#natyasastra

[livesanskrit]

Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit .

It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet

Guru Mani Madhava Chakyar.

Guru Mani Madhava Chakyar (15 February 1899 – 14 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Koodiyattam (ancient Sanskrit drama theatre tradition) artist and authority of modern times. He was considered as the authority of Abhinaya (the classical Indian acting style) and Nātyaśāstra.

#sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #guru #manimadhavachakyar #chakyar #chakyarkoothu #koodiyattam #sanskritdrama #traditiondrama #natyasastra #kozhikkode #ottappalam #kerala #keralatradition #padmashri #natya #celebratingsanskrit

[hunarkala]

•Hindustani music• While the historical roots of both the music types belong to the Bharata’s #natyasastra , they diverged in the 14th century. The Hindustani branch of music focuses more on the musical structure and the possibilities of improvisation in it. The #hindustani branch adopted a scale of Shudha Swara Saptaka or the ‘octave of natural notes’. . There are ten main styles of singing in Hindustani music like the.. 1) Dhrupad 2) Dhamar 3) Hori 4) Khayal 5) Tappa 6) Chaturang 7) Ragasagar 8) Tarana 9) Sargam 10) Thumri. #incredibleindia @incredibleindia #discoverindia #indianfolkmusic #singingform #indianheritage #indianartandculture #indianunity #culturaldiversity #indiandance #indianart #mandala #music #hindustanimusic #bhartiyasabhyata #bhartiyasangeet #hindu #sufi #pop #jazz #music #connectstothesoul @natgeotravellerindia @discover_india @discoverindia.magazine @enchantingtamilnadu @keralatourism @aptourism @maharashtratourismofficial @gujarattourism @haryanatourism @uttarakhand_tourismofficial @rajasthan_tourism @mptourism @odishatourismofficial @discover.northeast #culturalunity #instadaily #followforfollowback (at New Delhi - The Capital Of India) https://www.instagram.com/p/CAvI-xepSKG/?igshid=j8lrrjekxgf2

[themuseumwithoutwalls]

MWW Artwork of the Day (10/29/22) Chandela Dynasty artist (Indian, fl. mid 11th c. CE) Celestial Dancer (Devata)(mid 11th c. CE) Sandstone sculpture, 88.3 x 50.8 x 31.8 cm. The Metropolitan Museum of Art, New York (Gift of Florence & Herbert Irving)

The Hindu temple is conceived as a heavenly abode for the presiding deity. The building's stepped, indented, and towering exterior evokes the mountains of Indra's heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer's face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty.

[roshansorensangbamposts-blog]

Mainstream Theater

Mainstream theater is the most part kept to topics that are not religious; it is performed in the common or profane circles. In these are Shumang lila and Phampak lila (arrange show). Shumang lila is famous. Etymologically Shumang lila is the mix of "Shumang" (yard) and "Lila" (play or execution). It is performed in a region of 13×13 ft in the focal point of any open space, in a basic style without a raised stage, set structure, or overwhelming props, for example, window ornaments, foundation view, and special visualizations. It utilizes one table and two seats, kept on one side of the execution space. Its case as the "theater of the majority" is underlined by the manner in which it is performed amidst a crowd of people that encompasses it, abandoning one section as passageway and exit.[citation needed] The universe of Phampak lila (organize dramatization) performed in the proscenium theater is comparative, in structure, toward the Western showy model and Indian Natyasastra display however its substance are indigenous. The purported present day theater slid on Manipur theater culture with the execution of Pravas Milan (1902) under the eager support of Sir Churchand Maharaj (1891– 1941). The pace of showy development was adapted with the organization of gatherings, for example, Manipur Dramatic Union (MDU) (1930), Arian Theater (1935), Chitrangada Natya Mandir (1936), Society Theater (1937), Rupmahal (1942), Cosmopolitan Dramatic Union (1968), and the Chorus Repertory Theater of Ratan Thiyam (1976).[citation needed] These gatherings began trying different things with kinds of plays separated from chronicled and pauranic ones. Today Manipur theater is very much regarded on account of astounding creations appeared in India and abroad. Manipur plays, both Shumang lila and organize lila, have been a standard component in the yearly celebration of the National School of Drama, New Delhi.[citation needed]

