Showing posts with label Literature. Show all posts
Showing posts with label Literature. Show all posts

Karnataka Janapada Tradition

Jaanapada is a word made by two words Jana - People or tribe, Pada - a kind of short verse joined together as a Sandhi- a grammatical term. The folk culture and colloquial tongue of Kannadigas.

Janapada Tradition has generally described as the expressions of the illiterate. it represents the uninhibited response of the uneducated and unsophisticated sections of the Karnataka to life experiences in a variety of forms. Janapada tradition represents Kannadiga desire to communicate his/her experiences of joy and sorrow and share it with others. This motivation as such is the same as that of proper Kannada Literature. Karnataka Janapada tradition finds expression not in the form of writing but in the form of the spoken word or song(Janapada Geethe) which is transmitted and perpetuated by oral tradition. Another distinguishing characteristic Karnataka Janapada tradition is that whatever the themes or the experience, it expression is simple, direct and vivid, unembellished by artifice or ornament, and if occasionally figures of speech make their appearances, they appear as sparkle and freshness of live speech that directly but picturesquely express whatever is felt or thought. Janapada Literature reflects the life of kannadigas as it is lived from day to day.

Karnataka Janapada Folk Tradition even though includes every aspect of Kannadiga life can be broadly classified into three main heads.
1.Folk Literature
2.Janapadageethe, songs expressive of the common joys and sorrows of the common people. All can be subdivided according to subject matters of the occasion or purpose the different forms intended to serve.
3.Folk Theater, Poetry intended to celebrate the greatness of chosen deities and ballads dramatizing the heroism or sacrifice of chosen heroes, historical or legendary

1.Folk Literature
Kannada Stories, short and long , in diverse forms and dealing with diverse themes has been found and collected . Though the purpose of the narrative is both entertainment and enlightenment, the former usually gains emphasis. Karnataka Janapada Folk Tradition, questions of probability or realism do not arise at all. The natural and the supernatural easily coalesce, and traffic between earth, heaven and hell is easy and common. When human being marries a celestial maid or a celestial damsel is enamored of a mortal, all kinds of difficulties arise, jealousies are roused, impediments are created by men and demons alike and the hero and the heroine after perilious fights and strange escapades get finally united and everything ends happily. Karnataka Janapada Folk Tradition do not have unhappy endings always. Like the supernatural , the magical element too marks frequent appearance in Kannada folk tales. The story of the gem in the serpent's hood or that of the young acrobat appears with slight variations all over Karnataka and have drawn attention of scholars and researches as being typical. These and similar stories could be described as complex narratives but there are a large number that are straightforward in their manner and intent. There are the stories of clever and stupid, stories of birds and animals, all of which reveal a moralist bias but narration is always vivid and attractive. In the former category, the clever and the stupid find themselves in the opposite roles in peculiar circumstances of the story. Such situations make for humor as in those stories which are intended to be humorous, like the stories of wandering ministerial who in the course of the single night cheated four women or the story of the night blind son in law who makes fool of himself when he went to his wife’s parents house. Animal stories are pretty common and intentions are moral. What provides interest is the free intercourse between animal and human world and even the occasional metamorphosis into all kinds of beings, common, strange or celestial. The Story of the crow and the sparrow is well known. Almost of all the animals of the forest figure in one character or the other. Equally common are the stories of cruel kings and childless queens and the strange happenings inside royal places. Nothing limits the folk imagination in the invention of stories and teller always displays his art in making his narrative absorbing and in the end instructive. Who among us has not heard the story of a rich boy or girl falling in love with a poor girl or boy and marrying her or him eventually after many hardships including fierce opposition from would-be parents-in-law? Karnataka folk literature abounds in such stories such as our films do. Or, consider the story of a vagrant husband whose exploits are finally discovered by the wife but pardoned immediately, true to spirit of ideal house wife. This as you may have thought is not a film story either. This is the story of our Lord Srikanteswara, of Nanjangud, who in spite of being wedded to the beautiful Deveri, had an affair going, with Chamundi, of the Chamundi hills. Or, take the story of Lord Ranganatha, of the Biligiri hills, who fell in love with a poor Soliga tribal girl - and married her. So much credence is given to this story by the local people, the Soligas, that they even to this day address Lord Ranganatha as ‘Bhava’, that is brother-in-law. These are stories which could make wonderful film material, and it is no exaggeration if we say that the genesis of majority of Kannada film stories is the folk literature.



