Humanities and Arts
Singing in tune with God: Bengali vais n ava musical scholarship in the eighteenth century
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Richard David Williams
Peer Reviewed
Abstract
Over the seventeenth century, scholars working for courtly patrons extensively produced new treatises on the theory and practice of music in Sanskrit, Persian, and vernacular languages. This arena of musicology grew through to the eighteenth century, when Bengali vaisnava poets and lyricists began curating extensive song anthologies and expounding the aesthetic considerations derived from canonical works on poetics and the performing arts. This article explores the scholarly connections between non-sectarian, courtly intellectual arenas and vaisnava religious communities by examining the musical works of Narahari Cakravarti (c.1698–1760), who lived in Vrindavan in the first half of the eighteenth century. His Sanskrit and Bengali works gesture to the transregional circulation of conversations and texts about musical aesthetics between northern and eastern India, and how intellectuals accommodated contemporary scholastic developments and trends in musical performance in their theology and religious practices.
Key Questions
What is the main focus of this article?
The article focuses on the scholarly connections between non-sectarian, courtly intellectual arenas and Vaiṣṇava religious communities in 17th- and 18th-century India. It explores how musical works, particularly those of Narahari Cakravarti (c. 1698–1760), reflect the transregional circulation of musical aesthetics and the integration of contemporary scholastic developments into religious practices.
Who was Narahari Cakravarti, and why is he significant?
Narahari Cakravarti was a Vaiṣṇava poet and lyricist who lived in Vrindavan during the first half of the 18th century. He is significant for his contributions to musicology through his Sanskrit and Bengali works, which bridge courtly and religious intellectual traditions and reflect the transregional exchange of musical ideas.
How does the article connect courtly and religious intellectual traditions?
The article highlights how courtly scholars and Vaiṣṇava intellectuals engaged in shared conversations about musical aesthetics. Narahari Cakravarti’s works demonstrate how courtly musical theories and practices were adapted into Vaiṣṇava religious contexts, reflecting a broader trend of intellectual exchange between these spheres.
What role did music play in 17th- and 18th-century Indian intellectual life?
Music was a central focus of intellectual activity during this period, with scholars producing treatises on musical theory and practice in Sanskrit, Persian, and vernacular languages. These works influenced both courtly and religious communities, contributing to the development of musical aesthetics and performance traditions.
How does the article address the transregional circulation of musical ideas?
The article examines how musical ideas and texts circulated between northern and eastern India, facilitated by scholars like Narahari Cakravarti. His works reflect the integration of diverse musical traditions and the adaptation of contemporary trends into Vaiṣṇava theology and practices.
What are the key themes in Narahari Cakravarti’s musical works?
Narahari Cakravarti’s works emphasize the aesthetic considerations of music, drawing from canonical texts on poetics and the performing arts. They also reflect his engagement with contemporary scholastic developments and his efforts to align musical practices with Vaiṣṇava religious principles.
How does the article explore the relationship between music and theology?
The article explores how Vaiṣṇava intellectuals like Narahari Cakravarti incorporated musical aesthetics into their theological frameworks. By aligning musical practices with religious devotion, they created a symbiotic relationship between music and spirituality.
What is the significance of the 17th and 18th centuries in Indian musicology?
This period saw a flourishing of musicological scholarship, with the production of treatises and anthologies that shaped musical theory and practice. It also marked the integration of courtly and religious musical traditions, reflecting broader intellectual and cultural exchanges.
How does the article contribute to understanding the intellectual history of India?
The article sheds light on the interconnectedness of courtly and religious intellectual traditions in early modern India. By focusing on musicology, it highlights the role of cultural exchange and adaptation in shaping both artistic and theological practices.
What are the broader implications of the article’s findings?
The article underscores the importance of music as a medium for intellectual and cultural exchange in early modern India. It also demonstrates how religious communities engaged with and adapted contemporary scholastic trends, contributing to the dynamic interplay between art, religion, and scholarship.
