Part 3 - Art and Architecture in the Mālatīmādhava and 8th-century India

The art represents the cultural status of a society. The Kāmasūtra, which has been reckoned as the doctrine of love emphasizes on crafting the art of love making as enjoyable as possible irrespective of a man or a woman. In the Kāmasūtra, Vātsāyana has mentioned sixty four Kalās or arts, which a cultured lady was expected to master.^[1]

The sixty four arts are given below——

1. gītaṃ,
2. vādyaṃ,
3. nṛtyaṃ,
4. ālekhyaṃ,
5. viśeṣakacchedyaṃ,
6. taṇḍulakusumavalivikārāḥ ,
7. puṣpāstaraṇam,
8. daśanavasanāṅgarāgaḥ,
9. maṇibhūmikākarma,
10. śayanaracanam ,
11. udakavādyaṃ,
12. udakādhātaḥ,
13. citrāścayogāḥ,
14. mālyagrathanavikalpāḥ ,
15. śekharakāpīḍayojanaṃ,
16. nepathyaprayogāḥ,
17. karṇapatrabhaṅgāḥ ,
18. gandhayuktiḥ,
19. bhūṣaṇayojanaṃ,
20. aeindrajālāḥ,
21. kaucumārāśca yogāḥ,
22. hastalāghavaṃ,
23. vicitraśākayūṣabhakṣyavikārakriyā,
24. pānakarasarāgāsavayojan aṃ,
25. sūcīvānkarmāṇi,
26. sūtrakrīḍā,
27. vīṇāḍamarūkavādyāni,
28. prahelikā,
29. pratimālā,
30. durvācakayogāḥ,
31. pustakavācanam,
32. nāṭakākhyāyikādarśanam,
33. kāvyasamasyāpūraṇam,
34. paṭṭikāvetravānvikalpaḥ,
35. nakṣatrakarmāṇi,
36. takṣaṇam,
37. vāstuvidyā,
38. rūpyaratnaparīkṣā,
39. dhātuvādaḥ,
40. maṇirāgākarajñānam,
41. vṛkṣāyurvedayogāḥ,
42. meṣakukkuṭalāvakayudhavidhiḥ,
43. śukasārikāpralāpanam,
44. utsādane saṃvāhane keśamardane ca kauśalam,
45. akṣaramuṣṭikākathanam,
46. mleccitavikalpāḥ,
47. deśbhāṣāvijñānam,
48. puṣpaśaṭikā,
49. nimittajñānam,
50. yantramātṛkā,
51. dhāraṇamāttṛkā,
52. sampāṭhyam,
53. mānasīkāvyakriyāḥ,
54. abhidhānakośaḥ,
55. candojñānam,
56. kriyākalpaḥ,
57. calitakayogāḥ,
58. vastragopanāni,
59. dyataviśeṣaḥ,
60. ākarṣakrīḍā,
61. bālakrīḍanakāni,
62. vainayikīnāṃ,
63. vaijayikīnāṃ,
64. vyāyāmikīnāṃ.

Among these sixty four arts, Bhavabhūti has alluded various types of arts viz., ālekhyam, gītam, nṛtyam and mālyagrathana in the Mālatīmādhava.

Various Arts in the Mālatīmādhava:

The art ālekhya [ālekhyaṃ] i.e. portraying picture seems to be very popular during Bhavabhūti’s time. In the Mālatīmādhava, Bhavabhūti has used the words such as citraphalakam^[2] , citravartikā^[3] and ālikhya^[4] to imply painting. Ladies were also expert in the art of painting as it was found that Mālatī had drawn the portrait of Mādhava.^[5] Mādhava also drew the portrait of Mālatī.^[6] There is a reference of saṃgītaśālā^[7] i.e. music hall in the 2^nd act of the Mālatīmādhava from which it can be known that people also practised the art of music. In the same act the reference of the art called nṛtya [nṛtyaṃ] was also found.^[8] The people had the knowledge of making garland too. In the 1^st act it was known that Mādhava had woven a garland of flowers with skillful arrangement. ^[9] Thus, People of 8^th century A.D. were well-versed in various fine arts like painting, music, dancing and garland making.

Architecture in the Mālatīmādhava:

The architecture is one of the basic features of ancient India. The architecture denotes the design and construction of buildings. ^[10] In the Mālatīmādhava, Bhavabhūti has provided an outline of constructive activities during the period of 8^th century A.D. The 9^th act of the Mālatīmādhava reveals that the city Padmāvatī was extremely rich in architecture. The city Padmāvatī owed a large number of buildings and the city–gate had a rampart on it. The city also had lofty mansions, temples etc.^[11] The mansions were very high as Bhavabhūti has used the words such as saudhaśikhara,^[12] bhavanaballabhī ^[13] and uparyalindam ^[14] etc. In the 2^ndact Mālatī had forbade attendance of the servants when she ascended the upper terrace.^[15] In the 8^th act it was found that the king, stationed on the top of his palace watched the events by the light of the moon.^[16] It appears that in Bhavabhūt’s time the palaces were multi storied in shape which marked the specimen of excellent architecture of 8^th century A.D. There is a reference of this in the 7^th act where Makaranda said that the wind was rolling about through the windows in the top most rooms. It also appears that these multi-storied palaces had a good number of windows. Windows were made having confronted towards road side in such a manner that one could easily visualise the panorama of road side. In the 1^st act, Mālatī stationed at the lofty window of the topmost room of her mansion beheld Mādhava who had passed by the high road nearby her mansion.^[17] These multi storied mansions consisted of many apartments as there is reference of inner apartment in the 7^thact. In this act it is found that Nandana left the inner apartment severely repulsed by Makaranda.^[18] There was a mention of inner chamber where it was found that the king repaired to the inner chamber in the 8^th act.^[19] The employment of hundreds of door-keepers in the palaces strictly proved it that there were a large number of doors annexed to the palace. It was found that hundreds of door-keepers were busy with the preparations for the marriage ceremony of Mālatī.^[20] In spite of these entrance doors, there also had the provision of side–doors. In the 7^th act Makaranda along with Madayantikā had got out by the side-door.^[21]

In the mansions there had been provision of staircase for the purpose of ascent and descent. It was found in the 2^nd act that Lavaṅgikā told Buddharakṣitā to descend by staircase. ^[22] Thus these palaces, constructed by artisans were so magnificent that they would have outshone the ancient structures.