Folk tradition in Karnataka, began orally. The systematic study of folk literature was initiated by European scholars. Anyone who glances at the Kittel dictionary is sure to be amazed by the abundant collection of proverbs, most of which are of folk origin. Kittel was helped in this by his immediate superior at the Basel Mission Church, Mangalore, Rev, Moegling. Abbe Dubois’ work ‘Hindu Customs, Manners and Ceremonies’ contain a number of folk tales. May Frere’s ‘Old Deccan Day’ is an independent collection of folk tale. Among Kannadigas, Nadakeriyanda Chinnappa, a scholar from Kodagu, published in 1924, a book in Kodava language called ‘Pattole Palame’, which was a collection of regional folklore with Kannada commentary. This was followed by Halasangi brothers of North Karnataka who published three volumes of folksongs and Ballads, titled ‘Garathiya Haadu,’ ‘Mallige Dande’ and ‘Jeevana Sangeetha’. Archaka B. Rangaswamy Bhatta of Mandya District brought out a book ‘Huttida Halli Halliya Haadu’ which depicts the rural traditions of an entire village. During pre-independence period B.S. Gaddagimath was perhaps the first scholar in Kannada to secure a doctorate for his thesis on folklore. This was followed by Jee. Sham. Paramashivayya’s series of articles in Kannada Journals on folklore. Haa. Maa. Naik, a scholar in linguistics, published many papers on the study of folk culture.

Mathigghatta Krishnamurthy has brought out a series of voluminous books like ‘Grihini Geethegalu’, a collection of folk songs. S.K. Karim Khan has travelled the length and breadth of Karnataka giving lectures on folk literature. Popular playwright - novelist Chandrasekhara Kambara has to his credit many popular adaptations of folk stories like Siri Sampige, Singaravva Matthu Aramane, Kadu-Kudure and Sangya-Balya. Girish Karnad won international acclaim for his play ‘Nagamandala’ based on folk story. And so did A.K. Ramanujan for his collection of folk stories. B.V. Karanth and C. Aswath are pioneers in scoring folk music to films. They made their debut as music directors in ‘Vamsha Vriksha’ and ‘Kakana Kote’ respectively. H.L. Nagegowda, B.B. Handi and H.K. Rajegowda have done remarkable work in this field. ‘Janapada Loka’ of Janapada Parishat, at Ramanagar which has taken a good shape by H.L. Nagegowda, has a rare collection of folk materials. ‘Arambhadettu Inooru’, ‘Aane Banthondane’, ‘Nannuru’, ‘Veriyar Elvinnana Girijana Prapancha’, are some of his important collections. H.K. Rajegowda’s ‘Kempanna Gowdana Yakshagana Kavyagalu’, ‘Vokkaliga Janangada Sampradaya’, ‘Itihasa Janapada’ are notable works. K.R. Krishnaswamy (Karakru) Hi.Chi. Boralingaiah and Mudenur Sanganna’s works are also noteworthy.

Certain folk tales are common to all regions of Karnataka. One such is about a Harijan youth masquerading as Brahmin and marrying a girl from that community. The girl when discovers the deceit, throws herself into pyre and becomes a goddess. Another narrative - ‘Kerege Hara’ is woven round a chaste woman who sacrifices herself for the successful completion of village tank. And then we have many number of animal tales in which the fox is the trickster.

Gaadegalu (Kannada Proverbs)
Proverbial Gaade which has a famous saying in Kannada as Veda sulladaru Gaade sullagadu -meaning even if Vedas are proved wrong practically , Gaade(Proverb) can never go wrong.

