the mark of an agricultural one. This centrality of settled life would be seen in later periods as well, and we see the sophistication of irrigation driven farming.

In the Ramayana, the land of Kosala is eulogized by Rama as adhsvamatrakah, that is, as relying on irrigation rather than rainfall for its fecundi-ty. The Arthashastra of Kautilya (c.300 BCE) has many references to an extensive system of irrigation. [1, 29]

What’s more, one notes the antiquity of rice consumption in Indic Society. Various texts attest not only to its import, but to the technical details of cultivation and crop protection as well.

“The Kashyapa Samhita (c.200BC) has detailed accounts of every aspect of rice cultivation: sowing, irrigation, seed transplanting, weeding, watering, protection from birds like parrots (us-ing buffalo skeletons as scarecrows), defence against vermin like rats, locusts and borer in-sects, reaping and finally threshing. Even the conditions needed to take a second crop are elaborated. The collection of cowdung (sarishaka or sakrit) is noted in the Rigveda…Fodder crops are silaged as early as the Rigveda, the process being called sujavas.” [1, 29]

As such, it is only natural that the predominant Pan-India aspects of Subcontinental cuisine be driven by the native approach to agriculture. Ironically, it is that honoured bovine whose meat is forbidden that provides us with the most Civilizational of ingredients. More than any other animal, it is the dhenuh, the Indian Cow, whose produce embodies the most central ingredients to Classical Indic Cuisine: milk (ksheera), curd (dadhi), butter-milk (thakram), butter (navaneetham), and ghee (ghrtam).

In addition to the lactic aspects of core Indic food, are the grain (dhaanya) aspects. Staple is very important to virtually any urban/semi-urban cuisine. Here are the traditional grains.

The Brihadaranyaka Samhita states that there are ten foodgrains. These were rice, barley, sesame, kidney beans, (masha), mil-let, panic seed (priyangu), wheat, lentils (khalva) and horsegram (khalakhula, later kulattha, now kulthi. The Arthashastra lists sugarcane and mustard (both known from much earlier, but not mentioned in ritual lists), linseed (atasi), safflower (kusumbha), and kodhrava.” [1, 31]

Chickpeas, aman rice, wild rice, and Bengal gram are also listed, as are Pumpkins, other gourds, grapes, and long peppers (pippali). Spices include turmeric (haridra), fenugreek (methi), ginger, and garlic. “Others like pepper and cardamom came from south India, and asa-foetida from Afghanistan.” [1,33]

Speaking of sugar, one notes the dietary superiority of traditional sweeteners such as cane sugar, honey, and jaggery, versus the current obsession with visham-variety refined sugar (and the diabetes/obesity epidemic sweeping India & the rest of the world). Incidentally, “Sushruta’s observations suggest that as sugar products became purer and whiter, they also became ‘cooler’ but more difficult to digest.” [1,85] Health must come before Taste, but as traditional Indic cuisine (real Indic cuisine) shows, the two need not be antipodes (especially with the guidance of Ayurveda).

While simple Sattvic fare is indeed “sresth“, it is also important that Dharmic society begin rolling out the Ancient Indian Red carpet, and its Royal Rajbhog of Rajadhirajas.

Kingly Texts on Culinary Arts

There were many other masters of food preparation, perhaps none more famous than that mighty Pandava Bheemasena. His appetite for feats of strength was matched only by his literal appetite for feasts of savories. Those familiar with the film Maya Bazaar might enjoy this song, which captures the spirit (though Ghatotkacha will stand in for his father here).

While Bheemasena is credited with a text called Bheema Paaka Sastra, it is the Paaka Darpana of King Nala (of Damayanti fame) that is the most ancient text we have recovered to date.

Nala wasn’t the only King with culinary sophistication. King Somesvara III of the Western Chalukya dynasty of Karnataka wrote the well-known work Abhilashitarthachinthaamani. Better known as Manasollasa, meaning ‘refresher of the mind’, it is a veritable tome on not only knowledge, but also the pleasures of Royalty—with food naturally included in it. At 100 chapters divided among 5 books, it is a topic for another article. Nevertheless, there is a chapter titled Annabhoga stipulating varieties of dishes and methods of preparation (still common today throughout the Dakshinapatha).[1,89] King Basavaraja of Keladi (also in Karnataka) was another such who wrote on a wide range of topics, including food, in his Shivatattvaratnaakara. There is also the Soopa Sastra of Mangarasa III, King of the Kannada state of Kallalli, who wrote in Old Kannada.[1,88] It appears the Kings of Karnata were exemplars at promoting the culinary arts. Nevertheless, Nala set the original standard.

Paaka Darpana of King Nala.

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Nala & Damayanti may be famous for their love story (poetically recounted by Sriharsa in his Naishadha Charita), but the Nishada King was legendary for more than being merely a love-lorn lover. Before the great Bheemasena himself, was Master Chef King Nala. His conversation with Maharaja Rtuparna of Ayodhya and subsequent employment in Kosala’s Royal Kitchen gives us insight into not only a mature and even Imperial Indic Cuisine, but also the continuity of tradition from that ancient time to present-day.

Paaka Darpanam means Mirror of Cooking, and it is an ancient book on culinary science. It has 761 sanskrit slokas contained in 11 chapters (paricchedas).

In this wo[]nderful book the author has described the recipes of vegetable & non-veg. preparations. Dishes preparated from Neem, Mandan, Guduchi, Jackfruit etc. become cures also besides being very tasty, the dishes are made fragrant before being served.[2,1]

The cook is referred to as sooda and the waiter as parivesaka. Both are required to have good qualities and practice the utmost cleanliness. [3, 8] Nala then outlines the work discussing various aspects of food taxonomy, dividing his work into 16 aspects: boiled rice (odana), pulses/broths ( soopa), clarified butter (sarpis), curries (vyanjana), meat (maamsa) and vegetables (shaaka), semi-hard food (bhaksya), sweet rice dish (kheer), elixir (rasaayana), syrup (paana), soup (yoosa), lickable foods (lehya), beverages (paaneeya) milk (ksheera), curd (dadhi) , and butter-milk preparations (thakra). [2,9]

He also states that “Food is primarily said as sustainer of vital force (Praana) of all living beings. Food, containing the sixtythree types (on the basis of combinations & permutations) of rasa (tastes) is factually personi-fied as Brahma (creator of the universe). the best food is that which is devoid of eight types of impurities.” [2,10]

Nevertheless, of all the notable aspects of Nala’s treatise on Paaka, none more is important than that most healthful of Sciences: Ayurveda.

“Bhujyathe yena yatnena tasyaarogyam bhedam bhravam |

vaatam pittajam rogam slesmajam hanthi sarvadaa ||

Sakrunnishevanenaiva tripuram tryambaka yathaa || P.1, sl.6

Person, who relishes the aforesaid dishes (citrapaaka) with care and prepared by me, gets positive sound health. If this preparation is taken even once, alleviates the diseases caused by Vaata, Pitta and Sleshman as Lord Siva (Tryambaka) had killed the demon Tripura.” [2,3]

Certain fundamentals are obvious from the outset. We see that even in this most ancient period, Ayurveda is a driving factor. The mention of Vaata, Pitta, and Kapha (Sleshman) are clear demonstrations of the theory motivating the Classical Indic philosophy of Cookery.

Ayurveda

The Classical Indic Approach to food not only managed to balance the needs of the ascetic yogi with the royal bhogi, but also balanced health with taste. Nutrition and satisfaction need not be diametrically opposed. What matters is what you have, how you have it, and how it balances with not only the rest of your diet, but also with the rest of your lifestyle.

“‘There is no disaster in life’ the adult is admonished, ‘if one eats in mod-eration food that is not disagreeable. As pleasure dwells with him who eats mod-erately, so disease is the lot of the glutton who eats voraciously.’ Moderation in Ayurvedic terms is designated tripti, liter-ally satisfaction, but here connoting the appeasement of hunger and thirst. In contrast is atisauhitya meaning overeating to satiety.” [1, 79]

Texts such as Charaka Samhita and Sushruta Samhita are classic works on Ayurveda (the science itself said to originate from Brahma, via Dhanvantari). Does this in fact work? Well, as they say, the proof of the pudding is in the eating.

Shadruchi: The six tastes are sweet (madhuram), sour (aamla), salty (lavanam), bitter (tikta), pungent (kaatu) and astringent (kashaaya). Incidentally, among Telugu families during New Year (Ugadi), it is common to have Ugadi Pacchadi (New Year Chutney) featuring the six tastes to symbolise all the aspects of life to be experienced in the coming year. Some families are known to rig the system by adding more sweet!

While there are 6 pure tastes (shadruchi), there are as many as 63 mixed tastes according to Charaka. [1,79]

Regarding alcohol, Charaka counselled moderation, since alcohol increases pittha (the mental principle) while lessening both kapha (the physical principle) and vaatha (the vitality principle). [1]

Cooking Methods

Due to the importance of Pavitrata (purity) and suchi and muchi, the kitchen is considered a near consecrated portion of the orthodox Hindu household. Various rules are stipulated in the grhyasutras. Nevertheless, long story short, cleanliness is next to godliness. Many examples of traditional and modern wisdom have been passed on today.

Food taxonomy is typically divided into foods not requiring fire and those that require fire. Various other aspects are also mentioned, but these are the key ones.  As seen above, King Nala gave us a more detailed division of foods as well.

Several cooking operations were in use since very early times. These were thaalanam (drying), kvaathanam (parboiling), pachanam (cooking in water), svedanam (steaming), bhavita (seasoning), apakva (frying), bharjanam (dry roasting), thandooram (grilling) and putapaaka (baking). Devices for these operations developed in parallel. [1, 101]

Various methods of meat preparation also existed. Sour meats were marinated with ghee, curd and fermented rice gruel, along with acidic fruits and various aromatic spices. Meat when dried and roasted was called parisukamaamsam, while minced meat was called ulluplamaamsam.  [1,54]

Beverages

Beverages (alcoholic and otherwise) could also be a Blog Post in and of themselves. But for our “Madyam, apeyam, adeyam, agrahyam!” types…fear not! —I will commence with the non-alcoholic first.

Buddhist texts enjoin the use of pure rain water for consumption. Water meant for drinking had to be ‘clear, cool, shining like silver, health-giving and with the fragrance of the lotus’. In fact, the lotus was frequently grown in tanks to purify the surrounding water.” [1, 39]

Beyond water there were a variety of juices. These refreshing drinks include mango, jamoon, banana, grapes, phaalsa, coconut, edible waterlily roots, and diluted honey. There was also sugarcane juice and licorice leaf along with a host of others.

Although the brits (and their Indian leftovers (pun-intended)) would have us believe they brought Indians tea, present research appears to indicate otherwise. The specific varieties may have varied, but tea in some form did exist (with the word chai itself having a sanskrit equivalent via chaayam). Kashmir has its own distinct aromatic kaahwaah tea brewed in a khandakari (samovar). [1,107] Coffee is, of course, an Ethiopian import, via middle easterners. Nevertheless, it has taken a special flavour in South India “filter kaaphi” (As Nilambari would attest).

Nilambari

Different types of alcoholic beverages are also listed. The famous Soma is one such intoxicant, reputedly brewed from the ephedra plant for yagnas, particularly for those whom intoxicants are otherwise prohibited. Suraa is the most common name for alcoholic beverage. The word for wine usually from grapes is madhya. Wines from honey, rice, palm, flowers, and jaggery were also known. The spiced wine maireya is also mentioned in the Ramayana. While abstention from alcohol was and is considered a virtue, its restrained consumption was nevertheless permissible to most classes of society. Some examples of ancient liquors:

  • Madhira—Wine of high quality
  • Kaadambaree—Distilled liquor made from kadamba flowers
  • Thaallaka—Wine made from palm fruit juice
  • Haarahooraka—”Wine made from white grapes, imported from Haarahur, Afghanistan“[1,59]
  • Khajooraasava—Wine from dates
  • Shahakaarasuraa—Wine brewed from the juice of Mango
  • Mahaasuraa—”Mango juice win with a high proportion of fruit extract, perhaps modified with spices” [1, 59]

While reading all this one must remember what a middle eastern traveler wrote on the Indic view of Alcohol:

“The Indi-ans abstain from drinking wine, and censure those who consume it; not because their religion forbids it, but in the dread of its clouding their reason and depriving them of its powers.” [1, 60]

So if you do drink, drink responsibly.

With apologies to oenophiles, as there are many more aspects that can be discussed at another time, we must move on to that other guilty pleasure…open to all classes!

Sweets

Honey is considered the earliest sweetener. “Guests were welcomed to a household with madhuparka, a honey-sweetened concoction of curd and ghee.” [1, 37] Rock sugar (kand) is thought to have been known at least by 800 BCE, with modern exemplars such as Gulkand (Rose-jam) being used to this day. Confectionary may date back to the Vedic period with different combinations including cardamom, ginger, and ground barley/wheat with jaggery to make abhyusa.

Some of these confections were artisti-cally shaped. The rice-flour sweet preparation, modaka or madhugolaka, looked like a fig, and the barley flour confection, shastika, was cone-shaped and had delicate surface markings. By late Buddhist times, some sophisticated sweets are mentioned. The mandaka, now called mande, was a large parata suffed with a sweetened pulse paste, which was then (as now) baked on an inverted pot: madhusarika was a sweet cake; morendaka, made from khoa, was shaped like the eggs of a mora (peacock); gulala-laavaniya was perhaps the modern gole-papadi, a tiny fully-expanded puri…Rice cooked in milk and sugar was payasa, a popular sweet even now“. [1, 39]

Rice, of course, is so central to Indic cuisine that it was cooked in a variety of ways and forms. Rice cultivation has been radio-carbon-dated at Prayag going back to at least 5000 BCE, though terraced fields for rice cultivation have been dated to 10,000 BCE in Kashmir. As for types of rice, the most common is Oddana (boiled rice). Pruthukam is beaten rice (poha) and neevaraa is wild rice [1,184]. Then there is laajaah, the ritually pure form of parched rice, mentioned in the Ramayana as well.

The early canonical literature of the Buddhists and Jains (c.400 BC) again reveals extensive use of fine rice (shaali) or ordinary rice (vreehi), either boiled, or cooked with til seeds, or made into gruel (yaagu).” [1, 34]

Key Terms

  • Rice—Tandhoola/Annam/Bhatka
  • Barley—Yava
  • Roti/Chapaathi—Rotikaam
  • Pulse/Dhaal—Yoosa
  • Soup—Saara
  • Juice—Rasa
  • Tea—Chaayam (now Chai)
  • Peas —Kalaaya
  •  Vada—Vataka  (these are mentioned in the Dharmasutras as being fried in ghee)
  • Paapad—Parpatam
  • Sugar—Sharkaraam (“aapke muh mein ghee shakkar!“)
  • Salt—Lavanam
  • Pepper/Spice—Kaaram
  • Sambar—Kvathitham
  • Curry—Vyanjanam
  • Pickle—Upadamsam
  • Oil—Thailam
  • Chutney—Upasechanam
  • Vegetables—Shaaka
  • Vrntaaka—Brinjal
  • Sev—Sevika
  • Paaka—Cooking
  • Taste/Flavor—Ruchi
  • Plate—Sthaalikaa

This article will naturally focus more on the traditional native fare of Bharatavarsha. While it is true that food, like most aspects of culture, is not static, it is also important for native identity to not be lost to syncretism. It is possible to admire what is good about others while appreciating your own uniqueness.

Therefore, rather than hewing to the hyperactive hungama of invented “Ganga-Jamuni Nautanki“, this Post will focus on the core Indic aspects that can be traced back with continuity to Ancient India. These elements are very much alive today, and in regions such as Andhra and Odisha, predominant.

