Legacy Of Kashmir, The Forgotten Land Of Beauty And Knowledge Part I

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Culture

Legacy Of Kashmir, The Forgotten Land Of Beauty And Knowledge Part I

Subhash Kak - August 06, 2016, 4:31 am

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Snapshot

This is the first essay in a four-part series about the important contributions
of Kashmir to Indian culture. It throws light on the early history of the region
and the expertise of the Kashmiris in the areas of grammar, music and dance.

This is the first essay in a four-part series about the important contributions
of Kashmir to Indian culture. It throws light on the early history of the region
and the expertise of grammarians Panini and Patanjali, and Bharata Muni in music
and dance.

Kashmirs geographical location partly explains its cultural history. It may be

that its natural beauty and temperate climate are the reasons that Kashmiris
have a strong tradition in the arts, literature, painting, drama and dance. Its
relative isolation, the security provided by the ring of mountains around it,
and its distance from the heartland of Indian culture in the plains of North
India might explain the originality of Kashmiri thought. Its climate and the
long winters may explain the Kashmiri fascination for philosophical speculation.

Kashmir is at the centre of the Puranic geography. In the Puranic conception,

the earths continents are arranged in the form of a lotus flower. Mt Meru
stands at the center of the world, the pericarp or seed-vessel of the flower, as
it were, surrounded by circular ranges of mountains. Around Mt Meru, like the
petals of the lotus, are arranged four island-continents (dvipas), aligned to
the four points of the compass: Uttarakuru to the north, Ketumala to the west,
Bhadrashva to the east and Bharata or Jambudvipa to the south. The meeting point
of the continents is the Meru mountain, which is the high Himalayan region
around Kashmir, Uttarakuru represents Central Asia including Tocharia, Ketumala
is Iran and lands beyond, Bhadrashva is China and the Far East. Kashmirs
centrality in this scheme was a recognition that it was a meeting ground for
trade and ideas for the four main parts of the Old World. In fact, it became
more than a meeting ground; it was the land where an attempt was made to
reconcile opposites by deeper analysis and bold conception.

Kashmirs nearness to rich trade routes brought it considerable wealth and

emboldened Kashmiris to take Sanskrit culture out of the country as
missionaries. Kashmiris also became interpreters of the Indian civilisation and
they authored many fundamental synthesising and expository works. Some of these
works are anonymous encyclopaedias; in many other works, the authors name is
known but the details of the life and circumstances in Kashmir are hardly
remembered.

Kalhanas Rajatarangini (River of Kings), written in about 1150 AD, provides a

narrative of successive dynasties that ruled Kashmir. Kalhana claimed to have
used eleven earlier works as well the Nilamata Purana. Of these earlier books,
only the Nilamata Purana survives. The narrative in the Rajatarangini becomes
more than mere names with the accession of the Karkota dynasty in the early
seventh century.

The political boundaries of Kashmir have, on occasion, extended much beyond the
valley and the adjoining regions. According to Hiuen Tsang, the Chinese
traveller, the adjacent territories to the west and south down to the plains
were also under the direct control of the king of Kashmir. With Durlabhavardhana
of the Karkota dynasty, the power of Kashmir extended to parts of Punjab and
Afghanistan. It appears that during this period of Kashmiri expansion the ruling
elite, if not the general population, of Gilgit, Baltistan, and West Tibet spoke
Kashmiri-related languages. Later, as Kashmirs political power declined, these
groups were displaced by Tibetan speaking people.

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In the eighth century, Lalitaditya Muktapida (reigned 724-760 AD), conquered

most of North India, Central Asia and Tibet. His vision and exertions mark a new
phase of Indian empire-building. Kashmir had become an important player in the
rivalries amongst the various kingdoms of North India.

The jostling of the Kashmiri State within the circle of the North Indian powers
led to an important political innovation. The important Vishnudharmottara
Purana, believed to have been written in Kashmir of the Karkota kings,
recommends innovations regarding the rajasuya and the ashvamedha sacrifices, of
which the latter in its medieval interpretations was responsible for much
warfare amongst kings. In the medieval times, the horse was left free to roam
for a year and the kings soldiers tried to establish the rule of their king in
all regions visited by the horse, leading to clashes. The Vishnudharmottara
Purana replaced these ancient rites by the rajyabhisheka (royal consecration)
and surapratishtha (the fixing of the divine abode) rites.

This essay presents an overview of the most important Kashmiri contributions to

Indian culture, emphasising some of the lesser known aspects of these
contributions. Specifically, we consider the contributions to the arts,
sciences, literature and philosophy. Our historical assessment of Kashmiri
culture is hampered by the nature of our records. The texts and objects of art
do not always indicate their provenance and the connections with Kashmir emerge
only from indirect evidence. We are on sure ground when we come to Buddhist
sources, the texts of the Kashmir Shaivism, and the names mentioned in the
Rajatarangini and other early narratives.

