Nrtta, Natya and Nrtya
B. During the Post- Bharata period
The commentators of the middle period (say, around the tenth century and thereafter) interpreted some of the fundamental terms of the Natyashastra in a manner that was considerably different from perhaps what Bharata meant. They also brought in many concepts that were not envisaged by Bharata.
Just to recapitulate:
As per Natyashastra,
: – the Nrtta was pure dance. It was not a subsidiary or an auxiliary to Natya. It was an independent Art-form, which was performed mainly in the Purvaranga, before the commencement of the play proper, as praise offering to gods (Deva-stuti).
: – The Tandava was described as Nrtta (pure dance); and, it was not necessarily aggressive; nor was it performed only by men.
[The Tandava in the Natyashastra did not convey the sense of Uddhata (Vigorous). Further, the Tandava or Nrtta of the Natyashastra was in no way related to what later came to be known as Tandava-nrtta.]
: – The graceful dance (Sukumara-prayoga) with delicate, graceful (Madhura) movements (Angaharas) performed by Devi Parvathi (which Abhinavagupta named as Lasya) was not in contrast to Shiva’s Tandava. It was her own Dance.
[Sukumara-prayoga (or Lasya) did not mean a feminine style of dancing, as was interpreted later. Such distinctions, as between masculine and feminine dances, were not made in the Natyashastra.]
: – During the time of Bharata, there was no clear theoretical division of Dance into Tandava and what, later, came to be known as Lasya. They merely referred to the nature of the physical movements. And, the term Lasya, per se , does not also appear in Natyashastra, though the concept of the element of grace and beauty did exist; and, was named as Sukumara or Madhura.
But, during the Post-Bharata period, especially in the medieval times:
: – Nrtta was classified into Tandava and Lasya types. And, here, Tandava was described as forceful (Uddhata Angaharas), the fast paced furious Tandava Nrtta.
And Tandava Nrtta came to be idealized as an extremely angry and destructive type of dance.
: – Sukumara Prayoga was renamed as Lasya, the soft or delicate (Lalita) form of dance.
: – And, the two, were said to be related to masculine and feminine dancers; saying that Tandava is for men, while Lasya is for women.
[But, the Natyashastra had not made such distinctions. There, the dance movements were guided by mental and emotional states of the character. The principle for classification of dance movements was Guna, the quality and the nature of the feeling of the character (not gender).]
: – Although Bharata created a new and more expressive form of Dance form by combining the dance elements of the Nrtta with the Abhinayas, he had not assigned it a name. He did not also define the newly crafted Art-form.
But, in the later periods, it came to be known and celebrated as Nrtya. (The term Nrtya, as such, does not appear in the Natyashastra, though its conceptual essence was very much there.)
: – Further, certain new concepts which, of course could not have been there during the time of Bharata, also came into the vocabulary of Dance. Now the Dance and its forms came to be classified into categories, such as: Marga (pure or classical) and Desi (regional or improvised); and, as Nibaddha (structured) and Anibaddha (unstructured or free-flowing).
: – Another significant development was the steady drift away from the dance that Bharata talked about. Number of regional elements and techniques entered into the stream. And, that gave rise to many Dance –forms, in different regions of the country; each with its own ethos and techniques of presentation.
With this background, let’s take a look the statements made by some authors and commentators of the Post –Bharata period.
Nrtta in the medieval period
Abhinavagupta (11th century) in his Abhinavabharati, a detailed commentary on the Natyashastra, brought in many concepts and practices that were not present during the time of Bharata. He also discussed matters related to the Art of Dancing, keeping in view the practices prevailing during his time. He also tried to interpret the Natyashastra in the light of his own experience and knowledge; as also according to the principles of his philosophical School.
And, many times, he differed from Bharata. And, in addition, he introduced many new factors. Abhinavagupta provided the details of dance forms that were not mentioned in the Natyasastra. For instance, Abhinavagupta speaks of minor categories of drama (uparupakas), such as nrtta-kavya and raga-kavya – the plays based mainly in dance or in music. The nature of such minor dramas was not specifically discussed in the Natyashastra.
Abhinavagupta provided his own interpretations to such fundamental terms as Nrtta, Abhinaya etc.
Though Nrtta was later described by Dhananjaya and Dhanika, as one that is bereft of meaning or emotion (Bhava and Rasa) or even of Abhinaya; and, that it can only be a decorative Angikabhinaya element that beautifies the dance presentation (Shobahetu), Abhinavagupta asserted that Nrtta is capable of expressing meaning (Artha). His view prevailed in the subsequent periods.
Further, Abhinavagupta asserted that Nrtta is an integral part of the Drama (Natya). The Nrtta elements can be used both in the Purvaranga (preliminaries before the commencement of the play) and in the sequences within the Drama. He cites some instances where Karanas (the basic units of the Nrtta) are employed.
He mentions: In Bhaṭṭa Nārāyaṇa’s Veṇī Samhāra, the actor playing the role of Aśvatthāman enters with the Sūci Viddha (needle-pierced) and Ūrdhvajānu (uplifted foot) Karaṇas. In Kalidāsa’s Vikramorvaśīyam, the hero Purūravas enters with the Alapallava and Sūci Karaṇas. Garuḍa enters with Garuḍa-plutam; Rāvaṇa’s entry is with Vaiśākha Recitam. In Svapna Vāsavadatta, Vatsarāja enters with Sambhrānta karana.
And, certain situations (say, those involving Srngara or Raudra) do need appropriate postures (Karanas) to illustrate the emotional states of the character.
Abhinavagupta’s influence has been profound and pervasive. Succeeding generations of writers on Natya were guided by his concepts and theories of Rasa, Bhava, aesthetics and dramaturgy.
Abhinavagupta, in a very elaborate manner, classifies Nrtta into two groups. The First group has three varieties; and, the Second has four. Thus, there are, in all, seven classifications.
In his rather complicated classifications and their protracted explanations of the Nrtta, Abhinavagupta brings in the elements Abhinayas, in its varying degrees.
The Nrtta types in his First Group have no Abhinaya. The Nrttas in the Second Group involve some element of Abhinaya (therefore, are aligned to what could be called as Nrtya). Here, the Abhinaya is classified into two types.
Dr. KM Varma in his highly scholarly and very well researched work ‘Natya, Nrtta and Nrtya: their meaning and relation’ (pages 17-19) analyzes these seven classifications of Nrtta, in the light of Abhinavagupta’s hypothesis of two types of Abhinaya. And, he builds up the relationships among Nrtta (dance), Gana (song) and Vadya (musical instruments).