Contributions

§ Focus on Food as part of an holistic System of health. Application of Ayurveda pervades Paaka Darpana of King Nala.

§ Use of Mustard seeds, Turmeric, Cumin. These essential ingredients to “Curries” are as ubiquitous in ancient Harappa as they are in modern Himayatnagar.

§ Tandoor (originated in either Rajasthan or Punjab ). [1,107] The word comes from the Sanskrit “Kandu”. Thandoora is the word for grilling.

§ Khichadi/Khichdi/Khichri.  In the Vedic period, rice cooked with milk and sesame seed was called krsaara, and is considered to be a forefrunner to khichdi, which is made from rice and dhaal. [1,33]

§ Thali is the common word for the round plate of plenty throughout India. The word comes from the Sanskrit Sthaalikaa.

There, of course, countless other culinary aspects to discuss. But food history (as with history in general) is subject to great controversy. In order to separate the genuinely Indic from the colonially syncretic, we will discuss some of the issues here:

Biryani is foreign origin (coming from the Persian Beryan), but…

Pulao is definitely native to India and comes from the Sanskrit word Pulaka.

…meat cooked with rice is referred to in the Yagnavalkya Smriti as pallao-mevach, and the word palao also occurs in early Tamil literature [1, 54]

Other varieties of savoury meat & rice dishes are mentioned in the Ramayana. On such dish was called maamsabhutadana: rice cooked with deer meat, vegetables, and spices. The Mahabharata mentions pishthauddana, another rice dish, this time cooked with minced meat (other kinds include, sour meat, fried meat, ground meat, grilled meat, and meat for stuffing). [1, 54] In fact, rice being the major staple, it is only natural it was cooked in many forms. Odana is rice boiled in water or milk, often along with curds and honey. When this combination is cooked with meat it was called mamsaudana. Khichadi is another common denominator throughout most of India. So much so is this the case that the term “Khichadi couple” has been invented by NRI/PIO desis to refer to couples coming from “2 States” or more, but being 100% Bharatiya.

Traditional Indic sweets are called madhuraani in Sanskrit (or mithai in Hindi). Some sweet items such as Rooh Afza and Jalebi (zlabia) are obviously foreign origin. But many, many more are local (and given foreign origin by sepoys). In fact, the whole assortment of traditional Bengali sweets are said to be “phoreign” because apparently “yeverything kayme from  mughal”.  This is of course ridiculous. Many have argued that Kulfi is a recent addition, and that is probably a fair assessment, though iced dishes were certainly well-known in snowy Kashmir. It is, therefore, here that we shall begin:

Regional

Each region (indeed, state) of historic Bharatavarsha has evolved unique aspects of aahaaram while hewing to integral aspects of Saastric gastronomy that unify the Subcontinent. While all can’t be covered in a single (digestible!) article, here are some highlights to give a  Gastronomical Survey of India (GSI).

Kashmir

From Rogan Josh to its eponymous Pulao, Kashmiri Cuisine is rightly appreciated by sophisticates of all sorts. Although the ancient nobility of this famous region is now diminished, Kashmiri Pandits have maintained most of the traditional fare, with rare dilution. Known for its Wazwan (multi-course) meals, the Crown of India’s cuisine features  such spices as  asafoetida, methi, and ginger. Nevertheless, as evidenced by Kashmiri Pulao, saffron (kesara) is the signature spice, and has been cultivated here since ancient times. Though arguments are often made supporting foreign introduction, it’s fairly clear the use of saffron is indigenous.  Here are some of the finer points of this cuisine:

The Kashmeerees have been bons viveurs and are proud of their cuisine which is justly famous. ‘Snigdha’ sug-gests the use of oil to which the Kash-meeree chef de cuisine still adheres in preference to the melted butter (ghee) used in the Panjaab. The Kashmeeree Brahman is a lover of meat and fish and in ancient times grape wine was in common use. The Nilamata Puraana mentions the use of wine for ceremonial purposes.” [5, 555]

The nobility and courtiers in the typical bon viveur style enjoyed the Kashmiri cuisines which is justly famous; they had ‘fried meat’ and ‘delightful light wine cooled with ice and per-fumed with flowers.’…As for the common people, they subsisted on rice and hakh (Kashmiri greens)” [5, 23]

 One “could not do without the soft and unctuous fare of Kashmeer, which is easy to digest when washed down with sugared water whit-ened with chunks of ice.” [5,555]

Interestingly, the lotus is not just a symbol of prosperity, but also a focus of the dietary. Vegetables start in the Rigveda with the lotus stem (visa) and cucumber (urvaaruka), fol-lowed in the later Vedas by lotus roots (shaaluka)“. [1, 35]

Jokes are often cracked, usually by natives themselves, about how Kashmir is a land of literal and figurative lotus eaters. It is not without cause.

Lotus roots is a favourite dish of the Kashmeeree Brahmans. In the plains of India the dried roots from the homeland are imported as a delicacy. Seeds of the lotus…are also eaten.” [5,459]

Regardless, conventional staples are also popular in Svarga’s own Aahaara. Plain rice and assorted sweet pulaos (featuring fruits and nuts) are popular, as are breads such as kulcha, tsachvaru, and girda.[1]

Jammu and Ladakh, naturally have their own notable contributions. Dogras typically eat wheat, bajra, and maize along with rice as staple.

Andhra

Much of the Cuisine of the South shares certain well-known dishes, which are fought over with a ferocity that makes the great Rasagolla Wars of Eastern India pale in comparison. Nevertheless, there are certain distinctive state characteristics. Since a perennial question for most non-Southies has been “What is the difference between Telugu and Tamil”, allow this Andhraite to elaborate.

Andhra Cuisine stands out for a number of specialities, first and foremost is the use of spice. While mirchi is a near-Pan India practice, it reaches its fever pitch in Bahubali’s own Country, hence the justifiable reputation of having the spiciest food.

In fact, it packs such gharam dharam that the following saying has become a saametha of sorts about Andhra men.

Andhra men like their food as they like their women: Presentation is very important…and they prefer a little Spice.

Roselle leaf (gongura) is another key ingredient. While use of the green gram (mudga) dates back to King Nala’s time, it has taken a unique incarnation in that Andhra specialty known as Pesarattu:

Though tamarind is used widely in the rest of the South as well, it is a critical part of the Telugu dish known as the pulusu ( a tamarind sauce/stew).

http://anushabarrela.files.wordpress.com/2012/04/nell_fp-e1335090274156.jpg

The new state of Telangana also has some regional, yet truly native, specialities, such as sarvapindi and sakinalu. But these snacks, and more robust entree-fare, can be covered separately. The notable aspect is what unifies undivided Andhra in the food department.

The South (in General)

[3]
Beyond Andhra, the regions of Karnataka, Kerala, and Tamil Nadu all have that have their own local specialities. Whether it is the Bisi-bela-baath of KT, the Coconut Aviyal of KE, or the Chettinad Chicken of TN, special dishes for each state can be found. Nevertheless, for the sake of brevity, this article will provide a general discussion instead (though native Kannadigas, Keralites, & Tamilians are welcome to comment on their states below).

The use of pickles (uragaaya/urakai) is quite common throughout the south, and are the ideal complement for daddojanam (curd rice), preferably with a little mustard seed.

The all-India favourite, Dosa, is seen as Udipi-derived (so there’s a win for Karnataka), but if that’s the case, you Kannadigas will have to take the blame for Bisi-bela-baath (sorry guys). Before the other side of that great Kaveri war gets upset, yes Idli is very likely a Tamizh contribution (though our sepoys are doing their utmost to invent an Arab origin…probably while smoking some pretty powerful hookah). Though it should be noted that the Manasollasa mentions both the dhosaka (dosa) and idarikaa (idli).

Idli_Sambar

And before our Mallu friends think I’ve forgotten them,  there is much that Kerala has to offer—especially when it comes to all things coconut. Unni-aapam (jackfruit-rice pancake) and coconut aviyal are two must haves from the land of Kalaripayattu. The ancient Chera country was also famous for its pepper.

The Kodavas of Coorg also have a distinctive cuisine, and are known for their preparation of pork-based dishes. Tulu cuisine is embodied by various Mangalorean fish curries.

South Indian fare is not all vegetarian as has popularly come to be believed. In fact, the most carnivorous (or more correctly omnivorous) states are found south of the Vindhyas, with Kerala leading the pack.  Rasam is of course common to pretty much all the Southern states, but I would argue that Andhra’s Tomato Chaaru is the most sophisticated form of this savoury soup of Soopa Sastra.

tamarind-rasam-recipe

Maharashtra

Core components of Maharashtrian cuisine are discussed below; nevertheless, Amba Kesari Bhaat is one signature dish.  Maharashtra is likely the place of origin for Shrikand (in its present form). The etymology of the word comes from, yes, Sanskrit. “Shikar-ini, the modern shrikhand, also employed strained curds, curstal sugar and spices.” [1, 35]

[3]
Konkani khaana is close related to Maharashtra’s, though distinctive in its own way. Tambli (bondi chutney) and Banana flower chutney are  standouts. There is also Amlechi Uddamethi, which is a raw mango curry. Fish is an important component as well.

Gujarat

Though Madhur Jaffrey has posited it as “Haute Vegetarian Cuisine”, something that Rajasthanis and Vegetarian Punjabis will contest ipso facto, there is a distinct variety of dishes that come from this ancient commercial entrepot.

Arguably the most entrepreneurial region in India, this partially dry but mostly coastal state in India has given and taken influences throughout the millennia and developed its own style of foods too. Dhokla and Rotli are common markers of the Gujju menu (as is sweetness even in staples), and Daakor na ghota (spicy fried dumpling) is another gujarati item. Saboodana shakes are recent addition too. Namkeen is the notable western Indian snack specialty, one which Gujaratis raise to a high artform with various kinds of Chaat that reach their peak in heavily Gujarati Mumbai (sorry Thackerays, its true).

[3]
Rajasthan 

Rajasthan features many different varieties of food. Its vegetarianism is predominant, though not universal. It has produced many popular traditional items such as Baati (Rajasthani bread) and Bikaneri Pulao and Bhindi Jaipuri. Kalakand is considered a native Rajasthani mithai. Undhiu is undoubtedly a western Indian dish, but Rajasthan and Gujarat can fight over it.

[3]
And because regional jokes (when tasteful & clever) are the flavour of the month, here is one proffered by Marwaris themselves:

Central India

Madhya Pradesh, Chattisgarh, and Jharkhand all have their own flavours and cultures. MP itself prominently features two key regions: Malwa (ancient Avanti) and Bundelkhand (ancient Chedi). Jowar has traditionally been common in this part of the country. For the sake of article limitations, a few quick mentions will be made here, to be expanded upon at a later date:

Uttar Pradesh/Bihar/Nepal

Admittedly this is a very large region to cover, particularly if one includes now separate state Uttarakhand in the mix. Nevertheless, distinctions can be discussed in a different Post as there are some broad similarities in this core Gangetic region that has traditionally grouped them together (those hailing from this parts are welcome to give their thoughts via comments).  Roti, barley, and even raagi are all in use. Baath (boiled rice), however, seems to be the core staple. “Boiled rice flour cakes were termed khir-aura, phara meant steamed rice balls, and phu-lauri was a steam-cooked roll of coarse flour.” [1,140]

As for Bihar in particular, a plump rice known as shaali was grown in ancient Magadha and was served to honoured guests. Sattu (flour of roasted pulses) is commonly used as are barley grits, combined with salt or sugar. Sattu as drink is considered the marquee beverage for biharis.

Other dishes include laai (parched rice), chiuri (parched barley), lawaa (parched maize), and lapsi (flour of any grain boiled in milk and sugar).  As for desserts, various laddoos are favoured, such as fine-grained motichoor and sesame-seed tilkut.

Nepali cuisine shares much in common with Pahari food.  The standard Nepali Thali is Dal-Bhaat (rice and dhaal). Dhido is a traditional wheat staple from Nepal made from water and grains like buckwheat.

Odisha

Due to the long-running (and justifiable!) Odisha irritation with Bengal claiming Rasagolla (and Jayadeva!), we shall begin with the Land of the Lingaraja Temple and their unique cuisine. The Kalingas may have Konark and Kharavela, but the state famous for Swami Jagannath of Puri also packs a punch in the food department. Indeed, the origin of the Rasagolla is said to be Lord Vishnu’s way of saying sorry to Lakshmi Devi for his going on yatra without her granting leave (an abject lesson to all the non-divine husbands out there!).

Nevertheless, as in most other states, rice, wheat, and barley are all state staples. Pakhala (boiled rice covered with water and kept over night) is one item unique to Utkala.

And if you’re in the mood for something more casual, the state has plenty of snack foods to offer as well

Bengal

The very mention of Bengal and Food may bring to mind not only “jal pushp”—better known to the rest of us as fish—but one of the most celebrated varieties of sweets on the subcontinent: Mishti-doi (sweet curds for dessert), malpua, khoa, Sitabhog, nadu,  and of course, the state sweet, Sandesh. Another notable confectionary factoid: “Krishna Chandra Das invented the rasamalai, flattened chhaana patties floating in thickened milk”.[1,132]

These are just some of the scintillating sweetmeats and salivational (portmanteau) savouries south of the Siliguri. These confections are well-known to most Indians, though some are the subject to squabbles (such as the now confirmed Odia claim to Rasagolla already mentioned). In any event, there are other aspects that merit mention as well.

There are two distinct styles: East and West Bengali. East Bengali is low on dhaal and high on fish, while the West is known for use of poppy seeds (posto). [1,129]

Barley’s importance in the Vedic period is preserved in modern Bengali cuisine.

It was fried and consumed in the form of cakes dipped in ghee, or as sweet cakes called apupa fashioned out of the flour, boiled in water or fried in ghee, and then dipped in honey. The modern Bengali sweets pua and malpua preserve both the name and the essen-tials of this prepartion. [1, 33]

Rice is a big part of the Bengali diet, with a medieval text (Shunya Purana) stating there were 50 varieties grown in Bengal. [1,128]

Northeast

The Seven Sisters of the Northeast have their own offerings of civilizational savouries to offer, starting with Assam (The other sisters being Manipur, Mizoram, Nagaland, Tripura, Meghalaya & Arunachal Pradesh—though we can include Sikkim so no one is left out).

While distinct dishes exist in the various cuisines here, pork is common throughout. Rice is the staple for the most part and fish very popular. Given the diversity of offerings, they are best treated in a separate piece.

Sinhala

The good people of Sinhala are very much Indic in blood and culture, and so, their food also deserves a mention here.

While rice is also a staple, the island of Ceylon features many heavy influences, notably South Indian, Indonesian, and European. Seafood is obviously a key component. Some unique dishes include Pittu (cylinders of steamed rice mixed with coconut) and kokis (coconut biscuits).

Sindhi

With a taste that will make you say “Jai Jhulelal!” even when it’s not Chetichand, Dal Pakhwan is one of the most beloved breakfasts in India. Rice is obviously a staple of Sindhi food, but flat-breads such as roti and koki are also common.

Hilsa fish curry is a signature dish and Thadal is a signature beverage. Sanha pakoras and chola dhabal are other notable food items. There is also a special Sindhi Papad that is well-known among most Indic gourmets.

Punjabi

Last but certainly not least is the Land of the Five Rivers (surely, Punjabi mundian aur kudian, you didn’t think we’d forget you?!)