Panchatantra and Jataka Stories
There is hardly any other secular work in the World which has penetrated so deeply in many cultures encompassing practically every continent of the World. During the last 1500 years there are at least 200 translations of Panchatantra in about 60 languages of the World. Aesop fables (2), Arabian Nights(3), Sindbad(4) and more than 30 to 50% of Western nursery rhymes and Ballads have their origin in Panchatantra and Jataka stories. Dated to around 3rd century BC. The Panchatantra stories migrated out of India in 6th century AD during Kadamba rule. Panchatantra migrated to Iran in the 6th century CE . The story is well known. Burzoe, a physicianat the court of Sassanian king Anushirvan (531-571 c.CA), was sent to India in search of Sanjivani herb. In search of this medicine he traveled a lot in India and brought Panchatantra to Iran, which he translated into Pahlavi, titled Kalilah wa Dimnah, with the help of some Pundits. Available version is the Syrian version of Karataka and Damanaka. The Panchatantra stories developed and collected around the Karnataka/ Maharashtra region. It shows the antiquity of Janapada tradition to unknown eras. Panchatantra stories have become the part of glorious Karnataka temple architecture along with Ramayana and Mahabharata stories. The Navalinga temple of Kakanur, someshwara temple in Somashila, Abalur, Isvara temple in Hiresinganagutti, Kolaramma temple in kolar, Pillar Stones at Yasale, Isvara and Kadambeshwara temple at Sirival and Sculptures at Galaganatha ,Virupaksha, and Mallikarjuna temples in Pattadakal, Aihole, Mudhol, Tripurantakeshwara Balligave, Kalleswara temple in Bagali, pillar in Kadur etc carry the legacy. Durgasimha(Lived during Jagadakamalla of Chalukya dynasty) author says that the panchatantra was collected in the court of Salivahana of Banavasi by Court Poet Gunadaya. Panchatantra is Jain origin and jain essence is retained by Durgasimha eventhough he was a Brahmin, we have to note Gunadaya was Buddhist scholar. Vasubhaga Bhatta version is now used everywhere in south India as well as South east Asia and Far east, while Vishnu Sharma is north Indian version dominates other parts of the globe. You will find Vasubhaga version is followed in South Karnataka and Vishnu sharma version in North Karnataka. Both Vasubhaga and Vishnu Sharma are from Karnataka. Vishnu sharma belonging to Aihole, under king called Amarshakti who ruled with capital Mahilaropya (Mailara in Bellary district). Mailara today is on the banks of the Tungabhadra River in Hadagali taluk, Bellary district. This is a well known piligrimage center famous for the Shivamallari temple.

2. Janapadageethe (Poems)
Janapadageethe are lengthy poetical compositions, religious or semi-religious in character and related either to local deities or legendary characters that had achieved miracles or had rendered one or another kind of service to the community. Janapadageethe are similar to but distinct from ballads which celebrate the heroism or sacrifice or similar action of historical and legendary heroes. Janapadageethe relating to deities are attached to particular temples or religious institutions like mutts and the compositions are sung by particular classes of professional minstrels to accompaniment of musical instruments. These compositions are extensive that it takes several nights to sing them. Usually selected portions dealing with episodes favorite with listeners are sung on particular occasions. Such , for example , are the songs pertaining to Maleya madeswara or yellamma, the female deity of saundatti. The worship of zunjappa, the deity of golla community has its own song sequence which is built-up within the framework of the Krishna story.


The Gorava community has its own sacred places like Mylara whose legends provide the theme celebrating the importance of the place. All over Karnataka, tradition of such folk poetry abound are numerous. Diverse in theme and treatment are the Janapadageethe which form the most voluminous and popular body of folk literature. Janapadageethe's chief characteristics are that they are invariable anonymous compositions handed down by oral tradition. Janapadageethe have their own kind of musical style recitation. Janapadageethe prosodic forms and variety can be the subject of a detailed study. Invariable Janapadageethe deal with some kind of activity or another at home or in the fields. Janapadageethe pertain to all aspects and contexts of life and are, therefore, too numerous to classify under particular headings. Janapadageethe are sung either to relieve the tedium and monotony of work or purely for entertainment. there are separate Janapadageethe for men and women differing again in age groups of the singers and their audiences. Parents love for their children, the mother in law harassment. the sorrows of childless woman., the ever strong attraction of parental home for the young bride, pure lover songs and songs of separation the variety of Janapadageethe is endless.

When we come to the realm of songs we find songs for every rural activity, be it grinding, pounding, christening the baby, lullaby, marriage, nuptials, or even tattooing. The last named is the forte of a distinct community called the ‘Koravanjis’. Kolata or stick dance is unique to Karnataka.

