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- Personalities: Dharmasuri
  August 9, 2018Andhra literature is an ancient tradition that encompasses not only Telugu, but also Sanskrit and Prakrit. Continuing our Series on Andhra Personalities is a master of Poetics who explained the precepts of poesy despite being an exemplar of philosophy. Background While studying Telugu poetry is very important for all Telugus, it is also critical to understand not only the connection to Sanskrit literature, but also the Classical Indic Poetics that inform and guide our kavitvamu. Dharmasuri Varanasi is a little known but highly important litterateur from Andhra. He was born in Pedapulivarru, Repalle taluk, Guntur District, during the height of the Reddi Rajyam. He authored the Saahithyaratnaakara, a very significant treatise on Poetics. In fact, it is considered “the last major work on Alankaara saastra barring the Rasagangaadhara“, incidentally also by an Andhra. Due to caste obsession in Andhra ( and other parts of India…) we normally don’t dwell too much on lineage; however, where relevant (or necessary to establish Telugu credentials, as in the case of Apastamba) we do record it, particularly for posterity. Moreover, in the case of Dharmasuri, he himself delves into his ancestry in the introduction of his literary work. “He describes about his ancestors and traces the origin of his vamsa to a sage Angiras and to Brahma himself. From Angiras sage Harita was born. In the family of Haritasa gotra Tripurari Bhatta and others were born. All of them performed sacrifices and were known for their virtues, knowledge, and penance.” It is to this Tripurari Bhatta that Dharma, who was Dharmasuri’s father’s father, was born. There has been some controversy regarding the Telugu’ness of this family, but, Varanasi is a very common name among Telugu brahmins (including yours truly’s own music teacher). “As they were educated at Varanasi, where they also stayed for some time – the family name ‘varanasi’ was appended to their first names.” Narasimhacharyulu garu poetically describes the family of Tripurari Bhatta: He states that Dharma “was born to Tripurari, like Kumara to Tripurari, Lord Siva. He married Nagambika and propitiated Lord Siva by Praasaadamantra supurscharana. Consequently he got a boon that till the seventh generation incessantly, the members of his family would be erudite in all the sastras. He had three sons: Narayana, Parvatesa and Rama. Narayana was a great scholar in the Vedas and did Astavadana in Veda itself. He defeated Ramavadhani in Vedic recitation and debate.” Along with ethnicity, another matter of minor misunderstanding is the particular patron of Dharmasuri. Specifically, it is only a king by the name of Dharmabhupala who is mentioned, but the dynasty (vamsa) is not stated directly. The author of the main reference to this article investigates this methodically. He writes that “There are many kings bearing this name in Indian history. The work Alankarasekhara written by Kesavamisra mentions one Dharmacandra, who is identified as the son of Ramacandra, a scion of the family of Susarma” However, this is ruled out as that dynasty ruled at Kangra in 1563 CE. Another ‘Dharmaraja’ is attached to Andhra, and is noted through the inscription on a grant of the village of Kindedda to Battagosvamin. However, this is too early, ostensibly dating back to 900 CE. Then there is the Bahulasvacaritam of Damarla Vengabhupala, who lived around 1550-1660 CE. “Dharma I was described as devoted to duty, saviour of dutiful, who routed enemies with his cavalry, generous at heart, righteous, friend to good people, learned in dharmas.” This Kalahasti aristocratic lineage of Vengabhupala are considered to be vassals of the Vijayanagara Emperors Araveedu Rama Raya and Sriranga Raya III. But Narasimhacharyulu garu writes that there are not many grants that attest to this family’s generosity and accomplishment in Dharma (nomenclature aside). He also rules out Saluva Narasimha‘s lineage. This led him to conclude that Dharmasuri must have been born during the time of the Reddi Rajyam, and lived in nearby Repalle. “In he history of Andhradesa Reddis of Kondaveedu occupy a prominent place by their political sway, patronage of literature, uplift of ‘Dharma’ endowments to temples and generous grants of land and villages to learned brahmins, especially belonging to Velanadu. To this dynasty belonged Anavema also known as ‘Dharma’ vemana’.” Long time ACP readers would remember King Anavema as the son of Prolaya Vema and brother of Anavota. They are notable for being part of the Musunuri Nayaks revolutionary war against the tyranny of Delhi Turks, and they later became independent kings after the Rachakonda Recherlas betrayed Kapaneedu. “The period of these Reddi kings was augustous age for Telugu and Sanskrit literatures.” So on what basis does the erudite Narsimhacharyulu garu (B.N) assert that the Reddi Rajyam was the period in which Dharmasuri wrote? Beyond Anavema’s numerous inscriptions, prasastis, and tamrapatras, the evidence B.N. places his reliance on is as follows: “It is also said that in the Haritasa gotra there was on Nrsimha who held the title ‘Paravaadi Kunjara ghataasimha. The descendants of Harita gotra are described in another inscription as Somayaajis and learned in the Vedas. There is an inscription of King Anavota which records the grant of Koduru to sixty brahmins of different Gotras and sakhas, renamed Annavotapuram on the banks of the Malapaha river. There are seven brahmins of Harita gotra of Yajus sakha. These are Vissayarya, Singayarya, Surayarya, Devayarya, Gangayarya, Madhava dvivedi, and Annayarya.” The author, therefore, asserts that Dharmasuri should be dated to 1480 CE, as “undoubtedly Anavemareddi was ‘Dharma Vemana‘. As such, he concludes that “Dharmasuri was a Velanati Vaidika brahmin hailing from the part of the country ruled by Reddi kings. Thus Narayanavadhani might have been honoured by Dharma Vemana or Anavema Reddi of 1366-81 A.D.” Moving on, Dharmasuri’s mother was Yellamamba and his own Pitr was Pandit Parvatanatha, who was learned in the orthodox Shad Darsanas (the Six Schools of Philosophy in Vedic Dharma). Parvatanatha defeated a scholar by the name of Janardhana in pitched polemics, and was victoriously given the title ‘Vaadikesari’ (lion among dialecticians). The poor Vaishnava vidvan Janardhana also had to surrender his own title of ‘Maayaavaadi Bhankara‘. As Dharmasuri does not mention any guru, it is assumed that his own uncles and accomplished father served as instructors. Dharmasuri was a staunch bhakta of Lord Rama. In his Ratnaprabha, the introduction itself begins with praise of Rama, and is dedicated to his ishtadevata. He was given deeksha into sanyaasa by Mukundagovinda Sarasvati with the name Raamakinkara Dharma. Elsewhere, Dharmasuri is thought to have gone by the name Ramananda Sarasvati. Of all his accomplishments, Saahithya-ratnakara has stood the test of time. He notes a following truism, which is even more relevant in the present time. “Dharmasuri claims to have written Saahityaratnaakara after a care-ful study and application of the old and new alamkara works. Following Bhartrhari he describes that an unenvious critic, who can appreciate this novel and bold venture, is hard to find. However, he never gets disheartened. He is happy as there is omniscient Raama who will be de-lighted by the work.” Achievements Dharmasuri is considered the greatest Telugu scholar after Mallinatha Accomplished in the 14 disciplines of learning, and was a great logician In total, 13 compositions are attributed to him. Wrote commentaries on texts in Purva & Uttara Mimamsa, Samkhya, and Agamas He became a yati (renunciate brahmana) and wrote on Advaita Wrote a commentary on the brahmasutras, known as Brahmaamrtavarsini or Vivaranopanyaasa Credited with a Commentary on the Yoga Sutras of Patanjali, called Yogamani Prabha Wrote the Krsna stuti, praising the River Krishna, in Andhra desa Authored the Hamsa Sandesa, a Prakrit Kaavya & Dattaratnaakara on Dharmasastra Composed Mahakavyas such as Baalabhagavata and Pancatantrakavya Penned two dramas, Kamsavadha & Narakaasura-vijaya-vyaayoga “Dharmasuri has written many works. He wrote stuti kaavyas, mahaakaavyas and drsya kaavyas; composed treatise on poetics and commented on different systems of Indian Philosophy.” Varanasi Dharmasuri was an highly accomplished scholar and later a tremendously spiritual sanyaasi. He contributed a plethora of works to the Indic Literary & Philosophical canon, and represented Andhra well in the galaxy of litterateurs. As a master of Alankara Sastra, he was a rhetorician par excellence, and ranks just after the echelons of greats such as Dandin and Mammata. Regarding notable characteristics of the Saahityaratnakara (SR), it is a Sanskrit work composed in 10 tarangas, literally meaning waves. He not only restates many of the