Punjabi khaana deserves a separate article (or series!) of its own. Along with the putative trend of Punjabification throughout India since the 90s (some would say for better or for worse), Apna Punjab has been at the forefront of marketing Indian Culture. But while Bollywood, Bhangra dance, and Punjabi Pop music can be discussed at another time, Punjabi food is very much a topic for the present. In fact, as recent research has determined (and as many Indians have long suspected), much of much-vaunted “Mughlai cuisine” is in fact from Apna Punjab originally. One Professor from the University of California Los Angeles wrote that:

There are a hundred different cuisines all over the country, each claiming to be the best in the country, if not the world, yet two styles have become popular among visitors to most major cities and towns countrywide: Mughlai, which is vegetar-ian and nonvegetarian, largely Punjabi, with a somewhat liberal use of ghee (clarified butter) and the use of a tandoor (an oven usually implanted in the ground), and South Indian vegetarian cuisine, which is somewhat less oily but spicier.” [8, 6-7]

Rich in butter, such favourites as mattar paneer, murgh makhani, and makkhi roti all hail from the Pancha-naada. As such, perhaps the time has come to give credit where credit is due. Surely kheema and and haleem are not native, but paneer, paratha, bhatoora, tandoori, along with that Punjabi favourite, Lassi, definitely are. In fact, the most ancient tandoor to date dates back to it.

The word Paneer (like the word Kalamkari) may have foreign word origins, but both are very much native Indic and very ancient. Whether it was common throughout ancient India or not, it has certainly come to refer to the Punjabi farmer’s cheese that is beloved by vegetarians the world over, and certainly within Bharat.

Conclusion

Perhaps most interesting is the question of whether the conventional wisdom itself has things correct. Is a paradigm shift required on recently ascribed beliefs regarding the origins of many Indianised foods? One example is the kebab. Noted Indian food authority K.T. Achaya writes:

Meat roasted on a spit (shula) is graphically described in the Mahabharata…and in south Indian literature…The modern kabab has therefore a long history in India  [1,101-102]

As seen above, whether it is crediting for biryani or for falooda, the truth matters more to us than any nationalistic claim. And yet, as we have seen with the idli, appropriation has been the frequent aim of Non-Indian Residents (NIRs). Is the kebab actually bhaditraka as one Oxford press pustakam prescribes?—or is it qualitatively something else? The time has come for Food Historians (and Tandoori Nationalists) to do serious research into these issues. Contrary to “yeverything kayme from mughals” types, Ancient Indian Culinary texts do exist (much to their dismay, no doubt). But it is equally important to carefully study claims (whether pro or anti) so that the authentic is revived from the quagmire of the syncretic. The best way to appreciate other cultures is to first appreciate your own—that is true cosmopolitanism.

Are chillies and tomatoes and potatoes all foreign origin? Evidence would suggest that chillies may not be (it was known to Purandara Dasa [1,227]), tomatoes likely are, and potatoes almost definitely so. In fact, in the Andhra-bhasha, potatoes are referred to as bangal-dhumpa (or Bengali rhizome) indicating their arrival via British-ruled Bengal. Nevertheless, the very likely foreign origin Aloo has certainly been indianised over the years. Yams were likely the native precursors to it. And what about that modern favourite, Samosa? Sorry folks, evidence points to the mid-east. But that being said, Pakoda, Bhajji, and Bhelpuri are all Bharatiya…pakka.

Nevertheless, appropriation of all things Indian under the neo-construct of “Mughlai” is well known. One can see here that malpua, phirni, and pulao (all Classical Indic classics) are being appropriated under the “mughlai” label. This doesn’t mean going the other way and not acknowledging obvious imports (falooda, jalebi/zlabia, biryani), but it does mean intelligent and discrete people must start asserting rightful claims over their state’s cuisine culture. Odias have shown the way with rasagolla.

All Indians, vegetarian and non-vegetarian, should come together to preserve their ancient claims to pulao, tandoori, and a litany of other culinary contributions to world cuisine. Just because some foreign or foreign-sponsored professor wrote a food book, doesn’t mean everything in it is true. Appreciate what is native, acknowledge what is foreign, and reserve judgment on what we genuinely don’t know. That is the proper path not only for wise people, but connoisseurs of all kinds—culinary or otherwise.

Since others are trying to serve us humble pie on a platter, let us show them our capacity for good digestion. So rather than say bon appetit, we sign off with that signature line from that sacred Saptarishi Agasthya Mahamuni: Jeernam vaatapi, vaataapi jeernam.

 


References:
  1. Achaya, K.T. Indian Food: A Historical Companion. New Delhi: Oxford University Press. 1994
  2. Madhulika, Dr & Ed. Jayaram Yadav. Paka Darpana. Varanasi: Chaukhambha Orientalia. 2013
  3. Tripathi, Vaishali. Traditional Indian Thali. Chennai: Notion Press.2015
  4. Ramayana. http://www.valmikiramayan.net
  5. Pandit, R.S. Kalhana’s Rajatarangini.Delhi: Sahitya Akademi. 2015.
  6. Basham, A.L. The Wonder that was India. New Delhi: Rupa. 1999. p. 190
  7. Rangarao, Shanti. Good Food from India. Bombay:Jaico.1977
  8. SarDesai, D.R. India: The Definitive History. Westview: Boulder, Colorado. 2008

Vedanga Jyotisha

The Great King Suchi of Magadha
His calendar was a royal mess
because the equinoxes precess
until he learned 'the lore of time' from Sage Lagadha.

Jyotihsastra

Jyotihsastra is the ancient Indian ‘science of light’ [2]. It includes within it the field of astronomy, which was known as Nakshatra Vidya (the science of the stars). Jyotihsastra is used for dik-desa-kala nirnaya (triprasna), i.e. to determine (direction, location, time) [4]. The Vedanga Jyotisha is an ancient text focused on Jyotisha, one of the six Vedangas. The Vedic texts, including the Upavedas and Vedangas, are harmoniously interlinked into an integrally united knowledge system. No one part of this system can be properly understood through an isolated study [1]. A key purpose of the Vedas is the performance of Yagnas correctly and on time. Time-keeping is the goal of Vedanga Jyotisha.

We resume our study of Ganitasastra at ICP through an inquiry into Jyotihsastra. This post is not an exhaustive restatement of facts. Instead, we try to understand the motivation and intuition behind the Ganita features of Vedanga Jyotisha (VJ). The Shulbasutras, which are part of the Kalpa Vedanga are also rich in Ganita, and will be discussed separately.

College students asked a professor 'Sir, what is time?' who replied "I can tell you what is the time, but I cannot tell you what is time"[4].

Vedanga Jyotisha

VJ is the earliest extant Indic work on time-keeping in the form of a handbook that is devoted to Kalavidhanasastra, the science of time-keeping. It provides the calculations associated with a lunisolar calendar derived from the Brahmanas and the Vedic Samhitas. VJ is not a self-contained treatise and any missing definitions, unstated assumptions, etc., are to be inferred from prior Indic sources and commentaries [1].

Vedanga Jyotisha has absolutely nothing to do with Phalita Jyotisha or Astrology [11]. 

The VJ was compiled around 1350 BCE (between 1150-1550 BCE) and is attributed in its verse to Lagadha, and key ideas in the VJ have been shown to belong to the Vedic texts and derived from earlier periods. VJ is in verse form while the other 5 Vedangas (Nirukta, Chandas, Kalpa, Vyakarana, & Siksha) are in Sutras indicating that it is the earliest of the six [1]. VJ was neither the first nor the last word in Indic time-keeping and astronomy as the Indians continued to make pioneering contributions to Ganita and Jyotihsastra over three millennia. These techniques enabled the Indics to produce a stable working calendar that could be employed for diverse purposes, and was sought after by the rest the world. The ancient Indic calendar traveled to China, and many other places [11].

VJ is available in the form of two ‘rescensions’ denoted as Rigveda Jyotisha (Arca Jyotisha, RVJ, 36 verses, earlier version) and Yajurveda Jyotisha (Yajusa Jyotisha, YVJ, 43 verses), which significantly overlap. Deciphering these rescensions turned out to be a challenging task. This effort started in the 1830s, culminating in the authoritative work of Prof. Kuppanna Sastry [1] in the 1980s who succeeded in meaningfully explaining all verses. Virtually every contemporary study of VJ cites his scholarship.

Time-keeping traditions of India

Vedic Cosmology — The Dharmic View of Time

We will devote considerable space discussing the unbroken traditions of astronomy and time-keeping that preceded Vedanga Jyotisha.

The Indic approach to discovery quite naturally arises from Rta, the cosmic order that is an expression of Satya, the ultimate reality. This cosmic order is experienced at every level from the microcosm to macrocosm. Time is sacred in this cosmology, and we have the kalachakra representing cyclic time, and it is intuitive that elapsed time can be tracked using precisely recurring rhythms of different durations that abound in nature. 18th century British scientist John Playfair who studied Hindu time-keeping in a manuscript obtained from Thailand, wrote an extensive treatise and was amazed by the Indic conception of cyclical nature [8]. He made several other important observations, which can be found within the cited references.

The second is the duration of 9,192,631,770 periods of the radiation corresponding to the transition between the two hyperfine levels of the ground state of the cesium 133 atom. 
- Physical Measurement Lab at NIST

Our solar system is quite flat, and hence the moon and most of the planets are located in a narrow region around the ecliptic, the apparent path of the sun in the sky during the day. This is really convenient for observation since it eliminates the need to focus on the innumerable luminaries that are away from the ecliptic. The moon’s path is within 5% of the ecliptic. The Ancient Indics kept time based on the periodicity of the (apparent) motion of the sun and the real motion of the moon. The study of planetary movements was not necessary to achieve this goal and does not concern VJ.

why isn't there a solar eclipse every New Moon night?

Careful observation was a critical component of Vedic astronomy and this became the hallmark of the Indic approach to discovery and obtaining valid knowledge in general, where all schools of dharma unanimously accept Pratyaksha Pramana [11]. From the perspective of accurate time-keeping required for Yagnas, kalavidhanasastra is a pratyaksha sastra [4], and is not deduced from a ‘black box’ math model.

By the early Rig Vedic period, one or more calendars were already in use for managing day to day activities. Time-keeping is critical for agricultural planning, e.g. to coordinate activities associated with the beginning and end of seasons, and continues to be important to the Indian economy [11].

The earth's equatorial plane is tilted at an angle of 23.5° with respect to the ecliptic plane. This results in varying seasons and daylight hours.

The Vedic people knew about the solstices and employed a six-season calendar which is special to India (it included a rainy seasonVarsha Rtu with months Nabha and Nabhasya). Obviously, the ability to accurately predict the arrival date of monsoons has always had significant economic value in India. The twelve tropical months along with their seasons in the Yajurveda are [2]:

Madhu, Maadhava in vasanta (spring),
Sukra, Suci in greeshma (summer),
Nabha, Nabhasya in varshaa (rainy),
Isa, Urja in sarada (autumn),
Saha, Sahasya in hemanta (winter), and
Tapa, Tapasya in sishira (freezing).

In 2004, agricultural operations were mistimed in India. Why? The monsoon was officially considered 'delayed' in the government calendar. In reality, it arrived on time per the traditional Indic calendar [11].

The trinity of adhidaiva, adhibhuta, and adhyatma are integrally united via Bandhus in the Vedic knowledge system [2, 9].  There exists a deep and ancient connection between Yagna (‘ the workshop where Bandhus are forged between the microcosm and macrocosm’ [9]) and time-keeping. Knowledge of the luminary phases was used to ensure that the monthly (Darshapuranamaasa) and seasonal (Chaturmasya) Yagnas were performed at the correct times [3]. The Atri family priests had the knowledge required to predict solar eclipses. By the time of the Yajurveda, the Hindus knew that a solar year was slightly more than 365 days. And importantly from a VJ perspective, a five year Yuga was already known, along with the need for two intercalary months to complete a Yuga [1].

pic source. By careful and patient daily observation of the sun at the same time in the sky, one can find out when the solstices occur (‘when the sun stands still’).

Prajapati as Time

Prajapati the creator is central to Vedic tradition. In his book ‘Being Different’, Rajiv Malhotra quotes the Rig Veda: “yajna is the very navel of the universe. It was Lord Prajapati who first fashioned yajna, and through it he wove into one fabric the warp and weft of the three worlds (Rig Veda I,164,33-35).” [9]. Prajapati creates and embodies a self-sustainable, self-correcting universe using the correspondence principle of bandhuta to achieve a balance between homogeneity and heterogeneity [9]. Prajapati is time, the very creator of the Vedas, signifying that the knowledge within the Vedas has no beginning or end [2]. He is Rta, the cosmic rhythm moving in a spiral, which indicates the Kalachakra, cyclical time [14].

Prajapati and Yagna are central to Vedanga Jyotisha, and receive the first respects in the starting verses of the VJ. The natural periodic events such as seasons, days, etc. are the five limbs of Prajapati, who personifies and presides over the five-year Yuga [1]. The separated faculties and limbs of Prajapati unite to form the infinite diversity of the universe, and the Yagna becomes a time-design to unite this multiplicity and continue the cosmic rhythm [14]. This five year Yuga is mirrored in Yagna through the constructed five-layered Agnicayana altar [6]. The Aahavaniya altar is built using 396 bricks that represent the days of the year: 360 to represent the Vedic ritual year and an additional 36 to represent the thirteenth (intercalary) month [3]. Many such bandhus arise through Yagnas [2]. The five-year Yuga is also a feature of Jain astronomy [6].

VJ states that those who correctly understand the effect of time on movements of the luminaries in the sky can fully grasp the impact of the Yagnas. One who truly understands the Vedas and Vedanga Jyotisha can experience transcendental bliss. These verses underline the integral unity [9] of the outer-material and inner-spiritual realms. We can see this dharmic concept re-asserted two thousand years later in the initial verses of Aryabhatiya, and more recently in Ramanujan’s approach as well.

The Indics were more than pattern seeking enthusiasts; they sought within patterns the deepest unity underlying nature’s diversity, and from this emerged the Yuga.  Yaga, Yoga, and Yuga (or the 3 Ys, with apologies to Modi ji) – all have a root meaning ‘to unite’. In [13], Prof Subhash Kak notes: “the ancient Indian calendar is an attempt to harmonize the motions of the Sun and the Moon…. Yoga may be seen as the harmonization of the motions of the inner planets of the body.  Patanjali’s Yoga Sutra speaks of how meditation on the Sun reveals the nature of the world-system and meditation on the Moon and the Polestar reveals the arrangement and the motion of the planets and the stars. Such assertions imply that turning inward can provide insights.”.

Nakshatras in Vedic Tradition

Since the most ancient time, Hindu astronomy adopted the sidereal system. This was done implicitly using Nakshatras (stars or asterisms) in the Vedic period, and explicitly in the VJ, as well shall see later [16]. The Vedics used 27 Nakshatras in the vicinity of the ecliptic to track the lunar passage where the moon takes 27.32 days to return to a fixed reference point (sidereal lunar month). To identify the Nakshatra location of the sun, a heliacal rising and setting of a Nakshatra seems to have been employed, i.e., a Nakshatra may be visible near the horizon just before sunrise or sunset.  Texts point to a multi-disciplinary approach to Jyotisha employing a Nakshatra Darsha (expert observer/astronomer) and Ganaka (a calculation expert). The term ‘Nakshatra Vidya’ is mentioned in the Chandogya Upanishad [2].

Mentions of Nakshatra observations in ancient texts are useful because they allow us to date these events using the earth’s precession rate. For example, Kuppanna Sastry quotes the Satapatha Brahman, mentioning that ‘the asterismal group Kritika never swerve from the east while others do’, which was also confirmed by the commentator Sayana. This yields a date of around 3000 BCE. Independent studies using modern astronomical simulation software and mathematical calculations (statistical best-fit models) indicate that the Nakshatras were closest to the path of the moon around 3000 BCE [10]. Subhash Kak has written extensively on the astronomical codes embedded within the Vedas [12].

