2415:
1584:, is determined by combination of vegetables, spices and other articles such as sugar and salt, the audience tastes dominant states of a drama through expression of words, gestures and temperaments. These dominant states are love, mirth, sorrow, anger, energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience. There are eight temperamental states that a drama can deploy to carry its message. The text describes four means of communication between the actors and the audience – words, gestures, dresses, representation of temperament and
1577:, state Sally Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, then through the art performed, it provides enjoyment to those wanting pleasure, solace to those in grief, calmness to those who are worried, energy to those who are brave, courage to those who are cowards, eroticism to those who want company, enjoyment to those who are rich, knowledge to those who are uneducated, wisdom to those who are educated. Drama represents the truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness.
1506:
1191:
1517:
6909:
42:
1497:
1246:, musical meters and the language of expression. Chapter 17 presents the attributes of poetry and figures of speech, while chapter 18 presents the art of speech and delivery in the performance arts. The text lists ten kinds of play, presents its theory of plot, costumes, and make-up. The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female theater. The training of actors is presented in chapters 26 and 35 of the text.
1477:
1486:
2654:"A summation of the signal importance of the Natyashastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyashastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (…)".
8215:
1764:
1773:
8225:
8204:
1964:
6655:
1991:
8235:
2024:
2185:, encourages self-development within the actor and raises the actor's level of consciousness, which in turn empowers him or her to express ideas from that higher state of consciousness. Acting is more than physical techniques or rote recitation, it is communication through emotions and expression of embedded meaning and levels of consciousness in the underlying text.
887:
6647:
111:
1753:
2036:
2029:
2017:
2010:
2003:
1996:
1984:
1744:
2378:, states Abhinavagupta, temporarily suspends man from his ordinary world, transfers him into another parallel reality full of wonder, where he experiences and reflects on spiritual and moral concepts, and in there is the power of arts to transform the inner state of man, where the beauty of the art lifts him into the goals of
5788:
The
Bibliography and Table of Contents of vol. 1 (1951) are missing from the web version. It contains a number of typos and of notes missing and generally skips Sanskrit quotations present in the printed version, providing only their English translation. On the other hand, chapters 28 to 36 from vol.
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is ultimately to let the spectator experience his own consciousness, then evaluate and feel the spiritual values innate in him, and rise to a higher level of consciousness. The playwright, the actors and the director (conductor) all aim to transport the spectator to an aesthetic experience within him
1234:
theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting. Stage instruments such as methods for holding accessories, weapons, relative movement of actors and actresses, scene formulation, stage zones, conventions and customs are included in chapters 10 to 13
1198:
The most studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters. The tradition believes that the text originally had 12,000 verses. Somewhat different versions of the manuscripts exist, and these contain 37 or 38 chapters. Predominant number of its verses
905:
theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect
1312:
The general approach of the text is treated entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The text allows, states
Schwartz, the artists "enormous innovation" as
1249:
The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of
882:
The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role
2462:
Nāṭyaśāstra, states
Natalia Lidova, has been far more than "a mere compendium on drama". It provided the foundation of theatrical and literary works that followed, which shaped the post-Vedic culture. It has been an important source book of Hindu performance arts and its cultural beliefs regarding
2140:
enshrines the male and female actors in any performance art to be the most important. The brightness of performance, or its lack, impacts everything; a great play that is poorly performed confuses and loses the audience, while a play that is inferior in significance or meaning becomes beautiful to
993:
is unknown. Estimates vary between 500 BCE to 500 CE. The text may have started in the 1st millennium BCE, expanded over time, and most scholars suggest, based on mention of this text in other Indian literature, that the first complete version of the text was likely finished between 200 BCE to 200
1005:
The text has survived into the modern age in several manuscript versions, wherein the title of the chapters varies and in some cases the content of the few chapters differ. Some recensions show significant interpolations and corruption of the text, along with internal contradictions and sudden
1626:
discusses Vedic songs, and also dedicates over 130 verses to non-Vedic songs. Chapter 17 of the text is entirely dedicated to poetry and the structure of a song, which it states is also the template for composing plays. Its chapter 31 asserts that there are seven types of songs, and these are
1595:
describes the stage for performance arts as the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on the stage, and such architectural
1659:
in songs. These are melodic tools of art for any song, and they are essential. Without these melodic intonations, states the text, a song becomes like "a night without the moon, a river without water, a creeper without a flower and a woman without an ornament". A song also has four basic
2434:
The first chapter of the text declares that the text's origins came after the four Vedas had been established, and yet there was lust, covetousness, wrath and jealously among human beings. The text was written as a fifth Veda, so that the essence of the Vedas can be heard and viewed, in
2401:
review and commentary of
Abhinavagupta mentions older Sanskrit commentaries on the text, suggesting the text was widely studied and had been influential. His discussion of pre-10th century scholarly views and list of references suggest that there once existed secondary literature on the
1291:
from India, with sections on the theory and practice of various performance arts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance.
1570:(plot) emerges through the "representation of three worlds – the divine, the human, the demonic". Drama has dharma, it has artha, it has kama, it has humor, fighting and killing. The best drama shows the good and the bad, actions and feelings, of each character, whether God or man.
1588:(make ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama. The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist can use to express these states, in chapters 6 through 7.
4897:(…) "the function of the art of theatre, described in the Natyashastra is to restore full human potential, life in enlightenment. The concept of beauty in Indian tradition is, therefore, conceived and presented as the experience of delight at a higher level of consciousness."
1210:
The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters. The text opens with the mythical genesis and history of drama, mentions the role of different Hindu deities in various aspects of the arts, and the recommended
1006:
changes in style. Scholars such as PV Kane state that some text was likely changed as well as added to the original between the 3rd to 8th century CE, thus creating some variant editions, and the mixture of poetic verses and prose in a few extant manuscripts of
2145:. A performance art of any form needs auditors and director, states the text, whose role is to work together with the actors from the perspective of the audience and the significance or meaning the playwright of the art work is attempting to convey.
2451:. The text originated to enable arts that influence the society and encourage each individual to consider good counsel, to explain sciences and demonstrate arts and crafts widely. The text is a guide and progeny of what is in the Vedas, asserts the
1534:
The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to a supersensual state of discovery and understanding. The stories and plots were provided by the
Itihasas (epics), the
1324:, states Daniel Meyer-Dinkgräfe, presumes that bliss is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means. Performance arts aim to empower man to experience this
1723:, the oldest surviving text that systematically treats "the theory and instruments of Indian music". Music has been an integral part of performance arts in the Hindu tradition since its Vedic times, and the theories of music found in the
1296:
topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu
1359:
defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The
5776:
2455:. The text re-asserts a similar message in the closing chapter, stating for example, in verses 36.20–21 that performance arts such as drama, songs, music, and dance with music are equal in importance as the exposition of the
2509:
is the ground plan for each of the arts, be it architecture, sculpture, painting, music, dance or drama. The artist repeats and chisels this imagery by giving it concrete shape through stone, sound, line or movement.
1344:(transitory states). In the process of emotionally engaging the individual in the audience, the text outlines the use of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous.
1562:(inner state of being) of all characters in the story, and it is these bhavas that the audience of that drama connects with. The hero is shown to be similar to everyone in some ways, trying to achieve the
1667:
The ideal poem produces bliss in the reader, or listener. It transports the audience into an imaginative world, transforms his inner state, and delivers him to a higher level of consciousness, suggests
5829:
1596:
features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand the message and the meaning being communicated. After the 10th-century,
1158:
thus likely trace to the more ancient vedic traditions of integrating ritual recitation, dialogue and song in a dramatic representation of spiritual themes. The
Sanskrit verses in chapter 13.2 of
1031:. It may be the work of several authors, but scholars disagree. Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by
1287:, states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology". It is the oldest surviving encyclopedic treatise on
1707:
as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions.
1092:
refers to drama performers as Śhailālinas, likely because they were so known at the time the text was written, a name derived from the legacy of the vedic sage Śilālin credited with
2204:
qualities, because human lives are an interplay of these. The actor must feel a specific state within, to express it without. Thus, states Daniel Meyer-Dinkgräfe, the guidelines in
1830:. Chapters 28 through 34 are dedicated to music, both vocal and instrument based. Chapter 28, discusses the harmonic scale, calling the unit of tonal measurement or audible unit as
2406:
by at least
Kirtidhara, Bhaskara, Lollata, Sankuka, Nayaka, Harsa and Tauta. However, all text manuscripts of these scholars have been lost to history or are yet to be discovered.
2374:
and performance arts appeal to man because of "the experience of wonder", wherein the observer is pulled in, immersed, engaged, absorbed, and satisfied. The performance arts in
840:
2919:
1795:
the ancient Indian tradition classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of). The
1672:. Great songs do not instruct or lecture, they delight and liberate from within to a state of godlike ecstasy. According to Susan Schwartz, these sentiments and ideas of
901:
is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic
2181:
The text dedicates significant number of verses on actor training, as did the Indian dramaturgy literature that arose in its wake. The ideal actor training, states
1131:
was free form art and included singing. The
Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient
1103:
According to Lewis Rowell, a professor of Music specializing on classical Indian music, the earliest Indian artistic thought included three arts, syllabic recital (
2414:
2124:, covered giving the example of drums, solid giving the example of cymbals, and hollow stating flutes as example. Chapter 33 asserts team performance, calling it
2278:
states Daniel Meyer-Dinkgräfe, is to restore the human potential, man's journey of "delight at a higher level of consciousness", and a life that is enlightened.
2231:. Chapter 24 is dedicated to females in performance arts, however other chapters on actor training include numerous verses that mention women along with men.
1539:
and the Kathas genre of Hindu literature. The text also states that the god Brahma combined the elements of acting from the four Vedas: "recitation from the
2081:
or microintervals of musical tones or 1200 cents. This is very close to the ancient Greek system, states Emmie Te
Nijenhuis, with the difference that each
1088:: Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. The
2077:, states Maurice Winternitz, centers around three themes – sound, rhythm and prosody applied to musical texts. The text asserts that the octave has 22
1045:
format, but enumerates more styles and types of performance arts, which states
Winternitz, may reflect an expansion in studies of the arts by the time
2101:), mentioning three scales of seven modes (21 total), some of which are the same as the Greek modes. However, the Gandhara-grama is just mentioned in
8264:
5888:
1443:
The text discusses a variety of performance arts as well as the design of the stage. The text details three architectural styles for the playhouse:
833:
1207:), some verses are in Arya meter (a morae-based Sanskrit meter), and the text has some text that is in prose particularly in chapters 6, 7 and 28.
1010:
may be because of this. According to Pramod Kale, who received a doctorate on the text from the University of Wisconsin, the surviving version of
6562:
5789:
2 (1961) are included in the web version whereas vol. 1 stops at chapter 27 and contains only a preliminary version of chapters 34, 35 and 36.
2532:
has attracted scholarly interest in communication studies for its insights into developing texts and performances outside the Indian culture.
1531:
Drama, in this ancient Sanskrit text, is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness.
1242:
The chapters 14 to 20 are dedicated to plot and structure of underlying text behind the performance art. These sections include the theory of
6636:
5854:
5724:
5703:
5617:
5564:
5519:
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5477:
5456:
5414:
5393:
5355:
5334:
5282:
5261:
5194:
5153:
5126:
5099:
5009:
4982:
4887:
4860:
4815:
4776:
4733:
4706:
4676:
4640:
4583:
4553:
4526:
4326:
4294:
4202:
4175:
4137:
4071:
4019:
3992:
3962:
3848:
3814:
3764:
3737:
3710:
3622:
3584:
3552:
3487:
3460:
3032:
3000:
2891:
2852:
2813:
2644:
2610:
2359:
is notable for its extensive discussion of aesthetic and ontological questions, such as "whether human beings comprehend performance arts as
5303:
8304:
2483:
1580:
The text goes into specifics to explain the means available within dramatic arts to achieve its goals. Just like the taste of food, states
879:, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.
7300:
2263:
and Bharata in linking arts to spirituality, while the text itself asserts that beautiful songs are sacred and performance arts are holy.
2227:
Specific training on gestures and movements for actors, their performance and significance, are discussed in chapters 8 through 12 of the
595:
2251:, through empowering the concentration of mind for the liberation of the Self (soul, Atman). These arts are offered as alternate paths (
1135:
make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries".
826:
1378:(performance), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to achieve
8294:
5746:
5674:
3522:
3267:
3238:
8132:
1172:) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes.
5543:
5435:
5313:
2915:
2128:(orchestra) which it states to have one male and one female singer with nine to eleven musical instruments accompanied by players.
1190:
1799:
accepts these four categories as given, and dedicates four separate chapters to them, one each on stringed instruments ('tat' or
1146:, may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values. The
8120:
7651:
5777:"Museum for Natya Shastra / Bharatanatiyam at Bharata Ilango Foundation For Asian Culture (BIFAC) in Pattipulam, ECR, Chennai"
2120:
describes from chapter 28 onwards, four types of regular musical instruments, grouping them as stringed giving the example of
1505:
8238:
7949:
1328:, or re-experience it. Actors aim to journey the spectator to this aesthetic experience within him. Rasa is prepared, states
563:
2922:
in Monier William's Sanskrit-English Dictionary, 2nd Edition, Oxford University Press, Archived by Koeln University, Germany
1977:
8078:
6552:
1061:
is the oldest surviving ancient Indian work on performance arts. The roots of the text extend at least as far back as the
2459:, and that participating in vocal or instrumental music once is superior to bathing in river Ganges for a thousand days.
883:
and goals of an art director, the musical scales, musical instruments and the integration of music with art performance.
8127:
5881:
2382:(correct living, virtues, duties, right versus wrong, responsibilities, righteous). Abhinavagupta is also known for his
1664:
to empower its meaning, and these tone patterns are ascending line, steady line, descending line and the unsteady line.
8142:
1215:(consecration ceremony) of a stage for performance arts. The text, states Natalia Lidova, then describes the theory of
7238:
1516:
551:
5832:, 10th-century commentary, Compiled by M Ramakrishna Kavi, in Sanskrit (Vol. 2 only; the complete work is in 4 vols.)
4602:
Kirkwood, William G. (1990). "Shiva's dance at sundown: Implications of Indian aesthetics for poetics and rhetoric".
