Barahmasa

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Ang buwan ng Ashadha (Hunyo–Hulyo), folio mula sa pagpipinta ng Barahmasa (c. 1700–1725)

Ang Barahmasa (lit. "ang labindalawang buwan") ay isang genre ng panulaan na tanyag sa subkontinenteng Indiyano[1][2][3] pangunahing nagmula sa tradisyong katutubong Indiyano.[4] Ito ay kadalasang may temang tungkol sa isang babaeng nananabik sa kanyiang nawawalang kasintahan o asawa, na naglalarawan sa kaniyang sariling emosyonal na kalagayan sa likod ng mga lumilipas na pana-panahon at ritwal na mga pangyayari.[5][6] Ang pag-usa ng mga buwan (ayon sa mga kalendaryong buwan ng Hindu) ay isang pangunahing bahagi ng ang genre, ngunit ang bilang ng buwan ay hindi nangangahulugang bara (Hindi: बारह) o "labindalawa" at katulad na mga anyong patula na kilala bilang chaumasas, chaymasas, at ashtamasas (mga siklo ng apat, anim, at walong buwan, ayon sa pagkakabanggit) ay umiiral din sa parehong linya ng mga katutubong tradisyon.[7]

Bagaman orihinal na tradisyong pasalita, ang genre ay isinama sa mas mahabang tula, epiko, at salaysay ng ilang makatang Indiano[8] pangunahing modernong wikang Indo-Aryan kabilang ang—Bengali, Gujarati, Hindi, Rajasthani, Bihari, Punjabi, atbp., at matatagpuan din sa katutubong tula ng mga tribo.[9]

Mga pinagmulan[baguhin | baguhin ang wikitext]

Etimolohiya[baguhin | baguhin ang wikitext]

Ang salitang barahmasa ay mula sa Hindi na salitang bara (Hindi: बारह) na nangangahulugang "labindalawa" at masa (Hindi: मास) na nangangahulugang "buwan".[10] Ang mga katulad na kognado ay ginagamit sa ibang mga wika, tulad ng baromasi sa Bengali.[11]

Panitikan[baguhin | baguhin ang wikitext]

bhadon month
Isang paglalarawan sa buwan ng Bhadon.

Hindi[baguhin | baguhin ang wikitext]

Ang barahmasas, kasama ang saṭ-ṛtu ('anim na panahon') na genre, ay isinama sa Awadhi premakhyans ('mga romansa'),[12] Rajasthani rasaus ('mga ballad') tulad ng Bisaldev-ras ng Nalha Kavi[13][14] gayundin sa mga gawa ng kilalang makatang Braj Bhasha na si Keshavadas.[15] Ang ilang debosyonal na barahamasa na iniuugnay sa Tulsidas at Surdas na pangunahing may temang tungkol sa pagsamba kay Rama-Krishna ay natagpuan din.[16][17]

Ang barahmasas ay unang lumitaw sa Hindi at pagkatapos ay unti-unti din sa Urdu. Ayon kay Orsini, sila ay "marahil ang unang malaking genre sa boom sa komersiyal na paglalathala sa hilagang-India noong dekada 1860."[18]

Mga pinta[baguhin | baguhin ang wikitext]

Ginamit din ang genre ng mga artist at mga paaralan ng pagpipinta gaya ng 'paaralang Bundi ng pagpipinta' para gumawa ng ilang maliliit na pinta na naglalarawan ng iba't ibang buwan ng taon. Mayroong humigit-kumulang 138 Barahmasa na pinta sa National Museum, New Delhi. Karamihan sa mga kuwadro na ito ay nabibilang sa huling bahagi ng ika-18 siglo hanggang unang bahagi ng ika-19 na siglo.[19]

Mga sanggunian[baguhin | baguhin ang wikitext]