It is clear that long before Vedanga Jyotisha, there was significant progress in time-keeping. It confirms the epistemological continuity in Indic sciences, including Astronomy and Ganita since the most ancient of times [5].

Epistemological continuity is also evident in other India's diverse traditions including art, music, dance, etc.

These prior developments are the foundation on which VJ’s calendar stands.  Let us see how VJ improves upon the prior work.

Vedanga Jyotisha’s Methods

VJ introduced an analytical time-tracking (deterministic) framework that works in tandem with astronomical observations of the real, uncertain world. Hence VJ’s Ganita calculates the timings of lunar and solar events, while also retaining and working in sync with the traditional pratyaksha sastra.  The Ganaka can make predictions, and the Nakshatra Darsa can visually confirm the degree of accuracy of these estimates, and corrections effected as needed. The diagram below illustrates how the VJ methodology can be useful in taking the science of time-keeping forward and provide increasingly accurate answers to triprasna.

Contemporary time-keeping adopts a similar approach. The atomic clock serves as an unnaturally perfect model for daily usage, but is corrected by nature. Without the latter, the model-based time would very slowly but surely drift away from reality.

The most recent leap second was added on December 31, 2016.

Nakshatra-sector Coordinate system (NCS)

Nakshatras (as stars or star groups) have been an integral part of Indic culture and some of them serve as exemplars. Dhruva (a northern pole star) and the Vashishta-Arundati (Mizar-Alcor) pair are good examples.

Prior to the VJ, the Nakshatras were used to denote visible stars or constellations (27 or 28 in number) dotting the moon’s path. Hence, it was limited by visibility.  Furthermore, these Nakshatras served as approximately fixed positions for time-keeping but were not truly invariant due to earth’s precession (‘precession of the equinoxes’). The designated pole star, for example, changes over time and cycles every 25,920 years (about a 1° shift every 71.6 years).

The Ancient Indics must have been aware of the impact of earth’s precession on the Nakshatra locations because, by the time of the VJ, the nakshatra-sectors were taken as 27 equal sections of the ecliptic (about 13.3° wide) rather than specific stars or asterisms in the background [3]. This change yields multiple benefits.

  • The NCS is an invariant and uniquely Indic coordinate system that comes with a clearly specified origin (zero-point) that gives us a fixed starting coordinate. It is unaffected by the earth’s precession. The NCS resembles the modern-day ecliptic coordinate system calculation of the celestial longitude (since the moon’s path is very close to the ecliptic, tracking longitude was practically sufficient) [3].
  • The NCS represents a virtualized analytical framework that allows the time-keepers to algorithmically enumerate the ecliptic sector locations of all the full and new moons in a Yuga, as well as the position of the sun. This was not possible in prior Vedic traditions since theirs was a purely physical coordinate system indentified by stars and asterisms along the moon’s path. This VJ system is free of visibility issues [3]. The VJ specifies a coordinate system using an ingenious ‘Jāvādi arrangement‘. Of course, pratyaksha continues to guide accurate time-keeping.
  • This NCS helps us carry out the VJ calculations unambiguously.

Yuga

The VJ Yuga is a time cycle of 5 years of 366 days each. A five year Yuga was already present in Vedic tradition. The Yuga is an integral unit of time-keeping in the Vedanga Jyotisha and all calculations are given based on this Yuga and the NCS.  VJ assumes 12 synodic months in a synodic year plus two intercalary months (adhimasa or adhikamasa) over a Yuga to harmonize the lunar and solar calendars, giving us a total of 62 synodic months in a Yuga.  The VJ specifically includes the adhimasa as synodic months #31 and #62 of the Yuga.

A VJ Yuga is completed when the sun and moon are observed to return to the pre-specified origin region of the NCS. This is the key definition in the VJ. Here is Sri Kuppanna Sastry’s description [1]:

In other words, the Yuga begins when the Sun and the Moon are observed together in the Sravistha Nakshatra sector of the ecliptic [3].

The Parameters of a Yuga (YVJ)

Tracking the movements of spherical objects rotating and revolving around other moving spherical objects can be tricky. Here is a ‘coin rolling on a coin’ puzzle, where the inner circle serves as a fixed frame of reference. If the inner circle also rotates, then the answer is relative to the chosen frame of reference.

How many rotations will the smaller coin make when rolling around the bigger one? (source: https://plus.maths.org)

Earth-Sun System (days and years)

Saavana durations represent the time of the (apparent) motion of the sun relative to the earth as the frame of reference. Each saavana year in VJ lasts 366 days, giving a total of 1830 civil days in a Yuga. In reality, this frame of reference is itself slowly revolving around the sun in the same direction, and therefore saavana calculations ignore the resultant additional earth rotation (one per year). Sidereal periods are calculated with respect to a fixed reference point (e.g. distant star). The sidereal year includes this ‘missing’ rotation, giving us 367*5 = 1835 sidereal days in a Yuga. VJ’s Nakshatra Darshas would’ve observed 1835 risings of a Nakshatra (an invariant ecliptic sector) in a Yuga.

Earth-Moon System (months and fortnights)

The moon is ‘tidally locked‘ to the earth. The actual time the moon takes to go round the earth (sidereal lunar month) is the time it takes to complete a full rotation around its own axis. So one side of the moon always faces us as if it never rotates, and we never get to see the mysterious far side of the moon (photographed for the first time in 1959).

"And if the dam breaks open many years too soon 
And if there is no room upon the hill 
And if your head explodes with dark forebodings too 
I'll see you on the dark side of the moon". - Pink Floyd.

Let us calculate the number of moon rises and the number of sidereal lunar months in a Yuga. This visible side of the moon will be partially or fully observable on all sidereal days except the new moon days, of which there are 62 (one per synodic month). This gives us 1835-62 = 1768 moonrises in a Yuga, and 1830/1768 saavana days per moon rise on average.

Similar to the earth-sun system, the earth-moon system also yields an extra rotation per year depending on the frame of reference. Due to the earth’s revolution, the moon takes a couple of days extra to complete the synodic month (~29.53 days) relative to the earth. There will be 62+5 = 67 sidereal lunar months in a Yuga.

Since there are 27 sectors of the ecliptic, the moon visits 67*27 = 1809 Nakshatra sectors in a Yuga. Therefore, the moon traverses one sector in 1830/1809 = (1 and 7/603) Saavana days. The sun apparently visits 27*5 = 135 Nakshatra sectors, spending 13 and 5/9 days in a sector.

We now examine some of the larger units used in the VJ to keep time.

Larger Time Units

Saavana day: measured from sunrise to sunrise. The VJ takes the civil year to be 366 days long. Each day is divided into 124 Bhaagas (day-parts). 31 parts make a pada.

Tithi: This is a fundamental unit of the VJ equal to (1/30) of a synodic month. Hence a lunar month lasts 30 tithis, and the VJ assumes 360 tithis or 12 synodic months in a year in harmony with Vedic tradition.  Thus, a Yuga has 1860 tithis and 1830 saavana days. From this, we can calculate the VJ mean value for a tithi = 1830/1860 or 61/62 of a day.  The duration of a tithi depends on the moon’s orbit and is a variable quantity (+/- 15% the mean value), with the tithi at sunrise representing a day’s tithi [3]. Sometimes, the same tithi can mark two successive sunrises or a tithi can be lost between two sunrises. Tithi was already used in prior traditions. In the Rig Veda, atithi is a guest – one who arrives without a tithi, i.e. without prior notice [15].

A tithi can go AWOL
It can be a really close call
All ye star-crossed suitors beware
Date your Nakshatras with care!

Given the diversity of India, its calendars are also diverse. Reckoning dates for dharmic events can be tricky even in 2017. This informative subtitled video asks ‘When is Ugadi?’. Yugadi ~ start of a new yuga (new year), Hevilambi, per current Hindu lunisolar calendars.

There are also variations such as Amanta/Amavasyat versus Purnimanta calendars depending on whether the start of a month is from a new moon or full moon.

Rtu (season): Its duration is 62 tithis long, and therefore a Yuga will have 30 rtus, and 6 rtus a year. An important and unique feature of the Indian calendar is the use of six seasons including the all-important rainy season, the most celebrated and joyous of all rtus. The monsoons are governed by the annual wind patterns influenced by the Coriolis force [11]. The first rtu of the Yuga is Sishira rtu (winter).

The VJ also specifies the duration of rtu using the NCS (4 and 1/2 Nakshatra sectors per Rtu). Knowing the start date of a rtu is also important because of the Chaturmasya rite that has to be performed.

Ayana (solstice): Ayanas divide the sidereal year into two halves. There are 10 ayanas in a Yuga.

Paksha: half a synodic month, equal to 15 tithis. The bright half is the Shukla Paksha and the dark half is the Krishna Paksha. A Yuga has 62 Shukla and 62 Krishna Pakshas.

Parva: The Yuga is divided into 124 Parvas. Therefore it is equal in duration to a Paksha. The Parva Raashi (R) is the accumulated heap of Parvas since the start of a Yuga and is quantified as follows [3]: R = 2(12(y-1)+m) + p + K,

where  y = current year of the Yuga, m = elapsed months in the current year,  p is the elapsed parvas in the current month, K is an conditional correction factor (2 per 60 elapsed parvas) to adjust for intercalation.

Visuva (Equinoxes): The day when the sun apparently starts to move south or north and they occur at the mid points of each of the 10 Ayanas in a Yuga.

The interval between two successive Visuvas will be 124/10 Parvas = 12 Parvas and 6 Tithis. Hence the time elapsed in a Yuga until the N-th Equinox can be obtained by multiplying this inter-Visuva number by (N-1) and simplifying.

Bhaamsa (Amsa): To track the position of the sun and moon, every ecliptic sector is also divided into 124 equal Bhaamsas, mirroring the Parva time division of the Yuga. Hence, there are 27*124 Bhaamsas that spans the 360°. The Bhaamsa after p parvas is the remainder obtained after dividing 11p/124 [3]. The VJ rescensions state an equivalent conditional and arithmetic rule that anyone can use, similar to the previous expression for parva raashi R.

Kalaa: A day is divided into 603 parts. This number is chosen so that the time taken by the moon to traverse one of the 27 nakshatra sectors (1 and 7/603 days) = 610 Kalaas, a whole number.

VJ gives many ingenious algorithms (abhiyukti) to keep track of the number of Parva, Bhaamsa, Paksha, etc. that have passed since the start of the Yuga. The interested reader is referred to Prof. Kuppanna Sastry’s work.

Intra-day Units of Time Keeping

Researchers point to 4 different kinds of times tracked by VJ [3] apart from the cosmic time. We point these out while listing the different time-keeping units.

Akshara (2 Maatraa) ~ 0.57 seconds. Time taken to pronounce a long vowel. This  time-unit is interesting and suggests the existence of a long and well-established oral tradition.

Kaastaa (5 Aksharas) ~ 1.15 seconds.

Kalaa revisited (124 Kaastaas) ~ 2 minutes, 23 seconds. Kalaa establishes a link between the rate of speech to the average rate of lunar motion.

Naadika (10.05 Kalaas) ~ 24 minutes. Mechanically-kept time using a water clock. Passages in the Vedas [7] suggest the use of a particular water clock of the ‘overflowing type’.

Muhurta (2 Naadikas) ~ 48 minutes. Solar time based on the Sun’s apparent motion. Amazingly, the ancient muhurta measure has been preserved and passed through several generations and is used in India the exact same way, to this day.

Length of local daylight time in Muhurtas = (12 + 2N/61), where N is the number of days after the winter solstice.  Since there are 183 days in an Ayana, the maximum increase is 6 Muhurtas. Using this, the ratio of the longest to shortest day is 18/12 = 3:2. This number depends on the latitude, and therefore helps us identify the source location of VJ.

Ahoratra (30 Muhurtas) ~ ‘day and night’, or 24 hours.

Bhaaga: The local time given in 124-th parts of a day starting from sunrise. Thus we see three divisions of ‘124’ in the VJ: Parvas in a Yuga, Bhaamsas in a Nakshatra sector, and Bhaagas of a day.

Note how a speech rate is linked to lunar time, then to mechanical time, and solar time. These physical temporal cycles of varying durations are ultimately united with the cyclical cosmic time through periodic Yagna performed at the right times.

Ganita

Algorithms

The VJ approach to specifying numerical constants is pretty elegant. The high-level parameters, which are fewer in number, are enumerated. For the myriad of lower level constants that proceed down to the intra-day level, it cleverly specifies algorithms based on a linear estimate (mean motion), using rules derived from modulo arithmetic. By specifying any three independent parameters of a Yuga, all other Yuga parameters can be calculated as derived values [1].  YVJ rescension’s second verse is famous for asserting the position of Ganita as the pinnacle of sciences [1].

VJ’s methods demonstrate ancient Indic abhiyukti. They do not provide a proof of correctness, but are to be validated by pramana. When a Ganaka’s analytically predicted quantity is in conflict with observation (pratyaksha), it is the model result that is discarded, and this also forces the model to improve.

Rule of Three: Linear Estimate

The VJ uses mean motion (average rate) as a first-order approximation within its calculations using the “rule of three“.

For example: Suppose we have a known average increment for a quantity ΔQ over a time period Δt, we can calculate an average rate of change = ΔQ/Δt. What will be the accumulated value of Q after T time units? A linear estimate will simply multiply this rate by time to obtain Q = (ΔQ/Δt)*T.  The VJ states the rule of three in verse, so that it can be used repeatedly as a subroutine: calculate an average rate and multiply the increment by this rate to generate the desired output.

Modular arithmetic

The VJ works with periodic quantities that get reset to 0 after reaching a maximum value. Doing calculations with such quantities requires expertise with modular arithmetic. 3000+ years before Gauss introduced formal modular arithmetic in 1801, the Hindus were actively applying modular arithmetic for calculating a variety of elapsed and remaining time values and the positions of the full and new moons over a Yuga.

Javadi Table

The Javadi arrangement is an important contribution from a Ganita and VJ calendar perspective. It represents a virtualized (independent of stars in the background) invariant ecliptic coordinate system with a zero point taken as the new moon near the Winter Solstice, which is tied to the start of a Yuga [3]. Javadi ~ Jau Adi, i.e., arrangement of Nakshatras starting from Jau (Ashvayujau) [1]. The position of the sun and new/full moon can be located unambiguously by the Javadi name of the Nakshatra sector and Bhaamsa within that sector. The table exhibits compact data organization and a circular ordering of the NCS data so that Sravistha represents Nakshatra sector 0 (or 27).

Simple Coordinates

From the Yuga parameters and the NCS, the ‘distance’ between successive full (new) moons can be calculated as follows:

The moon passes through 1809 Nakshatra sectors in a Yuga. There are 62 full moons and 124 pakshas in a Yuga. There, the distance between two full moons is 1809/62 = 29 and 22/124 Nakshatra sectors, and a paksha length is half this value (14 and 73/124). By partitioning a sector into 124 bhaamsas, we obtain a simple  (sector, bhaamsa) coordinate system using the original Vedic ordering of Nakshatras = (N_original, B) of new and full moons, where N_original and B are whole numbers.