906:
on spiritual and moral questions. The text further inspired secondary literature such as the 10th century commentary
5739:
History of Indian Literature Vol 3 (Original in German published in 1922, translated into English by VS Sarma, 1981)
8169:
7661:
6694:
6667:
6567:
6086:
6082:
5716:
Puspika: Tracing Ancient India Through Texts and Traditions: Contributions to Current Research in Indology Volume I
789:
590:
709:
8269:
8189:
7115:
6629:
6577:
5799:
942:(शास्त्र) means "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the
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8274:
7983:
7714:
7641:
7565:
7271:
7053:
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5427:
Sanskrit Theory of Drama and Dramaturgy: The Theory of the Saṁdhis and the Saṁdhyaṅgas in Bharata's Naṭyaśāstra
2085:
computes to 54.5 cents, while the Greek enharmonic quartertone system computes to 55 cents. The text discusses
714:
274:
254:
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6833:
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8284:
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812:
694:
645:
4423:
41:
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6536:
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620:
414:
279:
4545:
Song of the Rainbow: A Work on Depiction of Music Through the Medium of Paintings in the Indian Tradition
2259:(Vedas and Upanishads). Various medieval scholars, such as the 12th-century Mitaksara and Apararka, cite
8184:
8137:
8110:
8073:
7330:
6572:
4410:
1695:, which is a specific combination of the hands and feet integrated with specific body posture and gait (
625:
526:
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6857:
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Foucault and the Kamasutra: The Courtesan, the Dandy, and the Birth of Ars Erotica as Theater in India
5295:
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8147:
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6285:
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3142:
3140:
699:
264:
221:
94:
8207:
8174:
8053:
7944:
7879:
7729:
7588:
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7168:
7105:
7058:
6803:
6717:
5911:
5756:
2423:
1159:
635:
605:
321:
235:
131:
8224:
7233:
2363:(reality and truth in another plane), or is it an error, or is it a form of superimposed reality (
8279:
8009:
7968:
7260:
7073:
7018:
6768:
5529:
5238:
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1720:
331:
298:
216:
7223:
3544:
704:
674:
7689:
6739:
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1563:
8218:
8098:
8088:
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7889:
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5209:
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5122:
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902:
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419:
303:
293:
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366:
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3705:. Performing arts series (1st ed.). Delhi: Motilal Banarsidass Publishers. p. 3.
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5511:
The Natyashastra and the Body in Performance: Essays on Indian Theories of Dance and Drama
3089:
2478:, for example, have inspired Shiva sculptures of the 1st-millennium BCE, particularly the
2383:
2335:
2113:). The text also discusses which scales are best for different forms of performance arts.
1677:
1298:
1212:
1162:(~800–700 BCE), for example, are written in the form of a riddle play between two actors.
1143:
1041:, a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the
907:
872:
769:
749:
724:
448:
376:
269:
7999:
5289:
6732:
5593:
Tieken, Herman (1998). "Poetique du theatre Indien: Lectures du Natyashastra (Review)".
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7842:
7186:
7063:
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6868:
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6027:
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5897:
5809:
The Natyashastra : a treatise on Hindu dramaturgy and histrionics (Chapters 28–36)
5642:
3537:
2546:
2497:
can be found in the depiction of arts in sculpture, in icons and friezes across India.
1812:
1610:) that seconded as dramatic arts stage, based on the square principle described in the
1485:
1132:
1028:
926:
The title of the text is composed of two words, "Nāṭya" and "Shāstra". The root of the
876:
759:
539:
259:
240:
72:
4413:, Pacific Review of Ethnomusicology, University of California Los Angeles, pages 28–31
2271:
to eternal universals, to emancipate him from the mundane to creative freedom within.
1073:
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8179:
8083:
7862:
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7374:
7265:
7176:
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6245:
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6195:
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are found carved on the pillars, walls and gateways of 1st-millennium Hindu temples.
2387:
2344:
2090:
1227:, of bhāva, expression, gestures, acting techniques, basic steps, standing postures.
915:
774:
764:
739:
689:
502:
478:
468:
463:
453:
438:
404:
326:
3146:
2422:
influenced other arts in ancient and medieval India. The dancing Shiva sculpture in
2105:, while its discussion largely focuses on two scales, fourteen modes and eight four
1687:, नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in the aesthetics of
1385:
The verse details the eleven essential components of drama and dramatic production:
7734:
7699:
7596:
7213:
6496:
6445:
6395:
6380:
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6155:
6120:
6037:
5986:
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2932:
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2110:
2098:
1800:
1602:
1597:
744:
679:
600:
497:
492:
473:
458:
5844:
5714:
5693:
5607:
5575:
5554:
5533:
5509:
5488:
5467:
5446:
5425:
5404:
5383:
5345:
5324:
5272:
5184:
5173:
5143:
5116:
5089:
4999:
4972:
4877:
4852:
4805:
4766:
4723:
4696:
4666:
4630:
4573:
4543:
4516:
4316:
4284:
4192:
4167:
4127:
4063:
4009:
3982:
3952:
3838:
3727:
3612:
3574:
3477:
3450:
3022:
2990:
2881:
2842:
2805:
2634:
2600:
1084:
text is mentioned in other late Vedic texts, as are two scholars names Shilalin (
998:
is traditionally alleged to be linked to a 36,000 verse Vedic composition called
7874:
7802:
7792:
7704:
7694:
7669:
7310:
7305:
7196:
6990:
6974:
6917:
6852:
6788:
6460:
6450:
6360:
6300:
6255:
6145:
6135:
6110:
6100:
6017:
5936:
5926:
4762:
2541:
2252:
2224:, both for actor training and the expression of higher levels of consciousness.
1177:
1037:
630:
610:
558:
512:
507:
164:
102:
5835:
1763:
7939:
7907:
7852:
7709:
7418:
7255:
7228:
7208:
7010:
6808:
6783:
6480:
6435:
6425:
6405:
6365:
6295:
6170:
6160:
6130:
5916:
4615:
4356:
4246:
4234:
2976:
2502:
2474:
text has been influential in other arts. The 108 dance forms described in the
1808:
1804:
1313:
they connect the playwright and the spectators, through their performance, to
1288:
784:
206:
193:
5816:
5764:
Dramatic Concepts: Greek and Indian, Bharat Gupt (2014), DK Printworld, Delhi
5684:
5636:
3754:
8058:
7847:
7797:
7770:
7719:
7684:
7674:
7626:
7525:
7493:
7438:
7335:
7290:
6964:
6475:
6420:
6390:
6310:
6305:
6265:
6210:
6105:
6067:
5976:
5971:
5585:
5213:
3774:
1077:
1002:, however there is no corroborating evidence that such a text ever existed.
754:
684:
585:
159:
17:
6654:
5826:
Manuscript (with 37 chapters), in Sanskrit (Chapters 31, 32 and 34 missing)
5795:
5657:
3732:. Abhinav Publications. pp. 43–46, 61–65, for various arts see 39–70.
2573:– one of the most important medieval eras Sanskrit texts on music and dance
2189:
1990:
1963:
1772:
886:
5221:
Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".
4411:
Harmonic Implications of Consonance and Dissonance in Ancient Indian Music
2023:
1680:
that emerged in Hinduism during the second half of the 1st millennium CE.
8103:
7922:
7917:
7807:
7744:
7724:
7555:
7391:
7218:
7191:
7158:
7100:
7000:
6995:
6969:
6932:
6894:
6778:
6650:
6598:
6400:
6375:
6320:
6290:
6270:
6260:
6250:
6190:
6165:
6150:
6057:
5996:
4845:
4665:
Daniel Meyer-Dinkgräfe (2001). William S. Haney and Peter Malekin (ed.).
4160:
4056:
3409:
2798:
2754:
2752:
2551:
2506:
2247:
assert that arts and music are spiritual, with the power to guide one to
1656:
1366:
1139:
927:
891:
546:
381:
188:
183:
154:
120:
110:
82:
62:
46:
4037:
4035:
4033:
4031:
8004:
7857:
7775:
7765:
7540:
7530:
7503:
7498:
7488:
7443:
7428:
7423:
7203:
7148:
7133:
7125:
7092:
6959:
6862:
6837:
6813:
6798:
6712:
6702:
6603:
6470:
6455:
6370:
6335:
6280:
6240:
6200:
6175:
6062:
6032:
5931:
5242:
4482:
4480:
2479:
2426:(6th–7th century CE), for example, illustrates its dance movements and
1823:
1728:
1536:
1216:
1147:
719:
663:
394:
371:
356:
349:
178:
149:
3452:
The World Encyclopedia of Contemporary Theatre: Volume 5: Asia/Pacific
8041:
8036:
8014:
7827:
7780:
7739:
7621:
7611:
7550:
7458:
7401:
7396:
7250:
6937:
6773:
6759:
6744:
6506:
6430:
6385:
6330:
6315:
6275:
6235:
6225:
6215:
6022:
5991:
5966:
5921:
5047:
5045:
2464:
2440:
2379:
2256:
2248:
911:
794:
125:
5234:
3517:
ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav,
3381:
3379:
3377:
3262:
ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav,
3233:
ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav,
2705:
2703:
2482:
style which fuses many of these into a composite image found at the
5274:
Musical Mathematics: On the Art and Science of Acoustic Instruments
5208:(in English and Sanskrit). Bhandarkar Oriental Research Institute.
4393:
4391:
4389:
4109:
4107:
2035:
2028:
2016:
1752:
1600:
were designed to include stages for performance arts (for example,
1080:, and who is dated to about 500 BCE. This performance arts related
7932:
7927:
7631:
7601:
7535:
7515:
7453:
7433:
7406:
7245:
6947:
6847:
6793:
6749:
6727:
6440:
6345:
6340:
6325:
6220:
6205:
6185:
6095:
6072:
3290:
3288:
3147:
Farley P. Richmond, Darius L. Swann & Phillip B. Zarrilli 1993
2456:
2444:
2121:
2009:
2002:
1995:
1983:
1866:
1220:
1168:
1138:
The art schools of Shilalin and Krishashva, mentioned in both the
1081:
1023:
963:
943:
885:
667:
142:
5866:
5553:
Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993).
4129:
Significance of compositional forms in Hindustani classical music
3432:
3430:
1676:
likely influenced the devotional songs and musical trends of the
946:
literature context, for knowledge in a defined area of practice.
7973:
7902:
7884:
7832:
7616:
7560:
7520:
7480:
7463:
7448:
7413:
6842:
6754:
5001:
Performance and Culture: Narrative, Image and Enactment in India
3759:. Oxford ; New York: Oxford University Press. p. 927.
3175:
3173:
3171:
2556:
2448:
2209:
1976:
1743:
1302:
1194:
The Natyashastra discusses dance and many other performing arts.
1127:
subgenre also implied celestial, divine associations, while the
1085:
6618:
5870:
5760:, Māni Mādhava Chākyār (1975), Sangeet Natak Academi, New Delhi
3335:
3333:
3331:
3329:
3327:
2274:
The function of drama and the art of theatre, as envisioned in
1614:, such as those in the peninsular and eastern states of India.
1370:, that is applying body-speech-mind and scene, wherein asserts
6646:
3862:
3860:
5580:. Centre of Advanced Study in Sanskrit, University of Poona.
4222:
2828:
2720:
2718:
2690:
2688:
2686:
2684:
2682:
2486:
of Chidambaram. The movements of dance and expression in the
1834:, with verse 28.21 introducing the musical scale as follows,
4357:
Nina Mirnig, Peter-Daniel Szanto & Michael Williams 2013
4247:
Nina Mirnig, Peter-Daniel Szanto & Michael Williams 2013
4235:
Nina Mirnig, Peter-Daniel Szanto & Michael Williams 2013
3501:
3499:
2977:
Nina Mirnig, Peter-Daniel Szanto & Michael Williams 2013
2680:
2678:
2676:
2674:
2672:
2670:
2668:
2666:
2664:
2662:
6707:
5713:
Nina Mirnig; Peter-Daniel Szanto; Michael Williams (2013).
4011:
Entangled: Technology and the Transformation of Performance
3788:
3786:
3784:
3684:
3682:
2739:
2737:
2735:
2733:
5786:, including additional footnotes and commentary extracts.
4768:
The Johns Hopkins guide to literary theory & criticism
4340:
4338:
3202:
3200:
5784:
Natya-shastra full English translation by Manomohan Ghosh
2467:) as well as the personal inner life of man in Hinduism.
1021:
is unknown, and the Hindu tradition attributes it to the
4660:
4658:
4656:
4654:
4652:
4310:
4308:
4306:
3364:
3362:
3360:
2639:. University of South Carolina Press. pp. 138–139.
2188:
The actor, states the text, should understand the three
4668:
Humanism and the Humanities in the Twenty-first Century
1856:
5846:
Dance in India: An Annotated Guide to Source Materials
5836:
Theatre layout with diagrams according to Natyashastra
5206:
Nāṭya-mañjarī-saurabha : Sanskrit dramatic theory
4935:
4933:
4289:. Wilfrid Laurier University Press. pp. 114–123.
3421:
2255:
or yoga), in strength similar to the knowledge of the
970:
tending to virtue, wealth, joy and spiritual freedom,
3649:
3410:
Biswanath Bhattacharya & Ramaranjan Mukherji 1994
3397:
3351:
972:
it must contain the significance of every scripture,
5183:
Biswanath Bhattacharya; Ramaranjan Mukherji (1994).
4974:
The Theatric Universe: (a Study of the Natyashastra)
4575:
The Theatric Universe: (a Study of the Natyashastra)
4086:
4041:
3954:
The Theatric Universe: (a Study of the Natyashastra)
3756:
The Oxford encyclopedia of theatre & performance
3318:
3306:
3047:
3024:
The Theatric Universe: (a Study of the Natyashastra)
2992:
The Theatric Universe: (a Study of the Natyashastra)
2602:
Her Voice, Her Faith: Women Speak on World Religions
2212:
school of Hindu philosophy, with concepts mirroring
1558:
The text states that the playwright should know the
8027:
7992:
7818:
7753:
7660:
7587:
7580:
7479:
7382:
7373:
7281:
7167:
7124:
7091:
7009:
6983:
6946:
6925:
6916:
6908:
6824:
6693:
6684:
6591:
6545:
6515:
6489:
6081:
6050:
6005:
5954:
5945:
5904:
4286:
Sacred Sound: Experiencing Music in World Religions
3981:David Mason; et al. (2016). Siyuan Liu (ed.).
1822:in a manner similar to those found in more ancient
78:
68:
58:
53:
34:
4844:
4498:
4486:
4471:
4447:
4435:
4397:
4380:
4270:
4159:
4113:
4098:
4055:
3807:The Oxford encyclopedia of theatre and performance
3640:, pp. 15–38, Section 1, Chapter by Vatsyayan.
3536:
3476:Theo D'haen; David Damrosch; Djelal Kadir (2011).
3385:
3294:
3279:
3250:
3103:
3059:
2847:. Bloomsbury Academic. pp. 102–104, 155–156.
2797:
2791:
2789:
2787:
2758:
2636:Sonic Liturgy: Ritual and Music in Hindu Tradition
2594:
2592:
5629:Classical Indian dance in literature and the arts
5004:. Cambridge Scholars Publishing. pp. 10–12.