Shumang Lila

Each Manipuri (especially among Meiteis) wants to see 'Shumang Lila' in light of the fact that it is the most sweltering among the performing specialties of the state. In any case, it is likewise mainstream among different networks like Meitei Pangal (Muslim), Tribal people group and so on. Whenever 'Titanic', the blockbuster motion picture from Hollywood cleared everywhere throughout the world, it couldn't move an inch of gatherings of people of 'Keishamthong Thoibi', a blockbuster shumang lila. It achieved about 500 shows. Around two thousand onlookers accumulated in a show be that as it may, it fluctuated from patio to yard as indicated by the span of the patio. A scene from 'Keishamthong Thoibi'. Shumang lila formally was recorded without precedent for the state in the year 1918 with 'Harischandra' lila. Be that as it may, its idea was begun a lot before amid the rule of ruler Chandrakriti (1851-1886) in jokester structure. A few researchers opined that shumang lila slid from Lai Haraoba, a custom service of satisfying god by men, going up to folklore period. The present type of shumang lila is created between the proscenium theater and the said comedian structure. Movies especially from bollywood affected in the last time frame. Two names Aribam Amubi Sharma and Lairenjam Chaoba merit referencing in the development of shumang lila. The other works of art like Ramlila, Udukhul, Shan Shenba and so on had added to its nursery period. 'Shumang' signifies 'open yard' and 'lila' signifies play and exacting significance of Shumang lila is "play of the open patio". It has proclivity with proscenium theater in structure anyway it is performed in an open yard encompassed by observers on each of the four sides. Additionally, male artistes act in the female job. A portion of the male artistes in the female job are shocking delights and they can win hearts of the gatherings of people effectively. Presently a-days shumang lila has two sorts - 1) Nupa Shurnang lila, performed just by male artistes; ii) Nupi Shumang lila, performed just by female artistes. Prior, shumang lila was viewed as just 'Exchange lila' in light of the fact that discoursed ruled the whole part of the shumang lila. Presently, Eshei lila has substituted discourse lila and is viewed as shumang lila. The unmistakable component of the Eshel lila is the music, which assumes a critical job in the shuman lila.Another Lila of Birjit Ngangomba. A portion of the incredible shumang lilas in the historical backdrop of the Shumang lila are - 1) Imphal Babu; 2) Daku Jagat Singh (prior it was named as Epagee Ibungo); 3) Abir Khan; 4) Pocket Mar; 5) Devadas; 6) Hamlet; 7) Keishamthong Thoibi and so on. The above shumang lilas are best cherished by individuals and performed at each alcove and corner of the state (especially in valley territory). A portion of the lines (exchange line) are famous among the general population. An ordinary citizen can without much of a stretch recount a few lines from the above shumang lilas. Presently, shumang lila has crossed the limit of phonetic and social obstructions and introduction picked up to different social orders moreover. A gathering called 'Sanalelbak Nachom Artiestes' gave its execution first time in the historical backdrop of the shumang lila at Meghadoot Open Air Theater on the premises of National School of Drama, New Delhi, with a play 'Meigee Ching (Volcano)' in the year 2000. That was the primary execution of the shumang lila among the non-Manipuri talking gatherings of people. The show was a gigantic achievement and the execution of the artistes effectively won hearts of the first class group of onlookers of the capital of India. Common group of onlookers as well as very qualified commentators valued it. At that point a similar gathering Sanaleibak Nachom Artistes was welcome to particpate to the eleventh Indian Peoples' Theater Association (IPTA) at Thrissur (Kerala) held from January 12 to January 17, 2001. The visit was exceptionally fruitful and it was substantially more than their (Sanalelbak) prior desires. Other than their show at Thrissur's IPTA Conference, they were welcome to perform at some remote regions of the Kerala. They gave 11 appears at Kerala. On their arrival venture they gave exhibitions at Dharwad (Karnataka), Prithivi Theater (Mumbai), IMA corridor (Nagpur) and so on. They were welcome to Orissia and Bihar additionally yet they couldn't satisfy their desires because of overwhelming commitment at home. They gave through and through 24 appears amid the adventure. Finally shumang lila has contacted the International group of onlookers. The prominent Sanaleibak Nachom Artistes was welcome to give its execution at Bolshoi theater at Moscow (Russia). They are prepared for the global groups of onlookers in September, 2001. Like theater and movies, chief is the most critical individual in the shumang lila. He plans a wide range of things appeared on the stage. Presently a-days there is discrete choreographers in some shumang lila gatherings. Hardly any prominent chiefs are Birjit Ngangomba, Wareppa Naba, Niladhaja Khuman and so on. Among them Birjit Ngangomba is the most well known one. Whatever he coordinated has turned into a much looked for after play. It has turned into a matter of pride to be coordinated their plays by Birjit Ngangomba. In any case, he is a theater individual just as a military craftsman. He won best executive numerous a period in the All Manipur Shumang Lila Festival sorted out by Manipur State Kala Academy. He coordinated the blockbuster shw-nang lila 'Keishamthong Thoibi'. Dramatists are likewise essential people in shumang lila. Without their hard work it is hard to create a decent shumang lila. Scarcely any prominent writers are Padmashree G.C. Tongbra, Chana Lukhol, Thangjam Birchand, Rajen Toijamba, Nabakumar, Gunachandra Sharma and so forth. Among them Chana Lukhol is as yet dynamic in this calling. He composed the 'Keishamthong Thoibi'. A portion of the extraordinary shumang lila artistes are - Ayekpam Inakhunba (Devadas shaba or Manihar shaba), Jugeshwar (Cheitei shaba), Tondonbi (Paru shabee), Binod (Daku Jagat Singh shaba), Shamu (Abir Khan shaba), Brajabidhu (Hamlet shaba) and so forth and some more. Here I notice just couple of acquainted with crowds. Shumang lila changes its look as indicated by time and circumstance anyway it remains its gravity with no change for quite a while. 