Order-and-Chaos

The ganita properties of the full and new moon’s bhaamsas are interesting and we did not find much discussion on this, so we make an attempt here. A brief ganita description is in the appendix at the end of the post. Let us start from a new moon at bhaamsa B(0) = 0, and add 73 bhaamsas to obtain B(1) = 73 for the first full moon, and further 73 bhaamsas to get the bhaamsa B(2) of the second new moon, and so on.  We can observe the following patterns:

  1.  The full or new moon will be wandering around, visiting each and every bhaamsa number exactly once. A full or new moon will never be seen twice in the exact same location (bhaamsa) of the ecliptic within a Yuga. When it does so at bhaamsa 0 in the Sravistha sector, the Yuga is reborn (reminiscent of Kolam patterns).
  2. The 62 full moons of a Yuga occur at odd numbered bhaamsas, and new moons at even bhaamsas (if we start the Yuga at bhaamsa zero). At the full moons, the Sun’s coordinates will be 13.5 Nakshatras apart, i.e 13 sectors and 62 bhaamsas away.
  3. The nakshatra sector and bhaamsa are themselves linked, so if you specify just the bhaamsa, you can obtain the corresponding N_original value:
N_original = 5B mod 27 
N_original is remainder we get when we divide 5 times its bhaamsa by 27.

Of course, one can also calculate the N_original values directly as an independent check in case the input bhaamsa values are off. The VJ authors next transform the original Nakshatra sector list into the Javadi arrangement. It simplifies the required Ganita a bit (B instead of 5B).

Javadi Coordinates

The Nakshatra sector numbers can be transformed into a certain Javadi arrangement (N_original→N) using the following equation:

N = 11 N_original mod 27

Successive (original) Nakshatra sectors are 11 sectors apart in the Javadi arrangement. Conversely, successive sectors in the Javadi arrangement are 5 sectors apart in the original table. The Javadi arrangement starts from Ashvini and the final list is shown below [1]. The Sanskrit verse form of the Javadi representation is depicted at the top of this post.

Bhaamsa Generation Algorithm

This transformed N is related to B in this Javadi arrangement through a simpler modular equation compared to N_original. The (N, B) Javadi coordinates for all full and new moons of a Yuga can be iteratively generated (see appendix) and are shown in the plot below (X-axis = Javadi nakshatra sector indices, Y-axis = bhaamsa numbers). These coordinates would repeat every Yuga.

Javadi coordinates in terms of (Nakshatra-sector index, Bhaamsa) for all full and new moon in a VJ Yuga
Examples

The first full moon in a Yuga is at B = 73, which gives us a remainder N = 19 when divided by 27⇒ coordinates (19, 73). Therefore, the full moon occurs in the Magha sector per the Javadi table. The next full moon will be at bhaamsa B = 73+22 = 95. Applying N = 95 mod 27 ⇒ N = 14, i.e. Uttaraphalguni (14, 95).  Multiple full moons (2 or 3) can fall in the same Nakshatra sector, but always at different bhaamsas. For example, the next and only other full moon (38-th) in the Magha sector will occur when B = (73-54) = 19. The two full moons that occur in Magha are circled in light-blue in the above picture. Note that the 3 new moons along the Y-axis at Sravistha (X = 0) are at least 54 bhaamsas (about 5.8°) apart.

Ecliptical Coordinate System

The (N, B) from Javadi are equivalent to an ecliptic longitude. These results have been compared with those generated using the modern ecliptic coordinate system, and they are quite close [3]. Tracking the bhaamsas empirically is important and this can be done mechanically using a water clock. The Javadi table is deterministic and assumes fixed synodic month duration [3], so that every Yuga starts at coordinates (0, 0). This is not so in reality, and in the next section, we can see the maximum error that is possible. Since the origin is shifted, so will the calculation for every successive full moon. While the full moons may occur in the same Nakshatra sector, the bhaamsas will be off unless the origin-shift is accounted for. The Javadi table can be used as an approximate framework/guide for the Yagna calendar and supplemented with direct observation.

We have only discussed only a few of the high-level VJ calculations. For a detailed discussion, refer to [1].

Accuracy of some VJ calculations

Mean Tithi

VJ Value = 61/62 of a saavana day.

Modern estimate of an average synodic month ~ 29.5306 days

Modern value of tithi ~ (29.5306 * 12)/360  ~ 354.367/360

Absolute Error = |354.367/360 – 61/62| < 0.05%

A Yuga has 1860 tithis, so accumulated error ~ 0.896, or less than a tithi per Yuga [2].

Mean Moonrise Rate

VJ value = 1830/1768 ~ 24 Hours 50.4864 minutes [2], i.e., the moon rises about 50.4 minutes later every day. This agrees with the modern average moonrise value really well.

Start time of a Yuga

The new moon at the start of a new Yuga may not be exactly at bhaamsa 0 of the Sravistha sector. It has been shown that up to 46 bhaamsas error can accumulate over a period of 500 years [3]. Since the moon traverses a Nakshatra sector (124 bhaamsas) in 610/603 saavana days, using the rule of three, we find that the moon traverses 46 bhaamsas in 9 hours. This is less than the minimum gap (54 bhaamsas) between successive full or new moons in the same Nakshatra sector. The maximum possible cumulative error in the start time of a Yuga after 100 Yugas is 9 hours [3].

Yuga: Self-Organizing System

In general, the VJ seems to be relatively more accurate while calculating lunar periods compared to solar periods [2]. Over the next two millennium, the Hindu lunisolar calendars were significantly upgraded. The Ancient Indics were aware of the uncertainty in the true motions of the sun, earth, and moon, and the need for corrections. The Indian comfort with uncertainty [9] is perhaps reflected in the fact that the civil calendar was deliberately set up as a simple, convenient, and approximate framework for the astronomical (Yagna) calendar. The discrepancy between the arithmetic and astronomical calendar can be fixed using an intercalary day at the end of the Yuga [1]. They also synchronized the sidereal and tropical year using appropriate corrections. Beyond these basic corrections, the lunar-solar year gap can accumulate over Yugas. It has been discovered by researchers [1, 3, 6] that the properties of the VJ Yuga yields a self-correcting system that automatically cancels out these errors.

Lunisolar correction

Five tropical years at 1350 BCE = 5*365.1734 ~ 1825.9 days

Duration of a Yuga = 62 * 29.5306 ~1830.9 days

Difference ~ −5 days per Yuga or roughly one extra day per tropical year.

If this discrepancy is allowed to accumulate over 6 Yugas (sometimes 7), the total gap will be approximately a synodic month. A Nakshatra Darsha doesn’t even need to know the Ganita behind this. He/she simply sees the sun and moon together in the Sravistha sector to signal a new Yuga. The unnecessary intercalary month 61 is automatically skipped, which resets the accumulated error.

Some corrections were made by observation of the moon phase. At the new moon the moon rises and sets with the sun. If the moon rises just after sunrise, it indicates a time near new moon. Such observations enabled the Vedics to develop the rules required for an accurate timing of the Yagnas since certain Yagna performers would incur a penalty if they erred in the timing [1]. Thus Vedic Yagna is the creative driving force that inspires this self-correcting calendar. A self-harmonizing Yuga seems natural in Prajapathi’s self-organizing universe.

Date and Source of VJ

Date

Embedded within VJ’s verses is an astronomical date-stamp about Sravistha. If α-delphini is taken as the Yogatara (principal star) of Sravistha, then between 1550 BCE and 1150 BCE, the nakshatra Sravistha and the sun would have been close at the winter solstice, i.e., the Nakshatra rises and sets heliacally at the winter solstice, and this is not possible for dates outside this period [3]. If a certain other star other than α-delphini is chosen as the Yogatara, the date gets pushed back beyond 1800 BCE [7]. Kuppanna Sastry’s ganita calculations using the earth’s precession rate, and based on the observation of the VJ author that the winter solstice was at the start of the Sravistha segment, yields dates in the range [1150, 1400] BCE. Statistical analysis of the Nakshatra system shows that a maximal proportion (80%) of the Yogataras occupy their respective Nakshatra sectors in [1300 +/-300] BCE, indicating the finalization of the NCS during this period [3]. From [5], we find mention of a date of 1255 BCE when King Suchi of Magadha, a student of Lagadha [6] set forth VJ and dated it by including an astronomical note about the summer solstice. When combined with other independent considerations such as the visibility of the Saptha Rishi (Ursa Major) from Bharatvarsha, the timing of Yagnas in conjunction with seasons, full moon, and prescribed Nakshatras, we obtain a date range [1400 +/- 300] BCE for Vedanga Jyotisha [3].

Source

Multiple works show that the Nakshatra (star) system was most likely designed around 3000 BCE [2, 3, 10]. There is clear evidence of a continuous unbroken epistemology of time-keeping from the Rigveda Samhitas to the Vedanga Jyotisha.

Independent researchers have studied the 3:2 ratio of longest to shortest day, which is only possible around a certain latitude. This includes locations in far-northern India as well as other places. The calendar with a rainy season is also special to India. By also taking into account VJ’s date, several locations get eliminated from consideration, and Kashmir appears to be a likely location of the VJ author among the feasible candidates. This has been an independent conclusion reached by multiple scholars.

The Challenge of Vedanga Jyotisha

Kuppanna Sastry has listed three fundamental requirements for a scholar who wants to study and interpret Vendanga Jyotisha in its original Sanskrit verse [1]:

  • Sound scholarship in Sanskrit
  • Knowledge of Western Astronomy
  • Full understanding of the concepts and practices of Hindu Astronomy

Teamwork

Those who have been frustrated in this task have lacked one or more of the requirements stated above. It is not necessary for one person to have all three skillsets. We have a precedent from 3000 years ago, when Nakshatra Darshas and Ganakas combined their skills to take Indic science and technology forward. Today, traditional Vedic Pandits grounded in Sanskrit and Hindu cosmology, and STEM professionals can work as a team to overcome new challenges in many areas. The first and third requirements involve dharmic tradition, which requires shraddha and sadhana, something every team member must imbibe. The Swadeshi Indology initiative serves as an inspiring example in this regard.

Several luminaries have contributed their expertise toward explaining the time-keeping ideas of Jyotihsastra. This post summarizes the student notes compiled while learning from and exploring these truly enlightening works, which are listed in the references below.

'If you were in Darkness, what would you want more than anything else; what would it be that every instinct would call for? Light, darn you, light!' - Nightfall, Isaac Asimov.

References
  1. KV Sarma and Kuppanna Sastry. Vedanga Jyotisa of Lagadha In its Rk and Yajus Rescensions. With the Translation and Notes of Prof. T. S. Kuppanna Sastry. Critically edited by K. V. Sarma. Indian National Science Academy. 1985.
  2. Subhash Kak. Astronomy and its Role in Vedic Culture. Chapter 23 in Science and Civilization in India, Vol. 1. The Dawn of Indian Civilization, Part 1, edited by G.C. Pande. ICPR/Munshiram Manoharlal, Delhi, 2000.
  3. Prabhakar Gondhalekar. The Timekeepers of the Vedas: History of the Calendar of the Vedic Period (From Rgveda to Vedanga Jyotisa). Manohar Publishers. 2013.
  4. K. Ramasubramanian. Perspectives on Indian Astronomical Tradition. HH Dalai Lama Premises. Dharmasala. 2016.
  5. Kosla Vepa. The Origins of Astronomy, the Calendar, and Time. Lulu.com. 2011.
  6. Narahari Achar. Enigma of the Five Year Yuga of the Vedanga Jyotisa. Indian Journal of the History of Science (33). 1998.
  7. Narahari Achar. A Case for Revising the Date of Vedanga Jyotisa. Indian Journal of the History of Science (35). 2000.
  8. John Playfair. The Works of John Playfair (Vol. 3).. with a memoir of the author. Edinburgh, A. Constable & Co. 1822.
  9. Rajiv Malhotra. Being Different: India’s Challenge to Western Universalism. Harper Collins. 2011.
  10. Sudha Bhujle and MN Vahia. Possible Period of the Design of Nakshatras and Abhijit. Annals of the Bhandarkar Oriental Research Institute. 2006.
  11. C. K. Raju. The Cultural Foundations of Mathematics: The Nature of Mathematical Proof and the Transmission of the Calculus from India to Europe in the 16 c. CE.  Pearson Education. 2007.
  12. Subhash Kak. The Astronomical Code of the Rig Veda. Oklahoma State University, Stillwater. 2011.
  13. Subhash Kak. The Wishing Tree: Presence and Promise of India. iUniverse Inc. 2008.
  14. Kapila Vatsyayan. The Square and The Circle of The Indian Arts. Abhinav Publications. 1997.
  15. R. N. Iyengar. A Profile of Indian Astronomy before the Siddhāntic Period. ISERVE Conference, Hyderabad, India. 2007.
  16. Kuppanna Sastry. The Main Characteristics of Hindu Astronomy in the Period Corresponding to Pre-Copernican European Astronomy. Indian Journal of the History of Science (Vol 9). 1974.
Appendix & Acknowledgements
Acknowledgments: Thanks to N.r.i.pathi garu for encouraging me to write this post, and for his Baahubali-esque patience and valuable feedback.
Appendix

The bhaamsas of the full or new moon are generated using the recurrence relation:

B(k+1) = B(k)+73 mod 124.

This is an example of a linear congruential generator (LCG) that is commonly used in computer simulation models. The sequence of bhaamsas visited by the full or new moon in a Yuga are pseudo-random numbers. Since 73 and 124 are relatively prime, this LCG is guaranteed to have a full period (124) that exactly spans a Yuga. The Hull-Dobell theorem (1962) proves the result for the general case. It is also easy to see that if B(k) is even, then B(k+1) will be odd, and vice versa. We can simply generate the bhaamsas to verify this.  The following algorithm generates the chronological sequence (N(k), B(k)) of all new and full moon positions of a Yuga in Javadi coordinates:

1. Initialize: k = 0, B(0) = 0.
2. N(k) = B(k) mod 27. If B(k) is even, it is a new moon, else full moon.
3. B(k+1) = B(k) + 73 mod 124.
4. if k=123 stop. Else, k=k+1; go to step 2.

Why Gentlemen Matter

How regressive!”, they may say. “MGTOW!” they will retort. “Tactic to guilt women into becoming Ladies!”, they might argue. Yes, even the last one is true courtesy feminists in our topsy turvy age. But the reality is, whatever radfem activists argue, whatever redpill [do]tards retort, and whatever post-modern popinjays might protest, for a civilised society, Gentlemen not only Matter but are, in fact, Foundational.

Pickup/Seduction artists may protest that “nice guys finish last” and “girls like bad boys”—and incidentally, I’m not actually contesting your point. But the problem is, you’re not asking why it might be true. The reason why nice guys finish last & many (not all) girls like bad boys is because when most people lead boring lives, it’s natural to want a little excitement, even if it is stupid or even dangerous. But none of this means a gentleman has to be boring. None of this means a gentleman can’t deliver a good ass-kicking to bad boys. And none of this means a gentleman can’t be popular with the ladies as well.

Mera rath par tumhara swagat hai, Rajkumari

And this is precisely the problem. Most young men forget that in a world dominated by bad boys, the Niti of Krishna is required. The attitude of bad boys (most of whom are usually cowards with attitude) is  misconstrued as confidence and strength and excitement. That’s why nice guys finish last. If you still look like your mummy picks your outfits, why would any girl want you?

But this is the conundrum, the false dichotomy if you will, in a long line of confused bipolarity facing modern society. Boring Nice guy vs Bad boy, Libertinism vs Slavery, Communism vs Capitalism, and of course, that all time classic, Virgin vs Whore. The Madonna-Magdalene dichotomy is one of the most injurious to civilised society, and yes, even one that prizes chastity. Simply because a woman is not “Mary-mother-of Jesus” or Sita Devi, does not mean it is “open season”.

I have used these two examples because contrary to attempts by Western Academia and Mainstream Media, it is not just Indian society that faces an issue with exploitation of women. In fact it is far, far worse in the Developed World , East Asia, and the Middle East. The difference is, unlike “Modern/Secular/Capitalist” India, Traditional Ancient Dharmic India emphasised the dignity of a woman, no matter who she was. And there were brutal consequences for men who tried to violate it (Google: Dushasana).

