जैन पुराणों में संगीत : एक विवेचन
Summary
The text discusses the role and significance of music within Jain Puranas. It states that Jain Puranas, which focus on the lives of sixty-three Shalaka Purushas (great men) and one hundred seventy-nine virtuous individuals, contain detailed discussions of classical music theory. These Puranas, including the Padmapurana, Mahapurana, Harivamsha Purana, and others, preserve and develop the oral tradition of music. The text notes that while the Puranas describe fundamental musical principles like shruti, swara, grama, murchhana, and jati, they do not mention the term "raga." This absence suggests the Puranas were likely composed before Matanga's Brihaddeshi, which first uses the term, and helps date the Puranas to before the 9th century. The text highlights that music was used both as a means and an end in Jain society. As an end, it was a highly developed art form involving singing, instrumental music, and dance. As a means, it served various purposes, such as entertaining pregnant women to ensure the health of the unborn child, as mentioned in the Mahapurana. Music was also integral to auspicious occasions like weddings, coronations, and festivals. The text cites examples of musical competitions for choosing a husband, as in the Harivamsha Purana, and the use of music in worship and devotion. It concludes that Jain Puranas reveal a high level of musical sophistication, with detailed descriptions of vocal music, instruments like the veena, and dance forms. The text asserts that the study of these Puranas can provide valuable insights for scholars of music.
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Conclusion
The document demonstrates that Jain Puranas are a vital repository of classical Indian music theory, preserving detailed discussions of foundational elements like *shruti*, *svara*, *grama*, and *murchhana* while notably omitting the later concept of *raga*, which helps date these texts prior to Matanga’s 9th-century *Brihaddeshi*. The analysis reveals music’s dual role as both a spiritual tool for propagating Jain teachings and a practical art form, evidenced by royal patronage of musicians, music competitions for *svayamvara*, and the therapeutic use of music for pregnant women. These findings confirm that classical music theory was not merely textual but actively practiced, with women receiving formal training and elaborate performances accompanying life events. Ultimately, this research provides crucial evidence for dating ancient musicological texts and offers valuable insights for scholars studying the historical development of Indian classical music.