  1. ↑ Raheja, Gloria Goodwin (2017). ""Hear the Tale of the Famine Year": Famine Policy, Oral Traditions, and the Recalcitrant Voice of the Colonized in Nineteenth-Century India". Oral Tradition (sa Ingles). 31 (1). doi:10.1353/ort.2017.0005. hdl:10355/65381. ISSN 1542-4308. S2CID 164563056 – sa pamamagitan ng Project MUSE. This song was written in the traditional form of a barahmasa (a "song of the twelve months"). In central and northern India, this is almost entirely...
  2. ↑ Raeside, I. M. P. (1988). "Bārahmāsā in Indian literatures. Songs of the twelve months in Indo-Aryan literatures. By Charlotte Vaudeville with a foreword by T. N. Madan. pp. xvi, 139. DelhiMotilal Banarsidass, 1986. (Revised and enlarged English edition, first pub. in French, 1965.) Rs. 70". Journal of the Royal Asiatic Society (sa Ingles). 120 (1): 218. doi:10.1017/S0035869X00164652. ISSN 2051-2066.
  3. ↑ Dwyer, Rachel; Dharampal-Frick, Gita; Kirloskar-Steinbach, Monika; Phalkey, Jahnavi (2016). "Monsoon". Key Concepts in Modern Indian Studies (sa Ingles). NYU Press. ISBN 978-1-4798-2683-4 – sa pamamagitan ng Project MUSE. Conversely, the sixteenth century tradition of Hindi poetry known as Barahmasa (lit. 'songs of the twelve months'), which also appears in...
  4. ↑ Wadley, Susan Snow (2005). Essays on North Indian Folk Traditions (sa Ingles). Orient Blackswan. p. 57. ISBN 978-81-8028-016-0. Evidence indicates that the Barahmasa originated in folk poetry...
  5. ↑ Orsini, Francesca (2010). "Barahmasas in Hindi and Urdu". In Orsini, Francesca (pat.). Before the divide: Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 143. ISBN 978-81-250-3829-0. OCLC 490757928.
  6. ↑ Claus, Peter J.; Diamond, Sarah; Mills, Margaret Ann (2003). South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka (sa Ingles). Taylor & Francis. p. 52. ISBN 978-0-415-93919-5. The primary focus is on the human year, as formed and mediated by the climatic year and its associated...through the psychological shoals of the annual cycle.
  7. ↑ Alam, Muzaffar (2003). "The Culture and Politics of Persian in Precolonial Hindustan". In Pollock, Sheldon (pat.). Literary Cultures in History: Reconstructions from South Asia (sa Ingles). University of California Press. ISBN 978-0-520-92673-8. The succession of months is a fundamental component, but the number of months is not necessarily twelve. The songs known as chaumasas, chaymasas, and astamasas (cycles of four, six, and eight months, respectively) belong to same category. These are in some cases mere catalogs of seasonal festivals and read like a kind of calendar.
  8. ↑ Orsini, Francesca (2010). "Barahmasas in Hindi and Urdu". Before the divide : Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 147. ISBN 978-81-250-3829-0. OCLC 490757928.
  9. ↑ Wadley, Susan Snow (2005). Essays on North Indian Folk Traditions (sa Ingles). Orient Blackswan. p. 54. ISBN 978-81-8028-016-0.
  10. ↑ Srivastava, P.K. (2016). "Separation and Longing in Viraha Barahmasa". The Delhi University Journal of the Humanities and the Social Sciences. 3: 43–56.
  11. ↑ Bose, Mandakranta; Bose, Sarika Priyadarshini (2013). A Woman's Ramayana: Candrāvatī's Bengali Epic (sa Ingles). Routledge. pp. 30–32. ISBN 978-1-135-07125-7.
  12. ↑ Pandey, Shyam Manohar (1999). "Brahamasa in Candayan and in Folk Traditions". Studies in early modern Indo-Aryan Languages, Literature, and Culture : research papers, 1992–1994, presented at the Sixth Conference on Devotional Literature in New Indo-Aryan Languages, held at Seattle, University of Washington, 7–9 July 1994. Entwistle, A. W. New Delhi: Manohar Publishers & Distributors. pp. 287, 303, 306. ISBN 81-7304-269-1. OCLC 44413992.
  13. ↑ Orsini, Francesca (2010). "Barahmasas in Hindi and Urdu". Before the divide : Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 147. ISBN 978-81-250-3829-0. OCLC 490757928.
  14. ↑ Vaudeville, Charlotte (1986). Bārahmāsā in Indian Literatures: Songs of the Twelve Months in Indo-Aryan Literatures (sa Ingles). Motilal Banarsidass. p. 12. ISBN 978-81-208-0185-1.
  15. ↑ Sodhi, Jiwan (1999). A Study of Bundi School of Painting (sa Ingles). Abhinav Publications. p. 54. ISBN 978-81-7017-347-2. Amongs all these poets, the most popular was Keshavdasa, the renowned poet laureate of Raja Inderjit of Orchha. He gave new meaning to the Barahmasa...The Baramasa motif in Brajbhasha poetry not only gave freshness...
  16. ↑ Vaudeville, Charlotte (1986). Bārahmāsā in Indian Literatures: Songs of the Twelve Months in Indo-Aryan Literatures (sa Ingles). Motilal Banarsidass. p. 41. ISBN 978-81-208-0185-1. ...traditional barahamasas form in their religious works to the glories of Rama and Krishna...in fact a barahmasa attributed to Tulsidas...
  17. ↑ Srivastava, P.K. (2016). "Separation and Longing in Viraha Barahmasa". The Delhi University Journal of the Humanities and the Social Sciences. 3: 43–56.
  18. ↑ Orsini, Francesca (2010). Orsini, Francesca (pat.). Before the divide: Hindi and Urdu literary culture. New Delhi: Orient BlackSwan. p. 169. ISBN 978-81-250-3829-0. OCLC 490757928.
  19. ↑ Beach, Milo Cleveland (1974). "Rajput Painting at Bundi and Kota". Artibus Asiae. Supplementum. 32: 55–56. doi:10.2307/1522680. ISSN 1423-0526. JSTOR 1522680.
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