Early Period

During the Vedic period, Kashmir appears to be an important region because it

appears that the Mujavant mountain, the region where Soma grew, was located
there. It is possible that in the Vedic era a large part of the valley was still
under a lake. Kalhanas history begins with the Mahabharata War, but it is very
hazy with regard to the events prior to the Mauryan Emperor Ashoka.

The great grammarian Panini lived in northwest Punjab, not too far from Kashmir
and the university at Taxila (Takshashila) was also close to the valley. At the
time of Hiuen Tsang, Takshashila was a tributary to Kashmir. It is generally
accepted that Patanjali, the great author of the Mahabhashya commentary on
Paninis Ashtadhyayi, was a Kashmiri, as were a host of other grammarians like
Chandra. According to Bhartrihari and other early scholars, Patanjali also made
contributions to Yoga (the yoga-sutras) and to Ayurveda.

It is believed that Patanjalis mother was named Gorika and he was born in
Gonarda. He was educated in Takshashila and he taught in Pataliputra. From the
textual references in his works, it can be safely said that he belonged to
second century BC. The Charaka Samhita of Ayurveda that has come down to us is
due to the editing of Dridhabala from Kashmir, who also added 17 chapters to the
sixth section and the whole of the eighth section. Patanjali may have been
involved in this editing process. But it is likely that the identity of the
Kashmiris as a distinct group had not solidified in the Vedic period and to
speak of ethnicity at that time is meaningless.

In any event, Kashmir of these early times was a part of the larger northwest
Indian region of which Takshashila was a center of learning. The early levels of
buildings in Takshashila have been traced to 800 BC. The first millennium BC was
a period of great intellectual activity in this part of India and attitudes that
later came to be termed Kashmiri were an important element of this activity.
Amongst these attitudes was a characteristic approach to classification in the
arts, and the interest in grammar.

Paninis grammar remains one of the greatest achievements of the human

intellect. It described the grammar of the Sanskrit language by a system of
4,000 algebraic rules a feat that has not been equalled for any other language
to this day. It also set the tone for scientific studies in India with their
emphasis on algorithmic explanations. Patanjalis commentary on the Panini
grammar was responsible for the exaltation of its reputation. It appears that
Panini arose in the same intellectual climate that characterised Kashmir during
its Classical period.

Drama And Music: The Natyasastra

An early name seen as belonging to Kashmir is Bharata Muni of the Natyasastra.

The indirect reasons for this identification are that the rasa idea of the
Natyasastra was discussed by many scholars in Kashmir. Another reason is that
the Natyasastra has a total of 36 chapters and it is suggested that this number
may have been deliberately chosen to conform to the theory of 36 tattvas which
is a part of the later Shaivite system of Kashmir. Many descriptions in this
book seem especially true for Kashmir. The bhana, a one-actor play described by
Bharata, is still performed in Kashmir by groups called bhand pather (bhana
patra, in Sanskrit).

It should be mentioned here, parenthetically, that a few scholars take Bharata

to be a Southerner. It is also interesting that there exist some very close
connections between Kashmir and South India, in the cultural tradition, like the
worship of Shiva, Pancharatra, Tantra and the arts. Recently, when I pointed
this out to Vasundhara Filliozat, the art historian who has worked on Karnataka,
she said that the inscriptional evidence indicates a continuing movement of
teachers from Kashmir to the South, and that Kashmir is likely to have been the
original source of many of the early Shaivite, Tantric and Sthapatya Agamas.

Bharata Munis Natyasastra not only presents the language of creative

expression, it is the worlds first book on stagecraft. It is so comprehensive
that it lists 108 different postures that can be combined to give the various
movements of dance. Bharatas ideas are the key to proper understanding of
Indian arts, music and sculpture. They provide an insight into how different
Indian arts are expressions of a celebratory attitude to the universe. Manomohan
Ghosh, the modern translator of the Natyasastra, believes that it belongs to the
fifth century BC. He bases his assessment on the archaic pre-Paninian features
of the language and the fact that Bharata mentions the Arthashastra of
Brihaspati, and not that of the fourth century BC Kautilya.

The term natya is synonymous with drama. According to Bharata, the natya was
created by taking elements from each of the four Vedas: recitation (pathya) from
the Rigveda, song or melody (gita) from the Samaveda, acting (abhinaya) from the
Yajurveda, and sentiments (rasa) from the Atharvaveda. By this synthesis, the
Natyasastra became the fifth Veda, meant to take the spirit of the Vedic vision
to the common man. Elsewhere, Bharata says: The entire nature of human beings
as connected with the experiences of happiness and misery, and joy and sorrow,
when presented through the process of histrionics (abhinaya) is called natya.