Abhinavagupta explains Abhinaya , broadly, as a process where the performer brings into his mind the meaning and the sentiment of the words of the song; and, puts it forth through facial expressions, movement of the limbs and such other means.
And, he classifies the Abhinaya into two distinct types.
Of the two types of Abhinayas; in the First one, the performer follows the general trend, without going into details; and, in the Second type, the performer interprets every word and every sentence of the song.
Here, in his classifications of the Nrtta, Abhinavagupta introduces into Nrtta many new factors that were not there earlier. For instance; he brings into the definition of Nrtta the elements of Artha and Abhinaya (in varying degrees); the variations of Tandava (vigorous) and Lasya (soft) ; the concept of male and female forms of Nrtta ; and Rasas , the sentiments or emotions they express.
Thus, the concept and the content of the Nrtta, as in the Natyashastra, is almost entirely abandoned; thoroughly overhauled; and, given a totally new perspective and disposition. In short; the Nrtta, here, is far faraway from its ancestor in the Natyashastra. It is not the same.
[The First Group belongs to the pure Nrtta type ; whereas, the Second Group relates to of what came to be known as Nrtya. Abhinavagupta, in his explanations, did not, however, use the term Nrtya.]
The First Group of Nrtta that Abhinavagupta formulated has the three types: (1) Shudda-Nrtta; (2) Gitakad-abhinayaonmukha –Nrtta; and, (3) Gana-Vadya –Talanusaii Nrtta.
Of these, the First one, Shuddha Nrtta, which consists Angaharas and Recakas, is the sort of Nrtta that is related to the Purvaranga, as in the Natyashastra.
The Second in this Group is Gitakad-abhinayaonmukha- Nrtta. Here, the performer’s physical movements are guided by the general trend or the broad sense of the song. But, she/he does not pay attention to the specific details of the song; such as, the meaning of each words and sentence of the song.
The Third in this Group; the Gana-Vadya –Talanusari Nrtta is similar to the earlier one; but, here the instruments (Vadya), songs (Gitam) and rhythm (Taala) are the leading factors. Here also, the performer follows the general trend of the song without going into its details.
The Second Group has four types: (1) Uddhata Nrtta ;(2) Masrana-Nrtta; (3) Misra Uddhata Nrtta; and,(4) Misar-Masarna Nrtta.
All these four types do require Abhinaya (as in the Nrtya). Here in the Second Group, the Abhinaya, according to Abhinavagupta, is the action of the performer in sending forth (abhi) or bringing the meaning of the song into his own mind and expressing it through the movement of limbs , conveying the sense of every word and every detail of the song or the composition.
The First type in this Second Group, the Uddhata Nrtta is a furious dance with display of vigorous movements (Tandava) ; it is associated with Veera and Roudra Rasas. This is a masculine type of dance.
The Second type in this Group, Masrana-Nrtta is the softer type of dance (Lasya) aligned with Srngara, Karuna and so on. This is the feminine type of dance
The Third type Misra Uddhata Nrtta, in the main, is same as Uddhata; but, is mixed with the movements of the Masrana (Lasya) variety
And, the Fourth type in the Second Group, Misar- Masarna Nrtta is again a Masarna Nrtta, with emphasis on lighter; but, mixed with some elements of Uddhata
Dhananjaya perhaps belonged to the same region and to the same period in which Abhinavagupta lived. By the time of Dhananjaya (Ca. eleventh Century), the meaning and the application of the terms Nrtta, Tandava and Lasya had all changed a great deal. Further, by then, the Natya and Nrtya had taken the center stage.
Dhananjaya, in his Dasarupaka, treats Nrtta, mainly, in its comparison with Nrtya.
Dhananjaya explains Nrtta, as dance, with emphasis on smart looking (shobhahetu) limb-movements, in tune with rhythm and tempo (nrttam tala-laya-asrayam). But, in itself, it is devoid of meaningful content; and, is valued for its mere visual beauty of body movements (gatrasya viksepaha). Nrtta is not an interpretive or expressive dance (though the dancer might perhaps wear pleasant smile on her face).
The Nrtta, according to Dhananjaya, does not also involve the elements of meaning or emotion (Bhava and Rasa) or Abhinaya (Abhinaya-sunya); nor does it evoke a mood or a sentiment (Rasa). It is one of the specific technical elements (Angikabhinaya) that beautify the dance presentation.
[Bharata had used the term Nrtta to denote dancing, in general. But, in the medieval period, the meaning of Nrtta was narrowed down to mean a mere decorative aid. It was just an aspect of the whole body of Dancing.]
As compared to Nrtta, Dhananjaya says, the Nrtya, principally, is the display of various aesthetic moods (Bhava) or emotional states (Bhava-asrayam nrtyam). The Angavikshepa, the throwing of limbs is, however, common to both Nrtta and Nrtya.
But, Nrtya, through its appropriate gestures, facial expressions and limb-movements, gives life and form to the meaning and the sensitivity of the individual words and the sentences of the song (Abhinaya-pada-artha-abhinayatmaka).
[Nandikeshvara (Abhinayadarpana.1-56) similarly distinguished Nrtya from Nrtta, thus: Bhava-abhinaya-hinam tu nrittamitya-abhidhyate;| Rasabhava-vyanjana adi yuktam nrityam ity uchyate]
Of these two, the Nrtya having emotional content is classified by Dhananjaya under Marga (the classic or pristine form of dance), a representation of the classic form of dance; while, Nrtta, with its stress, mainly, on rhythm and tempo, is classified under Desi, perhaps representing the popular regional or improvised dance form – (Adyam padartha-abhinayo Margo Desi tatha param).
Under each of these (Nrtya and Nrtta), Dhananjaya, again makes a two-fold division, as: Lasya, the graceful, gentle fluid and pleasing dance; and, Tandava, the vigorous, energetic, brisk and invigorating movements (lasya-tandava-rupena natakad-dyupa-karakam).
These are the dance-types that are performed during the course of the play, depending upon the nature/need of a sequence in the play.
Thus, Tandava, unlike in Natyashastra, is not necessarily a dance performed as a praise-offering to gods, in the Purvaranga, the preliminaries, before the commencement of the play. On the other hand, it is used in the play to depict aggressive tendencies (Uddhata) and their manifestations. Similar is the case with Lasya, the gentle dance (Lalita).
