Sambodhi 1994 Vol 19

SR No.: 520769
Original Sutra Author: N/A
Author: Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Publication Year: 1994
Total Pages: 182
Language: English, Sanskrit, Prakrit, Gujarati
Classification: Magazine, India_Sambodhi, & India
File Size: 6 MB

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Vol. XIX, 1994-1995
ORIGIN AND DEVELOPMENT... (Udātta, Anudātta and Svarita) and so is the recitation in the performance of a play. (Bharata however adds a fourth type of svara - kampita - in luis treatment of vācika). Sāma is a synonymn for song, as Jaimini rightly understands. The Yajurveda treats various plıysical gestures including circular movements - pradaksiņā and the movements of hand and feet with rhythmic patterns and chanting of mantras. This led to the concept of physical gesticulation in Nātya.?
During Vedic age, Yajña had become a potential and viable medium for the growth of various arts. It functioned as a meaningful platform for all sort of creative activities. According to Yajurveda, (XXX.6) sūtas, sailūsas and other artists were invited in the Yajña for giving music and dance-recitals and performing various other activities related to crafts or technical skills.
The KSS (21.3.11) refers to performance of nytta, gita and playing of various instruments in pit?medha sacrifice. It also describes the circular movements with rlıythm and tune by the amātyas (ministers) in the same sacrifice. In Vājapeya Yajña, the wives of the yajmāna played several Viņās, named as the godhāvīņā and the kandavīna, while the other instruments went on in accompaniment. (KSS, XX. 3.71,79). Professional musicians were also invited to give their recitals during the performance of the Yajña. They were called the viņāganagins. Singing of gāthas went on along with the vīņā-recital (KSS,XX.3.2; 8.7). In the Aśvamedha Yajña also invitations were extended to the maestros of vīņā for giving their recitals and they came with their pupils to present their programme. They were given an honorarium of one hundred gold coins each. (KSS XX.3.7-8). The śukla Yajurveda mentions a jester, a lute player and a hand clapper as accessories to dance-recital in Yajña-performance.
The assembly which gathered on the occasion of the Yajña was entertained by a variety of items. In the Vajapeya sacrifice a chariot - race was organised, in which the Yajamāna was deliberately made to win, giving a theatrical touch to the show! (KSS. 14.3.19-42)
The institution of Yajña, apart from its ritualistic aspect, gathered the form of a festival open to all. In some of the yajñas, the presence of the sūdras was a pre-requisite. Āpastamba (1/19/9) prescribed śüdra's presence in Darśapūraṇamāsa. According to Satapatha Brāhmana, sudras and rathakāras were necessarily invited in the Pitriedha Yajña also.