JaanpadaGeethe can be classified for our convenience as
(I).Small songs which are sung on every occasion like marriage, festival, travel and most importantly on every work done mostly from harvest to cooking. The art of composing verses was natural when Kannadigas were deeply involved in their works commonly related to agriculture , pottery , harvest, flouring grains.

(II). Ballad or narrative folk song is another distinct form. ‘Jeeshampa’ has classified them to twelve groups or traditions as 1. Devara Guddas, 2. Neelagaras,3. Ganeplayers, 4. Gorvas, 5. Choudikeyavaru, 6. Aradigalu 7. Karapaladavaru,8. Tamburiyavaru, 9. Kinnara Jogigalu, 10. Dombidasaru, 11. Helavaru and 12. Jangamaru.

(III). Religious pada like those of Dasa Saahitya and Vachana Saahitya and probably even the literature of Guru shishya tradition which is known to only be passed through ears and not on papers can be put into this broad term. Shishunala Shareefa ,Purandara Dasa , Kanaka Dasa , Sarvajna stand at top as wandering saints. There were also compositions on rituals which were laid on common man when caste system was on peak to oppose the atrocities and understand the traditions. Normally the Jangama or wandering monks or the Dasa or wandering devotee who used to hold a tamboori - a famous instrument to add muse the verses , use to travel places spreading the knowledge they had acquired and used to receive alms from people known as Bhavathi Bhiksha Dehi which does not find a right word in contemporary English.

(IV). Songs sung by Mothers to their Babies and children.

(V). Apart from these the folk dance arts added color to expressions rather than words and were popular at mass gatherings.

3.Folk Theater
Ballads as such form a separate category. They are actually narrative poems, but all narrative poems are not ballads. The principle characteristics of ballads are that they tell the story of some hero and heroine in verse forms that keep pace with quick tempo of action. They celebrate the heroism or sacrifice or some other breath taking adventure or action. Such for example are the ballads of Sangoli Rayanna or Kittur Chennamma or Hyder Ali or the adventure during battle of Periyapatna. Karnataka Folk literature is thus purely social product rooted in the life of the community and expressive of its likes and dislikes, its deepest faith and loyalties expressive of everything that determines the quality and content of its daily living.

Folk theater has a rich tradition in Karnataka. Who, for instance, has not heard of ‘Yakshagana’ , Doddata, Bayalata etc., Puppet theater is another folk form, classified into two categories as Thogalugombe and Keelugombe. The former is shadow play with the help of leather cut into human or animal or super-human forms and the latter are performed with the help of dolls with movable limbs controlled by strings by the operators. What Interests as literature is the narrative technique which would be quite engrossing.

4. Janapada Medicine
And then there are a host of books on folk medicine such as ‘Padartha Sara’, ‘Vaidyaratnakara’ etc. Many of these were brought out by, or with the help of the Royal family of Mysore.

5. Janapada Dance
As dance is a visual art, the visual impression of this dynamic art is lost on the sands of time. The tradition of dances currently at vague in Karnataka can be broadly divided as Janapada and Shista, the former being localized in certain areas only, whereas the latter has spread to other parts outside the state. Closely connected with folk literature are folk arts Kamsaalay, Chaudike, Ekatari etc., and dances like Lambani dance, Patada Kunita, Nandikolu Kunita, Veeragase, Dollu Kunita, Gorawara Kunita, Gondala, etc. These are all connected with religious rituals, tagged with some deity, and Yakshagana and puppet show are also of similar origin.

6. Janapada Jaatre
A Jaatre or gathering festival arranged by government of Karnataka showcasing Jaanapada art.

Janapada Trust and Academy
Two other main centres for the study of folk literature are the Karnataka Janapada Trust and the Karnataka Janapada and Yakshagana Academy. The former has a collection of more than 1,000 folk songs recorded from all over the state. The latter brings out an annual collection of folklore of about 100 pages at a low cost.