The distinction between Uddhata and Lalita also suggests a difference between the masculine and feminine modes of expression; because of their physical characteristics, and also because of their association with a male and a female deity. In due course, the term Lasya came to mean a feminine style of dancing, which lends grace to stage actions.
[Following Dhananjaya, Sarangadeva also mentions that Nrtta and Nrtya can both be of two kinds: Tandava and Lasya (SR.7.28). Tandava requires Uddhata (forceful); and, Lasya requires Lalita (delicate) movements (SR. 7. 29-30). He identifies Tandava as Shiva’s dance; and, Lasya as Parvati’s.]
According to Dhananjaya, Natya comprises both Nrtta and Nrtya. It is mentioned; that in Natya, the Nrtya is sometimes useful in expressing the Bhava introduced through the topic (Avantara-padartha), while Nrtta is useful as a beautifying factor that pleases the eye (Shobha-hetuvena)
Dhananjaya explains Natya as an Art-form that is based in Rasa- Natyam rasam-ashrayam (DR.I. 9). It gives expressions to the inner or true meaning of the lyrics through dance gestures – vakyartha-abhinayatmaka.
Thus, Natya delightfully brings together and presents in a very highly expressive, attractive visual and auditory form, the import of the lyrics (sahitya), the nuances of its emotional content to the accompaniment of soulful music and rhythmic patterns (tala-laya), along with attractive postures and stances.
[Later, Pundarika Vittala (sixteenth century), in his work (Nartana-nirnaya), following Sarangadeva, uses the term Nartana, generally, to mean ‘Dance’, Pundarika said that by Nartana he meant it to be a general class-name for Dance. And, the term Nartana would cover the three forms of Dance: Natya, Nrtya and Nrtta. The last (Nrtta) would again be subdivided into three other types: visama (acrobatic); vikata (absurd); and, Laghu (light), identified respectively as rope-dancing, a comic dance, and a dance based on easy Karanas.]
Dhanika says that Nrtya is Pada-artha-abhinayatmaka; and, Natya is Vakya-artha-abhinayatmaka
It is explained that the terms Pada (word) and Vakya (sentence) should not be taken in their ordinary sense. These have to be seen in relation that the words have with the sentence, of which they are a part.
Here, Pada-artha, word-meanings, is to be taken as Bhavas. And, Vakya-artha is to be understood as Rasa, which is produced by the combination of the Bhavas; just as a sentence is made up of several words.
In other words; the relation between Bhava and Rasa was said to be similar to that which exists between the word and the sentence. It was said; Vakyartha stands for Rasa, which is similar to the sentence; and, Padartha stands for Bhava, which is similar to the word.
Following that, attempts were made to differentiate Nrtya and Natya on the basis of Bhava and Rasa.
In the process, Nrtya was equated with Padartha-abhinaya; and, Natya with Vakhyartha-abhinaya. And, in effect, according to Dhananjaya, it meant that Nrtya is rooted in Bhava (Nrtyam bhavashrayam); and, Natya in the Rasa (Rasashrayam Natyam). Thus, Nrtya is related to Bhava alone; and, Natya is related to Rasa alone.
Even in the later times, the authorities like Vipradasa (Ca. fourteenth century). Rana Kumbha (fifteenth century) continued to go by the definitions provided by Dhananjaya/Dhanika; but, with slight modifications.
For instance; Rana Kumbha in his Nrtya-ratna-kosa explains Nrtta as made up of combination of Karanas and Angaharas (Karanam angaharani caiva Nrttam); Nrtya as Rasa (Nrtya sabdena ca Rasam punaha); and, Natya as Abhinaya (Natyena abhinayam). The Nrtya is classified as Marga; and, Nrtta as Desi.
Thus, according the medieval theories, Nrtta is all about beauty of form perceived by the eye; Nrtya expresses Bhava; and, Natya expresses Rasa.
But, such definitions and their import do not seem to be quite correct, at least in certain vital aspects.
Bhava and Rasa, even according to Bharata are intimately related. As Bharata had said; there cannot be Rasa without Bhavas; and vice versa – Na Bhavahino iti Raso; Na Bhavao Rasavargitah.
Na bhāvahīno’sti Raso; Na Bhāvo rasavarjitaḥ । parasparakṛtā siddhi-stayor abhinaye bhavet ॥ NS.6.36॥
Apart from textual references, it is common experience that Rasa, the aesthetic pleasure, is evoked by both the Nrtya and the Natya. And, Bhava and Rasa are essential to both the Nrtya and the Natya.
And, therefore, to say that Nrtya is only about Bhava; and Natya is only about Rasa would be incorrect. The aim of both Nrtya and Natya is to provide Rasa; and, for which Bahavas are essential. The expressions of Bhava are crucial to all the Art forms; as they contribute to the creation of Rasa enjoyed by the viewers, both in a general and auxiliary way (Samanya-guna-yogena). Abhinavagupta argued on similar lines (though he did not use the term Nrtya, in particular).
And, similarly, Dhananjaya’s views on Nrtta and other issues were criticized by the later scholars.
To start with, it was mentioned that the concepts of the Natyashastra have to be understood in the light of the theoretical principles in which they are based. And, Dhananjaya’s view of Nrtta was restrictive, since it did not take many of its aspects into consideration.
Dismissing Dhananjaya’s classification of Nrtta as Desi, it was argued: the Nrtta as defined by Bharata is a proper art; a pure dance form, where the dancers need to be trained under competent Masters. Nrtta was meant to be performed during the Purvaranga as a prayer offering (Deva stuti). It was dear to gods (atyartham iṣṭaṃ devānāṃ).
Further, it was pointed out that Bharata’s phrase sobham janayati merely suggests that Nrtta is a beautifying factor; and, that does not mean Nrtta is auxiliary to Natya. The Nrtta is independent, chaste and classical.
Marga, by Dhananjaya’s own definition, is an Art that is created by the Masters; while, Desi is that which is practiced by people of different regions, according to their taste. And, therefore, to designate Nrtta as Desi is illogical; because, Nrtta created by Shiva himself; and, taught by Tandu to Bharata was in indeed of the Marga class.
It was argued by the scholars of the later period that Dhananjaya’s statements do not project a fair view; because: Nrtta, which precedes Natya, in reality, is an art par excellence, which can suggest meaning and evoke Rasa.
