Sambodhi 2002 Vol 25

SR No.: 520775
Original Sutra Author: N/A
Author: Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Publication Year: 2002
Total Pages: 234
Language: English, Sanskrit, Prakrit, Gujarati
Classification: Magazine, India_Sambodhi, & India
File Size: 5 MB

Page 25

GENERAL INTRODUCTION TO UPARUPAKĀS AND EXAMINATION OF ŚRI-GADITA AND DURMILIKĀ
IN PARTICULAR
TAPASVI NANDI
Dramaturgists beginning with Bharata, and also writers on Indian literary aesthetics, the alamkārikas, beginning with Bhāmaha and Dandin who also imbibe in them earlier traditions preserved in works now lost to us, speak of various art-forms prevalent in the dramatic and also performing arts, and also various literary forms not to be discussed here. Ten principal types of drama and also nāţikā, the eleventh, are discussed by Bharata, and it may be noted that dramaturgists following Bharata accept practically all the features of these major dramatic forms without any deviation in their general concept and features. But along with these major dramatic forms must have emerged, almost parallel to these, many other art-forms. known as 'upa-rupakas' to later tradition. Perhaps these art-forms were the out-come of more say, folk-art than classical art and had not only drama in them, but were fused more with song, dance and music, of course with abhinaya' or acting also continuing as their life-breath. Abhinavagupta mentions a number of them. But prior to him Bhāmaha and Dandin in the field of literary aesthetics and Vātsyāyana the author of Kamasutra and even Kumārila the author of śloka-Vārttika had an occasion to mention a few of them. Abhinavagupta quotes Kohala and others and also Harsa's Vārttika that make a mention of some art-forms which embrace the dramatic art and we may say, they are also the representatives of performing art in general. The idea is that these forms do not divorce themselves from drama, but are also something plus; a spectacle full of dance, music and song. Thąt way we may say that the fourth act of Vikramorvašīyam of Kālidāsa can be taken as a unique performance though of course conceived here as part of drama. But perhaps parallel to this and outside drama proper some other minor art-forms must have