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FINE ARTS..
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like sankha, śråga, bher7, dundubhi and pațaha etc. Bāņa writing about the army before its march depicts the scene in a graphic way : "Straight away the drums rattled, the nandis rang out joyously, the trumpets breyed, the kahalas hummed, the horns blared, the noise of the camp gradually increased.»I Various instruments like naṁdimuha, mausda, samkha and padaha when seen or heard in a dream were considered auspicious for acquiring material prosperity.2 Dance and Drama
Related to music were the arts of dance ( nộtya, natta ) and drama ( nadaga, abbiņaya ) and these have been mentioned as components of music. The nadas or națțass have been mentioned along with the talacaras and kusilas. The term gamdhuvvanattasala“ also indicates that music and dancing were practised together. Three different terms, i. e. natta, ņādaga and nịtya have been mentioned in the NC. Natta was without music, while na daga was accompanied by music.5 Nịtya is explained as assuming various postures or forms by the different parts of the body, i. e. feet, thigh, knee, waist, arms, fingers, face, eyes and eyebrows along with their proper expression (vikärakaraña). Expression thus played a great part in dancing and dramatic performances.
A proper training under a competent master was required for natta which must have been given in the natýasala. Ņatta was divided into four classes : (i) anciya, (ii) ribhiya, (iii) arabhada and (iv) bhasola.? These have been mentioned in the Natyašastra of Bharata along with the various types of dances,
1. Harsacarita, Tr. p. 199, also p. 113. 2. atga hELITEETHGEA TEKEE 4 auf T -NG. 3, p. 101. 3. NO. 2, p. 468. 4. NO. 3, p. 297.
. ritate fatigd opez, traui JT 4131_NC. 4, p.-2; Byh. Vq. 3, p. 697. 6. NC. 4, p. 199; scc also-Paumacariya, 37. 50. and 39. 22. 7. Azt golongifi fefite 37TCHE Heta fa-NC. 4, p. 2; Brh. Vr. 3,
p. 697.
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