traditional elements of Classical Indic Literature such as vyanjana (suggestion) and rasa (sentiment), but also provides new insight. For example, the battle between vaidarbhi and gaudi styles of literary Sanskrit is well known. However, Dharmasuri asserts that there is a view that a third style exists, paanchaali, which is a mixture of the other two. . Furthermore, “Dharmasuri upholds Abhinavagupta school of interpretation called Abhivyakti-manifestaion”. Bhaava manifestation is seen as a requirement to enjoy rasa. Most significantly, however, is the restatement of Saatvika bhaava, which might be useful for the pusillanimous pedants of our time: “Sattva is that type of temperament of mind which iden-tifies with the pleasure and pain of others. Such attitude is called saattvika.” Although, SR is his most celebrated composition, it is not Dharmasuri’s only one. It is said “he must have written that work i.e. Ratnaprabha and passed on his guru’s name as humble token of his reverence for him, who guiding him from ‘aparaa vidyaa to paraa vidyaa’ helped in attaining the ultimate bliss….The tradition of ascribing one’s own works to one’s Guru is not uncommon.” Naarayana Theertha is known to have done the same. The Narakaasura-vijaya-vyaayoga is considered the only Dharmasuri drama available in full. Unfortunately, we know of most of Dharmasuri’s works only through his own quotation or via secondary scholar. Balabhagavata and Panchatantrakavya are two such. Nevertheless, his impact in Andhra and the wider literary tradition in Bharatavarsha cannot be gainsaid. “Dharmasuri is a poet of great calibre and has good command over the language. He is a philosopher also. His erudition in different branches of Indian Philosophy is testified by his valuable authorita-tive commentaries.” Legacy “The Andhradesa contributed its to Sanskrit since the Sutra period. In each discipline of Sanskrit, the three-fold system of origin, development and standardization, seems to have been followed. Every branch starts with sutras and is expanded in the form of bhasyas or commentaries and at the end abbreviated in the form of manuals or samgraha works. In poetics, Bharata’s Natyasastra is the starting points and many works and theories are later propounded and are ultimately harmonised in standard works such as Kavyaprakasa.” The ancient Andhra desa has produced many celebrated texts of Pan-Indian literature and literary criticism. The Sahityaratnakara of Varanasi Dharmasuri is one such work. It is a treatise on rhetoric and examines the various elements of classical literature. Contrary to videshi sponsored ‘scholars’, a continuum of literary contribution and criticism is seen, in India in general, and Andhra in particular. For example, Dharmasuri quotes Mallinatha profusely. “a most significant as well as inter-esting point that has missed the attention of the chroniclers of Sanskrit literature is that Dharmasuri not only quotes from Vidyaadhara to support his arguments but also reproduces passages verbatim from Mallinaatha’s commentary ‘Tarala’. He is therefore thought to be posterior to Vidyadhara, Vidyanatha, Singabhupala, and Mallinatha, displaying a vibrant literary climate in the united Andhra region, even in the medieval period. Gaurana and Appakavi both refer to the Saahityaratnaakara. From rhetoric to drama to poetry to philosophy, this Repalle rhetorician produced numerous compositions of notable significance. Moreover, unlike today’s rootless cosmopolitans and 1 dimensional unitary nationalists, Dharmasuri had tremendous love for his native region, and composed Krsna stuti in praise of the River Krishna, the banks of which his village of Pedapulivarru was located. However, it is in alamkaara sastra that this scholarly sanyaasi scion of Tripurari Bhatta shined the most. That the Sahityaratnakara is a text with lasting impact on Indian poetics is apparent from the two commentaries written on it (Naukaa and Mandara). Nevertheless, Dharmasuri’s legacy in literature and literary criticism is best encapsulated as follows: “Vidyadhara, Visvanatha, Vidyanatha and Dharmasuri and others are influenced and inspired by Mammata. Among them Dharmasuri occupies a pre-eminent place by his distinguished contribution to the two main branches of Sanskrit, namely philosophy and poetics.” Click here to Buy this Book! References: Narasimhacharyulu, B. Dharmasuri: His Life and Works—A Critical Study. Tirupati: Rashtriya Sanskrit Vidyapeetha. 2011...
