The first project of the Kala Kosa is a lexicon of fundamental concepts of the Indian arts.  In consultation with various scholars a list of about 250 terms of concepts has been prepared.  The criteria for selecting these terms were based on a survey of their pervasiveness as also their interdisciplinary nature, i.e. terms occurring in several Sastras as well as in the arts have been selected, whereas those limited to a particular field were excluded.  The evolution of a concept from its most abstract level to concrete fields of the arts is explored.  Each concept is investigated through several disciplines and primary texts.  Its extension and radiation in several fields are traced.  For example, the most abstract metaphysical concept, such as Brahmana, has penetrated the concrete fields of the arts, as Brahmasutra, Brahmasthana in the context of architecture, sculpture or theatre. The concept of centrality and pervasiveness is basic, as is the principle of verticality.  Through such analysis, an etymological development and historical continuity as well as a horizontal interdisciplinary interrelatedness can be discovered.  The terms have been grouped according to certain broad logical or semantic categories.

The method adopted for the lexicon is based on sifting primary source material in Sanskrit, Prakrit and Pali.  Major texts are perused, quotations relevant to the particular terms are extracted. These quotations are written on cards in Sanskrit (both in Devanagari and Roman characters) with English translation, giving the shades of meaning as well as contextual notes and/or the relevant commentary.

Alongwith the major terms, cognate terms are also included, as well as compounds, synonyms, etc.  The quotations are related to the definition of a concept, its first occurrence, important usages, sub-division, etc.  Several thousand cards from various Sastras have been collected.  A computerised database is being developed on the basis of the cards; the uploading of about 55,000/- cards on computer is underway.

The articles on the terms, written on the basis of the cards, do not claim to give a complete history of the concept, which would not be possible at the present stage of indological research. However, they can show the stages through which a concept has travelled, from the Vedas with their ramifications in the speculative, physical, ritual and mythological/narrative fields, from Buddhist and Jain sources, through Vedangas or ancient sciences,  the various Sastras, Puranas, Tantras, Darsanas, etc. till its crystallisation in the different arts.  The relation between the conceptual background and the manifestation in the arts remains the main focus of the articles.  The arts occupy an intermediate position and hence mediate between metaphysics and physics, between spirituality and science; e.g., a stupa or temple represents a whole metaphysical conception, and at the same time its building requires the technical science of architecture and engineering.  An interdisciplinary approach is thus indispensable.

The Tantric dictum: Sarvam Sarvatmakam, everything is related to the totality (or: every detail is related to the whole), serves as a kind of magic key to unravel these concepts. As for possible schemes of interpretation, which may be obvious or implicit, the Indian tradition itself offers sufficient categories.  The various schemes of two or three levels of understanding reality can be applied here: the Vedic division in adhibhuta (physical), adhidaiva (divine) and adhyatma (human, spiritual); the pervasive conception of the three dimensions of sthula (gross, physical), suksma (subtle, psychic) and para (transcendent); the differentiation in the manifest and the unmanifest (vyakta, avyakta and vyaktavyakta), and others serve as a hermeneutical basis.  Depending on the context, the starting point may be physical/scientific or metaphysical/conceptual, but other dimensions are not excluded. Unidimensional or one-sided interpretations are eschewed.

The articles are being written by a group of scholars in close consultation, so that the approach remains consistent. As in the case of any glossary or dictionary, cross references and indices facilitate the usage. Six volumes of the Kalatattvakosa have been released thus far as follows:

Volume-1 On Pervasive terms - Vyapti comprises articles on the terms of Brahman, Purusa, Atman, Sarira, Prana, Bija, Laksana and Silpa.

Volume-2 On Space and Time - Desa/Kala includes sixteen seminal terms: Bindu, Nabhi, Cakra, Ksetra, Loka, Desa, Kala, Ksana, Krama, Sandhi, Sutra, Tala, Mana, Laya, Sunya and Purna.

Volume-3 On Primal Elements- Mahabhuta consists of terms: Prakrti, Bhuta Mahabhuta, Akasa, Vayu, Agni, Jyotis/Tejas/Prakasa, Ap, Prthivi/Bhumi.

