Prafulla Vilasrao Kale
Assistant Professor, Department of Music
Yeshwant Mahavidyalaya, Wardha, Maharashtra
Email: kaleprafull@gmail.com
Abstract
This paper aims to examine a brief study of Vada Nirnaya of Sangeet Samayasara by Acharya Parshvadeva. Indian music has a very ancient history. There is evidence of music in written form since the Vedic period. There are two types of aspects in music as follows- 1. Theoretical, 2. Practical. Although the practical part of music is very important, the importance of the theoretical part is not less than that. Both limbs have equal weight. The reason for this is that Pratyakshika was learned side by side in front of the Guru in the gurukula and the knowledge was propagated from one generation to the next; But with the idea of presenting this knowledge in a written or theoretical form to last forever, it is seen that many musical texts were created by many Rishis and Munis in different eras. This shows the invaluable contribution of theory as well as demonstration in music. Acharya Parshvadeva Krita Sangeet Samayasara Grantha was written in the 13th century. During this period Sharangdeva’s Sangeet Ratnakara was established as a respected text in music. It is seen that most of the bibliographers of that time arranged their books on the basis of this book. Despite this Sangeet Samaysara appears to be very unique due to its unique musical principles. Religiously Parshvadeva is a Jain Acharya who played a very important role in the field of music and composed the book, Sangeet Samayasara; in which he has elaborated the new concept called ‘Vada’ along with all the three musical genres of the time i.e. singing, playing and dancing. In this present research paper, we will see a brief study of the vada nirnaya adhikarana in the Sangeet Samaysara grantha.
Keywords: Acharya Parshvadeva, Vada Nirnaya, Vaggeyakara, Kavitakara, Gayaka, Vansha, Nartaka, Taalvadyavadaka
Introduction:-
Acharya Parshavadev was a Jain sage of the Digambar sect. He gained expertise in many fields like religious, philosophical, and musical. “Parsvadeva was the son of Adideva and Gauri. His spiritual Guru (teacher) was Sri Mahadev Arya who was the disciple of Abhaychandra muni (12th century A.D.). Parshvadeva was awarded the title of “Sangitakara” (Ocean of music) because of his deep and vast knowledge of sangita (all the three branches of music).”[1] The book presented by Acharya Parshvadev has 9 chapters and is addressed by the term Adhikarana. In the 9th Adhyaya, “Vada Nirnaya” is a very special subject to be studied by the most musically curious. In this research paper we will briefly review all the chapters and see the 9th Adhikarana ‘Vaad Nirnaya’.
Prathamadhikaranam:- Acharya Parshvadev has started the presented chapter with Manglacharana and bowed to Lord Vishnu. In this chapter, he describes the plan of the Sangeetsamayasara Grantha as it deals with all the three musical genres of singing, playing and dancing. After that, the author has given brief information about Margi music by mentioning two types of music, Margi and Desi.
स्थानश्रुतिस्वरग्राममूर्च्छनास्तान संयुताः।
साधारणा जातयश्च रागा मद्रादि गीतकम् ।। 7।।
एव स्वरगतोददेश सोपपत्तिरूदाहरूतः ।
संक्षेपेणास्य शास्त्रोक्तपदार्थावगति. फलम् ।। 8।।
तान्यह नाममात्रेण निरूक्तिसहित कथम्~[2]
Songs related to Swara like Sthana, Shruti, Grama, Tan, Murchchhana, Abdhana, Jati, Raga, Madra etc. are elaborated in a very thorough manner. In short, the knowledge of scientific matter is the fruit.
Dwitiyadhikaranam:- In this chapter, the author describes the Deshi Sangeeta in detail.
अबलाबालगोपालक्षितिलैर्निजेच्छया।
गीयते सानुरागेण स्वदेशेशरूच्यते।।1।।
देशेषु देशेषु नरेश्वराणां रूच्याजनानामपि वर्तते या।
गीतं च वाद्यं च तथा नृत्त देशीतिनाम्ना परिकीर्तिता सा।।2।।
सा देषी द्विविधा शुद्धसालगभेदत।
सप्तस्वरेश्वसौ गीतवाद्यनृत्तेषु कीर्तिता।।3।।[3]
From the common man to the king of our region what is sung lovingly according to our wishes is desi music. The songs, instruments and dances which come into practice in the territories of various kings according to popular taste, are desi. 2 types of Deshi music are Shuddha and salaga. It is described in seven swaras dependent songs, instruments and dances.
In this chapter, points such as Pindotpatti, Nadotpatti, Dhvani, Sariralakshanam, Alapti, Gamaka, Geet Bheda are described.