4153:
4151:
4149:
2785:
2783:
2781:
2779:
2777:
2775:
2773:
2771:
2769:
2767:
2439:form to encourage every member of the society to
2282:Ancient and medieval secondary literature: bhasya
1332:, through a creative synthesis and expression of
1123:(informal, improvised, entertainment music). The
5667:Aesthetic theories and forms in Indian tradition
4698:Kudiyattam Theatre and the Actor's Consciousness
3878:
3832:
3830:
3828:
3826:
3339:
3094:See introduction p. xxvi for discussion of dates
3071:
2141:the audience when brilliantly performed, states
1691:. The text defines the basic dance unit to be a
5290:Indian Music: Ancient Beginnings – Natyashastra
4771:. Johns Hopkins University Press. p. 518.
4671:. Bucknell University Press. pp. 114–117.
4315:Rachel Van M. Baumer; James R. Brandon (1993).
3809:. New York, NY: Oxford Univ. Press. p. 3.
3229:
3227:
2499:
2286:
2168:and run parallel to reaching this state through
2148:
1836:
1309:, are a form of Vedic ritual ceremony (yajna).
1258:
1250:the importance of performance arts on culture.
1164:
954:
5830:Natya Shastra with Commentary of Abhinavagupta
5051:
5024:
4966:
4964:
4962:
4960:
4690:
4688:
4597:
4595:
4567:
4565:
3976:
3974:
3179:
3158:
3131:
3119:
2694:
1065:, dated to around the mid 1st millennium BCE.
6630:
5882:
5298:(Chicago: University of Chicago Press, 2016).
4748:
3637:
2743:
2628:
2626:
2624:
2622:
1270:proper behavior, ethical and moral fortitude,
834:
8:
5145:The Square and the Circle of the Indian Arts
5118:The Oxford Handbook of Religion and the Arts
4459:
3729:The Square and the Circle of the Indian Arts
3673:
3016:
3014:
3012:
2724:
2517:The Square and the Circle of the Indian Arts
1843:पञ्चमो धैवतश्चैव सप्तमोऽथ निषादवान् ॥ २१॥
1566:of human life in Hindu philosophy, then the
1268:comprehensive aid to the learning of virtue,
938:(नट) which means "act, represent". The word
5036:
3905:, pp. 102, note the text lists all 33.
3866:
3792:
3688:
3505:
3479:The Routledge Companion to World Literature
3436:
3162:
2709:
2315:The spectator's concentrated absorption and
2312:spectator with pure joy of rasa experience.
2299:material rewards do not indicate success of
1811:), and covered instruments ('avanaddha' or
1422:(accompanying vocal and instrumental music)
1272:courage, love and adoration of the divine.
7584:
7379:
6952:
6922:
6690:
6637:
6623:
6615:
5951:
5889:
5875:
5867:
5121:. Oxford University Press. pp. 192–.
4924:
4912:
4258:
3661:
3606:
3604:
3602:
3600:
3598:
3596:
3568:
3566:
3564:
3115:
2867:
2390:, where he touches upon the aesthetics in
2304:Real success is achieved when the play is
2243:and other ancient Hindu texts such as the
1781:Musical instrument types mentioned in the
914:("reviews and commentaries") – written by
841:
827:
89:
40:
31:
5556:Indian Theatre: Traditions of Performance
5448:Sanskrit Play Production in Ancient India
4810:. Bloomsbury Academic. pp. 104–109.
4728:. Bloomsbury Academic. pp. 166–167.
4321:. Motilal Banarsidass. pp. 117–118.
4223:Sunil Kothari & Avinash Pasricha 2001
3703:Sanskrit play production in ancient India
3617:. Bloomsbury Academic. pp. 102–104.
3579:. Bloomsbury Academic. pp. 155–156.
2829:Sunil Kothari & Avinash Pasricha 2001
1841:षड्जश्च ऋषभश्चैव गान्धारो मध्यमस्तथा ।
1119:(formal, composed, ceremonial music) and
962:Let Nāṭya (drama and dance) be the fifth
5490:Music and Musical Thought in Early India
5344:Sunil Kothari; Avinash Pasricha (2001).
4521:. Abhinav Publications. pp. 22–25.
3449:Katherine Brisbane; et al. (2005).
2908:The Illustrated Encyclopedia of Hinduism
2413:
1703:respectively). Chapter 4 describes 108
1189:
1154:mention these as well. The roots of the
3543:. Cambridge University Press. pp.
2599:Katherine Young; Arvind Sharma (2004).
2588:
2310:To succeed, the artist must immerse the
1818:Chapters 15 and 16 of the text discuss
1266:Natyashastra praises dramatic arts as a
1203:(4x8, or exactly 32 syllables in every
341:
101:
5406:The Oxford Companion to Indian Theatre
4879:Approaches to Acting: Past and Present
4851:. Columbia University Press. pp.
4807:Approaches to Acting: Past and Present
4725:Approaches to Acting: Past and Present
4632:Approaches to Acting: Past and Present
4344:
4194:Approaches to Acting: Past and Present
4166:. Columbia University Press. pp.
4062:. Columbia University Press. pp.
3614:Approaches to Acting: Past and Present
3576:Approaches to Acting: Past and Present
3368:
3218:
3206:
3191:
2953:. Harvard University Press. p. 4.
2906:James Lochtefeld (2002), "Shastra" in
2844:Approaches to Acting: Past and Present
2804:. Columbia University Press. pp.
2308:devoted faith and pure concentration.
1100:to have been composed around 600 BCE.
5469:Introduction to Bharata's Nāṭyaśāstra
5075:
5063:
4951:
4939:
4908:
4830:
4791:
4578:. Popular Prakashan. pp. 52–54.
4368:
4197:. Bloomsbury Academic. pp. 6–7.
3957:. Popular Prakashan. pp. 13–31.
3938:
3926:
3914:
3902:
3890:
2995:. Popular Prakashan. pp. 10–11.
2964:
2266:The goal of performance arts, states
7:
5148:. Abhinav Publications. p. 41.
4977:. Popular Prakashan. pp. 9–10.
4882:. Bloomsbury Academic. p. 155.
4847:Rasa: Performing the Divine in India
4162:Rasa: Performing the Divine in India
4058:Rasa: Performing the Divine in India
2949:Coormaraswamy and Duggirala (1917).
2800:Rasa: Performing the Divine in India
2156:For an actor who is not yet perfect,
1076:, the sage who wrote the classic on
27:Sanskrit text on the performing arts
8234:
5535:Indian Music: History and Structure
5472:. Munshiram Manoharlal Publishers.
4761:Michael Groden; Martin Kreiswirth;
4701:. Rodopi. pp. 44–49, 151–196.
4635:. Bloomsbury Academic. p. 79.
3984:Routledge Handbook of Asian Theatre
3837:Sally Banes; Andre Lepecki (2012).
3027:. Popular Prakashan. pp. 8–9.
2493:The specifications provided in the
1803:), hollow instruments ('sushir' or
1785:(string, flute, drums and cymbals).
1655:. It also elaborates on 33 melodic
1014:likely existed by the 8th-century.
910:– an example of a classic Sanskrit
5741:. New Delhi: Motilal Banarsidass.
5385:Drama and Ritual of Early Hinduism
5091:Teaching Dance as Art in Education
4014:. MIT Press. pp. xxii–xxiii.
2605:. Westview Press. pp. 20–21.
2386:treatises and a commentary on the
2339:is the most studied commentary on
2306:performed with skilled precision,
2235:The goals of art: spiritual values
2166:perfection, enlightenment, moksha,
1374:, the actors use two practices of
25:
5807:Manomohan Ghosh (Transl) (1961).
5794:Manomohan Ghosh (Transl) (1951).
5779:. CasualWalker. 29 December 2019.
5172:Ponangi Sri Rama Apparao (2001).
4426:, नाट्यशास्त्रम् अध्याय २८, ॥ २१॥
2910:, Vol. 2: N–Z, Rosen Publishing,
1606:), or prayer halls (for example,
1115:), as well as two musical genre,
875:. The text is attributed to sage
8233:
8223:
8214:
8213:
8202:
6907:
6653:
6645:
4548:. Kanishka. pp. 26, 39–44.
3165:, pp. xxiv, xxxi–xxxii, 17.
2565:– aesthetics in performance arts
2505:and the elaborate ritual of the
2463:the role of arts in the social (
2158:the techniques described in the
2034:
2027:
2022:
2015:
2008:
2001:
1994:
1989:
1982:
1975:
1962:
1807:), solid instruments ('ghan' or
1771:
1762:
1751:
1742:
1515:
1504:
1495:
1484:
1475:
871:) is a Sanskrit treatise on the
109:
8265:Non-fiction books about theatre
8203:
5796:"Natya Shastra (Chapters 1–27)"
5493:. University of Chicago Press.
5424:Trimbak Govind Mainkar (1978).
5253:Hinduism: An Alphabetical Guide
5175:Special aspects of Nāṭya śāstra
5094:. Human Kinetics. p. 450.
4876:Daniel Meyer-Dinkgräfe (2005).
4804:Daniel Meyer-Dinkgräfe (2005).
4722:Daniel Meyer-Dinkgräfe (2005).
4629:Daniel Meyer-Dinkgräfe (2005).
4191:Daniel Meyer-Dinkgräfe (2005).
3987:. Routledge. pp. 222–225.
3611:Daniel Meyer-Dinkgräfe (2005).
3573:Daniel Meyer-Dinkgräfe (2005).
3455:. Routledge. pp. 159–160.
2841:Daniel Meyer-Dinkgräfe (2005).
2347:(950–1020 CE), who referred to
1096:. Richmond et al. estimate the
8128:Relations with other religions
5574:Radhavallabh Tripathi (1991).
5375:10.1093/obo/9780195399318-0071
5088:Brenda Pugh McCutchen (2006).
4604:Text and Performance Quarterly
3539:The Cambridge Guide to Theatre
2355:. Abhinavagupta's analysis of
2170:yoga or meditation practices.
1150:texts such as verse 1.4.29 of
1:
5838:, Prachi Shah, Bhartiya Drama
5323:Pandurang Vaman Kane (1971).
5186:Sanskrit Drama and Dramaturgy
4318:Sanskrit Drama in Performance
3843:. Routledge. pp. 27–28.
3805:Kennedy, Dennis, ed. (2003).
3753:Kennedy, Dennis, ed. (2003).
2886:. Penguin Books. p. 29.
1711:Music and musical instruments
1525:Various classical dance forms
1230:Chapters 6 and 7 present the
1072:are mentioned in the text of
968:Combined with an epic story,
4833:, pp. 148–212, 489–490.
3412:, pp. 161–163, 292–293.
3084:Manmohan Ghosh, ed. (1950).
2918:, p. 626; See also for help
1144:Kalpasutras and Srautasutras
957:Performance arts and culture
8305:Hindustani music literature
6497:Hindi cinema song and dance
5577:Lectures on the Nāṭyaśāstra
5409:. Oxford University Press.
5369:. Oxford University Press.
5326:History of Sanskrit Poetics
5223:Educational Theatre Journal
5178:. National School of Drama.
3422:Trimbak Govind Mainkar 1978
2370:Abhinavagupta asserts that
1434:(success of the production)
1305:. Performance arts, states
8321:
5115:Frank Burch Brown (2014).
4843:Susan L. Schwartz (2004).
4158:Susan L. Schwartz (2004).
4054:Susan L. Schwartz (2004).
3650:Radhavallabh Tripathi 1991
3398:Radhavallabh Tripathi 1991
3352:Radhavallabh Tripathi 1991
2796:Susan L. Schwartz (2004).
2289:When is a play successful?
2066:
2063:
2060:
2057:
2054:
2051:
2048:
2045:
2042:
2033:
2021:
2014:
2007:
2000:
1988:
1981:
1974:
1961:
1954:
1949:
1944:
1939:
1934:
1929:
1924:
1919:
1914:
1907:
1902:
1897:
1892:
1887:
1882:
1877:
1872:
1865:
1551:, and sentiments from the
1382:(success in production).
103:Hindu scriptures and texts
47:Shiva as the Lord of Dance
8295:Cultural history of India
8200:
6955:
6905:
6663:
5800:Asiatic Society of Bengal
5665:Kapila Vatsyayan (2008).
5652:. Sangeet Natak Akademi.
5648:Kapila Vatsyayan (1974).
5631:. Sangeet Natak Akademi.
5627:Kapila Vatsyayan (1977).
5606:Kapila Vatsyayan (2001).
5466:Adya Rangacharya (1998).
5308:. Royal Asiatic Society.
5302:Ghosh, Manomohan (2002).
5142:Kapila Vatsyayan (1997).
4616:10.1080/10462939009365961
4087:Pandurang Vaman Kane 1971
4042:Pandurang Vaman Kane 1971
3840:The Senses in Performance
3726:Kapila Vatsyayan (1997).
3482:. Routledge. p. 45.
3319:Pandurang Vaman Kane 1971
3307:Pandurang Vaman Kane 1971
3048:Pandurang Vaman Kane 1971
2317:appreciation is success.
864:
39:
7272:Yoga Sutras of Patanjali
5849:. Theodore Front Music.
5698:. Abhinav Publications.
5695:Dance In Indian Painting
5669:. Munshiram Manoharlal.
5609:Bharata, the Nāṭyaśāstra
5350:. Abhinav Publications.
4450:, pp. 13–14, 21–25.
4132:. Pratibha. p. 89.
4126:Manjusree Tyagi (1997).
2176:— Daniel Meyer-Dinkgräfe
2073:The music theory in the
989:The composition date of
7351:Thiruvilaiyadal Puranam
5559:. Motilal Banarsidass.
5451:. Motilal Banarsidass.
5430:. Ajanta Publications.
5388:. Motilal Banarsidass.
5382:Natalia Lidova (1994).
5365:Natalia Lidova (2014).
5329:. Motilal Banarsidass.
4499:Emmie Te Nijenhuis 1974
4487:Emmie Te Nijenhuis 1974
4472:Maurice Winternitz 2008
4448:Emmie Te Nijenhuis 1974
4436:Emmie Te Nijenhuis 1974
4424:Natyashastra Chapter 28
4398:Emmie Te Nijenhuis 1974
4381:Maurice Winternitz 2008
4271:Emmie Te Nijenhuis 1974
4114:Emmie Te Nijenhuis 1974
4099:Emmie Te Nijenhuis 1974
3386:Maurice Winternitz 2008
3295:Maurice Winternitz 2008
3280:Emmie Te Nijenhuis 1974
3251:Maurice Winternitz 2008
3104:Maurice Winternitz 2008
3060:Maurice Winternitz 2008
2951:"The Mirror of Gesture"
2759:Emmie Te Nijenhuis 1974
2712:, pp. xxiv, 19–20.
2164:are a means to achieve
1727:are also found in many
1547:, mimetic art from the
1428:(places of performance)
974:and forward every art.
813:Timeline of Hindu texts
646:Thiruvilaiyadal Puranam
7326:Eighteen Greater Texts
5843:Judy Van Zile (1973).
5841:Related Bibliography:
5650:Indian classical dance
5595:Asian Folklore Studies
5508:Sreenath Nair (2015).
5487:Rowell, Lewis (2015).
5250:Dalal, Roshen (2014).
4998:Archana Verma (2011).