As is now well known, Kalidasa‘s Raghuvamsa described how safe the city of Ayodhya was for women:

Yasmin maheem shaasathi vaaneenaam nidhraam vihaaraardhapathe gathaanaam |

vaatho’pi naasraam-sayada-sukaani ko lambayed aaharanaaya hastham || (S. 6,sl.75)

 

While he [Dilipa ancestor of Rama] was ruler of the earth, even the very breeze dared not disturb the skirts of drunken women who sank to sleep on the road when half-way they had strayed to the place of enjoyment; far less dared any one to extend his hand for theft. [1,115]

We are of course a long ways away from Ram Raj, and modern India has its issues. But Crime occurs in any society, and statistics demonstrate that.

Why is only India targeted via “India’s Daughter” and other such politically-motivated documentaries? After all, all is not healthy in the infallible West. What of this culture?

This is the danger of racial stereotyping and negative imaging. Narratives are invented and individuals are judged on the basis of pre-conceived notions (usually by the ignorant). Unlike the intellectually dishonest doyennes of the Western Ivory Tower, we won’t stereotype this as emblematic of Western culture,  despite the historically confirmed misogynist reputation of a certain “Universal” Institution that happens to be the world’s oldest bureaucracy. The fact is, there is an even deeper sickness, and that is called post-modernity.

If Post-Modern Society is a Bastard Society, is it any wonder there are few gentlemen anymore, in any part of the world? Yes, much like boys complain, nice guys are finishing last (so women do have some part of the blame), but the time has come to put an end to the Virgin-Whore dichotomy. This is damaging not only to the vast majority  of women who are in the middle (just like the vast majority of men), but is damaging to society as well, as it degrades the dignity of all women.

Sita Mata once asserted the unfairness of all women being judged by the behaviour of a few vulgar women. And this is true. That is the reason why we split character into three parts.

Character is 3 parts:

1.Moral Character (living according to Moral Standards, religious, sexual, etc)

2.Personal Integrity (holding true to your obligations, beliefs, and promises)

3.Ethical Civility (treating other with respect and acting for societal good)

If we ask how many men have what it takes to be Ram, isn’t the corollary how many women have what it takes to be Sita?

Contrary to absinthe-addicted activists, if you have no loyalty to your own society “because patriarchy!”, don’t expect to not be civilly criticised for your ridiculous views. And for those ritualistic  twenty something twits on twitter who say “We are not Sri Rama to treat Surpanakha with respect”—well dear ritualistic twenty something twit on twitter, then don’t expect to marry a woman who is like Sita either. Whether you believe in probability or divinity, we get in life (generally) what we ourselves deserve.

As such, whether it is the reprehensible behaviour of members of that so called “Secular” Political Party AAP, or the corporate culture of that American Jewelry corporation, one can see how the absence of gentlemen creates conditions for the exploitation of women—whatever the rule of law.

Bad boys are “bad” for a reason, ladies. No matter how they look, no matter what they say, what’s important is how they see…you.  But these scenarios also show that it is not a simple matter of a “chaste religious girl” vs “office floozy”. If most men are of middling character, so too are most women. And as we illustrated, character is more than just moral character, it is also strength of belief and willingness to endure (even in the face of hardship or authority).

DharmaMandir

This is the importance of Sabhyata, Saujanya, & Maryada. All of these are an integral part of Nara Dharma. It is also why Bhagvan Ram was called Maryada Purushottam. It didn’t matter whether it she was Sita or Surpanakha, Rama treated all women with respect. It is only when Surpanakha threatened to kill Sita that Rama had Lakshmana punish her.

A man behaves like a gentleman not because of what it says about her, but because of what it says about him.

The American jewelry store chain had many more women whose maternal or economic or office hierarchical cares kicked in allowing their vulnerability to be exploited by bad men. There was probably a small percentage of vulgar women who were delighted to go along with the advances of men—but even if it was as much as 33%, that means still 67% didn’t want to and were pressured by these American men who should have treated their colleagues and employees with respect. Some may say  the middling 33% submitted to this pressure probably just found an excuse—but to that, the answer iswho’s to say?. Do you have student loan debt you can’t pay if you lose your job? Do you have a parent whose life depends on expensive medical care? Are you a single mother with a child to feed?

That last one Should sound familiar.

 

Most guys may say “Really? Problem solved, and I get sex too?” and most social contract sybarites may attest “It is simply a transaction resulting mutual gain“, but then society doesn’t judge men and women the same way in matters of sex, so neither  judgmental men nor their feminist/objectivist analogues have it right. Others may then argue “well, there were women who resist even that pressure”—and to that I say yes. There were women who resisted and there are women who resist. But both women and men are subject to blackmail, it’s just that they are usually blackmailed for different things. The women and men of highest character resist blackmail even in the face of dire circumstances, but also in the case of authority.

The story of Ahalya is illustrative here:

Most people believe that Ahalya was fooled by Indra into thinking he was her husband Gautama, and that is why she had physical relations with him. But as the Valmiki Ramayana itself confirms, Ahalya  was in fact very clever, and was intelligent enough to realize it wasn’t her husband. So why then did she agree? Well, most men have a ready answer and claim all women are like this when they get the chance. But that is not actually the case. Ahalya agreed to the tryst because in her respect for authority she believed a Brahmin or King or King of the Gods could not be disobeyed. But this of course is not Dharma, as we know Ravana who was a brahmin & a king & defeated the King of the Gods, was rightly refused. Authority, whether that of a brahmin, a king, or deva cannot be misused to exploit a person. And as both Indra and Ravana found out, they too would have to be punished and suffer the consequences, whatever their status or position.

That is also why Ahalya was cursed to turn into a stone. Just because in her delicateness woman may be more amenable to authority is no excuse to engage in immorality. She may be delicate like a flower or vine, but when faced with immorality and evil, woman must also be able to turn into a stone—and the men who would devilishly exploit them, must get hit by one.

That is why in the case of Sita we see that she not only turned into a stone (metaphorically speaking), but over the course of a year of torment, seduction attempts, pleading, and threats by Ravana,  she became a veritable diamond. That is why both she and her only love, Rama, were described as follows:

Vajradapi katorani mrudooni kusumadapi |

Lokotharaanaam chetaamsi ko nu vigyathu marhaati ||

Harder than a diamond and softer than a flower

Who can gauge the conduct of super-eminent persons?

It is this middle endurance that is lacking in both women AND men today, whether it is morality-obsessed Indian society or decency driven American society.

It is the courage of conviction that allows you to keep your character, even in difficult circumstances. And it is also the absence of gentlemen to intervene when the law fails or even a culture collapses, that creates bastards and the cycle of bastardy.

But as we’ve emphasized, contrary to what MSM, Cultural Anthropologists, and Native informants tell you, this problem is not specific to a specific culture, but as we’ve seen and will see now, an issue that all societies face when they become decadent or immoral.

“The Rape of Lucretia” is a famous episode from Italian History. It is all the more illustrative because the son of the Roman King Tarquinius Superbus threatened her that if she resisted, he would lie and tell everyone she willingly slept with a slave. The bad boys of today of course are even worse because unlike young Tarquin, they would have lied anyway. Nevertheless, it was the rape of Lucretia that caused Roman society to raise arms against the oppression of the Tyrannical Tarquins, and under Lucius Junius Brutus, established the Roman Republic. But the issue here is not the form of government, or even the specific culture, but the state of moral culture in society, especially in its elites.

And for those “human rights activists” who only seem to have Indian culture in their sights with regard to women and misogyny and Agni Pareeksha, tell me again which civilization produced this celebrated figure who said this:

Caesar’s wife must be above suspicion”.

This is the problem with double standards and selective application. Justice for my friends and the full extent of the law for my enemies may be the rule that “exceptionalists” live by (and a concept which sentimental protocol droids have yet to learn), but the essential aspect that all parties are forgetting, is the justice part.

Justice stands against exploitation.

That is why Gentlemen matter. Because whatever the law says, whatever your friend says, whatever Ayn Rand says, the gentleman is concerned about justice in any given situation. That is the value of udhaarabhaava (character) and Sujanah-bhaava (gentlemanliness). That is why Swami Vivekananda said clothes don’t make a gentleman, character makes a gentleman. And it is character that is precisely not being emphasised today.

This is the case whether it is ritual-obsessed India or PC-obsessed America. Morality matters, and Decency matters, but it is Character that ultimately makes both possible. That is why Rule of Justice that matters more than Rule of Law. That is why the Rule of Dharma must be restored.

When law and order breaks down, when a culture collapses, when the vulnerable are unprotected, forces of criminality don’t think of responsibility, but rather, think of opportunity.

That is why force requires counter-force. That is why gentlemen matter. Because whether it is in a corporation or in a political party or at a social party, rather than opportunity, gentlemen see responsibility.


References:

  1. Devadhar, C.R. Works of Kalidasa.Vol.11: Poetry. Delhi: MLBD.2010
  2. Kale, M.R.The Uttararamacarita of Bhavabhuti. Delhi: MLBD.2010
  3. http://sanskritdocuments.org/sites/giirvaani/giirvaani/rv/sargas/06_rv.htm

 

The Civilizational Resonance of Baahubali

A version of this Post was published at Andhra Cultural Portal, on July 22, 2015


Baahubali

Much water has flowed down the waterfall south of Mahishmati since we last touched on this topic. Those of you following us on Andhra Cultural Portal would have read our Post 2 years ago when Baahubali-The Beginning was released. Well, unless you were living in one of those caves featured in the film, you would not only be familiar with this phenomenon, but also would have watched it…several times.

And make no mistake, this Andhra movies is not just a national or global phenomenon, but especially a civilizational one for all members of Indic Civilization. It is not for nothing this Telugu language movie was a hit in Nepal. Part 2’s distribution rights have already sold for 3 crores in Prithvi Narayan Sah‘s Hindu Rajya.

You would also have heard the new trailer was one of the fastest to garner 100 million views on YouTube. Wondering why? — see for yourself!

So in honour of Srisaila Sri Rajamouli’s digital age epic’s second installment, Baahubali 2-The Conclusion, we give a reprint of our review of Part 1. Enjoy. Watch the movie. And above all…

Jai Mahishmati!


The scores are in, the box office has reported, and the people have spoken: Baahubali-The Beginning is a box office behemoth. S.S. Rajamouli’s smash hit is truly a magnum opus that has swept all of India, South and North of the Vindhya. Indeed, much ink has already marked the proverbial paper, and a number of columns, cookie cutter top tens, and well-penned essays have made their mark. What’s more, long derided regional Telugu cinema is no longer seen as merely a source for remakes, but as even foreigners note, is a source of jealousy for Bollywood insiders. As Krishnarjun gaaru has written, the industry itself has the potential to go back to its golden age 3-5 decades ago, with classics such as Maya Bazaar and Missamma.

Nevertheless, while ACP typically analyzes movies long after the glitz and glamour of a premiere has passed, there is something special about this film that has come to underscore the present zeitgeist. As such, this post is not our standard cinematic analysis, or a fine study of symbology, or even a well-crafted commentary on the industry’s future. Rather it is about understanding the cultural resonance of Baahubali and why it’s relevant and indeed a revelation at this place and at this time. We have sought to do this with ** No Spoilers** for those of you who have yet to see it.

First, a Rejoinder

Despite all the acclaim— not only in the Telugu rashtras or even just Bharata desa, but also globally—sour grapes from the standard set has been increasing from dribble to a deluge. The bitter wine they swill is in the hopes of poisoning the popular opinion. As such, a rejoinder is in order.

Almost two weeks in, the knives are now out courtesy the usual suspects: “Idea of India” indoctrinues (copyright pending for portmanteau), Dubai-gang ghulams of bollywood, and assorted sordid-sickulars of all sorts are now slashing at this movie, after a proverbial puissant punch to the solar plexus. Gasping for breath, these pill-popping, phillim-hopping philistines have the gall to tear down this movie by hook or by crook. The “un-original” charges (Tarzan this, Lord of the Rings that) are particularly asinine, especially coming from bollywood. After all, Ramesh Sippy’s Sholay drew from Sergio Leone’s Once Upon a Time in the West, which drew from John Sturges’ The Magnificent Seven, which ultimately drew from Akira Kurosawa’s Seven Samurai. It’s invariable that inspiration here and there may come from different sources–the question is breathing new life, new vision, and new context into them, and weaving them into a unique piece. Baahubali has accomplished this to the shame of Bollywood.

As these intellectual imps impotently shriek and wailed “animal film!”, “symbolic molestation!”, “misogyny!”, they tried every trick in the book, first saying they “don’t review south movies”—but hey check out this no name flick from our sworn enemy), then they ridiculed looks  or even the very idea of a big hit “from south”, finally they began throwing mud through specious Freudian analyses and crackpot conclusions about tribal relations. In short:

First they ignore you, then they laugh at you, then they fight you, then you win.

Setting aside their ignorance about the Kalakeyas in the Mahabharata (yet another example of what happens when you don’t know your own epics), the question isn’t whether Bharatvarsha, the land of Rama’s friend Guha, Pratap’s friends among the Bhils, or Rani Durgavati’s own in-laws, treated its tribals well, but what happened to the tribes of Europe? Bharat respected the tribal way of life, and even saw its merits by encouraging vana prastha (forest life) for retired kings and other elites.

In any event, the body blow from Baahubali had left them in a week-long stupor that they are only now gurgling back from. Left with little other than Bajrangi Bhaijan to salve their wounds, they have united around this flick touting everything from “sentiment & emotion!” to “profitability” (a.k.a. the Sonam Kapoor defence)—poor dears. And yet, why this movie and why such mendacity? After all, Magadheera showed a native Bharatiya kingdom in a complimentary fashion. It too balanced CGI and Story with dramatic action and theatric performances. Those who point to a display of Hinduism (Sanatana Dharma) in positive light, forget the Kala Bhairava Statue that served as the sentinel of cinematic climax. No, the reason why Bahubaali-The Beginning, this movie, at this time, has stirred up a hornet’s nest of hate, is because it is true cinematic splendour celebrating Dharma.

Despite the laughable claims about Bajrangi Bhaijan touting an emotive ideal, while Baahubali did not, it’s quite clear that this movie was refulgent with an ideal. Dharma, in all its myriad forms, in all its numerous nuances, is immanent throughout this Sistine chapel in celluloid. And unlike that metaphor, the fact that Rajamouli’s Masterpiece drew on native Indic forms (architecture harkens to Angkor, Amaravati, and Avanti) , native Indic fashion (Tamannah’s transformative couture is more the ancient standard), Indic names (Avantika, Baahubali), Indic Sacred History (Rishabhadeva’s sons are an overarching influence), and Indic Geography (Mahismati was the capital of Kartaveerya Arjuna), only roiled our stealth regressive royyalu (that’s Telugu for “shrimp”, btw) further. That it was able to do this by bringing Bharatiyas of all panths (religions) in to enjoy the ride and make them feel a part of the experience, was the last straw.

Dharmic Culture

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In a way, it’s almost poetic that a movie so redolent in Dharma Culture was distributed and promoted by Karan Johar’s Dharma Productions. Though obviously written, produced, directed, and lead acted by Telugus, this multi-starrer provided a tale and experience to which all Bharatiyas could relate.

We saw a dharmic society in action. From artistry and architecture to the traditional sastras and functioning of statecraft, it was an image of an India that once was. True, it was balanced by elements of fantasy and drew directly from the Puranas, via the Kalakeyas. But we also a saw a version of how our ancestors lived and the principles that drove them: patriotism, loyalty, self-sacrifice, motherhood, love, and above all Dharma.