Trutiyadhikaranam:- In the third chapter there is a detailed description of many points like Thaya, Ragalapati, as well as Jivasvara, Griha, Nyasa, Apanyasa, Sthanam.
Chaturthadhikaranam:- In the fourth chapter, the ragas are classified into ragang-bhashang-upang-kriyang types by explaining their differences. After that many ragas are detailed.
Panchamadhikaranam:- In the fifth chapter, giving detailed information about Nibandha Prabandha, Niryutka, Uniryutka, Antrayasyukta, Amphibious as well as Pure Sood Krama, and Consecutive Sood, various types of Prabandhas are described with symptoms.
Shashthyadhikaranam:- In this sixth chapter, giving detailed knowledge about instruments, classification of instruments, five types of vadanbheda, haste vyaparbheda, patahvarna, hudukkavarna, ashtdha hasta, dashadha hastapata, pataha dwadash vdyani, mridanga patvarna, uttamamardinkabheda, vinshati prabandhha, gundali vadyani.
Saptamadhikaranam:- In this chapter, giving detailed knowledge about dance, anga, upanga, angabhinaya, vakshanshi, asanyuktahasta, sanyuktahasta, nrutyaj hasta, dasha bahava, chaturvidh parshva, panchavidha kati, panchavidha pada, ashtvidh darshanani, deshisthanlakshana, pala, karana, peranapanchagani, patram.
Ashthamadhikaranam:-
गीतं वाद्यं च नृत्त च यतस्ताले विराजते।
तस्मात्तालस्वरूपश्च वक्ष्ये लक्ष्यानुसारतः।।1।।
तालशब्दस्य निश्पत्तिः प्रतिष्ठार्थेन धातुना।
स तालः कालमानं यत् क्रियया परिकल्पितम्।।2।।[4]
Tala is embedded in gayana, vadana and dance. The word tala is derived from the root metal tal. A tala is a unit of measure, represented by kriyas.
In this chapter, giving detailed knowledge about tala, dvividha managati, kriya, matra, laya, yati, marga, chaturvidhstala, taloddesha, talanirupana.
Navamadhikaranam:- In this chapter, giving detailed knowledge about vada nirnaya of all the characters related with Music (Vocal, instrumental and dance).
A Brief study of ‘Vaad Nirnaya’:-
‘Vada Nirnaya’ is the 9th adhikarana of Acharya Parsvadeva’s Sangeet Samayasara text. The author first elaborates the purpose of the ‘Vada’.
Purpose of the Vada Nirnaya:-
गीते वाद्येच नृत्ये च तत्तद्विज्ञा परस्परम्।
भवेयुर्वादिनस्तस्माद् वक्ष्यते वादनिर्णय ।। 1।।[5]
Specialists in their subject compete with each other in Vocal, Instrumental and Dance. Professional singers, instrumentalist and dancers strive to excel. “There is mutual rivalry among the artists of vocal, instrumental music and dance in their arts. Therefore, the vada nirnaya (Rules related to contest) is enunciated in this chapter.”[6]
Concept of Vada Nirnaya:-
परस्परसमाक्षेपो यो वादिप्रतिवादिनो।
स्वपक्षपरपक्षाभ्या वादस्स परिकीर्तित ।।2।।
सभापतिश्च सभ्याश्च तौ वादिप्रतिवादिनौ।
इति प्रोक्त मतंगाद्यै वदिस्याङचतुष्टयम् ।।3।।
कथयामि क्रमादेषा लक्षण च समासत।[7]
Proper objections made between the plaintiff and defendant by the party and opposite party are known as ‘Vada’. After mastering their art, artist and literary scholars used to travel to different states to exhibit their art. Such competition among scholars can be seen from ancient times. Further, Acharya Parshvadeva has presented the opinion of Matang Muni and asserted: – Speaker, Sabhya, plaintiff and defendant are the four parts of the Vada.
Reasons of Vada:-
निर्वाहाधिक्यवाछा च मत्सर स्वामिकौतुकम्।
स्वैरगोश्ठिपरीभावः कारणान्तरवैरिता ।।22।।
प्रतिपत्ति स्पृहासूया कीर्तिव्यसनिता तथा।
विद्यामदश्च निर्दिष्टास्तज्ज्ञैर्वादिस्य हेतवः ।।23।।[8]
Desire for more than subsistence, envy, admiration of masters, enmity for some reason, certain point of view or opinion, lust, desire for expansion of fame all contribute to Vada.