It was, therefore, indicated that it makes more sense to go by the concepts themselves, than be led only by the etymological explanations of the terms.
It was also said that Dhananjaya could have made a distinction between the Nrtta of the Purvaranga; and, the Nrtta type of group dances performed on happy cultural and social occasions. The dancers, here, do not need much training. And, there are also no restrictions with regard either to the mode of its dance or to the place of its performance. Only, such latter type of regional dances could have been classified as the popular Desi; and, not the entire Nrtta, as a class.
It was pointed out that Dhananjaya’s interpretation of Tandava as made of vigorous (Uddhata) Angaharas ; and Lasya as made of soft (Sukumara or Madhura) Angaharas , was not in accordance with the tenets of the Natyashastra.
Further, under, the interpretation provided by Dhananjaya, Nrtta was classified depending on the nature of the physical movements. It seemed that vigorous Tandava and soft Lasya were related to masculine and feminine dancers, respectively; suggesting that Tandava is for men, while Lasya is for women. But, the Nrtta in the Natyashastra did not envisage such discrimination.
Again, such an interpretation also suggests a distinction and between masculine and feminine modes of expression. And, that led to mistaking the term Lasya to mean a feminine style of dancing, which lends grace to stage actions.
It was argued that the dissimilarity of vigorous or soft is purely relative. And, they are mere assumptions. It doesn’t make much sense to insist that women should be soft and gentle, even when they are angry or furious; and, men should be aggressive even when they are in grief or in love. It is also wrong to state that Lasya should be performed only by women; and Tandava is exclusively for men. The real principle for classification should be Guna, the quality and the nature of the feeling (but, not gender).
Next; Dhananjaya’s statements asserting that Nrtta is devoid of Bhava and Rasa (Rasa Bhava vihinam tu Nrttam itya abhijayate); and, Nrtta is only a technical element (Angikabhinaya) that helps to smarten the dance presentation; and it lacks the element of Abhinaya (laya tala matrapekso angaviksepo abhinaya sunyayh), were also refuted. And, downgrading Nrtta to an inferior (Adhama) position was also rejected.
Saradatanaya (1175 -1250 AD) in his Bhavaprakasana, disagreed with the views of Dhananjaya; and asserted that Nrtta, the pure dance, is rooted in Rasa (Nrttam rasa-ahrayam). Saradatanaya’s definition meant that Nrtta not only beautifies a presentation, but is also capable of generating Rasa.
Further, Abhinavagupta, while dealing with Karanas, which are the basic units of Dance and classified under the Nrtta, emphasized that Karanas are capable of suggesting meanings.
Abhinavagupta opined that Kaisiki-vrtti, which is the medium or the style to depict Srngara, essentially requires Nrtta. Because, he says, Nrtta is the source that provides Valana, Vartana and other movements or stances. Further, he says that Nrtta as a beautifying factor helps to fill or cover up the gaps in the physical movements (chidra-chadana); and, to maintain continuity in action (alata-chakra-pratimata). And, therefore, Nrtta, like Nrtya and Natya, is capable of giving forth Rasa, although it is non representational.
Further, the statements such as ‘Nrtta is devoid of Bhava and Rasa’ (rasa –bhava-vihinam tu Nrttam itya abhijayate) were dismissed as being rather harsh and unimaginative. That is because; Nrtta is an Art-form that provides the idioms and metaphors of beauty to Nrtya , Natya and Shilpa.
And, over the centuries, the Karanas of the Nrtta have inspired creation of wondrous sculptures with their visual beauty (Shobha), their distinctive poses and geometrical constructions. And, they do invoke certain admiration and pleasure (Rasa) in the hearts of the viewers. Same thing can be said about the basic dance poses and dynamic postures.
Dancing (Nrtta) and sculpture (Shilpa) have much in common. They both share same system of measures and proportions in presenting human forms, as symbols capable of evoking states of being (Bhava).
Thus every figure of Indian sculpture is, like every pose and gesture in Indian dancing, highly symbolic; and, each figure has a particular evocative quality. The technique by which the artist can present the soul or the spirit of subject in a visible form, are guided by the same set of principles.
Just as the Indian dancer aims at attaining the perfect pose, the moment of perfect balance(Sama), after a series of movement in time, so too, does the Indian sculptor try to capture the movement of the figure through the perfection of rhythm and line.
The fundamental principles of Tala (measure) and Bhanga (posture) based on the concept of the Sutra (median) and (proportions) in Dance are similar to the ones in sculpture.
Further, the division of the human form into the various Anga and the Upanga in both the arts is made on the basis of the bone structure, the joints of the body rather than on the muscles of the human body:
It is said; indeed, the Nrtta technique can be better understood if one understands the concept of the Sutras and Mana of the Shilpa. .
[As compared to the restricted understanding of Nrtta by the medieval authors, the present-day acceptance and application of Nrtta is more comprehensive and highly useful. In the Bharatanatya and other classical dances of India, Nrtta forms an essential part of the dance performance, its structure; as also, in its training methods. That is because; Nrtta as per Bharata and also Nandikeshvara, is built of wide-ranging varieties of Karanas (Angavikshepa), which are the basic units. These are rooted in well thought out logical principles and geometric forms. And, they do invoke aesthetic pleasure (Rasa). Therefore, Karanas are ingrained into Nrtya.
Karanas are, thus, essential to the Grammar and structure of Nrtya in Bharatanatya and in other forms. Going further back; Caris , which could be called as well knit ‘steps’ , is an alphabet of the Nrtta as also of Natya. And, therefore, Nrtta is more relevant today, than it was in the days of Bharata. It has received a special treatment from the point of view of choreography.]
The Natyashastra employs Natya as a generic term, which broadly covers drama, dance and music. Bharata’s Natya could also be understood as drama. And Nṛtta and other dance elements was one of the constituents that provided elegance to the theatrical presentations. It does not treat dance as a separate category of Art-form.
The Natyashastra (6.10) provides a comprehensive framework of the Natya, in a pellet form, as the harmonious combination (saṅgraha) of the various essential components that contribute towards the successful production of a play.
He mentions the eleven elements that constitute the Natya (Drama). These are: Rasa (sentiment); Bhava (states); Abhinaya (representation or acting); Dharmi (styles of presentation);Vrtti (styles of depiction); Siddhi (attainment of the purpose); Svara (musical notes); Atodya (orchestra or instrumental music); Gana (songs); and Ranga ( stage) .