4695:Arya Madhavan (2010).
4409:NA Jairazbhoy (1985),
3535:Martin Banham (1995).
2883:Loom Of Time, Kalidasa
2880:Chandra Rajan (1999).
2522:
2431:
2320:
2173:
2132:Male and female actors
1855:
1618:Song and dance in arts
1317:(the essence, juice).
1275:
1195:
1183:
977:
894:
621:Eighteen Greater Texts
8079:Hindu gurus and sants
7331:Eighteen Lesser Texts
6416:Poikkal Kuthiraiattam
5271:Cris Forster (2010).
4008:Chris Salter (2010).
3879:Adya Rangacharya 1998
3701:Mehta, Tarla (1995).
3340:Kapila Vatsyayan 2001
3072:Kapila Vatsyayan 2001
2955:; Also see chapter 36
2938:. Sanskrit Documents.
2761:, pp. 3–4, 7–25.
2579:– musical meter, beat
2417:
1320:The "rasa theory" of
1193:
1166:The Vedic sacrifice (
889:
626:Eighteen Lesser Texts
8069:Anti-Hindu sentiment
5445:Tarla Mehta (1995).
4971:Kale Pramod (1974).
4915:, pp. 308, 492.
4572:Kale Pramod (1974).
4283:Guy L. Beck (2006).
3951:Kale Pramod (1974).
3161:, pp. 111–113;
3021:Kale Pramod (1974).
2989:Kale Pramod (1974).
2633:Guy L. Beck (2012).
2208:employ the ideas in
1283:The contents of the
8175:Hinduism by country
7341:Iraiyanar Akapporul
7301:Tirumurukāṟṟuppaṭai
5912:Perini Sivatandavam
5612:. Sahitya Akademi.
5403:Ananda Lal (2004).
5054:, pp. 113–114.
5052:Natalia Lidova 1994
5025:Natalia Lidova 1994
4927:, p. 308, 492.
4855:–15, 56–60, 96–98.
4794:, pp. 148–212.
4542:Richa Jain (2002).
4371:, pp. 248–292.
4359:, pp. 350–351.
4249:, pp. 174–177.
4237:, pp. 186–187.
4225:, pp. 117–118.
3941:, pp. 103–147.
3917:, pp. 102–103.
3893:, pp. 105–106.
3676:, pp. 249–254.
3439:, pp. 104–106.
3253:, pp. 181–182.
3180:Natalia Lidova 1994
3159:Natalia Lidova 1994
3134:, pp. 111–113.
3132:Natalia Lidova 1994
3122:, pp. 111–113.
3120:Natalia Lidova 1994
2831:, p. 117, 163.
2695:Natalia Lidova 2014
2501:the imagery of the
2424:Badami cave temples
2323:— Abhinavagupta on
1862:
1278:— Susan L. Schwartz
1160:Shatapatha Brahmana
636:Iraiyanar Akapporul
596:Tirumurukāṟṟuppaṭai
342:Related Hindu texts
5735:Maurice Winternitz
5692:Kapila Vatsyayan.
5538:. BRILL Academic.
5530:Emmie Te Nijenhuis
5294:Gautam, Sanjay K.
4749:Sreenath Nair 2015
4518:The Music of India
3638:Sreenath Nair 2015
2744:Sreenath Nair 2015
2515:Kapila Vatsyayan,
2432:
2329:Trans: Tarla Mehta
2301:a play production.
2245:Yajnavalkya Smriti
1857:
1826:texts such as the
1721:Emmie te Nijenhuis
1340:(consequents) and
1196:
1017:The author of the
895:
8247:
8246:
8023:
8022:
7576:
7575:
7369:
7368:
7283:Sangam literature
7239:Yājñavalkya Smṛti
7087:
7086:
6903:
6902:
6612:
6611:
6502:Hindi dance songs
6046:
6045:
5856:978-0-913360-06-4
5790:
5726:978-1-78297-044-6
5705:978-81-7017-153-9
5643:Table of Contents
5619:978-81-260-1220-6
5566:978-81-208-0981-9
5521:978-1-4766-1221-8
5500:978-0-226-73034-9
5479:978-81-215-0829-2
5458:978-81-208-1057-0
5416:978-0-19-564446-3
5395:978-81-208-1234-5
5357:978-81-7017-359-5
5336:978-81-208-0274-2
5284:978-0-8118-7407-6
5263:978-81-8475-277-9
5256:. Penguin Books.
5196:978-81-85616-30-8
5155:978-81-7017-362-5
5128:978-0-19-517667-4
5101:978-0-7360-5188-0
5011:978-1-4438-2832-1
4984:978-81-7154-118-8
4889:978-1-4411-0381-9
4862:978-0-231-13144-5
4817:978-1-4411-0381-9
4778:978-0-8018-8010-0
4751:, pp. 75–76.
4735:978-1-4411-0381-9
4708:978-90-420-2798-5
4678:978-0-8387-5497-9
4642:978-1-4411-0381-9
4585:978-81-7154-118-8
4555:978-81-7391-496-6
4528:978-81-7017-332-8
4511:Reginald Massey;
4501:, pp. 14–25.
4460:Cris Forster 2010
4438:, pp. 21–25.
4383:, p. 9, 654.
4347:, pp. 13–14.
4328:978-81-208-0772-3
4296:978-0-88920-421-8
4261:, pp. 95–99.
4204:978-1-4411-0381-9
4177:978-0-231-13144-5
4139:978-81-85268-63-7
4073:978-0-231-13144-5
4044:, pp. 45–46.
4021:978-0-262-19588-1
3994:978-1-317-27886-3
3964:978-81-7154-118-8
3850:978-1-134-46070-0
3816:978-0-19-860174-6
3766:978-0-19-860174-6
3739:978-81-7017-362-5
3712:978-81-208-1057-0
3674:Wallace Dace 1963
3664:, pp. 61–64.
3652:, pp. 22–28.
3624:978-1-4411-0381-9
3586:978-1-4411-0381-9
3554:978-0-521-43437-9
3489:978-1-136-65576-0
3462:978-1-134-92978-8
3400:, pp. 32–46.
3354:, pp. 14–31.
3321:, pp. 15–16.
3221:, pp. 12–13.
3209:, pp. 11–12.
3050:, pp. 11–15.
3034:978-81-7154-118-8
3002:978-81-7154-118-8
2967:, p. 2 note 7–12.
2893:978-0-14-400078-4
2854:978-1-4411-0381-9
2815:978-0-231-13144-5
2725:Wallace Dace 1963
2646:978-1-61117-108-2
2612:978-0-8133-4666-3
2570:Sangita Ratnakara
2071:
2070:
1858:Musical scale in
1733:Markandeya Purana
1543:, music from the
1420:Svara-gāna-ātodya
1364:connects through
1223:), the theory of
890:Natya Shastra in
851:
850:
641:Abhirami Anthadhi
579:Sangam literature
432:Vaishnava puranas
88:
87:
16:(Redirected from
8312:
8270:Theatre of India
8237:
8236:
8227:
8217:
8216:
8206:
8205:
8116:Pilgrimage sites
7870:Ganesh Chaturthi
7585:
7380:
7361:Vedarthasamgraha
7356:Vinayagar Agaval
7321:Five Great Epics
7296:Divya Prabandham
7209:Minor Upanishads
6953:
6923:
6911:
6910:
6691:
6657:
6649:
6639:
6632:
6625:
6616:
6563:Himachal Pradesh
6466:Thitambu Nritham
5952:
5891:
5884:
5877:
5868:
5860:
5820:
5803:
5787:
5780:
5757:Nātyakalpadrumam
5752:
5730:
5709:
5688:
5661:
5640:
5623:
5602:
5589:
5570:
5549:
5525:
5504:
5483:
5462:
5441:
5420:
5399:
5378:
5361:
5340:
5319:
5288:
5267:
5246:
5217:
5204:GK Bhat (1981).
5200:
5179:
5160:
5159:
5139:
5133:
5132:
5112:
5106:
5105:
5085:
5079:
5073:
5067:
5061:
5055:
5049:
5040:
5037:Tarla Mehta 1995
5034:
5028:
5022:
5016:
5015:
4995:
4989:
4988:
4968:
4955:
4949:
4943:
4937:
4928:
4922:
4916:
4906:
4900:
4899:
4873:
4867:
4866:
4850:
4840:
4834:
4828:
4822:
4821:
4801:
4795:
4789:
4783:
4782:
4758:
4752:
4746:
4740:
4739:
4719:
4713:
4712:
4692:
4683:
4682:
4662:
4647:
4646:
4626:
4620:
4619:
4599:
4590:
4589:
4569:
4560:
4559:
4539:
4533:
4532:
4508:
4502:
4496:
4490:
4489:, p. 32-34.
4484:
4475:
4469:
4463:
4457:
4451:
4445:
4439:
4433:
4427:
4420:
4414:
4407:
4401:
4395:
4384:
4378:
4372:
4366:
4360:
4354:
4348:
4342:
4333:
4332:
4312:
4301:
4300:
4280:
4274:
4268:
4262:
4256:
4250:
4244:
4238:
4232:
4226:
4220:
4209:
4208:
4188:
4182:
4181:
4165:
4155:
4144:
4143:
4123:
4117:
4111:
4102:
4096:
4090:
4084:
4078:
4077:
4061:
4051:
4045:
4039:
4026:
4025:
4005:
3999:
3998:
3978:
3969:
3968:
3948:
3942:
3936:
3930:
3924:
3918:
3912:
3906:
3900:
3894:
3888:
3882:
3876:
3870:
3869:, pp. 5–19.
3867:Tarla Mehta 1995
3864:
3855:
3854:
3834:
3821:
3820:
3802:
3796:
3793:Tarla Mehta 1995
3790:
3779:
3778:
3750:
3744:
3743:
3723:
3717:
3716:
3698:
3692:
3689:Tarla Mehta 1995
3686:
3677:
3671:
3665:
3659:
3653:
3647:
3641:
3635:
3629:
3628:
3608:
3591:
3590:
3570:
3559:
3558:
3542:
3532:
3526:
3515:
3509:
3506:Tarla Mehta 1995
3503:
3494:
3493:
3473:
3467:
3466:
3446:
3440:
3437:Tarla Mehta 1995
3434:
3425:
3419:
3413:
3407:
3401:
3395:
3389:
3383:
3372:
3366:
3355:
3349:
3343:
3337:
3322:
3316:
3310:
3304:
3298:
3292:
3283:
3282:, pp. 1–25.
3277:
3271:
3260:
3254:
3248:
3242:
3231:
3222:
3216:
3210:
3204:
3195:
3189:
3183:
3177:
3166:
3163:Tarla Mehta 1995
3156:
3150:
3144:
3135:
3129:
3123:
3113:
3107:
3101:
3095:
3093:
3081:
3075:
3069:
3063:
3062:, pp. 9–10.
3057:
3051:
3045:
3039:
3038:
3018:
3007:
3006:
2986:
2980:
2974:
2968:
2962:
2956:
2954:
2946:
2940:
2939:
2937:
2929:
2923:
2904:
2898:
2897:
2877:
2871:
2865:
2859:
2858:
2838:
2832:
2826:
2820:
2819:
2803:
2793:
2762:
2756:
2747:
2741:
2728:
2722:
2713:
2710:Tarla Mehta 1995
2707:
2698:
2692:
2657:
2656:
2630:
2617:
2616:
2596:
2520:
2330:
2297:like banners or
2177:
2038:
2031:
2026:
2019:
2012:
2005:
1998:
1993:
1986:
1979:
1966:
1863:
1853:
1820:Sanskrit prosody
1775:
1766:
1755:
1746:
1519:
1508:
1499:
1488:
1479:
1342:vyabhicharibhava
1336:(determinants),
1279:
1244:Sanskrit prosody
1181:
1078:Sanskrit grammar
1053:Historical roots
1033:Kapila Vatsyayan
985:
866:
843:
836:
829:
780:Gheranda Samhita
730:Sushruta Samhita
651:Vinayagar Agaval
616:Five Great Epics
591:Divya Prabandham
522:
488:
434:
316:Other scriptures
289:
250:
231:
174:
113:
90:
44:
32:
21:
8320:
8319:
8315:
8314:
8313:
8311:
8310:
8309:
8300:Literary theory
8275:Musical theatre
8250:
8249:
8248:
8243:
8210:
8196:
8019:
7988:
7979:Vasant Panchami
7913:Pahela Baishakh
7895:Makar Sankranti
7814:
7749:
7656:
7572:
7475:
7365:
7346:Abhirami Antati
7316:Kamba Ramayanam
7277:
7163:
7120:
7083:
7005:
6979:
6942:
6912:
6899:
6883:Vishishtadvaita
6820:
6680:
6659:
6643:
6613:
6608:
6587:
6541:
6531:Abhinavabharati
6511:
6485:
6356:Mardana Jhumair
6077:
6042:
6001:
5941:
5900:
5895:
5864:
5857:
5842:
5806:
5793:
5775:
5772:
5749:
5733:
5727:
5712:
5706:
5691:
5677:
5664:
5647:
5626:
5620:
5605:
5592:
5573:
5567:
5552:
5546:
5528:
5522:
5507:
5501:
5486:
5480:
5465:
5459:
5444:
5438:
5423:
5417:
5402:
5396:
5381:
5364:
5358:
5343:
5337:
5322:
5316:
5301:
5285:
5270:
5264:
5249:
5235:10.2307/3204783
5220:
5203:
5197:
5182:
5171:
5168:
5163:
5156:
5141:
5140:
5136:
5129:
5114:
5113:
5109:
5102:
5087:
5086:
5082:
5074:
5070:
5062:
5058:
5050:
5043:
5039:, pp. 8–9.
5035:
5031:
5023:
5019:
5012:
4997:
4996:
4992:
4985:
4970:
4969:
4958:
4950:
4946:
4938:
4931:
4925:Ananda Lal 2004
4923:
4919:
4913:Ananda Lal 2004
4911:, p. 2 note 3;
4907:
4903:
4890:
4875:
4874:
4870:
4863:
4842:
4841:
4837:
4829:
4825:
4818:
4803:
4802:
4798:
4790:
4786:
4779:
4760:
4759:
4755:
4747:
4743:
4736:
4721:
4720:
4716:
4709:
4694:
4693:
4686:
4679:
4664:
4663:
4650:
4643:
4628:
4627:
4623:
4601:
4600:
4593:
4586:
4571:
4570:
4563:
4556:
4541:
4540:
4536:
4529:
4510:
4509:
4505:
4497:
4493:
4485:
4478:
4470:
4466:
4458:
4454:
4446:
4442:
4434:
4430:
4421:
4417:
4408:
4404:
4396:
4387:
4379:
4375:
4367:
4363:
4355:
4351:
4343:
4336:
4329:
4314:
4313:
4304:
4297:
4282:
4281:
4277:
4273:, pp. 3–4.