A taboo Vada:-
स्त्रीपु सयोर्वृद्धयूनो दरिद्रश्रीमतोस्तथा।
विनीताद्धतयोः खिन्नतुष्टमानसयोरपि ।।24।।
शिष्योपाध्याययोर्भिन्नविद्ययोर्भीरशुरयो।
न वादो विहितस्सद्धि वादहेतुशु सत्स्वपि ।।25।।
वित्तेन विद्यया रूढ्या समयोवदि इश्यते।
तस्मादत्र प्रवक्ष्यन्ते गुणदोषाश्च वादिनाम् ।।26।।[9]
Argument between certain individuals is prohibited during competition. As Women-Men, Old-Young, humble-rude, sad-satisfied, master-disciple, cowards-warriors are considered inappropriate. Among those who are equal in wealth, education and sect the Vada is valid.
Vadi – Prativadi:-
अनुवाददृढःप्रज्ञः स्वशास्त्रश्रवणान्वितः।
परोक्तदूषणोद्धर्ता वादी स्यात् पक्षसाधकः ।।20।।
वक्तार शास्त्रवेत्तारं बुद्धिमन्तं बहुश्रुतम्।
वादिपक्षनिहन्तारं तं विद्यात्प्रतिवादिनम् ।।21।।[10]
Skilled in conveying the hopes of the opposite party, versed in his science due to Gurumukh’s acquisition of knowledge, correcting the defects raised by the opposite party and presenting his side, the Vadi is the first to argue.
The speaker who is learned, intelligent, well-known and refutes the plaintiff is called the prativadi.
Vaggeyakara:- One who is well versed in dhatu and matu i.e. literature and music (all genres) is called Vaggeyakara.
Vaggeyakara Vada:-
वाग्गेयकारयोर्वादे सूड गातु प्रदापयेत् ।।51।।
उत्तार बन्धगीत वा पट्टान्तरमथापि वा ।
कुरूप वा ततस्तद्धत् गुणदोशान् निरूपयेत्।।52।।
तां श्रण्य तयोज्र्ञात्णा दद्याज्जयपराजयौ।[11]
When there is a vada between vaggeykaras, it is necessary to look at their merits and demerits by giving sud,uttara, bandhagita, pattantara or kurupanga in the contest for composing and singing. It is appropriate to determine their victory or defeat from that.
Gayaka:- He is known as a singer who is well versed in the Margi and Deshi genres, demonstrating the genres of singing.
Gayaka Vaad:-
जाते गायकयोर्वादे शुद्धे छायालगेऽथवा ।।101।।
सूडौ छायौ तयोरत्र प्रवक्ष्येते यथाक्रमम्।
एलादिसूड विशम शुद्धे गातु प्रदापयेत् ।।102।।
आलप्ति तादृषीमेव स्थायमेकादशाङ्गुलम्।
सूड छायालगे दद्यात् ध्रुवार्दि विशम तथा ।।103।।
आलप्ति तादृषीमेव स्थायमपि दशाङ्गुलम्।[12]
It is asserted that Suda and Sthay should be given between Shuddha and Chayalaga during a Vada between two singers. “They should be asked to sing suda and thayas respectively as follows- Ela, the visama suda prabandha in complicated jhombad tala, visama alapti and eleven angula long thayi should be given in the shuddha category. The dhruva etc. visama suda with similar alapti and a thayi of ten angula are to be given to sing in the chayalaga category.”[13]
Vansha Vada:- The vansh is the flute. The author has detailed the merits and demerits of the flute player and has given information about what to do after a vaad arises between them.
जयश्रीर्विजयोनन्दो महानन्दाभिधस्तथा।
वंशारचत्वार इत्युक्ता वादेशु भरतर्शिणा ।।119।।
वंशे वादनियमः
अथ सूडाश्च थाय्यश्च वादे नियमकल्पना।
इत्युक्तेन प्रकारेण गुणदोषान्निरूप्य च ।।120।।
तारतम्य तयोज्र्ञात्वा दद्याज्जयपराजयौ।[14]
The author evokes the view of Bharatamuni. He mentions the four dynasties useful in the debate as Jayashri, Vijaya, Nanda and Mahananda. The rules of suda and thaya in Vada are the same. The narration of jay-parajaya is correct by determining their merits and demerits. After this, the merits and demerits of vina vadaka are described and classification of instrumentalist is given.
Kavitakara:-
Learned, nobel, intelligent, healthy, handsome, expert in six margas and kalbheda, skilled in yatis and grahas, knowledgeable in avapa and all kriyas, connoisseur of dhruvka and other matras, master of kulavadya in exposition of text according to the letters of the instruments, connoisseur of talavadyavidhana, skilful in the interpretation of yathaksharavinishpadna, A poet is a person who specializes in producing the relative meaning of the syllables of the instruments.