[philearning]

Excerpts from a Review of our book Introduction to Indian Knowledge System: Concepts and Applications written by Mahadevan, Bhat and Nagendra Pavana in the Science Reporter.

Documenting India's Rich Heritage of Knowledge By Anand Parthasarathy

".... Indian contributions are found in epics like Ramayana and Mahabharata, Patanjali's Yogasutra, Bharata's Natyasastra on dance, Kautilya's Arthasastra on economics, Sushruta's Sushruta Samhita on medicine and surgery, Panini's Ashtadhyayi on Sanskrit grammar, and so on. To compile and document all such contributions the arts, science and engineering, across a very wide time frame from the Vedic times (generally accepted to be 5000-3500 BCE) right up to the 17th centure Ce, in a single volume, is a challenging task. To do this with academic rigour and objectivity, while eschewing any temptation to cross the lakshman rekha between fact and mythology is doubly daunting. The three authors of this book have accomplished this task with style and distinction.

And they have gone a step further, creating chapter summaries, review questions, references and suggestions to trigger further interest, so that the book becomes a handy guide and text for students. This will prove timely, because the All India Council for Technical Education (AICTE) has recently included a mandatory non-credit course on Indian Knowledge Systems for all technical and engineering higher education in India from the new academic year. This 400-page publication is the primary resource for such a course....."

Read the full review on our blog. Click https://www.phindia.com/blogs/2022/07/14/introduction-to-indian-knowledge-system-concepts-and-applications-a-review-by-anand-parthasarathy/

OR

Download it from http://nopr.niscpr.res.in/handle/123456789/59965

[yogirane]

A Brief History of Hindustani Classical Music

Though a significant number of music lovers prefer western music in India, Hindustani Classical Music has managed to keep a hold. There are a handful of music academies offering Hindustani classical music classes. As it is believed that to master an art, it is essential to know its basics. With that being said, if you are one of those who are planning to enroll in Hindustani classical music classes, this comprehensive guide is for you. 

This write-up will briefly discuss the history and origin of Hindustani Classical music, and its evolution over the years. Along with that, it will also talk about the different styles of Hindustani classical music. Starting from the fundamentals, let's trace the origin of it. 

Origin of Hindustani Classical Music

The roots of Hindustani classical music can be found in the Samaveda. Hindustani Music is one of two Indian Classical Music schools, both of which are practiced in North India. The other school of Indian Classical Music is Carnatic music, which is predominantly played in Southern India. 

Both music forms have historical origins in the Bharata's Natyasastra, however, they split up in the 14th century, due to several invasions throughout this time. During this time, Indian music collided with Persian music, resulting in the formation of two types of Indian classical music: Hindustani and Carnatic.

Some of the similarities between both the styles are as follows: 

Despite stylistic differences, the fundamental principles of Swara, Raga, and tala, which serve as the foundation of both Carnatic and Hindustani music, are the same.

Hindustani music dates back to the Vedic era, but Carnatic music dates back to the Bhakti movement. As a result, both have a strong religious connection.

