Musical Instruments in Nirgrantha Canonical Literature
By M. A. Dhaky
Summary
Although Jain monastic rules emphasise austerity and forbid listening to music, the early Nirgrantha (Jain) scriptures provide surprisingly detailed inventories of musical instruments. This article reviews those lists and reflects on what they reveal about the cultural milieu of early Jainism. The author begins by noting that the monastic codes in the Ācārāṅga‑sūtra and Niśītha‑sūtra prohibit monks and nuns from attending performances or playing instruments because music was considered a luxury that could arouse attachment. Yet the same texts categorise instruments into four classes resembling the later gāndharva system: vitata (stretched membranes), tata (plucked strings), ghana (solid idiophones) and sushira (wind instruments). Under vitata the scriptures mention drums like mṛdaṅga, nandi and jhallarī; under tata they list vīṇā, vipañcī and tūṇa; under ghana they name cymbals (tāla) and metallic clappers; and under sushira they include conch (śaṅkha), bamboo flute (veṇu), double‑reed pipe (vāmśa) and trumpet (kharamukhī). Later commentaries add instruments such as the vīṇikā, paṇavī and ārāka. The article argues that these catalogues serve multiple purposes. On one level they function as cautions, reminding monks of worldly temptations. On another level they show that Jain teachers were aware of the broader musical culture of ancient India. Some instruments recorded in Jain texts predate their description in the Sanskrit gāndharva treatises, suggesting that lay Jains contributed to the evolution of Indian musicology. The author traces how later Jain poets gradually relaxed the prohibition by using musical metaphors in devotional hymns. He also notes that the fourfold classification of instruments in Jain literature mirrors the scheme found in the Nāṭyaśāstra, indicating cross‑fertilisation between religious communities. The article concludes that even though music was frowned upon in the monastic setting, it permeated the lay Jain community, and the canonical lists preserve valuable information about instruments and performance practices in early historic India.
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Conclusion
The survey reveals that Jain scriptures offer an overlooked resource for the history of Indian music. Their detailed typology and instrument names complement the better‑known gāndharva texts and indicate that Jain householders engaged with music despite monastic prohibitions. Recognising this dual attitude toward music—renunciation in the ascetic sphere and appreciation in the lay community—adds nuance to our understanding of Jain cultural life.