Productions

Rāmākrīḍa finds its earliest mention by Acharya Abhinavagupta, where he describes it as one of the nine Upa-rūpakas. According to the tradition passed down from his master Chirantan, the description pertaining to seasonal manifestation is known as Rāmākrīḍa.

Our reconstruction of Rāmākrīḍa is an exploration of the poetic liberations granted by the Śāstrakartās, regarding the Upa-rūpakas. SAMVATSAR KATHAA draws its conceptual framework from the coherent vision of Preraṇa (enigmatic, humorous representation), Rāmākrīḍa (seasonal manifestation), and Hallīsaka (circular dance formation).

The practical reconstruction draws chromatic and semantic influence from Rāgamālā paintings of late 16th to early 18th century from Rajasthan, Deccan, and Nepal. The texture and expression of these paintings convey the luxury and opulence of that era while upholding social imagery.

Music forms an integral part of this reconstruction. Dhrupad songs structured under specific Rāgas were devised to provide the imagery of Ṛtu-s. The 'Padas' or literatures of these songs provided the pictorial description of seasonal changes that Nature paints.

Grīṣma (Summer): The perfect symphony of summer heat suggested by Vṛdāvanī Sāraṅga. Grīṣma has the vigorous energy to absorb, leaving Nature bare and parched.

Varṣā (Monsoon): Rāga Megha and percussions represent the elephantine nature of cloudy monsoon sky. The calming effect brings contentment, making Nature bloom to its fullest.

Śarat (Autumn): Arrives with the sonorous selection of Devīsūkta and ślokas from the 2nd canto of Bhattikāvya.

Hemanta (Fall): The transitional Ṛtu, harbinger of winter, depicted by Rāga Bihāga suggestive of depressive feeling for the estranged lover. Nature becomes lovelorn.

Śiśira (Winter): The seed of potency lies dormant, waiting for the awakening of spring.

Vasanta (Spring): Rāga Vasanta heralds the onset of Spring that enchants Nature and intoxicates it with lust and merriment. Nature dances to its tune, revealing full potential.

The main textual impetus arrived from Kalidasa's Ṛtusaṃhāra, Magh's Śiśupālavadha's sixth canto, and Jaiminiya Upaniṣad. An in-depth study of Śatapatha Brāhmaṇa Vijñānabhāṣya by Pt. Madhusudan Ojha and Pt. Motilal Shastri provided the enriching core-worldview for this reconstruction.