Natyashastra written by Maharshi Bharata, chapter thirty-three gives us knowledge about the invention of Avanaddha Vadyas during the period of Maharshi Bharata by Swati Muni taking the help of Lord Vishwakarma. It is said that there were one hundred varieties of Pushkaras. Among them the most important Pushkaras are Mrdanga, Panava and Dardura. On seeing the Dundubhi of Gods, Swati Muni made Muraja, Alingya, Urdhwaka and Ankika. He also made Jhallari, Pataha and covered them with hides on both opening sides of the barrel shaped Drums.
The use of these Drums are mainly during festivals, royal procession, Mangal ceremony, auspicious and happy occasions, at the time of marriage and during birth of children’s, in a battle where many soldiers assemble. The Shlokas 37-39 say the following aspects of the Pushkaras:-
Sixteen syllabic sounds (Aksharas), four Margas, Vilepana, six Karanas, three Yatis, three Layas, three Gatis, three Prasaras, three Yogas, three Panis, five Pani- Prahata, three Praharas, three Marjanas, eighteen Jatis and twenty Prakaras.
Avanaddha Vadya in Sangita Damodara by Shubhankara
According to the chapter IV, Vadyas (Musical Instruments Pg., 25-27) there are many varieties of Avanaddha Vadyas. According to Maharshi Bharata, Mrdanga is placed in top of all and Mardala is placed on top according to Acharya Sharangadeva. The author here describes with interesting details about the features and construction of Mardala.
The best wood used to make a Mardala is Khadira and Catechew. Other woods are not so much preferred except Red Sandal wood, which produces deep and grave sound. The measure of the Mardala should be one and a half of a hand. The left one should be of thirteen or twelve fingers and the right shorter by a half a finger or a half. The wood should be thick in the middle. The leather which is used to cover both the sides of the barrel shaped Drum should be of a dead calf of six months only. The Vilepana to produce sound in the Instrument is the lump of rice, ashes and red chalk would be affixed in the centre of the covered skin. The composition of the lump is very interesting. One view says that it should consist of ashes (Vibhuti), red chalk (Gairika), boiled rice (Bhakta) and sour Gruel. Another view makes the composition as consisting of flattered or flattened rice mixed with the essence of the earthworms. All this mixture is made up into a lump which is technically known as Kharali.
Here the author also describes the techniques of the correct striking of a Mardala and different bolas of rhythmic patterns of playing upon it. The varieties of leather Instruments are not elaborated upon here. A distinction is drawn between the Muraja and Mardala by their respective measures. The measure of Muraja is eight fingers on the left and seven fingers on the right, whereas the Mardala is of thirteen fingers on the left and twelve fingers on the right.
Avanaddha Vadyas in Other Shastra’s
During sixteenth century Sangita Darpana written by Pt. Damodara, the Vadyaadhyaya contains lots of representation of the Avanaddha Vadyas such as Damaru, Pataha, Mardala, Hudukka, Karata, Ghata, Rumja, Dhakka.
Pataho Mardalaschatha Hudukka Karata Ghataha ||
Ghadaso Dhawaso Dhakka Kudakka Kuduwa Tatha |
Rumja Damaruko Dakka Mamdidakka cha Dakkuli ||
Selluka Jhallari Bhanastrivali Dundubhihistatha |
Bheriniha Sanatumbakyo Bhedaha Syurawanaddhyaha ||
The Avanaddha Vadyas classified according to Sangita Ratanakara of Acharya Sharangadeva are Damaru, Dhakka, Hudukka, Mardala, Dakka, Karata, Ghata, Ghadaso, Dhawaso, Kudakka, Kuduwa, Rumja, Dakkuli, Selluka, Jhallari, Bhanastrivali, Dundubhi, Bheri etc. which are simultaneously repeated.
Another great writer and poet Kalidasa has also given many references, information’s about Mridanga, Pataha, Mardala, and Muraja. Sangita means the mixed attachment between the three Gita, Vadya and Nritya which the great poet Kalidasa used to occupy a huge place. He has explained briefly the word Sangita in many of his books. Those books are as follows: -
Ritusamhara, Kumarasambhava, Meghaduta, Malvikamitra and Vikramorwasiya.
Avanaddha Vadyas in Sangita Samayasara by Acharya Parshavadeva.
According to the book Sangita Samayasara, chapter no. six, page-142 to154, Acharya Parshavadeva has given a brief description about the playing styles of instruments like- Pataha, Hudukka and Dhakka.
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