What’s more, it was an image of not just how the elites might have lived, but the commoners as well.  We see how villagers and elites coexisted honorably. Albeit underneath a fantastic and fantastical waterfall, it was a portrait nonetheless of the idylls of rural and even forest life. It too was replete with Dharma—not the philosophical or intellectual dharma, but the everyday dharma, the common dharma. Society may have different classes, but if the elites behave properly and with humility and a sense of social duty, then society is at harmony. The Brahmanas we see on film present a living memory of such great yet humble men.

In a snub to faux animal welfare activists (who think eating fish is inhumane, but are miraculously pro-beef), a version of Jallikattu is presented as a martial pass time. What’s more we even see an internal rebuttal regarding animal sacrifice. A Right hand Tantra riposte of the Left hand is given, demonstrating that Dharma offers alternatives internally to such practices in the name of Kulacara.

We see shakti in action, with numerous strong roles played by numerous strong women. Rather than being mere chattel, our women, our queens, commanded respect, and Shakti balanced her counterpart. We see glimpses of love and even a version of Gandharva Vivaha, where lovers came together through choice. Rather than merely loving and leaving, it was union of souls. That it was indeed marriage was emblematic when the obligation of the girl also become the obligation of the boy. As such, more than anything else, it was duty, and in particular, Kshatriya duty, that truly made its mark on screen.

The Kshatriya Ideal

Magadheera was certainly a cinematic benchmark, but Baahubali is a cultural phenomenon.  The title role is not a common soldier, but a Kshatriya incarnate. As ‘The One with Strong Arms‘ he fights not only with his weapons and fists, but also with his wits. Indeed, we see that the true Kshatriya, the true King, is the one who protects his people and has their interests at heart. What’s more, this embodiment of Kshatriyata was not merely limited to men. We see a true Kshatrani in action, in conjunction with many strong and even warrior women. Ramya Krishnan alone deserves applause for her compelling and moving performance. In many ways it is she who presents the fulcrum of the film. Not only checking ambition within herself and her own family, she asserts that the true Kshatriya is not a usurper, but executes his duty to the ruling house loyally. Indeed, she provides a firm feminine rebuke to pig-headed male ambition.

The great Kshatriya vamsas of old not only had great power but expectations of great responsibility. The Kshatriya ideal of balancing education, training, statecraft, wealth, and power is the need of the hour. Rote-memorization and blind application of and training in the sastras will not win the Kurukshetra. It is for this reason that adhyatmik and laukik knowledge were separated. Adhyatmik vidya is verily the soul of our tradition. But due to the high minded principles it inspires, it requires protection from evil via laukika vidya.

Therefore, Kshatriyas were the natural leaders of society. They had an understanding of and respect for the adhyatmik principles, but the pragmatism to recognize the era of falsehood that we live in, and the improvisation it requires. Hence, the true Kshatriya is not a hot-blooded, hot-head who loses his temper in blind anger, but is a strong willed defender of truth, by whatever means necessary. Varnashrama dharma certainly has degenerated in the past millennium into arrogant and brainless casteism from all ranks, and surely has its issues, but when properly conceived, it is one of balance. A society with an over-sized head, cannot be supported by the rest of its body. The true brahmanas of yore understood that as the teachers and philosophers of society, material living was not for them, and neither sought power nor wealth nor demanded sycophancy or undue influence. The true brahmana after all, is without ego. They also understood the limits of the brahmana varna, and as Parashurama corrected the imbalance of Kshatriyas crossing their limits, so too did Bhagavan Rama correct it with Ravana, and ironically, Parashurama himself.

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Rama punishes Parashurama for ahankar from merit

The traditional partnership of Kshatriyas and Brahmanas is today mired in predation or pretentiousness. Those who aspire to those ideals must remember that Maharishi Veda Vyasa’s own son, the brahmana Suka deva, completed his education under the Rajarishi Janaka. Thus, while Kshatriyas were the natural political leaders and brahmanas the natural spiritual leaders, both required elements of the other to properly conduct their duties.

Competence is not mere aptitude or ability. After all, potential energy exists even in still water. Competence is being good at what you do. Ability too has varying degrees, but competence means you have sufficient ability for the job—not merely on the basis of natural talent, or studies, or even training, but due to habit of improvisation and adaptation confirmed through practical experience.

The sastras afford us with guidance, but it is the job of the general, the job of the Raja to not only learn and understand knowledge, but apply and improvise it. This is not done in the gurukul or ashram, but on the battle map or field of battle. After all, the tactics used by Chhatrapati Shivaji were evolved by Maharana Pratap—who had no Samarth Ramdas.

Ranjit, Shivaji aur Pratap

Therefore, leadership in society requires balance. Of the spiritual with the practical, of the traditional with the necessary, of the brahmana with the kshatriya. That this movie was able to present the kshatriya spirit, the aristocratic ethos, without ridiculing Adarsh liberal’s favourite punching bag—Brahmins—is only fuel for the fire of indigestion they’ve been suffering since July 10th. That is what Baahubali presented—and oh so very artistically at that. Whether it was the One with Thousand Arms or the One with Strong Arms, Mahishmati was the Capital of Kings.

Artistic Highlights

From its waterfalls to its mountains to its maps, this film is pure artistic splendour. The cinematography is truly outstanding and world-beating, and all elements of cinema, from the visual and auditory to the dramatic and literary are in sound balance. A complete movie, it serves as a grand canvas for not only fantasy, but indeed, on-screen poetry.

One of the more interesting aspects wasn’t the research into our Puranas or even the dress and architecture of the ancients, but the subtle inclusion of our classical literature’s approach to drama. Though perhaps not noticeable to our non-Andhra friends, the dialogue features different forms of Telugu, based on orders of society—a practice commonly used by the ancients. Thus, we see literary forms of the language ( granthikam ), along with dialectal ( mandalikam ) and colloquial ( janapadam ).

We are also given a vision of fashion and femininity that is nevertheless strong and full of Shakti. Traditional designs and forms are presented in a manner that is sensuous but not titillating.

Sorry, no Salwar Kameez here

Even rati bhava is treated with delicacy in a restrained manner. The artificial is blended with the natural, rather than challenging it. It is not the conquest of nature by man, but the harmony of man and woman with nature.

In short, this movie is a marriage of tradition and tastefulness, form and function, masculine and feminine, elite and common, ancient and modern, art and technology.

Inflection point for the Industry?

Long time readers may recall our early pieces on the Telugu film industry (tollywood no longer) bemoaning the state of the sector. Ironically, one of them actually touched on film and kshatriyata. Rather than being merely seen as an object for derision, it has an opportunity again to rise to its early heights in the 50s and 60s. From kitsch, are we truly seeing a return to art? One hopes that the smashing success of the film will ensure at least a few movies that at least aspire to such a level, even if they do not scale such Himalayan heights. The upcoming release of Rudhramadevi affords an opportunity. Indeed, Baahubali served as an exquisite launch vehicle for Anushka Shetty to a national audience. Whether Gunasekhar is ultimately able to balance CGI with cinematic depth and action with taste, remains to be seen. We remain hopeful.

A Riposte to the “Idea of India” & The Breakthrough of Bharat

This movie was nothing short of a riposte to the ineluctable “Idea of India”—hence its resonance with all classes. This colossus of a success has shown that cheap laughs, titillation and tawdriness, and the apotheosis of all things non-native, no longer need be the way to box office success, or more importantly, cinema and culture.

Above all, was the sense of belonging to a common society that truly resonated. This wasn’t just a Telugu movie about Telangana or Andhra Pradesh, but an Indian movie about India. The India that once was. What’s more, rather than attempting to pass for Persians or Syrians, the lead actor looked like he might actually be one of them—Indians. Full credit to Prabhas for the physique he developed to give a vision of a royal hero that actually looked like the people—a reality underscored by his own real life pedigree. Rana brought the glamour, but the heart and soul of kingship was played by the first lead.

Indeed, our brothers and sisters in the North have long been deprived of cultural expression of native high culture courtesy Bollywood. They have been taught and even expected to see themselves as part of that spectrum rather than the subcontinent’s as a whole. This movie changed all that. Perhaps nothing emphasized that more when Katappa’s native Indic khadga smashed the prized Persian sword. This scene was fitting not only in an artistic rejoinder to the Idea of India brigade, but in an historical and technological one as well. The famed wootz steel (ukku) ingots of India were what made the finest blades of the era. Indeed, the historical Andhra desa was distinguished for its khandas, and made the Kakatiya kingdom all the more splendrous.

Make no mistake, this was an original movie. Ostensibly, the fairy tale jibes will lead to the obvious Lord of the Rings, Tolkien comparisons. After all, suited simulacra can never see anything beyond the western. But what these indoctrinated ingénues forget was that Tolkien himself drew on Norse and biblical mythology to create one for the English. S.S. Rajamouli had no such need. He was able to draw on the incredible fountain of Classical Indic Literature, with all its epics, sophistication, beauty, and nava rasas, and use his talent, vision, and entrepreneurial courage, to bring them to life and make them relevant to the times. So let the pop-psychologists, Freudian hacks, Lutyens insiders, foreign sympathisers, and serial slanderers run their ignorant mouths…We, the native public, the real public, know the real reason behind The Civilizational Resonance of Baahubali.

Predictably ignorant of the native Literary canon, serial rudaali, PK pablum peddler, and apochryphal activist Aamir Khan is said to have remarked after watching Inceptionwe [Bollywood] can’t even think at that level [Hollywood]”. Perhaps Bollywood can’t think at that level, PK, but Bahubaali has shown that Bharatiyas—real Bharatiyas—certainly can.

 Jai Mahishmati!

References:

  1. http://www.thehindu.com/news/cities/Visakhapatnam/telugu-scholars-see-need-for-comprehensive-dictionary/article7121325.ece

Sattva and Bharatanāṭyaṃ

The following Post was composed by Prakruti Prativadi. You can follow her on TCP.


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Abhinaya

Bharatanāṭyaṃ performances often standout for the striking and realistic portrayals of characters and their stories which are powerful and moving and live in the memory of the audience. Audience members even share their experience with the dancer, often telling how the dance made them teary-eyed, or get goose-bumps. The technique and theory of emoting and embodying characters is referred to as Abhinaya in Bharatanāṭyaṃ and Indian classical dances. The word ‘Abhinaya’ literally means carrying the meaning of the art to the audience. In Indian classical dances like Bharatanāṭyaṃ, the means by which this is done is significant, since the dancer must have expert knowledge of the Abhinaya techniques and nuances in order to genuinely embody and communicate the essence of the song to the onlooker and, most significantly, to awaken the Rasa experience in the spectator.

The general understanding of Abhinaya is that it is the emotive and expressive aspect of classical Indian dance. However, Abhinaya consists of more than just the enactment facet of Bharatanāṭyaṃ; Abhinaya consists of four major types. But before going into the technical aspects of Abhinaya and its varied uses, we must first understand the purpose of Abhinaya. The point of Abhinaya is not just to tell a story or play a role. Abhinaya is how the dancer awakens the Rasa experience in the audience. In Indian Aesthetics, Rasa is a supreme aesthetic experience and is the paramount aim in any classical dance performance and is described as a conscious-uplifting experience, in which the spectator feels a bliss-state that is similar to the bliss of Brahman knowledge.

“The experience of Rasa is similar to the experience of Brahman” – Abhinavagupta

Per the Natyashastra, a dance, drama, or music performance that does not generate Rasas and is not offered to the Gods is not really art and is Nīca (vulgar). This kind of performance will not benefit either the audience or the performers. According to Bharata, no meaningful communication can exist without producing Rasa.

Rasa is not limited to the stage or court; Rasa comes from a set of conditions the dancer creates. Rasa is born after the generation of many and varied Bhāvas (mental and emotional states) that differ based on the character and circumstance. Rasa is awakened in the spectator as result of:  Vibhāvas (determinants), Anubhāvas (consequent reactions), Vyabhicāri (impermanent mental states), Sāttvika (with Sattva) and Sthāyi (permanent mental state) Bhāvas emerging first. According to Bharata, Abhinavagupta, Śārṅgadeva, and other scholars, the Rasa experience is the ultimate purpose of Nāṭya (dance, drama and music). Without Rasa, the performance does not bring a benefiting and lasting effect to the onlooker. Rasa experience is filled with joy and is akin to the knowledge of Brahman.

The Rasa experience stays with the audience for some time even after the performance has concluded; the audience wants to experience it again. During the Rasa experience, the very consciousness is transformed to reflect the true inner Self. The concept of Rasa is ancient and found in the Vedas and Upanishads. For example, the Taittriya Upanishad declares that: Raso vai Saha: Rasa (is) Him (Brahman).

Rasa is not isolated to dance, but also exists in poetry, music and drama. The dances of temples, performed by Devadāsis and in some cases even temple priests also have the same goal of generating Rasa in the onlooker because these dances are not just rituals, they generate Bhāvas which result in Rasa; the Devadāsis also offered their dances to the Divine Gods, which is the same motive of the dance performed on the Raṅga (stage) described in the Nāṭyaśāstra. There is no difference in purpose between the dance described in the Nāṭyaśāstra and the dance of the temples.

Abhinaya consists of four types:

Āṅgika Abhinaya: Using the body, including the arms, hands, feet, legs, torso, face, and head in dramatic representation.

Vācika Abhinaya: Dramatic portrayal through the use of speech, in Bharatanāṭyaṃ Vācika Abhinaya consists of the songs and compositions that are danced.

Āhārya Abhinaya: Consists of make-up, jewelry, flowers, props and accessories used by the dancer to aid in dramatic portrayal.

Sāttvika Abhinaya: Emoting and portrayal of characters and situations through Sattva.

All these types of Abhinaya are essential to generate the Bhāvas and awaken Rasa in the audience. Amongst these, however, the more intangible and indefinable type is undoubtedly Sāttvika Abhinaya. Sāttvika Abhinaya is portrayal that is full of Sattva. This is a crucial ingredient, because it is required to genuinely embody the Bhāvas that will generate Rasas.

Bharata states that a successful performance is not one in which the dancers win awards or gain materially but one in which the Rasa experience was powerful and experienced by the audience. This is the measure of Siddhi (success) that Bharata emphasizes.

Sattva

“One must take particular care of Sattva… for Abhinaya resides in Sattva” -Nāṭyaśāstra 

Sāttvika Abhinaya, as the Nāṭyaśāstra states is an intangible but vital element in generating the Bhāvas and Rasas. Generating Rasa in the audience is not a simple task. The dancer must possess the technical skill, imagination, intellect and a certain state of mind to be able to embody the characters, stories, and movements that evoke Bhāvas and Rasa. According to the Nāṭyaśāstra and other dance treatises, like Saṅgīta Ratnākara, in order to evoke Rasa in the audience, the dancer’s mind and consciousness must be in a state of Sattva.

“Sattva can only be accomplished by a tranquil, peaceful and concentrated mind” -Nāṭyaśāstra

Bharata and Abhinavagupta emphasize that a performance without Sattva will not move the audience and will not produce Bhāvas and Rasas, and thus, will be unsuccessful and meaningless.

Sattva is a Sanskrit word that has no direct translation in English or non-Indian languages. Interestingly, even Indologists like A.B. Keith, agreed that Sattva has no translation. So, what does Sattva mean?   Sattva is a concept that is present in other ancient Hindu philosophical and sacred works like the Vedas, Upanishads and the Bhagavad Gita and is important in the Hindu worldview and in Hindu practices. Sattva is one of the three Guṇas (attributes, qualities, threads, tendencies); the other two are Rajas and Tamas.

Sattva Guṇa is one that is bright, pure, luminous, buoyant, happy and stainless. Under the influence of Sattva, the mind is calm, unagitated, filled with Śraddha, steady, and reflects the Self (Brahman). A person with a Sāttvic mind renounces the results of his or her actions; in other words, actions motivated by Sattva are offered to the Supreme. As the Nāṭyaśāstra makes clear in the very first chapters, Nāṭya, which consists of Indian classical dance, drama and music, whether performed on a stage or in a temple must be an offering to the Divine Gods.

