ಅಭಿಜಾತನೃತ್ಯ ಮತ್ತು ಯಕ್ಷಗಾನ

ಈ ಹಿನ್ನೆಲೆಯಲ್ಲಿ ಭಾರತೀಯ ಅಭಿಜಾತನೃತ್ಯಗಳನ್ನು ಯಕ್ಷಗಾನದೊಡನೆ ಹೋಲಿಸಿ ನೋಡಿದಾಗ, ಮಿಕ್ಕೆಲ್ಲ ನೃತ್ಯಪದ್ಧತಿಗಳಿಗಿಂತ ಭಿನ್ನವಾಗಿ ಯಕ್ಷಗಾನವು ನಾಟ್ಯಪದ್ಧತಿಯಾಗಿ ತೋರುವುದು ಸುವೇದ್ಯ. ಈ ಕಾರಣದಿಂದಲೇ ಇಲ್ಲಿ ಲೋಕಧರ್ಮಿಯ ಪಾರಮ್ಯವಿರುತ್ತದೆ; ಮತ್ತಿದು ಸಮಸ್ತಜನರಿಗೂ ಸಂತೋಷವೀಯುತ್ತದೆ. ಆದರೆ ಈಚೆಗೆ—ಅಂದರೆ, ಚಲನಚಿತ್ರ ಮತ್ತು ದೂರದರ್ಶನಗಳ ಪ್ರಭಾವ ವ್ಯಾಪಕವಾಗುತ್ತ ಬಂದಂತೆ—ಇವುಗಳ ಲೋಕಧರ್ಮಿಯ ಪಾರಮ್ಯವು ಸಹಜವಾಗಿಯೇ ಮಿಗಿಲಾಗಿ ತೋರಿ, ಇವುಗಳ ಹೋಲಿಕೆಯಲ್ಲಿ ಯಕ್ಷಗಾನವು ನಾಟ್ಯಧರ್ಮಿಗೇ ನಿಕಟವೆನಿಸಿದೆ. ಹೀಗಾಗಿಯೇ ಸುಕುಮಾರಮತಿಗಳಾದ ಸಾಮಾನ್ಯರಿಗೆ ಯಕ್ಷಗಾನಕ್ಕಿಂತ ಚಲನಚಿತ್ರ ಮತ್ತು ದೂರದರ್ಶನಗಳೇ ಹತ್ತಿರವಾಗಿವೆ.

ಉಪಕ್ರಮ

The Debauchery of the Art of Dance

The mind and the intellect (manas and buddhi) are the two-primary means by which a man perceives the world and lets himself be perceived.

The eyes, the ears and other senses, and the parts of the body that shelter them become the instruments for the above two.

Training in arts strengthens the mind through refinement and the intellect acquires a refined strengthening through the knowledge of śāstras (roughly translated as ‘sciences’).  

Most parts of the Vedas are allegorical and metaphorical in style. Knowledge of this symbolism is the only avenue through which the meaning of the hymns can be accessed. It was necessary for the ancient sages to employ symbolism because of the esoteric content and also because it predates the evolution of systematized language as we now know it. For the same reason everyday words were made to perform multiple tasks: allusions to natural phenomena were mythologized.

Nature and Art

Books written and institutions established by Dr. Padma Subrahmanyam for the promotion of Art and National Integration

1.Śiva’s form as Naṭarāja

This article is an adapted version of the talk presented by Arjun Bharadwaj at the Swadeshi Indology Conference in December 2017

The following sections describe how Padma Subrahmanyam’s art presentations and research suggest the inclusive nature of sanātana-dharma and all regional variations as an integral part of the classical mārga tradition.

This article is an adapted version of the talk presented by Arjun Bharadwaj at the Swadeshi Indology Conference in December 2017

Abstract

The current paper attempts to explore the contributions of Dr. Padma Subrahmanyam, an artist and scholar, in the context of the Dravidian movement and her artistic rebuttal of the same.