Bharata later explains, of the eleven, Rasa is of paramount importance; and deriving that Rasa is the objective of a theatrical performance. The other ten elements – from Bhava to Ranga – are the contributing factors for the production of the Rasa,.
Rasā bhāvā hya abhinayāḥ dharmī vṛtti pravṛttayaḥ । siddhiḥ svarās tathā atodyaṃ gānaṃ raṅgaś ca saṅgrahaḥ ॥ 6.10॥
At another place, Bharata, in a nutshell, provides a sort of definition of Natya, which could be understood as Drama (Rupaka).
Bharata explains: when the experiences of the everyday world, mingled with pleasure and pain both, are conveyed through different Abhinayas such as, speech, gestures, costume, makeup, ornaments etc – (Angika, Sattvika, Vachika, and Aharya Abhinayas) – it is called Natya. (NS 1.119)
yo’yaṃ svabhāvo lokasya sukha duḥkha samanvitaḥ । som gādya abhinaya ityopeto nātyam ity abhidhīyate ॥ NS.4. 119॥
Bharata explained that object of the Natya was to show men and women the proper way to live, a way in which one could live and behave, so that one might become a still better person.
“A play shows your actions and emotions. Neither gods nor demons are depicted as always good or always evil. Actually, the ways of the world as represented here are not only of the gods but also of yours. It teaches you good advice (upadisati); it gives you enlightenment and also entertainment. It provides peace of mind to those who afflicted with miseries, sorrow, grief or fatigue. There is no art, no knowledge, no yoga, and no action that is not found in Natya.” (Natya-Shastra 1: 106-07; 112-16)
na tajjñānaṃ na tacchilpaṃ na sā vidyā na sā kalā । nāsau yogo na tatkarma nāṭye’smin yanna dṛśyate ॥ Ns.1. 116॥
Generally speaking, Bharata not only takes the experience of the individual human beings, but that of the world as a whole; and, considers Natya as the effective means of communicating those experiences. Included in this, are the elements of speech, poetry, music, dance and all those factors that lend beauty and grace to a theatrical performance. For Bharata, Natya is the very epitome of life.
According to Bharata, Natya is the experiences of the world when it is represented on the stage, in order to provide enjoyment and instruction, by means of acts of communication, which a person does not normally employ in the everyday life. The presentation of the play is dominated by the stylized modes of presentation (Natya–Dharmi).
In other words, just the fact of one’s experiences in the world, as ordinarily noted or observed during the course of life, is not Natya. It becomes Natya only when it is communicated through the means of Abhinayas and representation; and, presented on the stage.
The Abhinaya, on the stage, is expressed through Mano-vak-kaya (mind, voice and body), in terms of Sattvika, Vachika and Angika abhinaya-s. These are supported by Aharya (the costumes and stage props), the fourth element. Thus Abhinaya covers not only the movements of face and limbs; but, it also encompasses all the other elements and modes of supportive expressions.
The successful production (Siddhi) of a play (Natya) enacted on the stage (Ranga) involves various elements of the components of the actors’ gestures, actions (bhava) and speech ; bringing forth (abhinaya) their intent (Artha), through the medium of theatrical (Natya-dharmi) and common (Loka-dharmi) practices; in four styles of representations (Vritti-s) in their four regional variations (pravrttis) ; with the aid of captivating dances and melodious songs accompanied by instrumental music (svara-gana-adyota).
Such well enacted Abhinayas induce in the minds and hearts of the Sahrudaya the sense (Artha) that is conducive for evoking proper Rasa. Without Abhinaya there is no drama; and, no Natya without representation
Bharata’s definition of Natya covers all these factors; and holds good even in the present day.
[Abhinavagupta also makes a distinction between the world of drama (Nātyadharmī) and the real but ordinary life (Lokadharmī). In the artistic process, where presentations are made with the aid of various kinds of dramatic features such as Abhinayas and synthetic creations, we are moving from the gross and un-stylized movements of daily life to more subtle forms of expressions and experiences; we move from individualized experiences to general representations (sadharanikarana) ; and, from multiplicity to unity.]
Abhinavagupta , in the context of Dance, explains Abhinaya as a process , where the performer brings into his mind the meaning and the sentiment of the words of the song; and, puts it forth through facial expressions, movement of the limbs and such other means. And, Abhinaya is the act of communication of an idea, a thought or the phase of an emotion or sentiment that one is experiencing.
[It is explained that acting, in a sense, means to behave like someone else. And, it is not reality; because, it is not related to the actual life of the person who is acting. But, at the same time, it is not mimicry or imitation. Abhinaya should be understood as the actor’s effort to communicate and to convey the mental and emotional states of the character; and, its experiences. Abhinaya is bringing forth the Artha, the sense of the things, into the minds of the Sahrudayas. ]
Bharata used the term Nrtta to denote dance; and, the term Nrtya does not appear in the Natyashastra. Abhinavagupta also, adhering to the terminologies of the Natyashastra, avoids using the term Nrtya , as such. He consistently uses the term Nrtta, while referring to Dance. Similar was the case with the authors earlier to his period. They also had not used the term Nrtya.
Further, in some editions of Natyashastra where the word Nrtya crept in, it is taken as a later insertion (unintended or otherwise) by the manuscript-copier (scribes).
That does not mean that the essence of Dance (with which we are now familiar as Nrtya) did not exist; or, was not yet created in the epoch of Natyashastra.
It only means that the specific term Nrtya was not then in currency. According to some scholars, the term Nrtta along with Abhinaya covered what we now call Nrtya, as evidenced from some verses of the Abhinavabharati.
According to Abhinavagupta, it was Bharata who designed and created an Art form, which would adorn the Natya, by combining the dance element of the Nrtta and the Abhinayas. But, for some reason, Bharata did not see a need to assign a name to the resultant art form.
And, Bharata, in his characteristic way, puts it as if the suggestion came to him from Shiva, who had advised Brahma the ways to utilize the Nrtta in the Natya. Here, Shiva had said : you can very well communicate (Abhinayasi), by use of Nrtta (made beautiful by Angaharas consisting different Karanas), the things (Artha) out of which the songs are composed; the songs that are sung in the Purvaranga.
mayāpīdaṃ smṛtaṃ nṛtyaṃ sandhyākāleṣu nṛtyatā । nānā karaṇa saṃyuktair aṅgahārair vibhūṣitam॥4.13॥ pūrvaraṅga vidhā vasmiṃstvayā samyak prayojyatām। vardhamāna akayogeṣu gīteṣvāsāriteṣu ca ॥4.14॥ mahāgīteṣu caivā arthān samyagevā abhineṣyasi । yaścāyaṃ pūrvaraṅgastu tvayā śuddhaḥ prayojitaḥ ॥ NS. 4. 15॥
That is to say; on taking the hint from Shiva’s statement, Bharata worked out the details of combining Nrtta with Abhinaya; and, that led to the birth of a new Art form – the Nrtya. The term Abhinaya, here, stands for the act of communication.
