Sattriya is one of the eight recognized classical dance forms of India and carries the essence of Assamese culture and spirituality. Founded by the 15th-century saint and cultural icon Srimanta Sankardev, it originated within the satras, or Vaishnavite monasteries of Assam, as a means of propagating the tenets of Bhakti or devotion toward Lord Vishnu, […]
Sattriya, the classical dance form of Assam, embodies a unique fusion of devotion, rhythm, and storytelling. Originally performed in monastic settings, it has evolved into a refined performance tradition while preserving its spiritual essence. With elements ranging from abstract pure dance to the dramatic depth of Bhaona, Sattriya continues to reflect the profound artistic vision […]
This blog was written by Tanvi Berry, Kalyani Kala Mandir’s senior student and founder of Tberry Atelier. In 2018, just before I began shaping what would become what T.Berry currently is, I returned from the UK feeling completely burnt out. I stepped away from fashion for over a year because of how bad it was. I didn’t have a […]
Sattriya, one of India’s eight classical dance forms, originates from the northeastern state of Assam. Created in the 15th century by saint-scholar Srimanta Sankardeva, Sattriya was initially performed as part of the religious rituals in Vaishnavite monasteries known as sattras. Over time, what began as an offering to the divine has evolved into a sophisticated […]
The Rasas are discussed in Chapter 6 of the Natyasastra, written by sage Bharata. These are primarily 8 in number known as the ASHTA-RASAS. These 8 Rasas as given in the Natyashastra, corresponding with their colours and presiding deities are listed below: Sringara – light green(syama), Vishnu Hasya – white, Pramatha Karuna -grey(kapota), Yama Raudra […]
The Natyashastra, written between 2nd century BC- 2nd century AD, is probably one of the earliest and certainly one of the best Sanskrit treatises on Indian Dramaturgy. Traditionally, its authorship is ascribed to sage Bharata. But, according to Adya Rangacharya, it is believed to have been written by several scholars who wrote about the practices […]
All the writers who wrote about Rasa admit that Bharata’s Dictum or Sutra, “Vibhava anubhava vyabhichari samyogad rasanispattihi” defines the scope and nature of Rasa realisation. It is the pivot on which all the latter theories move but the terms Samyoga and Nishpatti, in the sutra were variously understood and interpreted by various later authors. […]
Art is one of the cultural activities of man through which the artiste brings his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and […]
In the 20th chapter of the Natyasastra, Bharata describes the 10 types of plays under the heading ‘Dasharupavikalpan’. Here, the term ‘Rupaka’ is used in the context of visual representation. Hence, in Bharatha’s theory, the term Rupaka is equivalent to drama and not to the current popular term ‘naatak’ which according to him is one […]
“Atodhya Vadya,” as mentioned by Bharata in Chapter 28 of the Natya Shastra, categorizes musical instruments into four types: Tata (stringed), Avanaddha (percussion), Sushira (wind), and Ghana (solid resonators). This classification, based on acoustic principles, highlights the diverse and intricate nature of ancient Indian musical traditions. Tata– Included all stringed instruments, mentioned in Chapter 29 […]