అనువాదం కొరకు కాపీ చేసినవి[మార్చు]
Sri Adibhatla Narayana Das an eminent “Hari Kadha Gaana” born in Ajjada village of Vizianagaram dist. He was the first “Pradhama Acharulu” of Music College, Vizianagaram. He was famous for his Hari Kadha Gaanam even from his education (Matriculation) and acquired profound knowledge Parish Sanskrit, Arabi and English. He sang “Sri Krishna Janma” HariKadha in Sanskrit and explained in Hindi to the audience at Calcutta. He was appreciated by Rabindra Nadha Tagore for his excellency in Hari Kadha.
Azzada Adibhatla Narayana Das is synonymous with Harikathaganam and reverentially referred to as the 'Harikatha pithamaha'. Not that there were no bhagavatars before him. But, it is because he was a paragon pioneering a paradigmatic blend of all fine arts and made it the import of an evocative offering of all classical arts, poesy, music and dance---all at one go. Thanks to his improvisation Harikatha kalakshepam assumed the status of Harikathaganam.
For Adibhatla, the art was a yoga sadhana for achieving Sakala Kalaa Samanvaya Siddhi. Endowed with a flair for all classical art forms and, of course, the divine grace, he put them ingeniously into practice and his upasana fructified. No wonder, Kavisamrat Viswanatha, Challapalle and the like went ecstatic, eulogising him as an exquisite encapsulation of all that is resplendent in fine arts.
A lodestar in the galaxy of pauraniks, pravachana sikhamanis, philomaths, poets and musicians, Adibhatla was born on August 31, 1864, in Azzadagraharam, near Bobbili. Even at the tender age of five, he could repeat both the musical and the lyrical phraseology of whatever he had listened, without any blemish. The asthana vainika of Bobbili, Sriman Vasa Sambayya, initiated the boy into vocal music and veena. Niraghatam Krishnayya of the Vizianagaram Samsthanam honed Adibhatla's skills.
As if Providence willed it, in 1883 Adibhatla happened to listen to the Dhruvacharitra Harikatha rendered by Kuppuswamy Naidu from Madras which had received all-round applause. That was the turning point for the youngman who felt that the art could be moulded as the best medium for exhibiting his talent in literature, oratory, music and histrionics, including dance. Overnight, he scripted a ballet on the same subject and musically rendered it extempore in harikatha form at Sri Venugopala Swami temple in Vizianagaram the next evening, much to the delight of the learned and the laity. Kuppuswamy Naidu, who later happened to witness Adibhatla's non-stop 10-hour Harikatha by chance, rightly called it Harikathaganam, as the exercise was the quintessence of the saying, "Geetham Vadyam Tathapi Nrityancha Sangithamutchyate.
By the time Adibhatla was studying his FA (now intermediate) in 1886-89, he had become a Haridas par excellence and a linguist with an amazing penmanship in Telugu and Sanskrit besides proficiency in English, Hindi, Urdu, Greek, Persian and Arabic. He was also a performer non-pareil of Asthavadhanam, the most fascinating part of it being his felicity to sing not only his own lyrics but also any one given on the spot in any raga suggested by the pruchaka in all the five gathis in any prescribed talam. He created history by singing pallavis instantly. Simultaneously, he mastered the art of marking the time of all the five gathis, each with his hands, feet and shoulder or head separately while singing a lyric set in a particular raga in any of the seven basic talas. He was the first to have accomplished this feat in public with his own composition of a 16-letter pallavi set in a string of 15 ragas at M.R. College of Music in 1933, attracting accolades from the press.
Adibhatla extensively travelled to give performances and won encomiums from all-time greats like Lokamanya Tilak and Gurudev Tagore, besides Maharajas and stalwarts of all classical styles of music and dance. Dailies like `Andhra Patrika', `Swarajya', `The Indian Express' and `The Hindu', besides all weeklies and the prestigious monthly `Bharati' reviewed his performances extolling his excellence.
A prolific writer, he composed 20-odd harikathas which got him the exalted status of a vaggeyakara. He not only set musical notation to 300-odd select Ruks from the Rigveda and taught playing them on the veena to students but also translated them as poems in Telugu. His magnum opus was Dasavidharaga Navathi Kusuma Manjari on Goddess Kanyakumari, a metrical verse of 900 lines and set in 90 ragas in different beats. Similarly, his Navarasa Tarangini is a treatise on the plays of Shakespeare and Kalidasa.
Small wonder, this recipient of many a laurel was chosen to be the first Principal of the first music college in Andhra in 1915. He served it for 16 years.
The ambrosial blend of a versatile genius and a radiant artistry, Azzada Adibhatla Narayana Das passed away on January 2, 1945. The Municipal Corporation has immortalised him as a statue on Beach Road.
A. RAMALINGA SASTRY
అజ్జాడ ఆదిభట్ల నారాయణ దాసు వ్యాసాన్ని ఈ వ్యాసంతో విలీనం చేస్తున్నాము. 'అజ్జాడ ఆదిభట్ల నారాయణ దాసు' వ్యాసం రచనలో సహకరించినవారు: (ఇది మేధ గారి తొలి వ్యాసం అనుకొంటాను - --కాసుబాబు 16:58, 17 సెప్టెంబర్ 2007 (UTC))
09:05, 17 సెప్టెంబర్ 2007 కాసుబాబు - (8,363 bytes) (విలీనం చేయాలి)
08:56, 17 సెప్టెంబర్ 2007 Mpradeep - (8,284 bytes)
08:49, 17 సెప్టెంబర్ 2007 Medha - (8,231 bytes) (కొత్త పేజీ: నారాయణ దాసు గారు 1864, ఆగష్ట్31వ తేదీన అజ్జాడ అనే గ్రామంలో జన్మించ...)