Sarangadeva in his Sangitaratnakara, says that by combining the Angikabhinaya of Nrtta with the Abhinayas (Satttvica, Angika, Vachika and Aharya abhinayas) the Nrtya was created – Angikabhinayai reva Bhavaneva vyanakti, yat, tan Nrtyam.
The statement that the combination of Nrtta and Abhinaya resulted in Nrtya, at the suggestion of Shiva, was supported by Abhinavagupta through two verses, which he ascribes to Kohala.
The quoted verses say: In the past, on one evening (Sandhya), Narada was dancing in front of Shiva. And Narada then sang a song celebrating the victory of Shiva over the demon Tripura. And, Shiva, having been pleased with the song, began to dance; enacting (Abhinaya) the theme of the song. Later, Shiva asked Tandu to combine (yojana) the Tandava (meaning, Nrtta) with Abhinaya used in that dance.
Sandhyayam nrtyaha Shamboh bhakty-agre, Naradah pura gaavan Triporonmatham taccita stavata gitake cakra abhinayam pritas tatas Tandum ca so abravit natyokta abhinayenedam vats yojya Tandavam
Shiva’s Nrtta included Karanas and Angaharas. Yet; Shiva said that one can communicate through Nrtta when used in Natya.
Now, what does that mean? It might perhaps mean that if Nrtta is performed with a given intention, following a method, then it might convey a meaning.
Dr. KM Varma in his scholarly and highly analytical work ‘Natya, Nrtta and Nrtya: their meaning and relation’, argues (page 32) that Nrtta came first; then Natya. And later, when Abhinaya was added to Nrtta, the idea of Nrtya emerged.
Thus, he says, Nrtta and Nrtya came into being at the suggestion of Shiva. But, both these forms were propagated by Tandu.
Though Bharata is responsible for the emergence of Nrtya, it did not receive special nomenclature or individual treatment in the Natyashastra. Bharata continued to treat it as Nrtta.
Although it developed to full extent soon after the time of Bharata, the theoreticians and commentators until about the tenth century continued to follow Bharata; and, avoided using the term Nrtya, though they did describe its essential features, nature and techniques by use of other terms.
But, when the combination of Nrtta and Abhinaya, evolved, developed and prospered as an independent, well recognized, dance form; and, became so popular (prasiddha) , the latter authors could not afford to avoid the term Nrtya. And, Nrtya, eventually, became a part of the Grammar of the Dance.
The hypothetical question since when the term came into popular use is much debated. Many point out that though the term Nrtya was not employed by the commentators of the medieval period, it somehow, was in popular usage as early as in the fifth century.
That argument is supported by the fact that Amarasimha (fifth century), in his lexicon Amarakosa, while defining Nartana, included within its meaning, Nrtya as a synonym: tāṇḍavaṃ naṭanaṃ nāṭyaṃ lāsyaṃ nṛtyaṃ ca nartane (1.7.427). That suggests; as early as in the fifth century Nrtya was well known; and, was in common use. And, the lexicographer could not avoid including the term Nrtya in his work. But, it is not clear when it actually acquired its name.
Sarangadeva explains Nrtya as a means of putting forth different aesthetic moods or bhava (bhavahetu orbhavashraya) or giving expression to individual words of the song through appropriate gestures and/or facial expressions – pada-artha-abhinayatmaka.
The key ingredient in the Nrtya is the elaborate gesture-language, Abhinaya (lit., to bring near; that is, to present before the eyes), the meaning (Artha) and the emotion (Bhava) of the lyrics. It is the harmonious combination of striking poses, eloquent gestures, lucid facial expressions, various glances, and meaningful movements of the hands, fingers and feet.
Though the performance of an Nrtya is tied with the interpretation of a lyric (sahitya) depicting a theme (prasanga), it combines in itself the expressive Abhinaya; and the stances, poses, postures and movements, of the pure Dance (Nrtta). The Nrtya is regarded as the soul of any Dance-style. The Abhinaya and Nrtta elements it portrays demand the skill, grace and ingenuity of a well trained talented Dancer.
[The Abhinaya Darpana describing the qualities of a good dancer says: A dancer must have the inherent sensibility which can be enhanced by training. Agility, steadiness, sense of line, practice in circular movement, a sharp and steady eye, effortlessness, memory, devotion, clarity of speech, sense of music – these ten are the essential qualities of a dancer.
Javaha Sthiratwam Rekha cha /27/ Bhramari Drishti Shramaha; Medha Shraddha Vacho Geetham; Paatra pranaa Dasa Smruthaha/Ab. Da.28/ ]
Nrtta, Nrtya and Natya – their mutual relations
Sarangadeva remarks, when you take a broader view, Nṛtta is not distant from Nrtya; and, both of these are essential to Natya. Thus, Dance, in both of its aspects (Nrtya and Natya), was a vital presence of Nrtta. All the three are interrelated.
The Āṅgika abhinaya or physical expressions, in both Nrtya and Natya, includes the Nṛtta elements. But, Āṅgika abhinaya is of greater importance in the Nrtya.
The Nrtta is an integral part of the Nrtya; but, it also has its presence in the Natya. Thus, Nrtta has constructive relations with Nrtya as also with Natya. The three, in some measures, are bound together.
Nrtta and Natya
Bharata defines Nrtta and Natya on the basis of their techniques; and, their relevance. And, the two Art-forms were discussed independent of each other.
As between Nrtta and Natya, the former was said to be older. And Nrtta, which earlier was a pure dance performed in the Purvaranga as Deva stuti, later became a part of the Natya. The influence of Nrtta on Natya is more delicate.
Nrtta and Nrtya
And, when the dance elements of the Nrtta were combined with the Abhinayas – with its dance movements interpreting the meaning and sentiments of the words in the lyrics – it was transformed into a most delightful art form – the Nrtya. With this, the dance, in general, came to be known as Nrtya.