- Carnatic Classical Instruments: Mrdangam
  July 23, 2018Continuing our Series on Carnatic Classical Instruments is an athodya that sets the rhythm of the margazhi season night. After preceding articles on the Veena and the Venu, is today’s post on a vaadhya that doesn’t always get its due. The next Installment covers an instrument that should be part of virtually any classical ensemble: Mrdangam. Introduction As stated previously, the Musical instrument (Aathodhya or Vaadhya) in Classical Indic music is of four kinds: Thatha vaadhyam, Sushira vaadhyam, Avanatta vaadhyam, and Ghana vaadhyam. “They are respectively called stringed instruments, thulai (hole) instruments, leather instruments and metal instruments.” If veena fits the first category and venu the second, then mrdangam fits the third. Avanatta instruments are made out of wood (or clay) and are typically covered with leather. They can be played by hand or stick. In tandem with the categories stated above are a horizontal set of divisions. These are Sruthi, Sangeetha, and Laya “Sruthi Instruments: Tabura (Thatha) – Otthu (Sushira), Sruthi box (Sushira). Sangeetha Instruments: Veena (Thatha), Gottu (Thatha), Violin (Thatha), Flute (Sushira), Nagaswaram (Sushira), Harmonium (Sushira), Jalatarangam *Water is poured in celain cups and then played by sticks). Laya Instruments: Mridangam (Avanatta), Thavul (Avanatta), Keethu (Thatha), Moorsing (Gana), Kanjira (Avanatta), Ghatam (Mud pot), Jalar (Gana)-Bronze).” Arguably the only outlier is the Ghatam, which is a percussion instrument. In light of that, a better series of equivalents has also been proposed by others. That is, chordophones (thatha), aerophones (sushira), membranophones (avanatha), and ideophones (ghana). Ideophones are any solid instrument, without leather coverings or other membranes. The clay ghatam, would therefore be correctly classified under ghana vaadhya. Non-classical instruments which have now become part of the modern Carnatic repertoire are the western imports such as Violin, Harmonium, and Sruthi Box (alternately known as electronic Tambura). The putative etymology of the mrdangam is an interesting one. It is said to be a portmanteau of mrt (‘clay’) and angam (‘limb’, or sometimes ‘body’). This is because the earliest versions are thought to have been made from clay. A variation of this is that the term comes from mrdu (‘soft’) angam (‘part’) due to the leather coverings on either end. Nowadays, the panasa (jackfruit) wood serves as the base of the drum, with leather covering the sides. History Classical Indic Music I: Saastriya Sangeeta Tradition The mrdangam is rhythmic instrument that is at the heart of Classical Carnatic. Alternately called the pakhawaj in the North, it is an ancient percussive piece that continues in use to this day. It is related to the damaru. It is considered by some to be the King of Percussion instruments. “With mridangam came the evolution of the South Indian tala system, perhaps the most complex percussive rhythmic system of any form of classical music. Mridangam is a percussion instrument with Sruthi.” Some have attempted to attach a regional colour to the mrdangam, but this is improper given its attributed divine origins, as noted above and below. “ORIGIN OF MUSICAL INSTRUMENTS: bharata narrated the story of the origin of various instruments thus: Sage svaati went to a lake to fetch water on a holiday when it was raining heavily. The torrents of rain, fast as wind, falling on the lotus leaves in the waters of the lake, excited the birds which produced inexplicable sweet sounds. svaati was astonished at the rich melodious sounds made by the falling water drops and the low, the medium and the high notes produced by the birds. He went back to his hermitage and pondered over the possibility of producing musical instruments incorporating these sounds. He sought the assistance of viSvakarma, the celestial architect, and constructed various drums including mridanga, paNava and dardura.” These instruments were either taught with strings or covered with leather. “He also constructed jhallari, paTaha, muraja, aalingya, uurdhvaka