About The Book
Abhinaya Candrika is one of the most significant classical treatises on Odissi dance, composed by Maheshwar Mahapatra in the 15th century. Written in Sanskrit, it provides a detailed description of abhinaya-the art of expression and serves as a foundational text for understanding the aesthetics and grammar of Odissi. The text outlines various aspects of angika abhinaya (physical expression), mukhaja abhinaya (facial expressions), and hasta mudras (hand gestures), linking each to emotional and spiritual meanings. Odissi, one of India's eight classical dance forms, evolved in the temples of Odisha as an offering to Lord Jagannath. It is distinguished by its graceful curves, tribhangi posture, and lyrical movements that mirror the sculptures found on temple walls. Abhinaya Candrika plays a crucial role in connecting the devotional roots of Odissi with its technical and expressive vocabulary. The text preserves ancient traditions while guiding modern practitioners in maintaining authenticity. Through it, Odissi dancers learn not only the physical technique but also the spiritual depth of performance-transforming movement into a sacred dialogue between the dancer, the deity, and the audience. Thus, Abhinaya Candrika remains a timeless cornerstone of Odissi's expressive heritage.
Introduction
Indian Classical Dance and Its Literary Sources in Odisha When performed by an accomplished dancer, male or female, Indian Classical dance attains a divine quality flowers seem to bloom from the dancer's hands, birds take flight from their fingers, and the body sways alternately in devotion and in love. Each muscle of the face transforms, the eyes smile or scorn; the eyebrows express a spectrum of emotions in perfect harmony with music and rhythm. This ancient dance tradition has survived thousands of years. It stands today as one of the proudest possessions of our culture something we must cherish, preserve, and enrich. To rebuild and revive this tradition, we must turn to its sources literary, sculptural, and traditional practices. The literary sources can be divided into four categories: 1. Musical texts 2. Abhinaya texts 3. Ancient texts 4. Regional texts of local importance Among these, Odisha possesses an abundant number of works on Indian usic and dance. From the sixteenth century onwards, many treatises were written by Odia scholars in Sanskrit. These regional literary works often present a presumed or idealized form of dance. However, when we aim to analyze the dance forms that actually prevailed during that period in a scientific manner, we must turn our attention to manuals devoted specifically to dance in general, and to the regional forms in particular. When focusing on treatises that deal with Udra Nritya (the ancient dance tradition of Odisha), the number is limited. Nevertheless, a few important texts on dance from Odisha are worth mentioning: Sangita Näräyaņa This text reflects the distinctive Eastern school of dance. It is one of the most valuable and extensive works on music and dance, written by Purusottama Mišra and enriched under the patronage of King Narayana Deva. Sangita Narayana is an influential Odishan text used as a reference book that guides both the theory and practice of music and dance. It represents the post-Bharata tradition and provides an invaluable record of the evolution of dance, enriched with imagery and insights drawn from pan-Indian traditions. Abhinaya Darpana Prakāśa This important contribution to Odissi dance was written by Jadunātha Raja Simha. The work comprises fourteen chapters devoted to various aspects of dance. It serves as a commentary on the ancient text Abhinaya Darpana. Its distinctive feature lies in the way the author explains the applications of hand gestures (mudras) according to the Odishan dance tradition. This makes it an especially significant text for students and practitioners of Odissi dance. Abhorar combika of Mahe ivara Mallsätra is an important contribution to the field of Odissi dance. Author has carefully studied and made use of earlier literature Specialty of this treatise is author does not follow earlier literature blindly. He sets his own rules for the dance he calls udra netya and propounds his own theory. This work is the only basic book on Odissi dance. Abhinaya Candrika consists of three parts, known as Alandas, which deal with various aspects of Udra Arne. Unfortunately, this valuable work is arranged somewhat irregularly and appears to have been compiled in a confused manner, without a clear principle guiding the division of chapters. In the first chapter, the author mentions hand gestures, while the applications of those gestures are discussed in the second chapter. If we glance at the different aspects of dance that the author discusses in the three khandas, they are as follows: a) Nrtya Khanda b) Bhava Khanda c) Chanda Khanda It is possible that the overall arrangement of the various techniques of dance depends upon the nomenclature of these chapters. A brief synopsis will show how the author has dealt with Udra Nrtva. a) Nitya Khanda This is the first chapter of the treatise, and it contains a complete discussion of the angika aspects of Udra Nrtya. There are 286 verses in this chapter, including the colophon. The chapter begins with benedictory verses the first dedicated to Lord Ganeša, followed by the laudation of Lord Jagannatha, the deity worshipped by the Odishan people for centuries. The author also describes the place of performance and provides a list of local preceptors of Udra Nrtya. Divisions of Nṛtya Läsya is considered to be an integral part of Udra Nrtya. Läsya is divided into two categories: Yugma and Yauvata. These, in turn, are further divided on the basis of their presentation into Vikata, Pärvana, and Laghu. Pada Mudra (Foot Gestures) Foot positions are discussed first, as the author considers them a vital aspect of dance. Abhinaya Candrika enumerates four basic foot positions but implies that several others-such as Sama, Visama, and Sici-had already been explained in earlier texts. The four foot positions explicitly mentioned are Kumbha, Sthamba, Dhanu, and Mahāpada. Hasta Mudra (Hand Gestures) The positions of the hands, when placed on different parts of the body, are described under the category Kara Kşeträni, which number fifteen in total. The author divides the hand gestures into four groups, developing his own unique classification that differs markedly from earlier systems. These gestures represent a combination of postures and expressions. The fourfold division is as follows: a) Samyuta b) Asamyuta c) Putita d) Visama
About The Author
Smt. Maya Das Unmistakable signs of Maya Das's aptitude and flair for Dancing were evident during her childhood. A considerable part of her time and attention was devoted for acquiring and mastering BHARAT NATYAM. She began her learning Bharat Natyam under the guidance of Guru Smt. Venkatalakshanma of Mysore. After intensive training, she gave performances at different places of India such as Mysore, Bangalore, Bombay, Delhi, Kashmir and other parts. She has performed outside India like Ceylon, Cambodia, Nepal being sponsored by I. C. CR. New Delhi. She also appeared in T.V. of Delhi, Bombay & Hyderabad. She received a scholarship from the Central Government to study choreography and proceeded to Delhi and joined Bharatiya Natya Sangh under the Directorship of Smt. Maya Rao. After successful completion, she received the diploma in choreography. She is a student of Odissi Dance in Utkal Sangeet Mahavidyalaya at Bhubaneswar, Orissa an Institution of Dance, Drama and Music. Being a Sanskrit Scholar, she has obtained her M. A. degree in Sanskrit from Utkal University and doing research on Odissi Dance She has got a natural brilliance and her portrayal of each item is blended with dramatic and technical excellence. She is a disciple of Dr. Minati Mishra, who is internationally acclaimed as a celebrated performer and scholar of Odissi Dance.
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