Though some texts continued to carry on theoretical discussions on Nrtta (pure dance-like movements) and Nrtya (the dance proper) as if they were two totally distinct dance-idioms; the two, in fact, are very intimately related. And, the defining characteristics (lakṣhaṇa) of Nrtta and Nrtya are the same.
But, Pundarika Vitthala, in his Nartana-nirnaya, throughout, uses the terms Nrtta and Nrtya interchangeably, perhaps, because, both those dance forms involved, in some measure, the elements of Abhinaya or interpretative movements conveying a meaning (Artha). He was following the explanations put forth by Abhinavagupta.
As Dr Kapila Vatsyayan observes, in the contemporary Indian dance scene, with the exploration of geometrical space at floor level and choreographic patterns, the elements of Nrtta, pure dance and Abhinaya, expression-full dance (Nrtya) are close-knit, cohesive.
The Indian classical dance of today, has, over a period, evolved its own Grammar and constructed its own devices. The Nrtta element too has changed greatly from what it meant during the days of Bharata. Its structure and style which are based in different units of Nrtta movements are well adopted into Bharatanatya in the form of Adavus etc.
Thus, in the later periods, particularly in the modern period, Nrtta became an essential ingredient of the Nrtya, in displaying its various stances, postures and movements.
Natya and Nrtya
As regards, Natya and Nrtya; the Natya is a deliberate art; and, Nrtya is representational art. The object of both the forms is to provide Rasa.
The principles which govern the techniques of both the Natya (Sanskrit Drama) and the classical Nrtya are the same. Their ways of stylized modes of presentation (Natya–Dharmi); and, the manners of depiction (Vrtti); the techniques of acting (Abhinaya); and, appearances in costumes and make-up (Aharya) are regulated by the same set of principles of the dramaturgy and its stage –presentation.
Even after Nrtya emerged as an independent Art-form, the later writers on the treatise dealing with the Nrtya and its varied forms, (either exclusively or otherwise), adopted the same set of norms and principles that once governed the Natya of the Natyashastra. The techniques of Dance continued to be discussed in terms of the various elements of Dharmis, the Vrittis and Abhinaya as prescribed by Bharata.
The Nātya-dharmi mode of dance was woven into the play-presentation. The sequences in the Drama were staged through the actors singing, speaking and dancing in their roles. The static and dynamic Nṛtta karaṇas were utilized as idioms to portray various emotional states. The Natya , in its production, made use of the four-fold Dance phrases of body-movements (āṅgika); speech delivery (vācika); studied involuntary reaction (sāttvika); as also of costumes, make-up and scenery (āhārya).
Thus, in a way of speaking, the two – the Nrtya (Dance proper along with its Nrtta element) and Natya (Sanskrit Drama) – continue to be bound together, in one way or the other.
Both Nrtya and Natya make use of all the four kinds of Abhinayas. And, difference between Natya and Nrtya, is in their modes of using the different degrees of the elements of the Abhinayas.
The entire sphere of presentation in an Nrtya is predominated by Natya-dharmi, graceful gesticulations, stylized aesthetic suggestive expressions. There is no attempt to present things as they actually are. And, in the Nrtya that we know, those principles and conventions are being followed, even to this day, in their pristine form.
In Nrtya, its every movement should follow the Laya and Tala. It is said; the Nrtya inherits this quality from the Angika-abhinaya of the Nrtta. The Nrtya involves Gatra-vikshepa ‘throwing’ or movement of the limbs, to dance. And, almost throughout its performance, Nrtya is accompanied by music, the most enchanting of the art forms.
Nrtya is basically Drshya or Prekshya, a spectacle mainly having visual appeal. Though the performer follows the lyrics of the song, she does not actually sing; but, only provides the lip-movement while interpreting its words and sentences.
Many elements of Nrtta and Natya were absorbed into Natya. And, Nrtya, for a period, became a parallel form of Drama. But, in the Natya, the elements of Nrtya are incidental to its dance sequences. Dance as a part of dramaturgy was employed as an ornamental overlay upon a theatrical presentation.
In contrast to the Nrtya, the facial and body movements in Natya are slight or subtle – Kincit-chalana. Here, the speech (Vachika) is dominant; and, therefore, the need for Sattvikabhinaya and the vrttis (styles of dialouge delivery) is greater, for communicating the mental and emotional states of the characters in the play. Further, unlike in Nrtya, the actors on the stage do actually sing. Thus, in the Natya, both the visual and the audio are highly essential.
Thus, the Natya or Drama has an advantage over poetry, music and dance. Apart from bringing in the embellishment of spectacular the visual effects (Rupaka or Drishya-kavya), it has the power of music and speech.
In the later periods, Natya became rather stagnant; but, the Nrtya made rapid strides. While Natya was fading ; and, losing its universal appeal, the Nrtya and its forms were evolving and developing swiftly as the most delightful and most engaging Art forms, popular among all sections of the society.
In the process of its growth, Nrtya widened its scope and content by innovating and assimilating a range of stylistic variations; and, by moving away from its early dependence on Drama. Now, Nrtya is no longer an adjunct or accessory to Natya. It has also widened its aesthetic scope, beyond decorative grace to encompass emotive communication (Rasa) and narrative variations. It has evolved into a full-fledged system, a self-governing complex Art form; and, has established its identity. And, it has continued as highly popular classical dance form.
The School of Nrtya that is prevalent in South India is the Bharata-natya.
In the initial years, there were debates raising questions concerning the name assigned to this Dance form, which, basically, is Nrtya. Many asked, why should it be called Bharata-natya; and, why not Bharata-nrtya.
In reply; explanations were offered to clarify that the suffix ‘Natya’ also stands for ‘Nrtya’, in its technical sense. The arguments made out said that as per the past authorities like Kumbha Rana and Vipradasa (fifteenth century), the term ‘Natya’ could also be used to denote ‘Nrtya’. Later, Pundarika Vittala (sixteenth century), in his work (Nartana-nirnaya), following the lead given by Sarangadeva, said that Nartana, a general class-name for Dance, covered the three forms of Dance: Natya, Nrtya and Nrtta. And, much before that Amarasimha, as early as in the fifth century, had equated ‘Natya’, among other terms, with ‘Nrtya’.