Volume-4 The Manifestation of Nature - Srsti Vistara contains the seminal terms which are complementary to the primal elements (Mahabhuta). The terms are: Indriya, Drvya, Dhatu, Guna/Dosa, Adhibhuta/Adhidaiva/Adhyatma, Sthula/Suksma/Para, Srsti/Sthiti/Samhara

Volume-5 On Form / Shape - Akara / Akrti has ten terms: Rekha, Akara-Akrti, Rupa-Pratirupa, Sakala-Niskala, Arca, Murti, Pratima-Pratikrti, Vigraha, Bandha-Prabandha, Prasada.

Volume-VI On Appearance/Symbolic Form - Abhasa contains articles on the terms: Abhasa, Sadrsya-Sarupya, Anukarana/Anukrti/Anukirtana, Chaya, Bimba-Pratibimba, Linga, Pada, Vrtti-Riti.

The second ongoing and long range programme consists of the publication of annotated texts and translations of fundamental texts relating to the Indian arts ranging from architecture, sculpture, painting to music, dance, theatre and along with their scientific and technical commentaries.  This programme is conceived as a series of 108 texts with original translation with glossaries and pictorial illustrations.  Scholars both from India and abroad are involved in this task.  The procedure adopted is to assign each text to one or more specialists in the concerned field. They are supplied with all the printed and manuscript material and have access to the databases of Kala Nidhi. Multi-lingual word processor is used for perfect transliteration. Each volume contains a critical introduction, a note on the critical apparatus utilized, a historical placement of the author, the critically edited text with variant readings, a translation in English, annotations, a glossary of technical terms, a verse index, bibliography, illustrations and photographs. In this programme 28 texts in 61 volumes have already been published; another 20 texts are in the process of preparation. Through the publication of fundamental texts with translation under this series the IGNCA has already facilitated the scholarly community with the source material o arts in general as also on specific arts viz. Architecture, Sculpture, Music and Dance etc.

While the Kalamulasastra programme forms research and publication of primary texts, the Kalasamalocana programme relates to publications on interpretation and analysis of secondary material.  These are considered to be classics of art criticism.  The series is made up of volumes of critical texts and editions of works of eminent scholars who have dwelt upon the fundamental concepts, identified perennial sources and created bridges of communication by juxtaposing diverse traditions.  Their work is of contemporary relevance and validity as they are engaged in search for roots and for a comprehensive perception.  These significant works of scholarship are often inaccessible as they are either out of print or do not have translations in English. In the Kalasamalocana series, the IGNCA has attempted to bring to light these invaluable contributions through modestly-priced publications.  The programme has been initiated by a series of re-edited reprints and translations of a select number of authors and works.

Another emphasis in the Kalasamalocana programme is on the publishing of Selected Letters of illustrious scholars who have made a pioneering contribution to different fields of study.  While their works reflect their scholarship, their personal notings help in determining the thought-process behind it.  They reveal the inner being of the scholars, their influences, and their theories and ideologies.  The letters published so far are those of Ananda K. Coomaraswamy, Romain Rolland, Hazari Prasad Dwivedi (in Hindi) and Benarasidas Chaturvedi (in Hindi in 2 volumes). About 55 volumes under this series have been published.

The Vedas have been held as the earliest known knowledge-based compilation of humankind. A tradition, essentially oral in nature, followed to preserve and transmit these to the succeeding generations; it continues till date. All existing traditional experts of Vedic learning recite their respective branch of the Vedas daily. Owing to various historical, social, financial, religious and cultural reasons, this oldest living oral tradition of ours faces extinction risk. The Vedic scholars, reduced to numbers, are finding it difficult to keep the tradition alive on their own. It is to be noted that out of 1131 recensions only 10 survive in unbroken chanting traditions. This vital issue forms the very basis of our cultural heritage, and hence, the Ministry of Culture was approached with the proposal ‘Safeguard and Support of Masterpieces of Intangible Heritage of Humanity’, i.e. the oral tradition and ritualistic practices related to the Vedas, for a sympathetic consideration. The proposal got the approval of the Ministry. As a result, extensive documentation has been initiated under the programme. The Division already has 250 hours of audio-video documentation of different recensions of the Vedas, viz. Sakala and Kaushitaki of the Rgveda; Kanva, Madhyandina and Taittiriya of the Yajurveda; Kauthuma, Jaiminiya and Ranayaniya of the Samaveda and Paippalada of the Atharvaveda.

View Video clip of VEDIC CHANTING:  A Project on Safeguard and Support of The Masterpieces of
Intangible Heritage of Humanity   i.e. Our Oral Tradition and Ritualistic Practices

Narivada Newsletter - Issue No.2, January 2007