Iconography and illustrations associate certain religious figures with specific musical instruments: the sitar (plucked lute), for example, is associated with Saraswati, the bansuri (transverse flute) with Krishna and the ektara (one-string plucked lute) with Naradmuni. Swaras (tones) and shrutis (microtones), manifestations of Nad, are described synesthetically as being “pure” or “true”, and musicians hold that their proper execution brings one closer to Brahma.Īt the other extreme, Shiva’s frightening dance, Tandavnritya, is associated with the destruction of the universe while Vishnu, the preservative force of the Universe and all art forms. Spiritual contemplation of this trinity guides the creativity of artisans and musicians. Vishnu and Shiva are the two other members of the Hindu holy trinity, personifying the preservative and destructive forces, respectively. Hindus relate the creation of the very first sound, Nad, to Brahma, the creator of the Universe. “But you cannot understand instrumental music”, answered the sage, “without a thorough study of vocal music, for vocal music is the source of all Art. “Then why don’t you teach me instrumental music?”, he demanded hastily. “That will be difficult” said the sage, “as you do not know the principles of instrumental music”. “So teach me the art of dance”, the king requested. “It is not possible to understand the laws of painting”, replied the sage, “without learning the art of dance”. “Then”, said the king, “teach me the laws of painting”. “You will have to learn the laws of painting before you can understand the laws of sculpture”, the sage advised.
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A passage from the Natya Shasktra, written around the Third Century BC, highlights this interrelationship between the art forms.Ī king, wishing to learn how to sculpt likenesses of the gods, consulted a sage for instruction. But, conceptually, it further pertains to paintings and sculpture. Hinduism´s conceptualisation of sangeet (music) is elaborate, hi its fundamental form, sangeet denotes vocal music, instrumental music and dance. Music, dance and drama are Tooted in these religions conceptually, metaphysically and in theft theoretical development. The assimilation of themes they have inspired is apparent in stone and wood carvings, metal sculptures, thanka paintings, mandala drawings and architectural designs. In addition, the three primary religions that underlie Nepali thought and ways of life- Hinduism, Buddhism and Animism- are intrinsic to the development of Nepali art forms.
No account of Nepal’s art can fail to acknowledge the debt it owes to the diversity among its 19 million people of some 32 ethnic groups, who speak variants of 56 languages and dialects of Indo-Aryan, Austro-Asiatic, Tibeto-Burman and Dravidian origin. This is not surprising, since a satisfactory definition of Nepali music would have to consider the many sources of musical ideas that are, and have been, available to Nepali composers. While music lovers and musicians may find no difficulty in recognising Nepali music when they hear it, asking them to define it more often than not results in a confused reply.