Rajas is agitation, activity, pain, egotistic, seeking sense-pleasures, and Tamas, is dark, inert, lazy, indifferent and exhibits low passions and tendencies. Our actions are controlled and directed by the mind exhibiting a combination of these three Guṇas.

Sattva also means Rajas and Tamas are not present. When the mind is purified, it is Sāttvic and in a state of Śānti and Ānanda and is able to reflect the Self (Brahman). The Rasa experience itself, is likened to the bliss of Brahman knowledge. Sattva modifies the consciousness to bring out Rasa.

In the Nāṭyaśāstra, Bharata describes eight Sāttvika Bhāvas which are:  paralysis, sweating, goose-bumps, change in voice, trembling, pallor, weeping and fainting. According to Bharata, these Sāttvika Bhāvas give genuineness and realism to the dance and make the audience to become one with the performance, hence generating Bhāvas and Rasa. Bharata states that in order to embody the Sāttvika Bhāvas, the dancer’s mind must be in a state of Sattva – purified of the Rajasic and Tamasic attributes.

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Thus, a prerequisite to an outstanding dance performance is that the dancer must accomplish a state of Sattva before the performance and maintain this state of mind during the performance to generate Rasa. How does the dancer go about preparing the mind to be Sāttvic? It is not just a matter of motivating oneself through pep talks or having a few minutes of quiet solitude before the performance. These, of course, can help and all Bharatanāṭyaṃ dancers, to some extent, will use these techniques. But to have the mind in a state of Sattva prior to and during the performance, the dancer would need more than just motivational techniques, and this observation did not escape the perceptive Bharata.

Yajña

So how does a dancer get into the state of mind that has Sattva? The third chapter of the Nāṭyaśāstra is dedicated to explaining, in detail, a series of Pūjās and a Homa that the dancer and musicians should perform. In these instructions, Bharata clearly states that these Pūjās and Homa are the equivalent of performing a Yajña and will help the dancer achieve a calm mental and conscious state necessary for a successful performance. Siddhi or success in a performance, per Abhinavagupta and Bharata, does not mean winning banners (prizes) or material objects, but Siddhi of the performance occurs if the audience witness compelling Bhāvas and experience the different Rasas.

Therefore, these Pūjās and Homa are not robotic superstitious ritualistic acts; they are a science of connecting one’s own consciousness to the Supreme consciousness. They are an offering and a means for the artists to transform and purify their inner-selves to be Sāttvic.

In these pre-performance sacred activities, Bharata details how the Raṅga (stage) must be constructed according precise measurements depending on the type of Nāṭya to be performed. Significantly, the Vedi (altar) of a Yajña must also be constructed in a precise shape with exact measurements depending on the type of Yajña performed. Bharata then specifies how the dancer must sanctify this stage, and even the entire theatre where that audience will be seated, the dancer should then do a Pratiśṭāpana (sacred installation) of the Gods on the stage, and do a Pūjā to each one of these Deities in a certain order and with particular sacred Mantras. The dancer must sprinkle sanctified water on each limb to purify the body and must partake of the Pūjā and Homa with the utmost Śraddha (belief, Bhakti, and diligence) in order to bring his or her mind into a state of Sattva.

These actions along with their subtle effects will give Siddhi (success) by preparing the dancer to be capable of a performance that is rich in Bhāvas and Rasas. These performances are a few hours long and in some classical dances, like Katakaḷi and Yakśagāna, last through the night, so the dancer needs to muster tremendous energy, enthusiasm and concentration. The musicians too must do a Pūjā to their instruments. In effect, the stage and entire theater (where the audience are seated) become a temple, with the consecration of Deities and Pūjās and finally with the performance of the Homa. Bharata instructs that the point of doing the Pūjās and Homa are to offer the performance (dance) itself to the Devatās. This, advises Bharata, will bring Siddhi (success) to the performance.

Among these preliminary activities, the Homa (similar to a Yajña) is of distinct interest and serves a special purpose. Yajñas are ancient Vedic practices that are transformative and have subtle effects on the consciousness of the performer. Homa derives from and is an adaptation of a Yajña, but a Homa is performed in Pūjās to specific Gods. Both feature a specifically constructed altar, sacred fire and sacred materials. Yajña comes from the root word Yaj which means offering, reverence, adoration and bestowing. A Yajña and Homa, are Tyāga (offering) of Dravya (special sacred material) to the Devatās (Gods). They are complex activities that have subtle and powerful effects. Every offering during the Yajña and Homa results in Apūrva Śakti, which is a subtle effect and hidden power of an action (Karma) on the person who is the beneficiary of the offering. Thus, Yajñas and Homas have an effect on the one who performed it in a subtle manner, by affecting the Śaktis (energies, powers) of that person. Every action produces a Śakti which will produce a result. The dancer and musicians are transformed by the Homa; they exhibit Sattva and subtle energies as a result.

VedicYajnaIt is no coincidence that the Nāṭyaveda (classical dance, drama and music codified in the Nāṭyaśāstra) directly derive from the four primary Vedas contain Vedic ceremonies. Furthermore, Bharata states that performing these Pūjās and Homa is the same as performing a Yajña and the same benefits will be received. Here we see the beautiful connection between the preliminary activities of the performance and the performance itself because the Bharatanāṭyaṃ performance is also a Yajña. The Yajña conducted prior to the performance is a transformative experience for the dancer and musicians, and the Yajña of the dance performance itself is a transformative experience for the audience because they will experience Rasa bliss. Thus, Indian classical dances are themselves an offering, a Yajña conducted by the dancer on a specially built Raṅga (stage) and offered (Tyāga) to the Gods with love, Śraddha and Bhakti. In this case, the Dravya, or sacred material, is the dance which is offered to the Devatās. The ones who enjoy the fruits (Rasa bliss) of the Yajña are the attuned and receptive spectators (called Sahṛidaya).

HomaSome of the above Pūjās are done even to this day. Today’s dancers sanctify the stage and consecrate Mūrtis on the stage and perform a Pūjā offering the performance to the Gods. The Pūjās are offered to Ganapati and Nataraja and Saraswati and Vishnu. The Ārati is done, the sacred dance anklets (Gejje or Śalangai) are worshipped, the musicians also worship their instruments. This is not a mere ritual, but is the time when the dancer, Naṭavanār and musicians come together to conduct the Pūjā with Śraddha and Bhakti and offer the performance to the Gods. Dancers look forward to performing this Pūjā, taking it seriously, performing it with the utmost Śraddha and reverence because it brings them inner Śānti, happiness, and connects them to the Gods. In effect – it makes their mind Sāttvic, which is then reflected in the dance. After the Pūjā, the artists remain in this state of mind, now fully immersed in the art, centered, calm and ready for a rigorous and demanding Bharatanāṭyaṃ performance.

 Bhakti

Therefore, Bharatanāṭyaṃ (and other Indian classical dances) are not practiced by merely perfecting techniques and movements, facial expressions or time and rhythm. Traditional practitioners of Bharatanāṭyaṃ know that they require total immersion into the art and its philosophy, must have Bhakti and humility and reverence to dance successfully. A person who may know the technical movements of Bharatanāṭyaṃ but lacks these Sāttvic attributes such as Śraddha and Bhakti is not qualified to do the dance. Śārṅgadeva states that only one who is pure in mind (Sattvic) can be a dancer. The Devadāsis had this intrinsic Śraddha, and they certainly understood Rasas and Bhāvas. Theirs was not a mechanical ritualistic dance devoid of Rasa. The great exponent dancer Bala Saraswati, a Devadāsi, emphasized the importance of Bhakti as an integral requirement for Bharatanāṭyaṃ:

Bharatanāṭyaṃ is grounded in bhakthi…. In fact bhakthi is at the center of all arts of India. Our music and dance are two offerings to God…This experience may only occur once in a while but when it does for that little duration, its grandeur enters the soul not transiently but with a sense of eternity. As one gets involved in the art, with greater and greater dedication, one can continuously experience throughout the few hours of the dance, the unending joy, this complete well-being, especially when music and dance mingle indistinguishably.” – Bala Saraswati

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Shree Bala Saraswati. Eminent danseuse.

The ancient dance treatises have noted that a person best fit to dance is one who learns with Śraddha and Bhakti. Many expert Bharatanāṭyaṃ dancers and Nāṭyācāryas have observed that if a student does not have Bhakti, their dance is not genuine and has a mundane quality to it and few, if any, Bhāvas are produced. For example, if the dancer does not have Bhakti for Śri Kṛṣṇa, how can they embody the episode in which Yaśoda saw the entire universe in his mouth, and was overcome with awe and emotion? How will the non-believing dancer produce the Bhāvas that are required to generate the Rasa in the audience?Abhinaya is not a mere enactment, it is an exalted, lofty, glorified reenactment that will produce Bhāvas and the Rasa experience.

If the dancer interjects her personal opinions and portrays characters such as Sītā and Rāma through a non-Dharmic lens, the result will not be Sāttvic but a pale imitation, a counterfeit, and will not have any lasting effect on the onlooker and the Yajña of Bharatanāṭyaṃ will be a failure. The dancer must be in total sympathy with the character’s viewpoint and beliefs to embody that character authentically. This does not imply that these dances are somber and boring. Quite the contrary, Bharata states that a successful performance brings about happiness, entertainment, diversion, and knowledge to the onlooker and should generate all of the Rasas (Śṛṅgāra, Hāsya, Karuna, Vīra, Bhayānaka, Bībhatsa, Raudhra, Adbhuta and Śānta).

Philosophy, Language and Tradition

To do justice to the complex songs and poems that are danced, the dancer should do a serious study of the different philosophies of Hinduism. This understanding needs to be deeper than a superficial knowledge of the main features of Hinduism. Knowing the composer’s philosophical leanings to will help the dancer understand the significance of their compositions. As an example, many are familiar with Vaiṣṇavaism, however, there are different schools of Vaiṣṇavaism and their core philosophies have subtle variations that are significant nonetheless. For instance, the Vaishnavism of Sri Vaishnavism, Gauḍiya Vaiṣṇavaism, and the Brahma Sampradāya of Madhvācārya may seem the same, but in fact, they have significant differences and comprehending these will aid the dancer to authentically embody the compositions of those respective philosophies.

For example, the sacred poems of Ānḍāl follow the Śri Vaiṣṇava school whereas Caitanya Mahāprabhu and Purandara Dāsa reflect the Gauḍiya and Madhva schools of Vaiṣṇavaism respectively. Not fully comprehending these subtle differences will lead to missing the beautiful meanings and themes of the songs and even blatantly misinterpreting them in the dance. Ānḍāl’s Tirupāvai has profound meaning as does Gīta Govindaṃ of Jayadeva; however, the refined nuances in these compositions cannot be missed if the dancer wishes to bring about the right Bhāvas and Rasas. The same is true of Śaivism and Smārtism. How can a dancer embody Nirguṇa Brahman without understanding what this profound concept is and the difference between Nirguṇa and Saguṇa Brahman?

Hand-in-hand with this philosophical comprehension, is the practice of the customs and rituals that embody these philosophies. Hindu philosophy is embodied in Hindu practices and customs; they are not just rituals. Just like the Yajña, they are transformative experiences and have effects on the consciousness of the doer. An academic study or an observation of Hindu rituals or interviews with practitioners is woefully inadequate to understand them. These customs and traditions can be understood by experienced and performing them with Śraddha and Bhakti. Therefore, practitioners of these customs are best suited to portray them, because they are not conscious-less ceremonial activities.

CompositionsAndal

This brings us to a vital requirement to dance Bharatanāṭyaṃ and Indian classical dances. Since, as stated by Bharata and other scholars, the dancer’s mind should be Sāttvic and in total understanding with the characters, philosophies and customs and traditions of Hinduism, knowledge of the language in which the compositions are written is crucial. The traditional practitioners of Bharatanāṭyaṃ, Naṭavanārs and Devadāsis, were fluent in several languages and well-versed in our philosophy and traditions. The classical compositions are complex and difficult to comprehend even for a person fluent in the language in which they were composed. However, trying to understand the meaning of a composition by translations, especially from an Indic language to English (or other non-Indic language) will not be sufficient. Knowing another Indic language is helpful, but a dignified study is required with the aid of an expert in that language. Understanding the colloquialisms of the language and a detailed explanation of the philosophy and narrative is critical.

Even dancers who know the language often must do a diligent and serious study of the composition. English translations fall short in conveying the composer’s viewpoint and themes that are embedded in the cultural mores which the native language naturally communicates. These compositions are lofty and refined, and contain much symbolism which will otherwise be missed. Understanding the song through the Dharmic viewpoint, from the composer’s perspective and the times in which they lived is essential to bring out the Rasa of these works. For instance, the composition ‘Yār Āḍinar, ina yevar Āḍuva?’ in Tamizh tells of the great Cosmic Dance of Nataraja. Another composition “Ānanda Kūtāḍinar” is also about Nataraja and His celestial dance. So, are these compositions essentially the same? Well, a closer study of the above two songs shows they are similar on a topical level but convey different themes and evoke different Bhāvas. Similarly, two famous songs of Purandara Dāsa, Jagadoddhāraṇa and O’ḍi Bāraiyya are about Sri Krishna as the Divine child. A sensitive study of these songs reveals they are dissimilar and portray two distinctly refined themes with powerful meanings. The great composer Tyāgarāja is renowned for his beautiful songs devoted to Sri Rāma, but one should not make the mistake in thinking that all these compositions are the same.

Bharatanāṭyaṃ dance, and all Indian classical dance, is a complex rich transformative knowledge system. Bharata has codified the foundations and details of the sacred Indian dances. These codes are purposeful and not optional. They contain a profound philosophical aesthetic that is manifested physically in our ancient dances. The dancer’s mind (Manas) should be transformed into a state of Sattva and remain so during the performance so that the audience experiences the Rasas, which is the ultimate aim of these dances. Bharatanāṭyaṃ and other Indian dances are Yajñas that have a deep lasting impact on the consciousness of the dancer and the Sahṛidaya audience. Understanding these core fundamentals is the foremost prerequisite in the journey to be an accomplished and successful dancer.

RasasBook

About the Author: Prakruti Prativadi is a Bharatanāṭyaṃ dancer and Founder Director of Kalā Saurabhi Dance School in the US; she actively performs in the US and India. She has spent seven years researching the Nāṭyaśāstra and other Sanskrit texts on Indian aesthetics. She has written a book based on her research, Rasas in Bharatanāṭyaṃ, available on amazon.com


References:
  1. Ghosh, M.M. 2006. P. Kumar (Ed.) Nāṭyaśāstra of Bharatamuni. (Vols. 1-4). Delhi: New Bharatiya Book Corporation.
  2. Prativadi, Prakruti. 2017. Rasas in Bharatanāṭyaṃ. South Charleston: Createspace.
  3. Sarangadeva, Sangītaratnākara. Adyar Library Series.
  4. Srinivas, P. N. 2000. Mathugalu [Talks on Kannada Literary Criticism, in Kannada]. Bangalore: Purogami Sahitya Sangha.
  5. Subrahmanyam, Padma. 1979. Bharata’s Art Then and Now. Bombay: Bhulabhai Memorial Institute. Madras: Nrithyodaya.
  6. Swami Harshananda. 2001. Vedic Sacrifices. Bangalore: Ramakrishna Math.

Disclaimer: This article represents the opinions of the Author, and should not be considered a reflection of the views of the Indic Civilizational Portal. The Author is responsible for ensuring the factual veracity of the content, herein.

Copyright: Prakruti Prativadi. All rights reserved.