and ankika bearing in mind the pattern of the celestrial drum, dundubhi. The highly creative and imaginative svaati further constructed several instruments in wood and iron“. This is where the story becomes interesting as numerous variations of instruments are described. While vipancii and chitra varieties of veena were considered major instruments, kacchapi, ghooshaka were considered minor. Most notably, however, were the percussion instruments. “Among the percussion instruments, the tripushkara or the three drums viz., mridanga, paNava and dardura are the major instruments and hallarii, paTaha etc., are the minor instruments.” Many may point out the difference in the northern and southern kutapas (instrumental ensembles), but Bharata muni himself commented on the matter: “pravritti or regional identity is recognised through costume, dialect, habit, tradition, custom and occupation. It must be mentioned that there are innumerable variations in the factors that contribute to and establish regional identities. These in fact vary even within a particular region. However, for the sake of brevity, bharata has classified four regional identities. They are daakshiNaatya, aavanti, ooDhramaagadhi, and paancaalamadhyama. Broadly speaking, the classification made by bharata may be taken to mean the southern, western, eastern and northern regions of India, taken in order. each of these regions consists of different tracts of land with separate identities (Ch. XIII).” Thus, the modern Northern preference for the tabla is immaterial to the overall nature of the common Marga tradition of North and South. In fact, contrary to those cuddly little ‘syncretic’ stories about how the tabla was created by cutting the mrdangam in half, the truth is the tabla was originally called the pushkara drum. Historical evidence can be seen in the ancient temple sculptures at Mukteshwar and Badami. The mrdangam is also mentioned in the Mahabhasya of Patanjali. It is said that it can be used both as a keeper of tala and as an inspiration to the vocalist. Mrdangam is even referred to as “the supreme percussion instrument”. Types Though it is often thought that the dundubhi is the ancient-most of all the percussion instruments, mrdangam has a venerable past in its own right. Pakhawaj is variant of the older mrdangam. It is said to have derived its named from the sanskrit word Pakshavaadhya, which means side instrument. The Punjabi dhol is related to it. Interestingly, the etymology regarding the clay origin of the mrdangam is seen in its eastern variant, the khol, which is made out of terracotta. Finally, there is the Tamizh thavil, which is very enlarged and played with a stick. Characteristics The mrdangam is a barrel drum, unlike the kettle drum dundubhi. It mimics this in appearance. Furthermore, there is generally a larger and smaller aperture to produce a range of sounds: “The bass aperture is known as the “thoppi” or “eda bhaaga” and the smaller aperture is known as the “valanthalai” or “bala bhaaga”. The smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds.” The basic strokes are Tha, Dhi, Ki, Na, Thom: Process The process of constructing a mrdangam is one that requires significant time and expenditure. Though jackfruit wood is preferred, morogosa and coconut tree wood are also used. The body of the instrument is carved from a single piece of panasa wood The diameter of the left head is at least a half an inch greater than the right Buffalo leather is used for the outer ring and Goat leather for the inner ring A black stone is ground and mixed with powdered rice to make a paste for inner ring Legacy “Rhythm (Layam) is the father of music. There is no music, especially Carnatic music without Layam. And, mridangam is the main percussion instrument of Carnatic concerts. It occupies a pre-eminent place in the firmament of global percussion and is rightly known as the “king of percussions.” No other percussion instrument has such unique and varied acoustic properties, structure, tonality and performing capability.” The antiquity and centrality of the mrdangam to kutapas (ensembles) and