4269:
4265:
4259:Ananda Lal 2004
4257:
4253:
4245:
4241:
4233:
4229:
4221:
4212:
4205:
4190:
4189:
4185:
4178:
4157:
4156:
4147:
4140:
4125:
4124:
4120:
4112:
4105:
4097:
4093:
4085:
4081:
4074:
4053:
4052:
4048:
4040:
4029:
4022:
4007:
4006:
4002:
3995:
3980:
3979:
3972:
3965:
3950:
3949:
3945:
3937:
3933:
3925:
3921:
3913:
3909:
3901:
3897:
3889:
3885:
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3662:Ananda Lal 2004
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3392:
3384:
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3367:
3358:
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3338:
3325:
3317:
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3305:
3301:
3293:
3286:
3278:
3274:
3261:
3257:
3249:
3245:
3232:
3225:
3217:
3213:
3205:
3198:
3190:
3186:
3178:
3169:
3157:
3153:
3145:
3138:
3130:
3126:
3116:Ananda Lal 2004
3114:
3110:
3102:
3098:
3090:Asiatic Society
3083:
3082:
3078:
3070:
3066:
3058:
3054:
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3042:
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3020:
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2894:
2879:
2878:
2874:
2868:Ananda Lal 2004
2866:
2862:
2855:
2840:
2839:
2835:
2827:
2823:
2816:
2795:
2794:
2765:
2757:
2750:
2742:
2731:
2723:
2716:
2708:
2701:
2693:
2660:
2647:
2632:
2631:
2620:
2613:
2598:
2597:
2590:
2586:
2538:
2521:
2514:
2484:Nataraja temple
2412:
2384:Advaita Vedanta
2336:Abhinavabhāratī
2332:
2328:
2322:
2319:
2316:
2314:
2313:
2311:
2309:
2307:
2305:
2303:
2302:
2300:
2298:
2284:
2237:
2179:
2175:
2172:
2169:
2167:
2165:
2163:
2157:
2151:Training actors
2134:
1967:
1956:
1951:
1946:
1941:
1936:
1931:
1926:
1921:
1916:
1909:
1904:
1899:
1894:
1889:
1884:
1879:
1874:
1869:
1854:
1848:
1845:
1842:
1840:
1789:
1788:
1787:
1786:
1778:
1777:
1776:
1768:
1767:
1758:
1757:
1756:
1748:
1747:
1713:
1678:Bhakti movement
1620:
1529:
1528:
1527:
1526:
1522:
1521:
1520:
1511:
1510:
1509:
1501:
1500:
1491:
1490:
1489:
1481:
1480:
1469:
1441:
1353:
1281:
1277:
1274:
1271:
1269:
1267:
1256:
1199:are in precise
1188:
1182:
1176:
1055:
987:
979:
976:
973:
971:
969:
967:
964:vedic scripture
952:
950:Date and author
924:
908:Abhinavabharati
873:performing arts
847:
818:
817:
808:
800:
799:
750:Divya Prabandha
725:Charaka Samhita
710:Vaiśeṣika Sūtra
670:
656:
655:
611:Kamba Ramayanam
586:Saiva Tirumurai
581:
571:
570:
542:
532:
531:
518:
484:
430:
397:
387:
386:
352:
337:
336:
317:
309:
308:
285:
246:
227:
209:
199:
198:
170:
145:
128:
49:
28:
23:
22:
15:
12:
11:
5:
8318:
8316:
8308:
8307:
8302:
8297:
8292:
8290:Dance in India
8287:
8285:Sanskrit texts
8282:
8277:
8272:
8267:
8262:
8252:
8251:
8245:
8244:
8242:
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8231:
8221:
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8018:
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8007:
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7996:
7994:
7990:
7989:
7987:
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7976:
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7965:
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7963:
7962:
7957:
7952:
7947:
7937:
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7920:
7915:
7910:
7905:
7897:
7892:
7887:
7882:
7877:
7872:
7867:
7866:
7865:
7860:
7855:
7845:
7843:Raksha Bandhan
7840:
7835:
7830:
7824:
7822:
7816:
7815:
7813:
7812:
7811:
7810:
7805:
7800:
7795:
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7773:
7768:
7757:
7755:
7751:
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7712:
7707:
7702:
7697:
7692:
7687:
7682:
7677:
7672:
7666:
7664:
7658:
7657:
7655:
7654:
7649:
7644:
7639:
7634:
7629:
7624:
7619:
7614:
7609:
7604:
7599:
7593:
7591:
7582:
7578:
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7563:
7558:
7553:
7548:
7543:
7538:
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7508:
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7496:
7485:
7483:
7477:
7476:
7474:
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7466:
7461:
7456:
7451:
7446:
7441:
7436:
7431:
7426:
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7416:
7411:
7410:
7409:
7404:
7399:
7388:
7386:
7377:
7371:
7370:
7367:
7366:
7364:
7363:
7358:
7353:
7348:
7343:
7338:
7333:
7328:
7323:
7318:
7313:
7308:
7303:
7298:
7293:
7287:
7285:
7279:
7278:
7276:
7275:
7268:
7263:
7258:
7253:
7248:
7243:
7242:
7241:
7236:
7231:
7221:
7216:
7211:
7206:
7201:
7200:
7199:
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7184:
7179:
7173:
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7165:
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7162:
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7156:
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7146:
7141:
7136:
7130:
7128:
7122:
7121:
7119:
7118:
7113:
7108:
7103:
7097:
7095:
7089:
7088:
7085:
7084:
7082:
7081:
7076:
7071:
7066:
7061:
7056:
7054:Shvetashvatara
7051:
7046:
7041:
7036:
7031:
7029:Brihadaranyaka
7026:
7021:
7015:
7013:
7007:
7006:
7004:
7003:
6998:
6993:
6987:
6985:
6981:
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6977:
6972:
6967:
6962:
6956:
6950:
6944:
6943:
6941:
6940:
6935:
6929:
6927:
6926:Classification
6920:
6914:
6913:
6906:
6904:
6901:
6900:
6898:
6897:
6888:
6887:
6886:
6879:
6872:
6860:
6855:
6850:
6845:
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6830:
6828:
6822:
6821:
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6818:
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6806:
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6796:
6791:
6786:
6781:
6776:
6765:
6764:
6763:
6762:
6757:
6752:
6747:
6736:
6735:
6730:
6725:
6720:
6715:
6710:
6705:
6699:
6697:
6688:
6682:
6681:
6679:
6678:
6673:
6670:
6664:
6661:
6660:
6644:
6642:
6641:
6634:
6627:
6619:
6610:
6609:
6607:
6606:
6601:
6595:
6593:
6589:
6588:
6586:
6585:
6580:
6575:
6570:
6565:
6560:
6555:
6553:Andhra Pradesh
6549:
6547:
6543:
6542:
6540:
6539:
6534:
6527:
6519:
6517:
6513:
6512:
6510:
6509:
6504:
6499:
6493:
6491:
6487:
6486:
6484:
6483:
6478:
6473:
6468:
6463:
6458:
6453:
6448:
6443:
6438:
6433:
6428:
6423:
6418:
6413:
6408:
6403:
6398:
6393:
6388:
6383:
6378:
6373:
6368:
6363:
6358:
6353:
6348:
6343:
6338:
6333:
6328:
6323:
6318:
6313:
6308:
6303:
6298:
6293:
6288:
6283:
6278:
6273:
6268:
6263:
6258:
6253:
6248:
6243:
6238:
6233:
6228:
6223:
6218:
6213:
6208:
6203:
6198:
6193:
6188:
6183:
6178:
6173:
6168:
6163:
6158:
6153:
6148:
6143:
6141:Chakyar koothu
6138:
6133:
6128:
6123:
6118:
6113:
6108:
6103:
6098:
6092:
6090:
6079:
6078:
6076:
6075:
6070:
6065:
6060:
6054:
6052:
6048:
6047:
6044:
6043:
6041:
6040:
6035:
6030:
6025:
6020:
6015:
6009:
6007:
6003:
6002:
6000:
5999:
5994:
5989:
5984:
5979:
5974:
5969:
5964:
5958:
5956:
5949:
5943:
5942:
5940:
5939:
5934:
5929:
5924:
5919:
5914:
5908:
5906:
5902:
5901:
5898:Dance in India
5896:
5894:
5893:
5886:
5879:
5871:
5862:
5861:
5855:
5839:
5833:
5827:
5821:
5804:
5791:
5781:
5771:
5770:External links
5768:
5767:
5766:
5761:
5753:
5748:978-8120800564
5747:
5731:
5725:
5710:
5704:
5689:
5676:978-8187586357
5675:
5662:
5645:
5624:
5618:
5603:
5590:
5571:
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5544:
5526:
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5394:
5379:
5362:
5356:
5341:
5335:
5320:
5314:
5299:
5292:
5283:
5268:
5262:
5247:
5229:(3): 249–254.
5218:
5201:
5195:
5180:
5167:
5164:
5162:
5161:
5154:
5134:
5127:
5107:
5100:
5080:
5078:, p. 278.
5068:
5066:, p. 555.
5056:
5041:
5029:
5027:, p. 113.
5017:
5010:
4990:
4983:
4956:
4954:, p. 1-2.
4944:
4929:
4917:
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4888:
4868:
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4591:
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4491:
4476:
4474:, p. 654.
4464:
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4361:
4349:
4334:
4327:
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4263:
4251:
4239:
4227:
4210:
4203:
4183:
4176:
4145:
4138:
4118:
4116:, pp. 30.
4103:
4101:, pp. 29.
4091:
4079:
4072:
4046:
4027:
4020:
4000:
3993:
3970:
3963:
3943:
3931:
3929:, p. 103.
3919:
3907:
3895:
3883:
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3780:
3765:
3745:
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3630:
3623:
3592:
3585:
3560:
3553:
3527:
3523:978-8170172789
3510:
3495:
3488:
3468:
3461:
3441:
3426:
3414:
3402:
3390:
3388:, p. 8-9.
3373:
3371:, p. 171.
3356:
3344:
3323:
3311:
3299:
3284:
3272:
3268:978-8170172789
3255:
3243:
3239:978-8170172789
3223:
3211:
3196:
3184:
3182:, p. 112.
3167:
3151:
3136:
3124:
3118:, p. 16;
3108:
3096:
3076:
3064:
3052:
3040:
3033:
3008:
3001:
2981:
2979:, p. 350.
2969:
2957:
2941:
2933:"Natyashastra"
2924:
2899:
2892:
2872:
2870:, p. 308.
2860:
2853:
2833:
2821:
2814:
2763:
2748:
2729:
2727:, p. 249.
2714:
2699:
2658:
2645:
2618:
2611:
2587:
2585:
2582:
2581:
2580:
2574:
2566:
2560:
2559:– melodic mode
2554:
2549:
2547:Dance in India
2544:
2537:
2534:
2512:
2411:
2408:
2292:
2285:
2283:
2280:
2236:
2233:
2154:
2147:
2133:
2130:
2069:
2068:
2065:
2062:
2059:
2056:
2053:
2050:
2047:
2044:
2040:
2039:
2032:
2020:
2013:
2006:
1999:
1987:
1980:
1973:
1959:
1958:
1953:
1948:
1943:
1938:
1933:
1928:
1923:
1918:
1912:
1911:
1906:
1901:
1896:
1891:
1886:
1881:
1876:
1871:
1846:
1837:
1828:Pingala Sutras
1813:membranophones
1780:
1779:
1770:
1769:
1761:
1760:
1759:
1750:
1749:
1741:
1740:
1739:
1738:
1737:
1731:, such as the
1712:
1709:
1683:Indian dance (
1660:architectural
1619:
1616:
1524:
1523:
1514:
1513:
1512:
1503:
1502:
1494:
1493:
1492:
1483:
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1471:
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1429:
1423:
1417:
1412:
1407:
1402:
1397:
1392:
1352:
1346:
1264:
1257:
1255:
1252:
1201:Anustubh meter
1187:
1184:
1174:
1133:Tamil classics
1054:
1051:
1049:was composed.
