Natyashastra has been a classic on dramatics and aesthetics which has been commonly attributed to Bharata, the sage for its authorship. It has been founded on human psychology prevailing under conditions of India’s cultural system with a focus on on-stage performance. Rasa theory is at the center of the Natyashastra. The significance of the text lies in its applied relevance for both creative and critical aspects. It displays philosophically as a classic as well as a contemporary text. Bharata defines each Sutra offers us in terms of determinants, consequence,s and Vyabhichari Bhav establishing his authority in understanding the insight of human nature with an ability of analytical expression and dramatic representation for ultimate Nishpatti of desired Rasas for pleasure and delight of the audience. The tradition of Sanskrit scholarship regards Natyashastra as an additional Ved and is a compendium of performing arts, drama, music, dance, and fine arts. Bharata leaves deep influence on the subsequent Sanskrit critiques like Abhinav Gupta, Manmohan, or Vishwanath in India aesthetics. It is possible that on the basis of the practical experience of Rasas the art can find bedrock for art and fine arts.
Old stories tell of a time, when God Shiva attended a play, staged by the Sage Bharata and his hundred disciples (Some accounts say they were his hundred sons). The play was called Tripura Dahan and Bharata was staging it at the behest of God Brahma. Shiva, who was attending with his ganas, was impressed by the performance. He suggested to Brahma that it would get even better if the drama being acted out on the stage was embellished with dancing.
Shiva accepted Brahma’s request graciously and instructed Tandu, one among his retinue of ganas, to teach Bharata the secrets of dance. Tandu was a masterful dancer. There were many dance forms that Tandu had learned during his time with Shiva. But teaching the divine dances of Shiva was a difficult task. Tandu realized that every time his god danced, it was a new form. For Natyashastra, which was for the consumption of common folk, Tandu could only choose one. He remembered a graceful dance routine he had once seen Shiva perform against a dusky Kailasha sky. Tandu taught the one to Bharata, who later added it to the Natyashastra. In honor of his teacher, Tandu, Bharata called this dance form, the Tandava.
The most popular expression of poetry in Urdu and Persian, the ghazal, is known as much as a poetic form as it is as a genre of music. The ghazal has roots in seventh century Arabia and gained prominence in the 13th and 14th century due to works of Persian poets like Rumi and Hafiz. Indian poets started writing ghazal in Urdu and Persian in the eighteenth century. The name of the poem is based on the Arabic word, ghazal, which means ‘talking to a beautiful young lady.’ Ghazal originated in Arabia long before the birth of Islam. It is a derivative of the Arabic panegyric qaseeda, which consisted of three sections: the naseeb, the raheel and any standard form of poetry. The naseeb was the introductory portion of the qaseeda that dealt with themes of nostalgia, romance and longing.
"Mysticism is the inherent desire to seek oneness with the ultimate reality... the sense organs provide the only window to perceive this supreme state of being... This state is non-material, just like music is... the first musical instrument was the human body itself, and the first created music, the human voice... In mysticism, everything is vibration... all material forms made up of vibrations... The drum, through its rhythms, replicates these vibrations... the beating together of cymbals is said to signify the symbolic union of opposites... an activity which is necessary to maintain the harmony of the dynamic universe... the flute... gives forth a clear, pure and simple sound... both intensely melancholy and entrancingly sprightly... The sacredness and reverence for the flute can be gauged form the fact that it is often deified as an extension of Krishna\'s own beauty"
Shiva is known the world over as a god of awe-inspiring and terrible power. For many Hindus, he is the god of destruction, rending the universe and bringing existence back to emptiness when the Yuga cycle comes to its completion.
In this role, Shiva is an essential element of the godhead, clearing the way for the universe to renew itself. Much like the Death card of the Tarot, his role is a source of horror for those clinging to the way things are, but he is also a necessary harbinger of the new universe. Famously, Shiva accomplishes his destruction through his tandava — also called Tāṇḍava natyam — a dance he performs to bring the universe to darkness.
But Shiva’s tandava has many other purposes as well. He dances through the entire cycle of the lifespan of the universe. From its creation to its preservation and, finally, to its end, the tandava accompanies and makes possible all three phases. The tandava is described in many texts, including most notably the Natya Shastra. In this tome on performing arts, elements of the dance are described.
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