Kavitakara Vada:-
कविताकारयोर्वादे गुणदोषस्तदीयकैः।
तारतम्यं तयोज्र्ञात्वा दद्यात्जयपराजयौ ।। 147।।[15]
It has been asserted that victory or defeat should be determine by keeping a record of merits and demerits after the disputes arise among poets.
Talavadya vadaka Vada (Talavadya-vadaka, Geet-vadaka & Nritya-vadaka):-
तालवाद्यं चन्द्रकला त्रिगुणं च प्रदापयेत्।
गीतवादकयोर्वादे सूडमेलादि संज्ञकम् ।।170।।
चित्रा॰च पद्धर्ति दद्यात् वादन्यायःपुरोदितः।
नृत्तवादकयोर्वादे वाद्यमोतादि दापयेत् ।।171।।
तत्तद्विद्यावशादेव मान्यानपि परीक्ष्य च।
तारतम्यं तयोज्र्ञात्वा दद्याज्जयपराजयौ ।।172।।[16]
“If there is a contest between the percussionists is held, the participants should be asked to play the chandrakala in triplet rhythm. The song players should be given to play with the ela suda while the dance players should be given otta to play in the composition. Each type of art should be judged according to their own standard and the victory or defeat should be awarded.” [17]
Nartaka Vada:-
वादे नर्तकयोर्जाते सम्यगेलादिवादनै।
पादपाटैस्समुचितै पात्रसड्क्रमणैरपि।।183।।
स्वतो लास्यादपि तयोर्गुणदोशान्निरूप्य च।
तारतम्य परिज्ञाय दद्याज्जयपराजयौ।।184।।[18]
If a dispute arises between the dancers, the merits and demerits of the two should be determined based on the playing of the ela, the transition of knowledge into appropriate footwork, the lasya of dancer, and the victory or defeat should be determined.
By analysing the merits-demerits & vada nirnaya of Gayani, hudukka vadaka, vainika, nartaki, perani dancer, gundali dancer and panbandhe varniyani Acharya Parshvadeva has expressed respect towards Mahadeva and concluded the ninth adhikaranam of sangeet samayasara.
Conclusion:-
- The 9th chapter of Acharya Parshvadeva krita Sangeet Samayasara grantha is very characteristic.
- The present chapter provides a detailed discussion of the vada, purpose, reasons and decision of vada.
- Artists of all genres of music i.e. singers, instrumentalists and dancer’s merits and demerits as well vada nirnaya are described in detail.
- Detailed description of the Gayak-gayani, nartaka-nartaki is obtained.
- The merits and demerits of vaggeyakara, poets, gundali dancers, perani dancers have been described and vada nirnaya have been made.
References:
[1] Vijayalakshmi, M. (2011). An Analyticl Study of Sangitasamayasara of Sri Parsvadeva. Raj Publications, New Delhi. p. 8
[2] Brihaspati, A. (1977). Acharya Parshvadeva krit sangeet samaysaar. Shree Kundkundbharati, Delhi. p. 4
[3] Ibid, p. 23
[4] Bhardwaj, A. (2018). Sangeet-Samaya-Sara. Raj Publications, New Delhi. p.184
[5] Ibid, p.194
[6] Vijayalakshmi, M. (2011). An Analytical Study of Sangitasamayasara of Sri Parsvadeva, p. 241
[7] Brihaspati, Acharya. (1977). Acharya Parshvadeva krit sangeet samaysaar. Shree Kundkundbharati, Delhi. p. 224
[8] Ibid, p. 228
[9] Ibid, p. 228
[10] Vijayalakshmi, M. (2011). An Analytical Study of Sangitasamayasara of Sri Parsvadeva. Raj Publications, New Delhi. p. 244
[11] Ibid, p. 232
[12] Ibid, p. 240
[13] Vijayalakshmi, M. (2011). An Analyticl Study of Sangitasamayasara of Sri Parsvadeva. Raj Publications, New Delhi. p. 257
[14] Brihaspati. (1977). Acharya Parshvadeva krit sangeet samaysaar. Shree Kundkundbharati, Delhi. p. 243
[15] Ibid, p.248
[16] Ibid, p. 251, 252
[17] Vijayalakshmi, M. (2011). An Analyticl Study of Sangitasamayasara of Sri Parsvadeva. Raj Publications, New Delhi. p. 265
[18] Brihaspati. (1977). Acharya Parshvadeva krit sangeet samaysaar. Shree Kundkundbharati, Delhi. p. 254