960:
953:
951:
948:
923:
920:
849:
848:
846:
845:
838:
831:
823:
820:
819:
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815:
809:
806:
805:
802:
801:
798:
797:
792:
787:
782:
777:
772:
767:
762:
760:Ramcharitmanas
757:
752:
747:
742:
737:
732:
727:
722:
720:Pramana Sutras
717:
712:
707:
702:
700:Mimamsa Sutras
697:
695:Samkhya Sutras
692:
687:
682:
677:
675:Dharma Shastra
671:
662:
661:
658:
657:
654:
653:
648:
643:
638:
633:
628:
623:
618:
613:
608:
603:
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568:
567:
566:
556:
555:
554:
543:
538:
537:
534:
533:
530:
529:
527:Devi Bhagavata
520:Shakta puranas
516:
515:
510:
505:
500:
495:
486:Shaiva puranas
482:
481:
476:
471:
466:
461:
456:
451:
446:
441:
428:
427:
422:
417:
415:Brahmavaivarta
412:
407:
400:Brahma puranas
398:
393:
392:
389:
388:
385:
384:
379:
374:
369:
364:
359:
353:
348:
347:
344:
343:
339:
338:
335:
334:
329:
324:
318:
315:
314:
311:
310:
307:
306:
301:
296:
283:
282:
277:
275:Shvetashvatara
272:
267:
262:
257:
255:Brihadaranyaka
244:
243:
238:
225:
224:
219:
210:
205:
204:
201:
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186:
181:
168:
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65:
60:
56:
55:
51:
50:
45:
37:
36:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
8317:
8306:
8303:
8301:
8298:
8296:
8293:
8291:
8288:
8286:
8283:
8281:
8278:
8276:
8273:
8271:
8268:
8266:
8263:
8261:
8258:
8257:
8255:
8240:
8232:
8230:
8226:
8222:
8220:
8212:
8211:
8209:
8199:
8191:
8188:
8186:
8183:
8182:
8181:
8180:Hindu temples
8178:
8176:
8173:
8171:
8168:
8164:
8161:
8159:
8156:
8154:
8151:
8149:
8146:
8144:
8141:
8139:
8136:
8134:
8131:
8130:
8129:
8126:
8122:
8119:
8118:
8117:
8114:
8112:
8109:
8105:
8102:
8101:
8100:
8097:
8095:
8092:
8090:
8087:
8085:
8084:Hindu studies
8082:
8080:
8077:
8075:
8072:
8070:
8067:
8065:
8062:
8060:
8057:
8055:
8054:Denominations
8052:
8048:
8045:
8043:
8040:
8039:
8038:
8035:
8034:
8032:
8030:
8026:
8016:
8013:
8011:
8008:
8006:
8003:
8001:
7998:
7997:
7995:
7991:
7985:
7982:
7980:
7977:
7975:
7972:
7970:
7967:
7966:
7961:
7958:
7956:
7953:
7951:
7948:
7946:
7943:
7942:
7941:
7938:
7934:
7931:
7929:
7926:
7924:
7921:
7919:
7916:
7914:
7911:
7909:
7906:
7904:
7901:
7900:
7898:
7896:
7893:
7891:
7888:
7886:
7883:
7881:
7878:
7876:
7873:
7871:
7868:
7864:
7863:Vijayadashami
7861:
7859:
7856:
7854:
7851:
7850:
7849:
7846:
7844:
7841:
7839:
7836:
7834:
7831:
7829:
7826:
7825:
7823:
7821:
7817:
7809:
7806:
7804:
7801:
7799:
7796:
7794:
7791:
7790:
7789:
7786:
7782:
7779:
7777:
7774:
7772:
7769:
7767:
7764:
7763:
7762:
7759:
7758:
7756:
7752:
7746:
7743:
7741:
7738:
7736:
7733:
7731:
7728:
7726:
7723:
7721:
7718:
7716:
7713:
7711:
7708:
7706:
7703:
7701:
7698:
7696:
7693:
7691:
7688:
7686:
7683:
7681:
7680:Simantonayana
7678:
7676:
7673:
7671:
7668:
7667:
7665:
7663:
7659:
7653:
7650:
7648:
7645:
7643:
7640:
7638:
7635:
7633:
7630:
7628:
7625:
7623:
7620:
7618:
7615:
7613:
7610:
7608:
7605:
7603:
7600:
7598:
7595:
7594:
7592:
7590:
7586:
7583:
7579:
7569:
7568:
7564:
7562:
7559:
7557:
7554:
7552:
7549:
7547:
7544:
7542:
7539:
7537:
7534:
7532:
7529:
7527:
7524:
7522:
7519:
7517:
7514:
7512:
7509:
7505:
7502:
7500:
7497:
7495:
7492:
7491:
7490:
7487:
7486:
7484:
7482:
7478:
7472:
7471:
7467:
7465:
7462:
7460:
7457:
7455:
7452:
7450:
7447:
7445:
7442:
7440:
7437:
7435:
7432:
7430:
7427:
7425:
7422:
7420:
7417:
7415:
7412:
7408:
7405:
7403:
7400:
7398:
7395:
7394:
7393:
7390:
7389:
7387:
7385:
7381:
7378:
7376:
7372:
7362:
7359:
7357:
7354:
7352:
7349:
7347:
7344:
7342:
7339:
7337:
7334:
7332:
7329:
7327:
7324:
7322:
7319:
7317:
7314:
7312:
7309:
7307:
7304:
7302:
7299:
7297:
7294:
7292:
7289:
7288:
7286:
7284:
7280:
7274:
7273:
7269:
7267:
7266:Yoga Vasistha
7264:
7262:
7259:
7257:
7254:
7252:
7249:
7247:
7244:
7240:
7237:
7235:
7232:
7230:
7227:
7226:
7225:
7222:
7220:
7217:
7215:
7212:
7210:
7207:
7205:
7202:
7198:
7195:
7193:
7190:
7189:
7188:
7185:
7183:
7180:
7178:
7177:Bhagavad Gita
7175:
7174:
7172:
7170:
7166:
7160:
7157:
7155:
7152:
7150:
7147:
7145:
7142:
7140:
7137:
7135:
7132:
7131:
7129:
7127:
7123:
7117:
7116:Sthapatyaveda
7114:
7112:
7109:
7107:
7104:
7102:
7099:
7098:
7096:
7094:
7090:
7080:
7077:
7075:
7072:
7070:
7067:
7065:
7062:
7060:
7057:
7055:
7052:
7050:
7047:
7045:
7042:
7040:
7037:
7035:
7032:
7030:
7027:
7025:
7022:
7020:
7017:
7016:
7014:
7012:
7008:
7002:
6999:
6997:
6994:
6992:
6989:
6988:
6986:
6982:
6976:
6973:
6971:
6968:
6966:
6963:
6961:
6958:
6957:
6954:
6951:
6949:
6945:
6939:
6936:
6934:
6931:
6930:
6928:
6924:
6921:
6919:
6915:
6896:
6892:
6889:
6885:
6884:
6880:
6878:
6877:
6873:
6871:
6870:
6866:
6865:
6864:
6861:
6859:
6856:
6854:
6851:
6849:
6846:
6844:
6841:
6839:
6835:
6832:
6831:
6829:
6827:
6823:
6815:
6812:
6810:
6807:
6805:
6802:
6800:
6797:
6795:
6792:
6790:
6787:
6785:
6782:
6780:
6777:
6775:
6772:
6771:
6770:
6767:
6766:
6761:
6758:
6756:
6753:
6751:
6748:
6746:
6743:
6742:
6741:
6738:
6737:
6734:
6731:
6729:
6726:
6724:
6721:
6719:
6716:
6714:
6711:
6709:
6706:
6704:
6701:
6700:
6698:
6696:
6692:
6689:
6687:
6683:
6677:
6674:
6671:
6669:
6666:
6665:
6662:
6656:
6652:
6648:
6640:
6635:
6633:
6628:
6626:
6621:
6620:
6617:
6605:
6602:
6600:
6597:
6596:
6594:
6590:
6584:
6581:
6579:
6576:
6574:
6571:
6569:
6566:
6564:
6561:
6559:
6556:
6554:
6551:
6550:
6548:
6544:
6538:
6535:
6533:
6532:
6528:
6526:
6525:
6524:Natya Shastra
6521:
6520:
6518:
6514:
6508:
6505:
6503:
6500:
6498:
6495:
6494:
6492:
6488:
6482:
6479:
6477:
6474:
6472:
6469:
6467:
6464:
6462:
6459:
6457:
6454:
6452:
6449:
6447:
6444:
6442:
6439:
6437:
6434:
6432:
6429:
6427:
6424:
6422:
6419:
6417:
6414:
6412:
6409:
6407:
6404:
6402:
6399:
6397:
6394:
6392:
6389:
6387:
6384:
6382:
6379:
6377:
6374:
6372:
6369:
6367:
6364:
6362:
6359:
6357:
6354:
6352:
6351:Malwai Giddha
6349:
6347:
6344:
6342:
6339:
6337:
6334:
6332:
6329:
6327:
6324:
6322:
6319:
6317:
6314:
6312:
6309:
6307:
6304:
6302:
6299:
6297:
6294:
6292:
6289:
6287:
6284:
6282:
6279:
6277:
6274:
6272:
6269:
6267:
6264:
6262:
6259:
6257:
6254:
6252:
6249:
6247:
6244:
6242:
6239:
6237:
6234:
6232:
6229:
6227:
6224:
6222:
6219:
6217:
6214:
6212:
6209:
6207:
6204:
6202:
6199:
6197:
6196:Dollu Kunitha
6194:
6192:
6189:
6187:
6184:
6182:
6179:
6177:
6174:
6172:
6169:
6167:
6164:
6162:
6159:
6157:
6154:
6152:
6149:
6147:
6144:
6142:
6139:
6137:
6134:
6132:
6129:
6127:
6124:
6122:
6119:
6117:
6116:Bardwi Sikhla
6114:
6112:
6109:
6107:
6104:
6102:
6099:
6097:
6094:
6093:
6091:
6088:
6084:
6080:
6074:
6071:
6069:
6066:
6064:
6061:
6059:
6056:
6055:
6053:
6049:
6039:
6036:
6034:
6031:
6029:
6026:
6024:
6021:
6019:
6016:
6014:
6013:Andhra Natyam
6011:
6010:
6008:
6004:
5998:
5995:
5993:
5990:
5988:
5985:
5983:
5980:
5978:
5975:
5973:
5970:
5968:
5965:
5963:
5962:Bharatanatyam
5960:
5959:
5957:
5953:
5950:
5948:
5944:
5938:
5935:
5933:
5930:
5928:
5925:
5923:
5920:
5918:
5915:
5913:
5910:
5909:
5907:
5903:
5899:
5892:
5887:
5885:
5880:
5878:
5873:
5872:
5869:
5865:
5858:
5852:
5848:
5847:
5840:
5837:
5834:
5831:
5828:
5825:
5824:Natya shastra
5822:
5818:
5814:
5810:
5805:
5801:
5797:
5792:
5785:
5782:
5778:
5774:
5773:
5769:
5765:
5762:
5759:
5758:
5754:
5750:
5744:
5740:
5736:
5732:
5728:
5722:
5718:
5717:
5711:
5707:
5701:
5697:
5696:
5690:
5686:
5682:
5678:
5672:
5668:
5663:
5659:
5655:
5651:
5646:
5644:
5638:
5634:
5630:
5625:
5621:
5615:
5611:
5610:
5604:
5600:
5596:
5591:
5587:
5583:
5579:
5578:
5572:
5568:
5562:
5558:
5557:
5551:
5547:
5545:90-04-03978-3
5541:
5537:
5536:
5531:
5527:
5523:
5517:
5514:. McFarland.
5513:
5512:
5506:
5502:
5496:
5492:
5491:
5485:
5481:
5475:
5471:
5470:
5464:
5460:
5454:
5450:
5449:
5443:
5439:
5437:9780836425642
5433:
5429:
5428:
5422:
5418:
5412:
5408:
5407:
5401:
5397:
5391:
5387:
5386:
5380:
5376:
5372:
5368:
5363:
5359:
5353:
5349:
5348:
5342:
5338:
5332:
5328:
5327:
5321:
5317:
5315:81-7080-076-5
5311:
5307:
5306:
5300:
5297:
5293:
5291:
5286:
5280:
5277:. Chronicle.
5276:
5275:
5269:
5265:
5259:
5255:
5254:
5248:
5244:
5240:
5236:
5232:
5228:
5224:
5219:
5215:
5211:
5207:
5202:
5198:
5192:
5188:
5187:
5181:
5177:
5176:
5170:
5169:
5165:
5157:
5151:
5147:
5146:
5138:
5135:
5130:
5124:
5120:
5119:
5111:
5108:
5103:
5097:
5093:
5092:
5084:
5081:
5077:
5072:
5069:
5065:
5060:
5057:
5053:
5048:
5046:
5042:
5038:
5033:
5030:
5026:
5021:
5018:
5013:
5007:
5003:
5002:
4994:
4991:
4986:
4980:
4976:
4975:
4967:
4965:
4963:
4961:
4957:
4953:
4948:
4945:
4941:
4936:
4934:
4930:
4926:
4921:
4918:
4914:
4910:
4905:
4902:
4898:
4896:
4891:
4885:
4881:
4880:
4872:
4869:
4864:
4858:
4854:
4849:
4848:
4839:
4836:
4832:
4827:
4824:
4819:
4813:
4809:
4808:
4800:
4797:
4793:
4788:
4785:
4780:
4774:
4770:
4769:
4764:
4757:
4754:
4750:
4745:
4742:
4737:
4731:
4727:
4726:
4718:
4715:
4710:
4704:
4700:
4699:
4691:
4689:
4685:
4680:
4674:
4670:
4669:
4661:
4659:
4657:
4655:
4653:
4649:
4644:
4638:
4634:
4633:
4625:
4622:
4617:
4613:
4610:(2): 93–110.
4609:
4605:
4598:
4596:
4592:
4587:
4581:
4577:
4576:
4568:
4566:
4562:
4557:
4551:
4547:
4546:
4538:
4535:
4530:
4524:
4520:
4519:
4514:
4513:Jamila Massey
4507:
4504:
4500:
4495:
4492:
4488:
4483:
4481:
4477:
4473:
4468:
4465:
4461:
4456:
4453:
4449:
4444:
4441:
4437:
4432:
4429:
4425:
4419:
4416:
4412:
4406:
4403:
4400:, p. 14.
4399:
4394:
4392:
4390:
4386:
4382:
4377:
4374:
4370:
4365:
4362:
4358:
4353:
4350:
4346:
4341:
4339:
4335:
4330:
4324:
4320:
4319:
4311:
4309:
4307:
4303:
4298:
4292:
4288:
4287:
4279:
4276:
4272:
4267:
4264:
4260:
4255:
4252:
4248:
4243:
4240:
4236:
4231:
4228:
4224:
4219:
4217:
4215:
4211:
4206:
4200:
4196:
4195:
4187:
4184:
4179:
4173:
4169:
4164:
4163:
4154:
4152:
4150:
4146:
4141:
4135:
4131:
4130:
4122:
4119:
4115:
4110:
4108:
4104:
4100:
4095:
4092:
4089:, p. 46.
4088:
4083:
4080:
4075:
4069:
4065:
4060:
4059:
4050:
4047:
4043:
4038:
4036:
4034:
4032:
4028:
4023:
4017:
4013:
4012:
4004:
4001:
3996:
3990:
3986:
3985:
3977:
3975:
3971:
3966:
3960:
3956:
3955:
3947:
3944:
3940:
3935:
3932:
3928:
3923:
3920:
3916:
3911:
3908:
3904:
3899:
3896:
3892:
3887:
3884:
3880:
3875:
3872:
3868:
3863:
3861:
3857:
3852:
3846:
3842:
3841:
3833:
3831:
3829:
3827:
3823:
3818:
3812:
3808:
3801:
3798:
3794:
3789:
3787:
3785:
3781:
3776:
3772:
3768:
3762:
3758:
3757:
3749:
3746:
3741:
3735:
3731:
3730:
3722:
3719:
3714:
3708:
3704:
3697:
3694:
3690:
3685:
3683:
3679:
3675:
3670:
3667:
3663:
3658:
3655:
3651:
3646:
3643:
3639:
3634:
3631:
3626:
3620:
3616:
3615:
3607:
3605:
3603:
3601:
3599:
3597:
3593:
3588:
3582:
3578:
3577:
3569:
3567:
3565:
3561:
3556:
3550:
3546:
3541:
3540:
3531:
3528:
3524:
3520:
3514:
3511:
3508:, p. 24.
3507:
3502:
3500:
3496:
3491:
3485:
3481:
3480:
3472:
3469:
3464:
3458:
3454:
3453:
3445:
3442:
3438:
3433:
3431:
3427:
3423:
3418:
3415:
3411:
3406:
3403:
3399:
3394:
3391:
3387:
3382:
3380:
3378:
3374:
3370:
3365:
3363:
3361:
3357:
3353:
3348:
3345:
3341:
3336:
3334:
3332:
3330:
3328:
3324:
3320:
3315:
3312:
3309:, p. 11.
3308:
3303:
3300:
3296:
3291:
3289:
3285:
3281:
3276:
3273:
3269:
3265:
3259:
3256:
3252:
3247:
3244:
3241:, pages 45–47
3240:
3236:
3230:
3228:
3224:
3220:
3215:
3212:
3208:
3203:
3201:
3197:
3193:
3188:
3185:
3181:
3176:
3174:
3172:
3168:
3164:
3160:
3155:
3152:
3149:, p. 30.
3148:
3143:
3141:
3137:
3133:
3128:
3125:
3121:
3117:
3112:
3109:
3106:, p. 11.
