NATYA SHASTRA PDF IN HINDI
हिंदी नाट्य शास्त्र I - सुधा रस्तोगी. Hindi Kavyalankara Sutra - Acharya Vishweshwar. Natya Shastra of Bharata Muni With Abhinava Bharati I - Madhsusudan Shastri. Hindi Natya Shastra I Sudha Rastogi. byjavanesegraviton. Usage CC0 Universal. Topics Sanskrit-Related-Books, संस्कृत-ग्रंथ. Natya Shastra of Bharata Muni Volume 1. byBharata Muni. Topics Natya Shastra, Natya sastra, dance, Bharata muni, Barata muni. Collection.
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A TREATISE ON HINDU DRAMATURGY AND HISTRIONICS. Page 7. Page 8. THE NATYASÃSTRA. A Treatise on Hindu Dramaturgy and Histrionics. Ascribed . Hindi Natya Shastra I - Sudha resourceone.info DownloadReport. Published on Dec View Download The composition date of Natyashastra is unknown, estimates vary between BCE to CE. The text may The Natyashastra is the oldest surviving ancient Indian work on performance arts. .. "Natyashastra" (PDF). .. Hindi dance songs .
Topics include Marathi stories, Ayurveda and health. It is celebrated in and near Maharashtra on the first day of the Chaitra month to mark the beginning of the New year according to the lunisolar Hindu calendar.
The most studied version of the Natya Shastra text consists of about verses structured Anandashram Sanskrit Series Anandashram Samskrita If you come across any of the missing volumes of Anandashram Sanskrit Series mentioned in the above list in pdf format or in print, … Arvind Gupta ; ArvindGuptaToys. Have fun and learn through Toys and Books. Only problem is that the titles are wrongly spelt by the data entry workers.
Sangita - Wikipedia ; Sangita is broadly categorized as consisting of three interrelated knowledges: gita vocal music, song , vadya instrumental music , and nrtya dance, movement. These ideas appear in the Vedic literature of Hinduism such as in the Aitareya Brahmana, and in early post-Vedic era Sanskrit texts such as the Natya Shastra, Panchatantra, Malvikagnimitra and Kathasaritsagara.
Mohiniyattam - Wikipedia ; Mohiniyattam is a classical Indian dance, which by definition traces its repertoire to the foundational text Natya Shastra. The Natya Shastra text is attributed to the ancient scholar Bharata Muni.
The Natyshastra of Bharata Muni brings out the evidence of theatre arts at festivals and public celebrations during the Maurya Dynasty, founded by King Chandragupta reigned B.
C B. The Maurya Dynasty ruled India for a long period. The missionaries used various forms of arts including drama, to teach Buddhist dogma. In a similar way, the Gupta Dynasty A.
C- B. C and the dramatic theatre flourished. The great playwright Kalidasa was patronized by King Vikramaditya A. Kasturi and Vardhan4 cite the noted historian Will Durant and are of the opinion that least the seed of drama lies in the Upanishads.
The more actual source of drama surely older than these scriptures is the sacrificial and festival ceremonies and religious procession. According to the critics in Shodganga5, a website, The finding of terracotta figurine of dancer, a stone and a bronze dancing statute , the masks, the musical instruments show that the elements of theatre were present even in the oldest civilization of India Indus valley civilization Later the Vedic deities were not only fond of the dramatic arts, Vol.
The Mahabharata refers to dancing halls attached to the palaces and known as nrutyashalas, where the artist used to teach to the princess. Later the kamsutra of Vatsayana reflects another kind of theatre that is puppet theatre. In the early Buddhist literature there is reference of theatre of Ranga.
The jataka tales describes two types of theatre — open air and covered ones. In the fifth century B. According to him, drama is life size art; practically nothing is left out of its cope.
It also means the performing arts of dancing, singing and playing on musical instruments together. Entire universe is theme of drama.
Hindi Natya Shastra I - Sudha Rastogi.pdf
History of dramatic literature of India starts with the plays of Bhasa which are ascribed to fourth-fifth century B. The age of the classical theatre is believed to be the golden period of Indian theatre. This period last until the fifth century, soon after which the wane period for Sanskrit drama began. Although the dramatic literature diminished, the performance traditions transformed into various forms through the traditional and classical folk prevailed.
The Natyashastra, which has been described as the science of drama, is an ancient treatise on dramaturgy that throws light on Indian Aesthetics, poetics and performing arts. Bharat Muni in the second century BC is supposed to have composed this book on theatrical practice and theory that formulates Indian aesthetics. The text of Natyashastra provides a system by which performance experience can be organized and made sense of and rendered comprehensible.
Most likely, the text in an oral form, similar to what we know as the Natyashastra today, was composed between BC, and AD. There has been a lot of debate on the issue of the authenticity of the composer of the Natyashastra. It is even possible that the text was composed by Abhinavagupta or several authors over a period of decades or even centuries.
All debates converge on the fact that the author of the Natyashastra clearly knew theatre from experience. Kapila Vatsyayna7 is of the opinion that Natyashastra was composed by one person, i.
The existence of dramatic rituals, epic stories which were later interpreted in dramatic form, also establishes the fact that it was this time that Sanskrit drama came into being. Unfortunately, there is no physical evidence to substantiate the existence of Sanskrit dramatic performances.
Unlike the Greek and Roman theatre, whose ruins have left behind some tangible evidence of theatre and performance, there are no surviving Indian theatre structures. Plays, Vol. It prescribes in detail the construction of theatre spaces in India, the application of make-up, the design and building of props, arm, foot, eye and other body movements, ritual practices, the organization of theatre companies, the audience, dramatic competitions and the community of actors with additional chapters on music and audience appreciation.