Five of the 36 chapters of the Natyasastra are devoted to music. Bharata speaks
of the 22 shrutis of the octave, the seven notes and the number of shrutis in
each of them. He explains how the veena is to be tuned. He also describes the
dhruvapada songs that were part of musical performances.

The concept of rasa, enduring sentiment, lies behind the aesthetics of the
Natyasastra. There are eight rasas: heroism, fury, wonder, love, mirth,
compassion, disgust and terror. Bharata lists another 33 less permanent
sentiments. The artist, through movement, voice, music or any other creative act
attempts to evoke them in the listener and the spectator.This evocation helps to
plumb the depths of the soul, thereby, facilitating self-knowledge.

The algorithmic approach to knowledge became the model for scientific theories
in the Indic world, extending from India to the East and Southeast Asia. The
ideas of the Natyasastra were in consonance with this tradition and they
provided an overarching comprehensiveness to sculpture, temple architecture,
performance, dance and storytelling. But, unlike other technical shastras that
were written for the scholar, Bharatas work influenced millions directly. For
these reasons alone, the Natyasastra is one of the most important books ever
written.

To appreciate the pervasive influence of the Natyasastra, just consider music.

The comprehensiveness of the Natyasastra forged a tradition of tremendous pride
and resilience that survived the westward movement of Indian musical
imagination, through the agency of itinerant musicians. Several thousand Indian
musicians, of which Kashmiri musicians are likely to have been a part, were
invited by the fifth century Persian king, Behram Gaur. Turkish armies used
Indians as professional musicians.

Bharata stresses the transformative power of creative art. He says, It teaches

duty to those who have no sense of duty, love to those who are eager for its
fulfilment, and it chastises those who are ill-bred or unruly, promotes
self-restraint in those who are disciplined, gives courage to cowards, energy to
heroic persons, enlightens men of poor intellect and gives wisdom to the
learned.

Our life is spent learning one language or another. Words in themselves are not
enough, we must learn the languages of relationships, ideas, music, games,
business, power and nature. There are some languages that one wishes did not
exist, like that of evil. But evil, resulting from the ignorance that makes one
act like an animal, is a part of nature and it is best to recognise it so that
one knows how to confront it. Creative art show us a way to transcend evil
because of its ability to transform. This is why religious fanatics hate art.

This essay has been taken from Kashmir and its People: Studies in the Evolution
of Kashmiri Society. M.K. Kaw (ed.), A.P.H., New Delhi, 2004.

To Be Continued.

Kashmir
Indian culture
Kashmir Valley
Panini
Kashmir History
Natyasastra

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addSlideShowEvent(); }); var count = 1; var offset = 13; var loading_liberty =
false; if(typeof section != 'undefined' || typeof topic != 'undefined'){
$(window).scroll(function(){ if ($(window).scrollTop() == $(document).height() -
$(window).height()){ if(loading_liberty == false){ loading_liberty = true; var
append_to = 'tab1'; var post_type = $('.tab-current #post_type').val();
setTimeout(loadArticle(count, 3, post_type), 1000); } } });
$('.loadmore').click(function(){ if(loading_liberty == false){ loading_liberty =
true; var append_to = 'tab1'; var post_type = $('.tab-current
#post_type').val(); setTimeout(loadArticle(count, 3, post_type), 1000); } });
function loadArticle(pageNumber, posts_per_page, post_type){ offset = 13 *
count; if(typeof topic != 'undefined'){ var url = "/topic/"+topic+"/13/"+offset;
} else{ var url = "/section/"+section+"/13/"+offset; } $.ajax({ url: url, type:
'GET', data: "", success: function(data){ if(data != ''){ console.log('data');
$('.popular-stories').append(data); loading_liberty = false; } count++; } });
return false; } }

var qtConfig = { "image-cdn": "http://quintype-01.imgix.net" }; $(

"#update-profile input" ).change( function () { $.ajax({ type: "GET", url:
'/users/update-profile', data: $("#update-profile").serialize(), success:
function(data) { } }); } ); app.initQtReady(); //<![CDATA[ (function() { var
_analytics_scr = document.createElement('script'); _analytics_scr.type =
'text/javascript'; _analytics_scr.async = true; _analytics_scr.src =
'/_Incapsula_Resource?SWJIYLWA=2977d8d74f63d7f8fedbea018b7a1d05&ns=1'; var
_analytics_elem = document.getElementsByTagName('script')[0];
_analytics_elem.parentNode.insertBefore(_analytics_scr, _analytics_elem); })();
// ]]>