Carnatic music is one of two major sub-genres of Indian classical music that arose from ancient Hindu traditions; the other is Hindustani music, which originated as a unique form in North India due to Persian and Islamic influences.

On the other hand, what makes them different from each other are:

Hindustani music predates Carnatic music in terms of origin. Vedic chanting, Islamic traditions, and Persian Musiqu-e-Assil style are blended together. Carnatic music is relatively pure, having emerged during the Bhakti movement in the 15th and 16th centuries and receiving a boost in the 19th and 20th centuries.

Carnatic music places a strong focus on vocal music, with most words being sung in the gayface style. A vocal-centric group is essential in Hindustani music. The singer is accompanied by a variety of instruments.

Dhrupad, khayal, Tarana, Thumri, Dadra, and Gazals are the principal vocal genres of Hindustani music. While Alpana, Niraval, Kalpanaswaram, and Ragam Thana pallavi are examples of improvisation in Carnatic music, others include Alpana, Niraval, Kalpanaswaram, and Ragam Thana pallavi.

The Hindustani branch of music places a greater emphasis on melodic structure and improvisational potential. The Shuddha Swar Saptak, or 'Octave of Natural Notes,' was adopted by the Hindustani branch. Talking about the elements of Hindustani Classical music, most of its elements are from the ancient Hindu tradition, Vedic philosophy and Persian tradition as well. In addition, a multitude of influences, such as Arab, Persian, and Afghan themes, have influenced Hindustani music, giving it a new dimension.

During the medieval period, the 'Sufi' influence in Hindustani music was fused with ideas from Persian music, particularly through the impact of Sufi artists such as Amir Khusru and Tansen. Amir Khusru, on the other hand, is incorrectly credited with inventing the sitar and tabla, as well as numerous musical styles such as khayal and tarana. Hindustani music, which arose during the Mughal period (15th and 16th centuries A.D.), is rooted in a rich Indian tradition that was influenced by Mughal influences.

Indian music has long been practice-oriented and taught by teachers through an oral tradition. It wasn't until the twentieth century that notations were used as the primary means of instruction, comprehension, and transmission. From a Guru to a shishya, the guru-shishya parampara, or teacher-student tradition, imparts the rules of Indian music and compositions. 

The establishment of gharanas (singing styles and content) under the patronage of princely rulers was a watershed moment in Hindustani music. Talking about the musicologists' take, it is believed that music originated from natural sounds. They further explain that the cry of a peacock became the Swara note Sa or shadja. 

Similarly, they further add that the Swara Re or Rishabh was given by the voice of a Chatak (rain bird). While the Swara Ga or Gandhara was born from the cries of a goat, the Swara Ma or Madhyama became the crowing of a crow. Swara Pa or Pancham was created from the sound of a cuckoo. The Swara Dha or Dhaivata was thought to be the sound of a frog. An elephant's trumpeting became known as Swara Ni or Nishaada. 

Instruments and components of Hindustani Classical Music

Moving forward, Tabla, Sarangi, Sitar, Santoor, Flute, and Violin are some of the Hindustani musical instruments. The Nava rasas, or nine primary emotions, in Hindustani and Carnatic music are love, comedy, sadness, rage, heroism, horror, disgust, astonishment, and tranquility.

Hindustani Classical music is based on the Raga system. For the unversed, Raga is a musical scale made up of seven basic notes known as the Raga. Vocals are prominent in Hindustani music. Talking about the styles of Hindustani Classical music are Dhrupad, Khayal, Tappa, Chaturanga, Tarana, Sargam, Thumri and Ragasagar, Hori and Dhamar. 

All the information mentioned above about Hindustani Classical Music is just the tip of the iceberg. As mentioned earlier, this is just a brief overview of the history of Hindustani classical music to give a rough idea about this style of music. You can learn more about its history, evolution and practice today through Artium’s Hindustani Classical Music classes led by Shubha Mudgal.

