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भारतस्य सङ्गीत-विश्वानुबन्ध-यात्रा- India's Cultural Pride in Interrelationship with World Music Culture

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भारतस्य सङ्गीत-विश्वानुबन्ध-यात्रा- India's Cultural Pride in Interrelationship with World Music Culture

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	Publisher: Sangeet Natak Akademi
	Language: English
	Pages: 490 (Color Illustrations)
	Cover: HARDCOVER
	11x9 inch
	Weight 2.13 kg
	ISBN: 9788196326104
	HBY374

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Book Description

Foreword The very purpose behind taking the project of Bharatasya Sangeet Vishwanubandh Yatra, under the scheme Azadi ka Amrit Mahotsav is to reveal the richness of Indian culture, namely, its traditions, spirituality, sciences, and arts which make India and Indians feel proud due to its unique characteristics. In ancient Indian literature there is a reference to 64 Kalä-s in Vätsyäyana's Kämasútra. Amongst them Sangita is seminal. We have chosen Sangita as the theme of this compendious work as it is the foremost kala, the most ancient one, strong in sustainability, always growing as well as expanding. On the spiritual level it can render experience of the divine bliss Brahmananda Sahodara, experiencing which the Rasika-the lover of music- is immersed in it. And on the material level it makes him forget the worries of day to day life. It gives direct and immediate experience of joy. There is a misconception that in spite of her amazing flight in the field of vedic literature, philosophy and several other branches of knowledge, India, owing to the 'other worldly outlook was not keen to produce texts on various sciences, scientific knowledge and its experimentation. However, there is substantial evidence to refute the argument on the ground that scholars have generated several texts sharing a common nomenclature-šästra-s-dealing with different sciences in the form of theory as well as experiments with minute details. Nonetheless all branches of scientific knowledge were not open to one and all, some of the texts belonging to scientific technology were open to a very limited disciples for the fear that they could be misused to damage human society. Moreover, due to the influence of Macaulay's educational policy on educational system in India, the studies in Indian philosophy and oriental subjects was discouraged. There was abundant scientific and technical literature produced on alchemy, chemistry, medical science, veterinary science, zoology, astronomy, astrology, mathematics, agriculture, polity, music and dance, art and architecture in India and a pretty amount of this stuff is relevant even to modern times. Some of the prominent texts on sciences in ancient India are: Poetics-Alańkāraśāstra Kävyädarsa of Dandin (6 century AD); Kävyälarńkära of Bhamaha (7th century AD); Kävyälańkärasūtra of Vamana (8th century AD), Prosody- Chandahśästra Chandahšästra of Pingala (circa 2-3 century BC). Grammar- Vyakarana Aştādhyāyi of Panini (circa 5th century BC); Värtska-s of Kätyäyana (3 century BC); Mahābhāśya of Patañjali- a commentary on Värttika-s (circa 2 century); Kälikä Vrtti of Jayaditya and Vämana-a commentary on Astadhyayi (circa 7th century AD). Lexicography- Sabdakośa Namamälä of Kätyäyana (3 century BC); Nämalingānušasana popularly known as Amarakośa of Amarasimha (6th century AD); Abhidhänacintamani and Anekärthasangraha of Hemacandra (11-12th century AD). Polity- Rajaniti-Arthaśāstra of Kautilya (4th Century BC). Alchemy Rasaśāstra Rasaratnākara of Nagarjuna (7 or 8th century AD); Rasahrdaya of Govinda (11th century AD). Chemistry- Rasayanaśāstra Rasendracüdämani of Somadeva (circa 12 or 13 century AD); Dhäturatnamälä of Devadatta (14th century AD). Medicine- Vaidyaka Suśruta Samhita of Suśruta (6" century BC); Caraka Samhita of Caraka (circa 1st century AD); Astangasangraha of Vrddha Vägbhata (7" century AD), Astängahrdaya of Vägbhata (8 century AD) Veterinary science-Paśucikitsa-Gajāyurveda of Palakäpya; Šälihotra of Bhoja (11 deg) century AD); Aśvāyurveda of Gana; Mrgapaksisästra of Hamsadeva (circa 13 ^ prime prime century AD). Mathematics-Ganita - the Sulba Sütra-s; the first part of Aryabhatiya of Aryabhata 15 ^ n century AD); Kütakädhyaya in the Brahmasphutasiddhanta of Brahmagupta 16 deg century AD); Lilavati in the Siddhänta Siromani of Bhaskarācārya ( 12 ^ prime prime century AD). Astronomy- Jyotibśāstra - Süryasiddhänta Lätadeva: Pañcasiddhäntiká of Varähamihira century BC); Aryabhatiya by Aryabhata (S" century AD); Brahmasphutasiddhänta of Brahmagupta 16 deg century AD). ( 1 deg Astrology- Khagolaśästra - Brhajjätaka of Varähamihir; Bhrgu Samhita of Bhrgu. Agriculture and horticulture- Kršivijñānam - Kršiparašara of Parāśara (sometime between 6th century and 11 deg century AD): Vrksäyurveda of Surapala ( 11 ^ prime prime century AD). Erotics- Kämaśāstra -Kämasūtra of Vätsyäyana ( 3 ^ - 1 century AD). Art and Architecture-Sthapatyaśāstra - Käśyapa Silpam of Kaśyapa (not older than 400BC), the Vişnudharmottara Purana; Samarängaņasūtradhara of Bhoja ( 11 deg century AD), Mänasollasa by Somešvara (circa 12 deg century AD); Mayamatam of Maya (sometime between 11 ^ prime prime -12^ prime prime century AD). Music- Sangitaśāstra -Natyaśāstra of Bharata ( 2 ^ n1 century BC); Sangita Ratnakara (circa 13 century AD); Sangita Damodara of Subhankara ( 17 deg century AD). From among these sciences Sangita has been selected for the present treatise Bharatasya Sangeeet Vishvanubandh Yatra for the reason that Sangita is prominently existent and has received great impetus from ancient to modern times. It represents the fundamental aspect of Indian culture. It has a universal dimension. The influence of music was pronounced in the Western and the Asian music outside India over and again. Indian music was altered and adopted by other countries according to their cultural environment. As a šästra it is outstanding because of its merits such as phenomenological inquiry, philosophical reflection and insight to respond to the needs of our times in a unique manner. As a šästra, music has taken the challenges of modern world and tackled with them seriously and successfully. It takes benefit of the technocratic age. Its experiential form led to elaboration and evolution of some of the doctrines. The changes that are seen from time to time in this śästra are not cosmetic; they are genuine, hence they result into widening its horizon. The growth of this śāstra is like a ladder. Every higher rung of the ladder presupposes the lower. As an art-kala-music has immensity of the intimacy with the divinity that admits nothing outside of it. This reminds us of the mantra of the Isa Upanisad: "Everything that moves in this changing world is entwined by Lord."[1] Sangita springs from its primordial source- the unstricken sound the anähata näda. It flows continuously; it incarnates and reincarnates, still its filiation with the ädima-the foremost-and the cosmic sound remains intact. Music is an inbuilt instinct in human consciousness as every human being is susceptible to nåda and tåla - the rhythmic sound. Even the creatures use different kinds of sounds to express different types of emotions such as hoarse for anger, sweet to express love. There is a vital relationship that constantly interacts between the artist and the spectator-the witness.

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