vaadhyabrndhas (orchestras) alike cannot be gainsaid. It is the basic instrument of laya and its rhythmic beauty is one that inspires to this day. The beauty of this instrument is that it can feature as accompaniment or solo performer alike. What matters is the skill of the instrumentalist. Jaya Senapati states these as qualities for a quality instrumentalist: “The following are the qualities needed of a Mukhari or an instrumentalist; To be in knowledge of the count of the characters in a rhythmic cycle, to be acquainted with Mayuri, Arthamayuri and Kaarmaaravi, the three Maarjanams or procedures to produce solfa syllables, steady dexterous with the hands, capacity to compose instrumental music, comply with the mood of the character, skill at bringing the group together harmoniously, armed with the skill to entertain, good form, capable of balancing abundance and paucity, in knowledge of the notes of the instruments, genius at composing music, sagacious to hold on and let go at the appropriate time, shrewd to frame patterns in the rhythmic cycles, citra, dhruva, vaartika, and daksina, strong, cautious, well-versed in the progression in tandem with rhythm, physically flawless, acute to cover the dearth of any thing, ingenious at grasping and producing sounds, upright in stance, capacity to play mellifluously, discerning to eulogise the president of the gathering appropriately, the musical notes closely follow him if they are not a part of him, a ear for supporting music, a steady enthusiasm and the hand being perpetually in contact with the instrument.” Though Lord Vishnu is considered a consummate percussion player, the Puranas also state that Nandi serves as the main mrdangam accompaniment to Lord Shiva, when he dances the Thandava. While it is more difficult to catalogue ancient historical players, here is a listing of mrdangam instrumentalists from recent years. Famous Players Hirogi Rao Palghat Mani Iyer Palani Subramaniam Pillai Palghat R.Raghu Ramanathapuram C. S. Murugabhoopathy Pudukkottai Dakshinamurthy Pillai Vankayala Narasimham Mavelikkara Velukkutty Nair Mavelikara Krishnankutty Nair B.K. Chandramouli Sivaraman Yella Venkateshwara Rao T.K.Murthy Umayalpuram K Sivaraman T.V.Gopalakrishnan T S Nandakumar Karaikudi Mani Trichy Sankaran Guruvayur Dorai Mannargudi Easwaran Thiruvarur Bakthavathsalam Patri Satish Kumar Arun Prakash R. Akshay Ram Nakul Sridhar Future Representing Andhra is one of the leading exponents of mrdangam, and a recent recipient of a Padma Sri, Yella Venkateshwara Rao garu. He not only has national recognition, but has the distinct honour of the triple v (vocals, violin, veena) to his name. Despite cultivating these multiple musical talents, mrdangam became his life’s muse. The Yella International Institute of Mridangam is said to have trained 1500 students under the gurukul system. In fact, many credit him with raising this divine percussion instrument to a purely solo performance level. So why wait?—start today and learn from modern instructors the basics of this ancient instrument. Whether it is Lord Vishnu or Yella Venkateshwara Rao, the mrdangam is truly the Divine Instrument of Rhythm. References: Iyer, A.S. Panchapakesa.Karnataka Sangeeta Sastra: Theory of Carnatic Music. Appa Rao, P.S.R & P. Sri Rama Sastry. A Monography on Bharata’s Natya Sastra. Hyderabad: Natyakala Press. 1967.P.110-112 Pappu, Venugopala Rao. Nrtta Ratnavali of Jaya Senapati. Kakatiya Heritage Trust. 2013. ‘All about Mrdangam’. The Hindu. https://www.thehindu.com/todays-paper/tp-features/tp-bookreview/All-about-mridangam/article15410528.ece ‘Treatise on Music’. The Hindu. https://www.thehindu.com/thehindu/br/2002/08/20/stories/2002082000060302.htm ‘Mridangam as the supreme percussion instrument’ https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/mridangam-as-the-supreme-percussion-instrument/article3216709.ece Stone, Ruth M. The Garland Encyclopedia of World Music. Routledge. 2017 ‘Making of Mridangam’. D’Source. http://www.dsource.in/resource/making-mridangam-instrument-bengaluru-karnataka/making-process...

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