[indianencyclopedia]

The Natyashastra by Bharata Muni depicts the mature form of a classical theatre of ancient India. Natyashastra is the most detail and elaborate of all treatises on dramatic criticism and acting ever written in any language.

https://www.indianetzone.com/57/ancient_indian_theatre_stages.htm

[libi-puranattukara]

Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit . It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet Guru Mani Madhava Chakyar (15 February 1899 – 14 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Koodiyattam (ancient Sanskrit drama theatre tradition) artist and authority of modern times. He was considered as the authority of Abhinaya (the classical Indian acting style) and Nātyaśāstra. #sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #guru #manimadhavachakyar #chakyar #chakyarkoothu #koodiyattam #sanskritdrama #traditiondrama #natyasastra #kozhikkode #ottappalam #kerala #keralatradition #padmashri #natya #keralatourism https://www.instagram.com/p/CLS6C7TH8zcbU1r-HCuWsSvYO3x52wjW4YoKeA0/?igshid=1shj31geq0q8l

[livesanskrit]

Send from Sansgreet Android App. Sanskrit greetings app from team @livesanskrit .

It's the first Android app for sending @sanskrit greetings. Download app from https://livesanskrit.com/sansgreet

Guru Mani Madhava Chakyar.

Guru Mani Madhava Chakyar (15 February 1899 – 14 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Koodiyattam (ancient Sanskrit drama theatre tradition) artist and authority of modern times. He was considered as the authority of Abhinaya (the classical Indian acting style) and Nātyaśāstra.

#sansgreet #sanskritgreetings #greetingsinsanskrit #sanskritquotes #sanskritthoughts #emergingsanskrit #sanskrittrends #trendsinsanskrit #livesanskrit #sanskritlanguage #sanskritlove #sanskritdailyquotes #sanskritdailythoughts #sanskrit #resanskrit #guru #manimadhavachakyar #chakyar #chakyarkoothu #koodiyattam #sanskritdrama #traditiondrama #natyasastra #kozhikkode #ottappalam #kerala #keralatradition #padmashri #natya #celebratingsanskrit

[belenrodrguez]

LIT3120JenningsSpring2018: Blog Post #11 - Belen Rodriguez

“At first our bodies knew a perfect oneness, but then grew two with you as lover and I, unhappy I, the loved. Now you are husband, I the wife. what’s left except of this my life, too hard to break, to reap the bitter fruit, Your broken faith” - Bhavakadevi

I used this text for my presentation in the Indian classic literature because I’m a hopeless romantic and this tore my heart. I believe this literature followed the Bharata’s Natyasastra - Guidelines to achieve Rasa. Because it did make me feel awful when I came to understand it.

The translating when it came to reading this poem in particular ( and the rest of the Indian classics) I feel as if it’s translated awkwardly. Maybe its the way its phrased but its a very rigid flow. It doesn't sound smooth, which I like, its just harder to understand. Not sure if the rhyming in the 4th and 5th were on purpose, or just a translation coincidence.  I also really liked how she started off the beginign of the poem with the give away. She told us what had happened. “at first...” tells you something has changed.

I also picked this poem because she was one of the 3 famous women poems and I always find it interesting that when it came to literature women were almost as equals in many cultures. They are given nicknames, and written down in history. Unlike for example the history of science, there is many men, and only some women in history are given credit. But many were denies, ridiculed and exiled when they gave any interest of even discoveries and introduced it to men.

[muslimaltag]

Celestial dancer (Devata)

mid-11th century, Central India, Madhya Pradesh

Sandstone , H. 34 3/4 in. (88.3 cm); W. 20 in.(50.8 cm); D. 12 1/2 in. (31.8 cm); Wt. (with block) 170 lb (77.1 kg)

The Metropolitan Museum of Art, New York

From the website of the Met :

"The Hindu temple is conceived as a heavenly abode for the presiding deity. The building's stepped, indented, and towering exterior evokes the mountains of Indra's heavens, home to the assembly of gods as well as celestial beauties, dancers, and musicians. This life-size sandstone sculpture is an extraordinary rending of a heavenly celebrant performing in honor of the gods. The dancer's face and body are treated according to prescribed canons of beauty. Her body is contorted in an improbably pose, her legs projecting to her right while her upper torso and head turn sharply left. The extreme flexion reflects dance positions (karunas and sthanas) described in the Natyasastra, an ancient dramatic arts treatise. It is understood in Indian aesthetics that such positions enhance the appreciation of beauty."

[news24fresh]

Evolution of Bharatanatyam

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Although there is no evidence of a linear evolution of Bharatanatyam over the last 2,000 years, Tamil and Sanskrit texts confirm its ancient roots. Scholars Dr. Kapila Vatsyayan and late Dr. V. Raghavan have traced the dance style to Ekaharya Lasyanga, a solo performance depicting themes of love and relationships, mentioned in the Sanskrit text Natyasastra (2BC-2AD).

