Yasastilaka and Indian Culture

SR No.: 001609
Original Sutra Author: N/A
Author: Krishnakant Handiqui
Publisher: Jain Sanskruti Samrakshak Sangh Solapur
Publication Year: 1968
Total Pages: 566
Language: English
Classification: Book_English, Story, Literature, & Culture
File Size: 16 MB

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YASASTILAKA AND INDIAN CULTURE
The custom of rangapūjā, as described in Bharata's Natyaśāstrat (chap. 3), is a very old one and illustrates the interconnection of art and religion in ancient India. In the Natyasāstra, however, rangapūja is an elaborate process involving the worship of a large number of deities in the playhouse with various offerings, and Sarasvati is merely one among them; but it is probable that in later times Sarasvati alone was worshipped, and in any case Somadeva does not mention the worship of any other deity in the natyasala. Further, according to Bharata, the item of Purvaranga, an elaborate musical prelude consisting of songs and dances before the performance of a play, takes place after the rangapūjā proper is over. Somadeva seems to make a combined reference to both the items when he speaks of pūrvarangapūjā, but the distinct mention of rangapūja in the verse quoted above shows that he has in mind the customary worship preceding a dramatic performance in the Hindu theatre. In regard to the position of Sarasvati in rangapūjā, Somadeva's verses in praise of the goddess in Yasastilaka are mainly in the nature of a benediction addressed to the king; and in the Natyasästra also, after the formal worship of the deities in which Sarasvati has her due share,' the preceptor of the dramatic art (nātyācārya) praises and greets the king and the dancing girls, and then utters a benedictory verse for the prosperity of the king, in which the blessings of Sarasvati and certain allied deities are prominently invoked.
Sarasvati is represented by Somadera as white and seated on a white lotus: she is three-eyed (i. e. has an eye on the forehead), and has matted hair on the head, and the crescent for ear-ornament. She has four hands bearing different emblems: the dhyāna-mudrā (also called cinta or jñānamudrā); a rosary of Rudrāksa beads; a book; and the earada-mudrā. Somadeva's description of Sarasvati roughly corresponds to that found in authoritative texts like Sāradātilaka, īsānasivagurudevapaddhati and Praparicasāratantra, except for minor variations in the distribution and character of the emblems. According to Sāradātilaka 6. 44 and Prapascasāra 7. 3, for instance, the emblems are jñāna-mudrā, a rosary of Rudrākşa beads, a jar of nectar and a book; while Prapancasăra 8. 41 substitutes
1 ETV Tant grą rei frauerat: Thu Higher il Natyaśāstra 3. 37 ? Ibid. 3. 88 8. 3 Yaśastilaka 3. 261, 262. 4 ***STATUUT TN fagi argomi Tai ratai area Răghavabhatta
says in his commentary: BET ET 1 3580 ta arraiget Paert ger . The "book" is explained as referring to the UET, which is described as the closed left fist facing oneself (Tagfe: fet act y arana).