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BHARATHA MUNPRESENTED BY
M.MONICA FLO
BBC 2ND YEAR
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BIOGRAPHY:SAGE BHARATA is the father of I ndian theatrica
and musicologist who authored the Natya Shastra
I ndian drama, dance and music find their root in
the Natyashastra.
He was born in Kashmir between 200B.C and 400but some histor ians place him between 1000 and
500B.C.
According to some critics he was a follower of Ka
shaivism
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He is also said to have collected all the mater ial o
acharyas (ancient teachers) l ike Tumburu, Naradand gave the Natyashastra a complete coherence
additions, alterations and adaptations.
There was qui te a large number of commentar ies
Nayashastra of Bharata.
But all of them are unfortunately lost, except the
Bharata of Abhinavagupta.
Besides Abhinavagupta, there are only three com
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The earl iest commentator of the Natyashastr
who gives the theory of the aropevada (attr ib
Shankuka happens to be the second commen
Bharata.
The thi rd commentator of Bharat is Acharya
Bhattanayayaka who gave the theory of bhuk(theory of taste) based on sadharanikarana
(generalization).
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The next renowned exegete of Bharata is Abh
of roughly later half of the 10th and fi rst half
C.E.
H is concept of rasa has a profoundly philoso
H is concept of atmaprakasha (self-consciousexpansion of Shaiva phi losophy in which Par
equated with atma (soul ) equipped with praka
The other comentators were bhattanayaka, R
BhattaTauta , Kir tidhara, Vamadeva, Matrigu
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NATYASHASTRA:The Nayashastra known as
Natyaveda or the f if th Veda, is a
classical manual on the theory and
practice of I ndian aesthetic theatre,
music, dance, poetics, gestures and
many other all ied arts given by Bharata
Muni.
The Nayashastra pr imari ly aims
at giving the necessary directions to actors.
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I t also aims at helping the aesthete,
who is eager to enjoy the beautiful
and afraid of the study of the Vedas
and Puranas, which show the ways
of realization of the main objectives
of human li fe.
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DATE OF COMPOSITION:
As far as the date of this work is concerned, therviews based on religious bel ief and linguistic ana
references to decide the date of this work.
According created by Brahma, in compliance wi
request of the gods to the religious view.
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I t is also bel ieved that
Brahma took the element of
song from the Samaveda, the
tandava (vigorous dance) f romShiva, the lashya (grace)f rom
Parvati and compiled the
Nayashastra.
As regards the view based
on linguistic analysis The
scholarly opinion varies
placing it anywhere from 2nd
century B.C.E. to 2n
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DIVISION OF NATYASHASTRA:
Based on the manuscript of the Abhinavabhacommentary of Abhinavagupta (11th century
divided into thir ty-six chapters.
I n general,there are eleven topics that are co
Natyasastra. Theyare:Rasa(sentiments),Bhava(emotions),Abh, Dharmi(practices of performance),Vri tti (sty
(regional styles),Siddhi (achievement),Swara
notes),Atodya (instrumental music),Gana
(singing)&Ranga (stage)
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The rasas are nine, bhavas are 49 ,abhinaya
types, the practices are two, four are the styles
siddhi-2, swara-7, atodya-4, gana-5 types, ran
three.
There are nine types of rasa:-adbhuta, karun
veera, sr ingara, hasya, bhayanaka, bhibatsa a
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Four kinds of abhinayas (acting/
expression)angika abhinaya
(bodil y expression), vacikaabhinaya (l inguistic expression,
aharya abhinaya (costumes of the
characters and stage decoration),
sattvika abhinaya (voluntarychanges expressed by the presence
of tears, mark of horr ipi lation, change
of facial color, trembling of l ips, enhancing of nos
express the deepest emotions of a character.
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Two kinds of dharmis
(theatr ical representations)
lokadharmi
(artistic representation
of the ordinary world or
the real l i fe) andnatyadharmi (artistic
representation of the
imaginary worlds l ike
svarga (heavens).
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Four kinds of vri ttis (modes of productions)bharati (dominance of spoken contents) kaish(dominance of dance and music) sattvati(dominance of elevated and heroic feelings) aarabhati (dominance of violent and conf l ictua
actions) The four pravr ittisavanti , dakshinatya,panchali and magadhi (the tastes of audienin var ious parts of I ndia)
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Four kinds of atodyas (musical instruments us
stage); ganam or dhruvas (songs sung in the co
dramatic action at f ive juncturespraveshiki (before the entry of a character), naishkramiki (
sooth emotions of the audience after a very mov
shocking scene), akshepiki (song sung to create
intervention) and antara (song sung in between
enter tain the audience)
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The primary purpose of this work is a blissfulmental state.
Bharata thus proclaims:This natya wil l be the
cause of bliss to all those poor beings who are
aff l icted by diff icul ties,hardships and sorrows
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