Apart from buildings or palaces Bhavabhūti has given ample information regarding the temple of 8^th century A.D. which is witness of the outstanding development of architecture.Several temples of different god and goddess were constructed during this period. In the very 1^st act it was known that Mādhava went to the temple of Madana. ^[23] Further he had noticed some ladies there, having come out from the inner sanctuary of the temple.^[24] Here it was noticed that temples were occupied by the garbhabhavana i.e. inner sanctuary where presiding deity was installed. In the 6^th act Makaranda and Mādhava stood in the temple concealed by the pillar.^[25] Moreover there was provision of door in the inner sanctuary of the temple in order to enter in it. In the same act Lavaṅgikā said Mālatī to enter into the temple by the door of the inner sanctuary.^[26] The temple walls were attached to lattice on it as it was found that Makaranda said Mādhava to see the procession of Mālatī along with her attendants from the latticed window of the temple.^[27]

In the 8^thcentury-A.D. Padmāvatī was probably the most famous centre of education that seems to have been one of the reasons for its being selected by the Buddha as the place for the promulgation of his gospel. It was known that monastery became a famous centre of learning during 8^thcentury A.D. There was a reference of monastery which apparently showed the establishment of monastic buildings. ^[28]

In Bhavabhūti’s time roads were highly developed. There is a reference where Makaranda and Mādhava were moving about on the road adjoining to minister’s mansion^[29] which indicates the well construction of road. In the 5th act of this Prakaraṇa, Bhavabhūti had given a descriprion of cremation ground by which it is clear that there built funeral in the cremation ground.^[30]

Footnotes and references:

[1]:

Kāmasūtra, I.3.16

[2]:

Mālatīmādhava, I.p.38

[3]:

Ibid.

[4]:

Ibid

[5]:

tayāpyātmano vinodanimittaṃ mādhavapraticchandakamālikhitaṃ tallavaṅgikayā mandārikāyā hasteadyanihitaṃ tāvat /
Ibid., I.p.17

[6]:

draṣṭavyarupā ca bhavato vikārahetustadatraivālikhyatāṃ mālatī /
Ibid., I.p.38

[7]:

saṃgītaśālā ......... Ibid., II.p.44

[8]:

tvamapi svabhāvenaiva tasminnavasareasaṃgītakaṃ nartitāsi /
Ibid., II.p.48

[9]:

tasya sa yadṛchayā nirantaranipatitāni vikasitāni kusumānyādāya
vidagdharacanāmanoharāṃ srajamabhinirmātumārabdhavānasmi /
Ibid.,I.p.25

[10]:

Vide, Hawker,Sara,Oxford English Dictionary,p.31

[11]:

padmāvatī vimalavāriviśālasindhu/
pārāsaritparikarachalato bibharti //
uttuṅgasaudhasuramandiragopurāṭṭa /
saṃghaṭṭapāṭitavimuktamivāntarikṣam //
Ibid., IX.1

[12]:

Ibid.,VIII.171

[13]:

Ibid.,I.15

[14]:

Ibid.,II.p.45

[15]:

tāṃ khalu parāvartamānāmeva haste gṛhītvā pratiṣiddhaparijanā bhartṛdārikoparyalindakaṃ samārūḍhā/
Ibid.,II.p.45

[16]:

anekaprauḍhapadātinivahaścandrātapenasaudhaśikharasthitaḥprekṣata/
Ibid.,VIII.p.169

[17]:

bhūyo bhūyaḥ savidhanagarīrathyayā paryaṭantaṃ dṛṣṭvā dṛṣṭvā bhavanavallabhītuṅgavātāyanasthā /
Ibid.,I.15

[18]:

vāsabhavanānnirgataḥ /
Ibid., VII.p.141

[19]:

gatoabhyantaraṃ rājā /
Ibid.,VIII.p.171

[20]:

ito mālatī vivāhaparikarma satvarapratīhāraśata /
Ibid., VI.p.120

[21]:

tadanena pakṣadvāreṇa nirgatya sādhayāmaḥ /
Ibid.,VII.p.159

[22]:

avalokite ita itaḥ sopānenāvatarābaḥ /
Ibid., II.p.61

[23]:

gatoahamavalokitājanitakautukaḥ kāmadevāyatanam /
Ibid., I.p.25

[24]:

anantaraṃ ca saṃsāriṇīvadevasya makaraketanasya jagadvijayavaijayantikā nirgatya garbhabhavanādujjvala /
Ibid.

[25]:

vayasya itastāvatstambhāpavārito tiṣṭhāvaḥ /
Ibid., VI.p.126

[26]:

etad devatāmandiradvāram tatpraviśāvaḥ /
Ibid., VI.p.126

[27]:

tadehi jālamārgeṇa paśyāmaḥ /
Ibid.,VI.p.122

[28]:

Vihāra., Ibid., I.p.18

[29]:

vayasya nanvamātyabhavanāsannarathyayaiva vahuśḥ saṃcarāvahe /
Ibid,I.p.40

[30]:

Ibid.,V.p.102