261:, end of bodily ailments, child births, wealth. For giving authority to the story, sometimes the original source of story and even cantos were declared. Though the stories are taken from epics and mythologies, sometimes the stories were presented in different manner to entertain the audience. They were tweaked to include the customs and culture of the time to make them contemporary. All Akhyana ends with happy note as seen in Sanskrit theatre tradition.
100:
or
Gagaria-bhatt. They set poetry to musical tunes and do mono acting. They wore silver or copper rings on their fingers which were used to sound the beats on overturned copper-made water pitcher or large globular metal pot having a narrow mouth and bloated mid-part.
346:-Usha story. It was an important fixture in the religious lives of middle-class Gujaratis for several hundred years. The trend continued to decline thereafter and became almost extinct by 19th century. Later some Gujarati poets of modern times like
251:. The colophon includes the name of author, the date of composition, and some autobiographical information like his residence or place, his father's name or preceptor, information about his family. The poem ends with one or more than one
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as a side story from religious texts narrated by
Granthika (professional storyteller) to instruct audience accompanied by singing and acting. This definition does not include the narration of other non-mythological stories like that of
247:, the goddess of learning. After this, the narrator introduced the incident to be narrated taken from mythologies, epics or lives of devotees. After narration, at the end, the narrator cites
257:, the material benefits of hearing Akhyana. It is added for the purpose of attracting audience. The audience were promised with benefits like eradication of all sins,
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are the last two lines, first describing summary of incident narrated and second the incident to be narrated. All
Akhyanas are narrated in these three part
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wrote
Akhyana as genre of poetry but the performance of Akhyana was never revived. Now it is performed by the groups from
334:. The Akhyana reached it peak during 16th-17th century. One of the most popular exponents of the art during the time was
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caste only thus the
Akhyana authored by the person of other castes were given to them for recitation.
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which means 'derived from the conglomeration of lines in different musical tunes and metres'.
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It is a form of enactment of religious episodes from mythological stories as well as
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As
Akhyana is closely related with religious poetry, it begins with obeisance to
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literally means pot in
Gujarati. Further musical accompaniment was provided by
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is a first two lines which introduces the subject or incident of narration.
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defined it as a form of poetry with musical components and scope of acting.
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The narrator or professional storytellers who recited
Akhyanas were called
459:"Dharmiklal Pandya struggles to save dying art of Gujarat Manbhat Akhyan"
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is recorded as one such non-Brahmin, Bania caste author in medieval
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Akhyana is described as form of poetry in the 12th century work of
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form is used between narrative and descriptive parts of
Akhyana.
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172:. Sometimes non-mythological stories of religious devotees like
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wrote large number of
Akhyanas including the popular one,
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318:of 16th century was one of few non-Brahmin author.
425:A Dictionary of Indian Literature: Beginnings-1850
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243:, the god who removes all obstacles, followed by
268:which lasts three to four hours when recited to
136:Akhyana were recited by Manabhatts belonged to
184:Akhyana are divided in several stanzas called
398:. Sahitya Akademi. pp. 28, 29, 121–122.
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264:The length of Akhyana varied greatly, like
148:. They chiefly belonged to south Gujarat.
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274:which was recited to several days.
511:Mahurkar, Uday (12 January 2004).
395:Encyclopaedia of Indian Literature
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487:Hinduism: An Alphabetical Guide
192:is derived from Sanskrit word,
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208:(introduction or preamble),
66:. The 12th century polymath
574:Cultural history of Gujarat
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19:was a traditional musical
422:Mukherjee, Sujit (1999).
354:and other small towns of
290:. The 15th century poet,
47:Etymology and definition
392:Datta, Amaresh (1987).
314:was also very popular.
70:defined Akhyana in his
544:on Gujarati Wikisource
484:Dalal, Roshen (2010).
513:"Singing a Lost Tune"
463:India Today 12012004
564:Gujarati literature
310:related to life of
298:depicting story of
176:were also enacted.
146:Gujarati literature
330:based on story of
308:Kunwarbainu Mameru
497:978-0-14-341421-6
465:. 12 January 2004
328:Balirajanu Akhyan
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216:(Summary).
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362:References
356:Saurashtra
284:Hemchandra
218:Mukhabandh
206:Mukhabandh
202:recitation
92:Performers
68:Hemchandra
33:Rajasthani
542:Nalakhyan
344:Aniruddha
342:based on
340:Okhaharan
304:Damayanti
296:Nalakhyan
271:Nalakhyan
245:Saraswati
170:Bhagavata
131:harmonium
98:Manabhatt
41:Rajasthan
27:genre of
332:Mahabali
249:colophon
162:Ramayana
152:Subjects
123:pakhavaj
64:Sanskrit
29:Gujarati
25:medieval
469:12 June
278:History
241:Ganesha
230:Kadavun
200:or the
198:Kadavun
194:Kadavak
190:Kadavun
186:Kadavun
138:Brahmin
111:cymbals
87:Akhyana
60:narrate
56:to tell
52:Akhyana
37:Gujarat
21:theatre
17:Akhyana
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292:Bhalan
259:moksha
129:, and
115:jhanjh
316:Nakar
226:Valan
214:Valan
160:like
158:epics
142:Nakar
127:tabla
107:Gagar
524:2010
492:ISBN
471:2016
434:ISBN
400:ISBN
322:and
300:Nala
234:Pada
222:Dhal
210:Dhal
180:Form
168:and
103:Mana
39:and
125:),
117:),
105:or
62:in
58:or
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