It elaborates the affectiveness of theatre. Primarily dealing with stagecraft, the Natyashastra prescribes and influences Indian music, dance and literature. It nourishes itself with mythology of classical India which was transcribed into drama and performed in the temples and courts.
Besides its relevance to the theatre, the Natyashastra shapes our understanding of music and dance in ancient India.
Both, music and dance have derived a great deal from the guidelines laid down by this text. For example, dance which is dependent on body language to actualize emotions on the stage, has taken its language of gestures, steps and moves from it. In addition to that, the guidelines for critique that Bharata developed are said to have influenced dramatic criticism till today.
The poetics of theatrical performance that the Natyashastra promotes has become important to understanding of original Indian arts in general. Yet, in India, one can hardly critique a novel or a poem or a dance or a painting without taking into consideration the term rasa, which the Natyashastra identifies as a touchstone of aesthetic experience.
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In spite of this, classical Sanskrit drama regarded the Natyashastra as a prescriptive text that finds little or no application so far as real performance on the stage is concerned. As in Greek drama, a lot of variation has been visible in Sanskrit dramas which allude to things that seem to coincide with parts of the Natyashastra, but many Sanskrit dramas also include elements that the Natyashastra does not mention or even forbids.
Wide in scope Natyashastra has contributed towards the growth and development of Indian classical music, dance, drama and art. Hence it maybe said that Natyashastra has laid the cornerstone of the fine arts in India.
The commentaries on the Natyashastra are known, dating from the sixth or seventh centuries. The earliest and the only available one is the Abhinavabharati8 by Abhinava Gupta written between AD. It was followed by works of writers such as Saradatanaya of twelfth-thirteenth century, Sarngadeva of thirteenth century, and Kallinatha of sixteenth century.
However the Abhinavabharati is regarded as the most authoritative commentary on Natyashastra as Abhinavagupta provides not only his own interpretation of the Natyashastra, but a range of information about pre-Bharata traditions.
It gives us an enduring theory about theatrical performance that pervades South Asian culture and aesthetics. Religion and philosophic thought have always influenced society and art in particular moments of history.
The political and spiritual climate was different from what we see today at the time of composition of the Natyashastra. There were various religious strains in India, namely, Hindu, Buddhist and Islamic faiths. The development and propagation of religion was accompanied with vivid imagination which was reproduced in works of art.
No aesthetic could be devoid of spiritual form and content.
The two epics The Ramayana and the Mahabharata fed the imagination of the artists. Peopled believed in the supernatural and emphasis was placed on the mystic symbolism in dance, music, art and theatre. Nataraj, the representation of the dancing Shiva came to symbolize the cosmic rhythm of creation and destruction.
The myths and legends Vol. Bharata's Natyashastra 9 natya, meaning drama or theatre; shastra, a generic term referring to an authoritative text establishes the characteristics of Sanskrit drama. The narrative at the opening of the Natyashastra points at certain characteristics of Sanskrit drama, such that: 1.
It is composed of sacred material. It is meant for an audience that is well-versed in the performance tradition. It is performed by members of the highest rank in the caste system, i.
It requires special knowledge and skill to execute. A complete understanding of dance, music, recitation and ritual language is a must. Training is a hereditary process descending directly from God, and passed down from father to son. It must be performed on consecrated ground. There can be no objection to this procedure in the case of Folk Art. But Classical Art that has been developed in every country has been either directly guided by inspired persons or developed by their texts and tradition.
Most of these inspired persons are Seers and some are semi-Divine according to traditional accounts. We should tacitly agree to call this traditional account 'mythology ' or 'legend' and dismiss them summarily but for the unique ancient texts on arts and sciences that have happily survived in our country. Orpheus and Eusculapius can conveniently be labelled as mythological fingures since we have no trace of their sayings or writings.
But it is not easy to dismiss Bharata. Nandikeswara and Narada in Drama. Dance and Music. Viswakarma and Maya in the realm of Architecture and Sculpture. Atreya and Dhanvantri in the world of medicine or Patanjali, in the sphere of higher psychology all for the simple reason that we have their texts quite intact bespeaking their extraordinary and in many instances super-human perception in their several subjects. This preservation of ancient treasures of culture has been possible only in India in spite of convulsion of political power and disappearance of dynasties, because of the institution of a separate class of society in our country, whose sole business was to study and teach and hand down knowledge from generation to generation.
This unique survivat in India of the original texts of classical art which are as authoritative today as when they ware written must make us pause before dismissing as mythology the semi-divine and super-human personages of other countries like Greece who according to tradition are the originators of arts and sciences in those countries.
In fact civilization is not a mere evolution from barbarism, but the product of teachers super- human and semi-divine who have been sent by the All Merciful Providence from time to time to all countries. The religious scriptures are believed to consist of revelations and prophecies by inspired personages in every country.Apart from this, the Natyashastra is composed in thirty-six books or volumes, as follows: 1.
It was followed by works of writers such as Saradatanaya of twelfth-thirteenth century, Sarngadeva of thirteenth century, and Kallinatha of sixteenth century. Dance in India. The Routledge Companion to World Literature. The Cambridge Guide to Theatre. The Natyashastra is believed to be a compendium of answers to the queries made by a number of munis or sages, who approached Bharata to know about the secrets of Natya veda.
Most of these inspired persons are Seers and some are semi-Divine according to traditional accounts. According to the critics in Shodganga5, a website, The finding of terracotta figurine of dancer, a stone and a bronze dancing statute , the masks, the musical instruments show that the elements of theatre were present even in the oldest civilization of India Indus valley civilization Later the Vedic deities were not only fond of the dramatic arts, Vol.
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