3105:
3100:
3097:
3091:
3087:
3080:
3077:
3073:
3068:
3065:
3061:
3056:
3053:
3049:
3044:
3041:
3036:
3030:
3026:
3025:
3017:
3015:
3013:
3009:
3004:
2998:
2994:
2993:
2985:
2982:
2978:
2973:
2970:
2966:
2961:
2958:
2952:
2945:
2942:
2934:
2928:
2925:
2921:
2917:
2916:0-8239-2287-1
2913:
2909:
2903:
2900:
2895:
2889:
2885:
2884:
2876:
2873:
2869:
2864:
2861:
2856:
2850:
2846:
2845:
2837:
2834:
2830:
2825:
2822:
2817:
2811:
2807:
2802:
2801:
2792:
2790:
2788:
2786:
2784:
2782:
2780:
2778:
2776:
2774:
2772:
2770:
2768:
2764:
2760:
2755:
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2749:
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2726:
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2715:
2711:
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2700:
2696:
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2595:
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2578:
2575:
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2567:
2564:
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2555:
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2550:
2548:
2545:
2543:
2540:
2539:
2535:
2533:
2531:
2527:
2518:
2511:
2508:
2504:
2498:
2496:
2491:
2489:
2485:
2481:
2477:
2473:
2472:Natysashastra
2468:
2466:
2460:
2458:
2454:
2453:Natysashastra
2450:
2446:
2442:
2438:
2429:
2428:Lalatatilakam
2425:
2421:
2416:
2409:
2407:
2405:
2400:
2397:The detailed
2395:
2393:
2389:
2388:Bhagavad Gita
2385:
2381:
2377:
2373:
2368:
2366:
2362:
2358:
2354:
2350:
2346:
2345:Abhinavagupta
2343:, written by
2342:
2338:
2337:
2331:
2326:
2318:
2296:
2291:
2290:
2281:
2279:
2277:
2272:
2269:
2264:
2262:
2258:
2254:
2250:
2246:
2242:
2234:
2232:
2230:
2225:
2223:
2219:
2215:
2211:
2207:
2203:
2199:
2195:
2191:
2186:
2184:
2178:
2171:
2161:
2153:
2152:
2146:
2144:
2139:
2131:
2129:
2127:
2123:
2119:
2114:
2112:
2108:
2104:
2100:
2096:
2092:
2088:
2084:
2080:
2076:
2041:
2037:
2030:
2025:
2018:
2011:
2004:
1997:
1992:
1985:
1978:
1971:
1970:shadja-graama
1965:
1960:
1913:
1868:
1864:
1861:
1860:Natya Shastra
1851:
1850:Natya Shastra
1844:
1839:तत्र स्वराः –
1835:
1833:
1829:
1825:
1821:
1816:
1814:
1810:
1806:
1802:
1798:
1794:
1793:Natyashastra,
1791:Prior to the
1784:
1774:
1765:
1754:
1745:
1736:
1734:
1730:
1726:
1722:
1718:
1710:
1708:
1706:
1702:
1698:
1694:
1690:
1686:
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1679:
1675:
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1665:
1663:
1658:
1654:
1650:
1646:
1642:
1638:
1634:
1630:
1625:
1617:
1615:
1613:
1609:
1605:
1604:
1599:
1598:Hindu temples
1594:
1589:
1587:
1583:
1578:
1576:
1573:According to
1571:
1569:
1565:
1561:
1556:
1554:
1550:
1546:
1542:
1538:
1532:
1518:
1507:
1498:
1487:
1478:
1466:
1461:
1458:
1455:
1452:
1449:
1446:
1445:
1444:
1438:
1433:
1430:
1427:
1424:
1421:
1418:
1416:
1413:
1411:
1408:
1406:
1403:
1401:
1398:
1396:
1393:
1391:
1388:
1387:
1386:
1383:
1381:
1377:
1373:
1369:
1368:
1363:
1358:
1351:
1347:
1345:
1343:
1339:
1335:
1331:
1330:Natya Shastra
1327:
1323:
1318:
1316:
1310:
1308:
1304:
1300:
1295:
1290:
1286:
1280:
1273:
1263:
1262:
1261:Dramatic arts
1253:
1251:
1247:
1245:
1240:
1238:
1233:
1228:
1226:
1222:
1218:
1217:Tāṇḍava dance
1214:
1208:
1206:
1202:
1192:
1185:
1180:, Vedic India
1179:
1173:
1171:
1170:
1163:
1161:
1157:
1153:
1152:Panini Sutras
1149:
1145:
1141:
1136:
1134:
1130:
1126:
1122:
1118:
1114:
1111:) and dance (
1110:
1106:
1101:
1099:
1095:
1091:
1087:
1083:
1079:
1075:
1071:
1066:
1064:
1060:
1052:
1050:
1048:
1044:
1040:
1039:
1034:
1030:
1026:
1025:
1020:
1019:Natya Shastra
1015:
1013:
1012:Natya Shastra
1009:
1003:
1001:
997:
992:
991:Nāṭya Shāstra
986:
983:
975:
965:
959:
958:
949:
947:
945:
941:
937:
933:
929:
921:
919:
917:
916:Abhinavagupta
913:
909:
904:
900:
893:
888:
884:
880:
878:
874:
870:
865:नाट्य शास्त्र
862:
858:
857:
856:Nāṭya Shāstra
844:
839:
837:
832:
830:
825:
824:
822:
821:
814:
811:
810:
804:
803:
796:
793:
791:
788:
786:
783:
781:
778:
776:
775:Shiva Samhita
773:
771:
768:
766:
765:Yoga Vasistha
763:
761:
758:
756:
753:
751:
748:
746:
743:
741:
740:Vastu Shastra
738:
736:
735:Natya Shastra
733:
731:
728:
726:
723:
721:
718:
716:
713:
711:
708:
706:
703:
701:
698:
696:
693:
691:
690:Brahma Sutras
688:
686:
683:
681:
680:Artha Shastra
678:
676:
673:
672:
669:
665:
660:
659:
652:
649:
647:
644:
642:
639:
637:
634:
632:
629:
627:
624:
622:
619:
617:
614:
612:
609:
607:
604:
602:
599:
597:
594:
592:
589:
587:
584:
583:
580:
575:
574:
565:
562:
561:
560:
557:
553:
550:
549:
548:
545:
544:
541:
536:
535:
528:
525:
524:
523:
521:
514:
511:
509:
506:
504:
501:
499:
496:
494:
491:
490:
489:
487:
480:
477:
475:
472:
470:
469:Varaha Purana
467:
465:
462:
460:
457:
455:
452:
450:
447:
445:
442:
440:
437:
436:
435:
433:
426:
423:
421:
418:
416:
413:
411:
408:
406:
403:
402:
401:
396:
391:
390:
383:
380:
378:
375:
373:
370:
368:
365:
363:
360:
358:
355:
354:
351:
346:
345:
340:
333:
330:
328:
327:Bhagavad Gita
325:
323:
320:
319:
313:
312:
305:
302:
300:
297:
295:
292:
291:
290:
288:
287:Atharva vedic
281:
278:
276:
273:
271:
268:
266:
263:
261:
258:
256:
253:
252:
251:
249:
242:
239:
237:
234:
233:
232:
230:
223:
220:
218:
215:
214:
213:
208:
203:
202:
195:
192:
190:
187:
185:
182:
180:
177:
176:
175:
173:
166:
163:
161:
158:
156:
153:
151:
148:
147:
144:
139:
138:
133:
130:
127:
124:
122:
119:
118:
117:
116:
112:
108:
107:
104:
100:
96:
92:
91:
84:
81:
77:
74:
71:
67:
64:
61:
57:
52:
48:
43:
38:
35:Natya Shastra
33:
30:
19:
8190:Architecture
7793:Brahmacharya
7735:Samavartanam
7700:Annaprashana
7566:
7469:
7270:
7224:Dharmaśāstra
7214:Arthashastra
7110:
7049:Maitrayaniya
6881:
6874:
6867:
6789:Brahmacharya
6529:
6523:
6522:
6490:Contemporary
6446:Singhi Chham
6286:Kachhi Ghodi
6181:Dandiya Raas
6121:Bedara Vesha
6051:Divine forms
5987:Mohiniyattam
5863:
5845:
5808:
5763:
5755:
5738:
5715:
5694:
5666:
5649:
5628:
5608:
5598:
5594:
5576:
5555:
5534:
5510:
5489:
5468:
5447:
5426:
5405:
5384:
5367:Natyashastra
5366:
5346:
5325:
5305:Natyashastra
5304:
5273:
5252:
5226:
5222:
5205:
5185:
5174:
5166:Bibliography
5144:
5137:
5117:
5110:
5090:
5083:
5071:
5059:
5032:
5020:
5000:
4993:
4973:
4947:
4942:, p. 7.
4920:
4904:
4894:
4893:
4878:
4871:
4846:
4838:
4826:
4806:
4799:
4787:
4767:
4756:
4744:
4724:
4717:
4697:
4667:
4631:
4624:
4607:
4603:
4574:
4544:
4537:
4517:
4506:
4494:
4467:
4455:
4443:
4431:
4418:
4405:
4376:
4364:
4352:
4317:
4285:
4278:
4266:
4254:
4242:
4230:
4193:
4186:
4161:
4128:
4121:
4094:
4082:
4057:
4049:
4010:
4003:
3983:
3953:
3946:
3934:
3922:
3910:
3898:
3886:
3874:
3839:
3806:
3800:
3795:, p. 5.
3755:
3748:
3728:
3721:
3702:
3696:
3691:, p. 3.
3669:
3657:
3645:
3633:
3613:
3575:
3538:
3530:
3513:
3478:
3471:
3451:
3444:
3417:
3405:
3393:
3347:
3314:
3302:
3297:, p. 7.
3275:
3258:
3246:
3214:
3194:, p. 9.
3187:
3154:
3127:
3111:
3099:
3088:. Calcutta:
3086:Natyashastra
3085:
3079:
3074:, p. 6.
3067:
3055:
3043:
3023:
2991:
2984:
2972:
2960:
2944:
2927:
2907:
2902:
2882:
2875:
2863:
2843:
2836:
2824:
2799:
2651:
2650:
2635:
2601:
2577:Tala (music)
2568:
2530:Natyashastra
2529:
2525:
2523:
2516:
2500:
2495:Natyashastra
2494:
2492:
2488:Natyashastra
2487:
2476:Natyashastra
2475:
2471:
2469:
2461:
2452:
2436:
2433:
2427:
2420:Natyashastra
2419:
2404:Natyashastra
2403:
2399:Natyashastra
2398:
2396:
2392:Natyashastra
2391:
2376:Natyashastra
2375:
2372:Natyashastra
2371:
2369:
2364:
2360:
2357:Natyashastra
2356:
2352:
2351:also as the
2349:Natyashastra
2348:
2341:Natyashastra
2340:
2334:
2333:
2325:Natyashastra
2324:
2321:
2295:Drishtaphala
2294:
2293:
2288:
2287:
2276:Natyashastra
2275:
2273:
2268:Natyashastra
2267:
2265:
2261:Natyashastra
2260:
2241:Natyashastra
2240:
2238:
2229:Natyashastra
2228:
2226:
2221:
2217:
2213:
2206:Natyashastra
2205:
2201:
2197:
2193:
2187:
2183:Natyashastra
2182:
2180:
2174:
2160:Natyashastra
2159:
2155:
2150:
2149:
2143:Natyashastra
2142:
2138:Natyashastra
2137:
2135:
2125:
2118:Natyashastra
2117:
2115:
2106:
2103:Natyashastra
2102:
2094:
2086:
2082:
2078:
2075:Natyashastra
2074:
2072:
1969:
1859:
1849:
1838:
1831:
1827:
1817:
1801:chordophones
1797:Natyashastra
1796:
1792:
1790:
1783:Natyashastra
1782:
1725:Natyashastra
1724:
1717:Natyashastra
1716:
1714:
1704:
1700:
1696:
1692:
1689:Natyashastra
1688:
1684:
1682:
1674:Natyashastra
1673:
1670:Natyashastra
1669:
1666:
1661:
1652:
1648:
1644:
1640:
1636:
1632:
1628:
1624:Natyashastra
1623:
1621:
1612:Natyashastra
1611:
1607:
1603:kuttampalams
1601:
1593:Natyashastra
1592:
1590:
1585:
1582:Natyashastra
1581:
1579:
1575:Natyashastra
1574:
1572:
1567:
1559:
1557:
1552:
1548:
1544:
1540:
1533:
1530:
1462:(triangular)
1459:
1453:
1447:
1442:
1431:
1425:
1419:
1414:
1409:
1404:
1399:
1394:
1389:
1384:
1379:
1375:
1372:Natyashastra
1371:
1365:
1361:
1357:Natyashastra
1356:
1354:
1349:
1341:
1337:
1333:
1329:
1325:
1322:Natyashastra
1321:
1319:
1314:
1311:
1307:Natyashastra
1306:
1293:
1285:Natyashastra
1284:
1282:
1276:
1265:
1260:
1259:
1248:
1241:
1237:Natyashastra
1236:
1229:
1209:
1204:
1197:
1167:
1165:
1156:Natyashastra
1155:
1151:
1137:
1128:
1124:
1120:
1116:
1112:
1108:
1104:
1102:
1097:
1093:
1090:Natyashastra
1089:
1069:
1067:
1062:
1059:Natyashastra
1058:
1056:
1046:
1043:Natyashastra
1042:
1036:
1022:
1018:
1016:
1011:
1008:Natyashastra
1007:
1004:
999:
995:
990:
988:
981:
978:
961:
956:
955:
939:
935:
931:
925:
899:Nāṭya Śāstra
898:
896:
881:
868:
855:
854:
852:
745:Panchatantra
734:
705:Nyāya Sūtras
601:Thiruppugazh
519:
517:
485:
483:
431:
429:
399:
286:
284:
247:
245:
228:
226:
211:
171:
169:
29:
18:Natyashastra
8260:Hindu texts
8239:WikiProject
8111:Persecution
8099:Nationalism
8089:Iconography
7969:Ratha Yatra
7880:Janmashtami
7875:Rama Navami
7803:Vanaprastha
7754:Varnashrama
7730:Ritushuddhi
7715:Vidyarambha
7705:Chudakarana
7695:Nishkramana
7670:Garbhadhana
7311:Thirukkural
7306:Thiruppugal
7234:Nāradasmṛti
7197:Mahabharata
6975:Atharvaveda
6853:Vaisheshika
6740:Puruṣārthas
6592:Accessories
6461:Thirayattam
6451:Sword dance
6136:Bommalattam
6111:Bardo Chham
6101:Baagh Naach
5937:Veeranatyam
5927:Parai Attam
5802:, Calcutta.
5189:. Sharada.