Between 2BC-9AD,…

[artbychromium]

View this post on Instagram

A post shared by 🎨 LANA CHROMIUM | Bodypainting & SFX Makeup | LA & San Diego (@lana_chromium)

Goddess Video by @freelancemedia.guru. Bodyart I did for Elements project - In contemplation of our relationship to the 5 great elements, we must therefore understand the principle of Shakti. The Vedanta which is the world's oldest recorded human philosophy describes the symbiosis of spirit and matter. Spirit is consciousness (purusha), and therefore the spirit wills. Matter is energy (Shakti) but moreso a kind of power. Shakti is power. The powerful forces around us we cannot control. Mother Nature or the MOTHER of nature is said here to be known as Durga or Parvati in one of three aspects of the Goddess according to ancient human records called the Puranas. Mother Nature supplies our necessities as well as our undesired karmic reactions in the wheel of samsara. As humans we attempt to control Nature, but rather we are at the mercy of a Goddess with inconceivable powers. The 5 gross elements: earth, air, ether, water, fire. The 3 subtle elements: mind intelligence and ego, comprise the external material universe known as 'prakriti', although consciousness is superior to dull matter because we make use of the elements, still we are subjected to very submissive relationship with the overall powerful force of nature herself. #thinkdeep #themoreyouknow🌈 #durga #parvati #devi #yogiofinstagram #mystical #artist #visionaryart #sankhyayoga #bodypainting #sdmodel #sdphotographer #burningman #indialove #bollywood #jaimatadi #natyasastra #drama #photostory #legends #costume #cosplay #bodypaint #universe #setdesign #mindovermatter #bohemian #bodyart #lanachromium (at San Diego, California)

[callmeanxietygirl]

“Donde va la mano, va la mirada donde va la mirada, va el espíritu donde va el espíritu, va el alma donde va el alma, allí está la emoción“. Natyasastra.

[secretlyatargaryen]

The jester could never be promoted and could never fully participate in the social life of the court. He remained on the margins, an astute observer and biting commenter on social conventions and human follies. Likewise, a court jester was a slave who could never break free of his job; only the royal word could release him. Many of the jesters were disabled: hunchbacks like Rigoletto, dwarfs, or otherwise handicapped. Since they were ostracized by society, the disabled marginal position offered them an unparalleled vantage point from which to peer into its faults and the necessary detachment from life’s passions, a vital quality in a brilliant jester. In medieval and Renaissance Europe dwarf jesters were so popular that the practice of artificially stunting children became common to keep up with demand. According to documents from 1670, dwarfs could be artificially made by “anointing babies’ spines with the grease of bats, moles, and dormice.” Other prescriptions advised various medicaments such as “the aptly named dwarf elder, knotgrass, and daisy juice and roots mixed with milk to stunt growth” (Otto, 29). Often children were kidnapped and turned into “artificial dwarfs” to be sold as court jesters. In Italy and Spain the practice was so widespread that the kidnappers had their own term, comprachicos, “child-buyers.” In Shakespeare’s A Midsummer Night’s Dream (1600), Lysander talks about it: “Get you gone, you dwarf; / You minimus, of hindering knot-grass made; / You bead, you accorn!” The Hindu book of dramaturgy, Natyasastra, advises that the best court jesters should be both dwarfs and hunchbacked. The desire to keep dwarfs and other “freaks” at the courts was almost universally viewed as a way to contain their magical capacity for evil, “an instinctive fear and distaste developing into the need both to control and appease. It did not stem from a recognition of their humanity” (Whitehead). It was believed that the touch of a dwarf could cure and fend off illness. Likewise, “the stinging wit of the jester belongs to the same family of beliefs: his bitter medicine could purge ill humour, his sharp points could draw out bad blood” 

http://blog.blo.org/the-history-of-court-jester-by-magda

[ykpurohit]

Dear sir ..

Good morning

I am communicating to you by network or the network is work by my hand machine .

Nicely you pointed to hand as a hand machine ..it's great .

In past hand was tool but today in present it's converted in form of machine .

Here you have share some visuals of your with expressions on Instagram I saw your 12 expressions .I know or I read in theory of theater ,Bharat muni told we have 9 Ras in theater but your 12 images showed RAS is not limited in only 9 Ras you have much more RAS in your acting vision . Your images are proving the theater art not fix at Bharat muni or his natyasastra .today it's getting some more RAS ..your 12 pictures are proving it naturally .

Pratyaksh ko praman hi kya ..

