Age of the Nandas and Mauryas c12.s13.t4.11

c12.s13.t4.11

Whatever the date of the present text of the *Nāṭya Śāstra* of Bharata, we know that his text incorporates within itself and cites passages and verses handed down to him from the past, *ānuvamśya*. That the histrionic art was not in a crude stage at this time, but was highly developed can be gathered not only from the *Vāsavadattā Nāṭyadhārā* of Subandhu, but also from the sure evidence of Pāṇini's sūtras (IV. iii. 110-1) which say that even so early, the actors' art had been codified into two texts of aphorisms (Naṭasūtras) by two different authors Śilālin and Kṛśāśva. More important than Patañjali's reference to Sobhanikas who show Kamsavadha and Balibandhana is his reference to the actor who feels the *rasa* which he acts *rasiko naṭaḥ* (V. ii. 59). The repeated mention in the *Arthaśāstra* of accomplished courtezans, *naṭas* and *nartakas*, supports the view that dance and drama prevailed as popular and evolved forms of art at this time. The ancillary art of music too is spoken of by Kauṭilya both in its vocal and instrumental form. *Gīta*, *vādya*, *kuśilava*, *śilpakārikāḥ*, *śilpavatyah striyaḥ* (I. 12), *ātodya* (I. 21), *naṭas*, *nartakas*, *gāyanas*, *vādana* (II. i), *pāṭhya*, *nṛtta*, *nāṭya*, *vīṇā*, *veṇu*, *mṛdaṅga*, *raṅgopajīvinīs* (II. 27) and the specific mention of *prekṣā* or dramatic show seen by the king (XIII. 2)—these in Kauṭilya picture a time and society which delighted in the arts of music, dance and drama. The fine art of painting occurs in *chitrālekhya* (I. 16) ; and the numerous references to the images of gods (*devapratimās*) give a glimpse into sculptural art of these times.