4763:Imre Szeman
4345:Rowell 2015
3369:Tieken 1998
3219:Rowell 2015
3207:Rowell 2015
3192:Rowell 2015
2542:Brihaddeshi
2457:Vedic hymns
2253:Marga Natya
1719:is, states
1553:Atharvaveda
1348:Concept of
1178:Louis Renou
1047:Agni Purana
1038:Agni Purana
996:Nāṭyaśāstra
982:Nāṭyaśāstra
869:Nāṭyaśāstra
790:Vedantasara
715:Yoga Sutras
631:Aathichoodi
564:Historicity
559:Mahabharata
552:Historicity
248:Yajur vedic
165:Atharvaveda
54:Information
8254:Categories
7940:Kumbh Mela
7908:Gudi Padwa
7853:Durga Puja
7838:Shivaratri
7710:Karnavedha
7690:Namakarana
7652:Tirthatana
7419:Dattatreya
7256:Subhashita
7229:Manusmriti
7106:Dhanurveda
7039:Taittiriya
7024:Kaushitaki
7011:Upanishads
6784:Aparigraha
6686:Philosophy
6578:Tamil Nadu
6516:Literature
6481:Yakshagana
6436:Raut Nacha
6426:Puliyattam
6406:Pavri Nach
6396:Paampattam
6366:Mayilattam
6296:Karakattam
6171:Corridinho
6161:Chheih Lam
5955:Recognised
5917:Margamkali
5076:Dalal 2014
5064:Ghosh 2002
4952:Dalal 2014
4940:Dalal 2014
4909:Ghosh 2002
4831:Ghosh 2002
4792:Ghosh 2002
4422:Sanskrit:
4369:Ghosh 2002
3939:Ghosh 2002
3927:Ghosh 2002
3915:Ghosh 2002
3903:Ghosh 2002
3891:Ghosh 2002
2965:Ghosh 2002
2584:References
2528:theory of
2503:Upanishads
2327:(Abridged)
2192:, that is
2043:Varieties
1885:(गान्धार)
1809:idiophones
1805:aerophones
1633:Aparantaka
1564:four goals
1289:dramaturgy
1107:), melos (
1098:Natasutras
1094:Natasutras
1070:Natasutras
1063:Natasutras
1000:Adibharata
785:Panchadasi
770:Swara yoga
606:Tirukkuṟaḷ
420:Markandeya
265:Taittiriya
229:Sama vedic
222:Kaushitaki
207:Upanishads
194:Upanishads
8280:Pantomime
8163:Theosophy
8094:Mythology
8074:Criticism
8042:Etymology
8000:Svādhyāya
7899:New Year
7848:Navaratri
7820:Festivals
7798:Grihastha
7771:Kshatriya
7745:Antyeshti
7720:Upanayana
7685:Jatakarma
7675:Pumsavana
7662:Sanskaras
7627:Naivedhya
7581:Practices
7526:Mahavidya
7494:Saraswati
7481:Goddesses
7439:Kartikeya
7336:Athichudi
7291:Tirumurai
7144:Vyākaraṇa
7111:Natyaveda
7059:Chandogya
6984:Divisions
6965:Yajurveda
6476:Veeragase
6421:Puli Kali
6391:Oyilattam
6311:Khual Lam
6306:Keisabadi
6266:Hulivesha
6211:Duffmuttu
6106:Bagurumba
6068:Rasa lila
5977:Kuchipudi
5972:Kathakali
5947:Classical
5817:603994750
5719:. Oxbow.
5685:286469807
5637:233639306
5347:Kuchipudi
3270:, page 48
2507:Brahmanas
2410:Influence
2353:Natyaveda
2218:pranayama
2095:murchanas
1657:alankaras
1645:Ullopyaka
1637:Rovindaka
1549:Yajurveda
1454:Caturasra
1186:Structure
1140:Brahmanas
1125:Gandharva
1117:Gandharva
922:Etymology
755:Tirumurai
685:Kamasutra
444:Bhagavata
425:Bhavishya
410:Brahmānda
367:Vyakarana
236:Chandogya
212:Rig vedic
172:Divisions
160:Yajurveda
8219:Category
8170:Glossary
8138:Buddhism
8104:Hindutva
8064:Calendar
7945:Haridwar
7923:Vaisakhi
7918:Puthandu
7808:Sannyasa
7725:Keshanta
7556:Shashthi
7392:Trimurti
7219:Nitisara
7192:Ramayana
7187:Itihasas
7159:Jyotisha
7101:Ayurveda
7093:Upavedas
7074:Mandukya
7019:Aitareya
7001:Aranyaka
6996:Brahmana
6970:Samaveda
6895:Charvaka
6695:Concepts
6676:Timeline
6668:Glossary
6651:Hinduism
6599:Ghungroo
6546:By state
6411:Phulpati
6401:Padayani
6321:Kolattam
6291:Kalbelia
6271:Jhijhiya
6261:Hojagiri
6251:Gombhira
6191:Dhunachi
6166:Chholiya
6151:Chang Lo
6058:Nataraja
5997:Sattriya
5982:Manipuri
5737:(2008).
5586:26975430
5532:(1974).
5214:11717230
4765:(2005).
4515:(1996).
3775:50999926
3525:, page 7
2552:Dattilam
2536:See also
2513:—
1917:(Short)
1905:(निषाद)
1898:Dhaivata
1895:(पञ्चम)
1893:Panchama
1890:(मध्यम)
1888:Madhyama
1883:Gandhara
1878:Rishabha
1847:—
1629:Mandraka
1545:Samaveda
1456:(square)
1450:(oblong)
1448:Vikrista
1415:Pravṛtti
1400:Abhinaya
1367:abhinaya
1338:anubhava
1254:Contents
1175:—
1142:and the
994:CE. The
928:Sanskrit
892:Thai art
861:Sanskrit
807:Timeline
664:Shastras
547:Ramayana
449:Naradiya
382:Jyotisha
350:Vedangas
299:Mandukya
217:Aitareya
189:Aranyaka
184:Brahmana
155:Samaveda
95:a series
93:Part of
83:Sanskrit
79:Language
63:Hinduism
59:Religion
8208:Outline
8158:Sikhism
8153:Judaism
8148:Jainism
8029:Related
8005:Namaste
7858:Ramlila
7788:Ashrama
7776:Vaishya
7766:Brahmin
7589:Worship
7541:Rukmini
7531:Matrika
7504:Parvati
7499:Lakshmi
7489:Tridevi
7444:Krishna
7429:Hanuman
7424:Ganesha
7375:Deities
7261:Tantras
7251:Stotras
7204:Puranas
7149:Nirukta
7139:Chandas
7134:Shiksha
7126:Vedanga
7079:Prashna
7069:Mundaka
6991:Samhita
6960:Rigveda
6891:Nāstika
6876:Advaita
6863:Vedanta
6858:Mīmāṃsā
6838:Samkhya
6826:Schools
6814:Akrodha
6733:Saṃsāra
6713:Ishvara
6703:Brahman
6604:Silambu
6583:Tripura
6471:Tippani
6456:Tertali
6371:Mussoll
6336:Lahasua
6281:Jhumair
6246:Ghumura
6241:Ghoomar
6201:Domkach
6176:Dalkhai
6126:Bhangra
6063:Tandava
6033:Gotipua
6028:Gaudiya
5932:Theyyam
5905:Ancient
5658:2238067
5243:3204783
2920:शास्त्र
2480:Tandava
2465:dharmic
2257:Shrutis
2079:shrutis
1910:(षड्ज)
1903:Nishada
1900:(धैवत)
1875:(षड्ज)
1870:(Long)
1852:, 28.21
1824:Vedanga
1729:Puranas
1705:karanas
1649:Ovedaka
1641:Prakari
1608:namghar
1541:Rigveda
1537:Puranas
1460:Tryasra
1426:Raṅga -
1334:vibhava
1235:of the
1148:Vedanga
1029:Bharata
1027:(sage)
984:1.14–15
940:Shāstra
877:Bharata
540:Itihasa
395:Puranas
372:Nirukta
362:Chandas
357:Shiksha
332:Tantras
304:Prashna
294:Mundaka
179:Samhita
150:Rigveda
73:Bharata
8229:Portal
8133:Baháʼí
8037:Hindus
8015:Tilaka
7984:Others
7960:Ujjain
7955:Prayag
7950:Nashik
7890:Pongal
7828:Diwali
7781:Shudra
7740:Vivaha
7647:Dhyāna
7622:Bhajan
7612:Bhakti
7597:Temple
7551:Shakti
7459:Varuna
7402:Vishnu
7397:Brahma
7246:Sutras
7182:Agamas
6938:Smriti
6869:Dvaita
6834:Āstika
6779:Asteya
6774:Ahimsa
6760:Moksha
6745:Dharma
6658:topics
6573:Punjab
6568:Odisha
6537:Mudras
6507:Nautch
6431:Rasiya
6386:Oppana
6331:Lavani
6316:Kikkli
6276:Jhumar
6236:Giddha
6226:Garadi
6216:Dumhal
6156:Cheraw
6038:Mahari
6023:Deknni
6006:Others
5992:Odissi
5967:Kathak
5922:Koothu
5853:
5815:
5745:
5723:
5702:
5683:
5673:
5656:
5635:
5616:
5584:
5563:
5542:
5518:
5497:
5476:
5455:
5434:
5413:
5392:
5354:
5333:
5312:
5281:
5260:
5241:
5212:
5193:
5152:
5125:
5098:
5008:
4981:
4895:Quote:
4886:
4859:
4814:
4775:
4732:
4705:
4675:
4639:
4582:
4552:
4525:
4325:
4293:
4201:
4174:
4136:
4070:
4018:
3991:
3961:
3847:
3813:
3773:
3763:
3736:
3709:
3621:
3583:
3551:
3521:
3486:
3459:
3266:
3237:
3031:
2999:
2914:
2890:
2851:
2812:
2652:Quote:
2643:
2609:
2441:dharma
2380:Dharma
2361:tattva
2249:moksha
2222:dhyana
2214:asanas
2194:Sattva
2126:kutapa
2093:) and
2091:scales
2087:gramas
2083:shruti
2064:B♭, B
2061:A♭, A
2055:F, F♯
2052:E♭, E
2049:D♭, D
1908:Shadja
1880:(ऋषभ)
1873:Shadja
1832:Shruti
1697:sthana
1693:karana
1685:nritta
1653:Uttara
1586:aharya
1560:bhavas
1432:Siddhi
1405:Dharmī
1380:siddhi
1376:dharmi
1232:"Rasa"
1205:shloka
1074:Panini
1035:. The
944:Indian
912:bhasya
903:"Rasa"
795:Stotra
668:sutras
503:Skanda
479:Matsya
464:Vamana
454:Garuda
439:Vishnu
405:Brahma
322:Agamas
280:Maitri
126:Smriti
121:Shruti
69:Author
8143:Islam
8121:India
8010:Bindi
7993:Other
7933:Ugadi
7928:Vishu
7761:Varna
7642:Tapas
7632:Yajna
7602:Murti
7536:Radha
7516:Durga
7511:Bhumi
7454:Surya
7434:Indra
7407:Shiva
7169:Other
7154:Kalpa
7044:Katha
6948:Vedas
6933:Śruti
6918:Texts
6848:Nyaya
6804:Damah
6794:Satya
6750:Artha
6728:Karma
6718:Atman
6672:Index
6558:Assam
6441:Saang
6376:Nacnī
6361:Matki
6346:Maach
6341:Lezim
6326:Kummi
6301:Karma
6256:Grida
6231:Garba
6221:Fugdi
6206:Domni
6186:Dhalo
6146:Chang
6096:Alkap
6073:Lasya
6018:Chhau
5239:JSTOR
4170:–19.
4066:–18.
2936:(PDF)
2808:–15.
2445:artha
2437:Natya
2430:pose.
2365:aropa
2202:Tamas
2198:Rajas
2190:Guṇas
2122:veena
2111:notes
2107:tanas
2099:modes
1957:(सा)
1952:(नि)
1927:(री)
1922:(सा)
1915:Svara
1867:Svara
1701:chari
1662:varna
1568:vastu
1467:Drama
1439:Stage
1410:Vṛtti
1395:Bhāva
1362:Natya
1350:Natya
1303:Devis
1299:Devas
1294:Natya
1221:Shiva
1169:yajna
1113:nrtta
1105:vadya
1082:Sutra
1024:Rishi
932:Nāṭya
930:word
498:Linga
493:Shiva
474:Kurma
459:Padma
377:Kalpa
270:Katha
143:Vedas
8185:List
8047:List
7974:Teej
7903:Bihu
7885:Onam
7833:Holi
7637:Homa
7617:Japa
7607:Puja
7567:more
7561:Sita
7546:Sati
7521:Kali
7470:more
7464:Vayu
7449:Rama
7414:Agni
7384:Gods
7064:Kena
7034:Isha
6843:Yoga
6809:Dayā
6799:Dāna
6769:Niti
6755:Kama
6723:Maya
6381:Nati
6131:Bihu
6087:list
6083:Folk
5851:ISBN
5813:OCLC
5743:ISBN
5721:ISBN
5700:ISBN
5681:OCLC
5671:ISBN
5654:OCLC
5633:OCLC
5614:ISBN
5601:(1).
5582:OCLC
5561:ISBN
5540:ISBN
5516:ISBN
5495:ISBN
5474:ISBN
5453:ISBN
5432:ISBN
5411:ISBN
5390:ISBN
5352:ISBN
5331:ISBN
5310:ISBN
5279:ISBN
5258:ISBN
5210:OCLC
5191:ISBN
5150:ISBN
5123:ISBN
5096:ISBN
5006:ISBN
4979:ISBN
4884:ISBN
4857:ISBN
4812:ISBN
4773:ISBN
4730:ISBN
4703:ISBN
4673:ISBN
4637:ISBN
4580:ISBN
4550:ISBN
4523:ISBN
4323:ISBN
4291:ISBN
4199:ISBN
4172:ISBN
4134:ISBN
4068:ISBN
4016:ISBN
3989:ISBN
3959:ISBN
3845:ISBN
3811:ISBN
3771:OCLC
3761:ISBN
3734:ISBN
3707:ISBN
3619:ISBN
3581:ISBN
3549:ISBN
3519:ISBN
3484:ISBN
3457:ISBN
3264:ISBN
3235:ISBN
3029:ISBN
2997:ISBN
2912:ISBN
2888:ISBN
2849:ISBN
2810:ISBN
2641:ISBN
2607:ISBN
2563:Rasa
2557:Raga
2526:Rasa
2524:The
2470:The
2449:kama
2447:and
2418:The
2239:The
2220:and
2210:Yoga
2200:and
2136:The
2116:The
1947:(ध)
1942:(प)
1937:(म)
1932:(ग)
1715:The
1699:and
1651:and
1622:The
1591:The
1390:Rasa
1355:The
1326:rasa
1315:Rasa
1301:and
1225:rasa
1213:Puja
1129:Gana
1121:Gana
1109:gita
1086:IAST
1068:The
1057:The
936:Nata
897:The
853:The
666:and
513:Agni
508:Vayu
260:Isha
241:Kena
132:List
8059:Law
5371:doi
5231:doi
4612:doi
3545:519
2367:)?
2067:CC
1945:Dha
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