Here I lived at home for care to my niece .this winter is looking so long because it's infecting to health of my niece ..

Medicine is work but environment is working too much ..

Overall all is well .

Today is new day ,Sunday ..

In morning time I gave some water to my small natural painting ..there leafs of Palak or Muli come out from natural canvas ..

Today I think I will buy some charcoal of wood for our Anguthi ,Sigadi ,Borsi ..it's working for hit to home environment in low temperature so it is must ,it's impactful ,nassesary for protection to very much cold environment .

I will buy a clay Pott for birds ,old Pott was Brocken by cat or dog .so birds are waiting for water they are hoping to me when they come at my home wall for drink to water ..nature need to me some nature care work so I will do it just like past ..

Have a very good day sir ..

Warm regards

Yogendra Kumar purohit

Master of fine art

Bikaner ,India

DAY 3574

Jalsa, Mumbai             Jan 6,  2018              Sat 11:36 PM

There is a joy in punching in a ‘PM’ .. there is a joy in knowing the time to time the bed, is restored to some semblance of acceptability .. there is joy in knowing that the hours of rest shall bring joy for rehab .. and there is joy that the Sunday by the midnight shall be afresh with the freshness of newly plucked flowers ..

But the joy in the freaking of the facial is an unreleased desire .. it is self inflicting, but desire all the same ..

There are such intricate equipments present now that science has discovered and monetised through marketing, for the purpose of rehab, that it simply amazes one of how we can allow machined utensils to take over every function required to bring relief .. 

After a substantial work out at the machines, that push and pull and demarcate where and how much is being done, the business of calming down the body and bringing recovery to tired limbs is the one you look out for …

The more the body suffers the more we learn of its intricacies and the more of its qualities to heal by itself .. its just that at times it takes a while before the results can be seen or felt in this case ..

That time then has been overtaken by the invented gadget .. glory be .. !!

But enough of body and body parts .. there is more to life than that .. for example , recognition ..

Recognition is the staple nectar of the human I do conjecture .. we work our entire lives to be in the category of it .. especially in our profession .. and when we do achieve it we immediately begin to hide again from recognition ..

The car windows begin to tint beyond the specified limits ; there is reason for that of course, but it does occur .. the prevention of that most pertinent and voluminous activity of the generation - the selfie - hounds them that sought to be seen and known and recognised .. barring of visitors, unwanted crowding, stalking and other such generous acts on the part of them that idolise, is difficult to run away from .. it is after all exactly what we had hoped and wished for the time we came into the ‘frame’ ..

Recognition of reward or award is never undergone with similar tense and flavour .. those moments flourish ever .. yearning within for that appearance for that victory, that achievement .. that is looked out for .. looked out for as recognition .. yet that is what was looked out for as an avoidance .. 

What then to avoid and what then to staple tape with recognition .. 

Leave that for judicious judgement by the concerned .. there are so many .. !!

With the flurry and the storms of information and subjects to be addressed, what ever could be the advised procedure in its remembrance .. 

That wonder instrument in the hand that connects and informs and educates and entertains us all in this modern generation, is now the tool for all the issues that confront us .. 

You could be in the middle of tying your shoe lace and the thought of an outstanding work or pending decision making, fills your brain cells .. and equally easily and drastically leaves it the moment the lace is in place .. 

Hours and days at times could go by and that particular work or decision that occurred to you ‘when you were tying your shoe lace’ , shall suddenly flash by .. by then of course it has been delayed too far .. the impetus and the need and the emergent desire to accomplish what was thought of, has disappeared ..

BUT that hand machine is ready and part of the system now .. so punch in the words and expressions and numbers and whatever .. and have that ready reference when needed ..

The pin code to your credit card ; the appointments for the day ; that file, that letter, its reference and where to find it ; when to awake when to rest, who shall come to visit and where ; those pointers for the speech by the evening ; important dates and days ; greetings for festive occasions ; that relative and the family tree ; passwords - dear me there are so many for every activity these days … BUT really the most valued - the mobile number that you hold in your hand .. !! yes seriously .. at times it takes a look at the contact list to check whether the personal number given is indeed correct ; and the car - I mean the car number , its number plate details et al .. a burden on our shrunk with information mind  !!

How then does one deal with such ..

I shall tell you .. 

Errrr .. tomorrow after consulting my hand machine .. !!!!

hahahaheeehaahaaha !!

Amitabh Bachchan