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(KMS No. 7-9)

Critically edited and translated with commentary by

1994, Vol. I, xiii+357pp., indexes, ISBN: 81-208-1217-9, Rs. 450 (HB)

1996, Vol. II, xi+491pp., indexes, ISBN:  81-208-1218-2, Rs. 650 (HB)

1998 Vol. III, xi+557pp., bibl. indexex, ISBN:81-208-1219-0, Rs 800 (HB)

Perspective - article published in Newsletter

The Nartananirṇaya is one of the notable Sanskrit treatise on Indian music and dance, appearing after the Saṅgītaratnākara of Śārṅgadeva. Its author Śrī Paṇḍarīka Viṭṭhala (sixteenth century) was a profound and versatile scholar who had also written Ṣaḍrāgacandrodaya, Rāgamālā, Rāgamańjarī, Dūtīkarmaprakāśa and Śīghrabodhinī-nāmamālā. He adorned the courts of Hindu and Muslim kings, including those of the rulers of Jaipur and Mughal Emperor Akbar.

With a unique methodical plan, the Nartananirṇaya progresses through stepwise contributions of the cymbal­ player, the mṛdaṅga-player and the singer to dancing, in the first three chapters before culminating in its longest and fourth chapter on the dancer. This chapter contains many novel features in the performance conventions and repertoire including some dance forms of both the south and north India. Its delineation of bandha nṛtya and anibandha nṛtya deserves serious attention of both traditionalist and innovative dancers.
The presentation is based on extensive and wide-ranging critical apparatus; it offers detailed text-critical and exegetical comments. The text is supported by a readable translation as well as comprehensive and erudite commentary and numerous indices.


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