Book Review: Fundamentals of Ancient Indian Music and Dance & Bhuvanabhanu‑Kevali‑Cariyam

Summary

The book review section of this issue of the Jain Journal evaluates two very different works. Suresh Chandra Banerjee’s monograph Fundamentals of Ancient Indian Music and Dance is an accessible overview of India’s musical heritage. It begins by defining saṃgīta – an inclusive art combining vocal, instrumental and dance traditions – and traces its early development through the seals of the Indus civilization, Vedic hymns and the epic and classical periods. Banerjee emphasises India’s unique integration of melody, rhythm and spiritual intent and notes that music and dance were never merely secular entertainment but part of religious practice and storytelling. He surveys major gharāṇās, explains the links between Sanskrit and Prakrit treatises, and summarises important appendices dealing with the influence of Indian music abroad, tantra and non‑Aryan elements. The reviewer commends the book’s clarity but points out that the four historical chapters are uneven – the medieval period and the synthesis of Hindu and Muslim traditions deserve more depth – and that the appended Prakrit texts, while valuable, are not adequately contextualised. Nevertheless the monograph is recommended for general readers seeking an introduction to Indian music and dance. The second work examined is Bhuvanabhanu‑Kevali‑Cariyam, an edition of the Prakrit poem by Indrahamsa Gani edited by Munishri Ramanik Vijayji. Composed in 1554 V.S., this 2,100‑verse epic narrates the allegorical biography of Bhuvanabhanu or “Sun of the Universe.” Through a series of births the hero attains omniscience, illustrating how the soul progresses towards liberation over countless lives. The review outlines the story’s key episodes – Bhuvanabhanu’s royal birth in Chandrapuri, his renunciation after hearing a monk’s sermon, and his travels helping people progress spiritually – and explains that the poem serves as a guide to Jain ethics rather than a historical chronicle. The editor has collated two manuscripts, provided a Sanskrit introduction and annotations, and highlighted how similar works were inspired by Hemacandra’s Sanskrit version in the 12th century. The reviewer notes that the narrative will interest readers familiar with Jain literature and praises the edition for making a rare text available with critical apparatus. Overall the review section illustrates the breadth of Jain scholarship, linking musicology and devotional literature, and invites readers to explore these cultural treasures.