But, there are no explanations anywhere as to when and why that equation was arrived at. The only other plausible explanation is that it might have come about by way of popular usage. But, in any case, since this form of dancing was created by Bharata, to name it as Bharatanatya, is truly justifiable. As per Dr. Ananada Coomaraswamy,’ Indian acting and dancing, is a deliberate art; and, the same word, Natya, covers both those ideas. ‘
Thus, the Nrtya, known now as Bharatanatya is surely a continuation of the form and tradition of the Marga class of dance that was promoted by Bharata; although over the period, some elements have entered into it. Yet; no other School of Nrtya has a closer relationship with Natyashastra than Bharatanatya.
The Bharatanatya of today is such a refined form of Dance which has brought within its ambit the formats of Nrtta, Nrtya and Natya. This School of Art can be explained in almost every respect by Bharata’s theories. And, it follows Bharata’s techniques to a large extent. It also contains the beauty of form as in the Nrtta. It excels in the aesthetic presentation of form and geometrical beauty; and in the richness of in variety of movements as no other dance form does. It has the gentle power of expression to communicate ideas and emotions through Abhinaya, as in Nrtya. It can also present a narrative theme as in Natya, where the dancer enacts the roles of varieties of characters (Ekaharya Abhinaya or Ekaharya Lasyanga).
Depending upon the nature of the dance item that is being presented, its balance in terms of Nrtta, Nrtya and Natya varies. But, in general, the dominant aspect of Bharatanatya is Nrtya.
As regards its practice, Bharatanatya draws upon its tradition persevered and passed on from generation to generation in orally transmitted and highly codified manuals (Shastra). Though it is, essentially, rooted in the principles of Natyashastra, it has also adopted many features and techniques from the regional dance traditions; and, has thus enlarged its repertoire and acquired many dimensions.
Though the emphasis is on the adherence to and to preserving the purity of the tradition; and, its continuation, it also has brought in some innovative techniques and refreshing modes of expression, in tune with the advancing times. These could be called as ‘context-sensitive interactions’
The difference between Bharatanatya and other Dance forms like Kathakali, Manipuri and others is mainly in the use of their Abhinayas and techniques. They all belong to the Nrtya class. Each has its own stylized manner of bringing out the essential meaning of the song. Each is delightful in its own way. The coexistence of multiple streams of Dance forms has surely enriched the Indian Art scene.
[Smt. Tanjore Balasaraswati, also known as T. Balasaraswati (1918-1984), the celebrated exponent of Bharata-natyam, who expanded the performance of this dance form beyond the precincts of the temples where it was traditionally performed; re-established it; and, made it famous in different parts of India and many parts of the world, writes:
The greatest blessing of Bharata-natyam is its ability to control the mind. Most of us are incapable of single-minded contemplation even when actions are abandoned. On the other hand, in Bharata-natyam , actions are not avoided; there is much to do but it is the harmony of various actions that results in the concentration we seek.
The burden of action is forgotten in the pleasant charm of the art. The feet keeping to time, hands expressing gesture, the eye following the hand with expression, the ear listening to the dance master’s music, and the dancer’s own singing-by harmonizing these five elements the mind achieves concentration and attains clarity in the very richness of participation.
The inner feeling of the dancer is the sixth sense which harnesses these five mental and mechanical elements to create the experience and enjoyment of beauty.
It is the spark which gives the dancer her sense of spiritual freedom in the midst of the constraints and discipline of the dance. The yogi achieves serenity through concentration that comes from discipline. The dancer brings together her feet, hands, eyes, ears and singing into a fusion which transforms the serenity of the yogi into a torrent of beauty.
The spectator, who is absorbed in intently watching this, has his mind freed of distractions and feels a great sense of clarity. In their shared involvement, the dancer and the spectator are both released from the weight of worldly life, and experience the divine joy of the art with a sense of total freedom.
To experience this rare rapture, a dancer has only to submit herself willingly to discipline. It will be difficult in the beginning to conform to the demands and discipline of rhythm and melody and to the norms and codes of the tradition. But if she humbly submits to the greatness of this art, soon enough she will find joy in that discipline; and she will realize that discipline makes her free in the joyful realm of the art.]
The way ahead…
Having said that; let me add that Bharatanatya, as an art, is a dynamic process. It needs to be rejuvenating and reinventing itself all the time. And, it should not stagnate. Though its theories are rooted in the Natyashastra of Bharata, in its practice, it derives its curriculum from several other texts. Most of those texts were written before the seventeenth century. And, that makes it essential for Bharatanatya to innovate and look for newer modes and idioms of expressions; and, also try to move away, at least for a limited extent, from the traditional mythological themes.
All the Art forms that are practiced today cannot be explained only on the basis of Natyashastra; nor is it necessary to do so. Art need not always be confined to Bharata’s techniques. Even in the case of Bharatanatya, the theory as detailed in Natyashastra needs to be studied in the light of the current practices. And, that might, hopefully provide us an insight; and, suggest improved techniques, in order to rationalize and bring it closer to today’s environment.
If the dance forms that are practiced today have to come into their own, these should be explained on a rational basis. It seems much attention is paid to the literal interpretation of the old texts. And, too much philosophizing is another factor. But, Art has its own philosophy, outlook and appeal; although many try to inject their own pet philosophy into the Arts.
If the Art has to be alive it has to be relevant to the times we live in; and, has to reach further levels of the society.
We are in the age of reconstruction. There many problems and issues – old and new-, including commercialization, that need to be resolved. The ancient theories would not do for all our present needs and problems. A detailed study of present practices without always being tied down to the ancient theoretical works seems advisable. What is needed is continuity with change. Both the ancient and the modern Art-forms and techniques need to be studied with equal earnestness.
In the next part, we shall briefly talk about various classical Dance forms of India, such as Kathak, Odissi, kathakali and Manipuri.
References and sources
- 1.Natya Nrtta and Nrtya – their meaning and relations by Prof.KM Varma
- 4. https://www.jstor.org/stable/3250274?seq=1#metadata_info_tab_contents
- 5. http://www.shreelina.com/odissi/alankara/The-Mirror-of-Gestures.pdf
- 7.The Evolution of Classical Indian Dance Literature: A Study of the Sanskritic Tradition by Dr. Mandakranta Bose
- 9 http://shodhganga.inflibnet.ac.in/bitstream/10603/164285/8/07_chapter%202.pdf
- 10. http://shodhganga.inflibnet.ac.in/bitstream/10603/141247/8/08_chapter%203.pdf
- 11. http://shodhganga.inflibnet.ac.in/handle/10603/106901
All images are from the Internet