Govinda Pai Research Centre. Udupi (M.G.M. College) has been doing unique documentation work, and has collaborated with a Spannish University. In order to promote folk literature and folk arts, the Karnataka Jaanapada and Yakshagana Academy honours the outstanding folklore scholars and the artists every year by granting Jaanapada Tagna Award and Annual Awards.
D. Javaregowda, as Vice-Chancellor of Mysore University, established a Folklore Research Centre at Mysore. The Universities of Bangalore; Dharwad and Gulbarga, also offer Doctoral Degrees in the study of folk culture. Of late Hampi Kannada University and Shimoga University have also been in the forefront.


Jaanapada Tagna Award Winners
1986 : Simpi Linganna; 1988 : Mathighatta Krishnamurthy and D. Javeregowda; 1989: H.L. Nagegowda; 1990 : H.M. Nayak and B.B. Hendi; 1991 : Ku.Shi. Haridasa Bhat and K.R. Lingappa; 1992 : Chandrashekhara Kambara and Mudenuru Sanganna; 1993: M. Chidananda Murthy, P.R. Thippeswamy and N.R. Nayak; 1994 : G. Narayana, Goru Channabasappa, Devendra Kumar Hakari, M.G. Biradara, Amrita Someshwara and C.P. Krishnakumar; 1995: Ham.Pa Nagarajaiah, Ramegowda (Ragau), Somashekhara Imrapura and R.C. Hirematha; 1996 : B.A. Vivek Rai, Basavaraja Malashetty and P.K. Rajashekhar; 1997 : M.M. Kalburgi, M.B. Neginahala, T.N. Shankaranarayana, O.K. Rajendra and P.K. Khandoba; 1998: Kyatanahally Ramanna, Shanthi Nayak and A.V. Naavada; 1999 : Nam Tapasvikumar, M.N. Vali and H.J. Lakkappa Gowda; 2000 : Taltaje Keshava Bhatta, C.H. Mahadeva Nayak, M.T. Dhoopada, T.S. Rajappa and M.A. Jayachandra, 2001: Siddalingaiah, William Madtha, Shrirama Ittannavar, 2002: Channanna Valikara, B.S.Swamy, Nallur Prasad, 2003: M.G.Eswarappa, Shreekanta Kodige, Prabhakara Joshi, Since 2004, the Jaanapada Tagna Award being stopped and awards established in the name of B.S. Gaddagi Math and Jishampa are given to folklore scholars. Gaddagi math award: Keremane Mahabala Hegade (2004), Veeranna Dande (2005), Ha.Ka. Rajegowda (2006), D.B. Naik (2007), C.K. Navalagi (2008) Jishampa award: He. She. Ramachandra gowda (2004), M.K. Raghava Nambiyar (2005), Basavaraja Nellisara (2006), G.S. Bhat (2007), Y.C. Bhanumathi (2008).

Jaanapada and Yakshagana Acadamy Award Winners
The Academy honors the folklore scholars, artists, authors, collectors/ editors/critics/ publishers, institutions, groups, art promoters etc., every year by granting annual awards. So far (2008) 703 eminent persons have won Annual Awards. For Yakshagana separate accadamy is founded in 2008-09. Under the chairmanship of Kumble Sundararao.

Source
A Handbook of Karnataka
The Encyclopaedia Of Indian Literature Volume 2, By Amaresh Datta

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Karnataka Treatises on Music

As the only surviving seat of governance of India(Malwa, Magada and Karnataka) through the ancient times Karnataka empires and kingdoms has been patronising knowledge, Arts and science for over 2000 years. The Karnatic traditions of Music and Dance have been the only surviving forms of what was standardised in Natyasastra. In fact Dattilam contemproary of Bhratamuni Natyasastra tells about Raga Kannada.  The Music that flourished in Royal courts of Karnataka is called carnatic music and Dance form Bhratanatyam.  When Adil Shah's  and  Bhamani kindoms took a piece of karnataka ,they adopted the carnatic music to persian and Arabic tones and we have now Hindustani music. If we say today's Hindustani music is daughter of Carnatic music it will be understatement. Since seeing how Carnatic sangeeta and Bhratanatyam evolved in karnataka is vast topic. I will deal with one topic each. Here I am dealing with list of works on music from karnataka in kannada and Sanskrit.

Brhaddesi Music by Matanga Brhaddesi (5th century AD)

Abhilashitartha Chintamani  By Someshvara (1116-27 A.D)

Sangita Chudamani  By Jagadekamalla(1138-50 )

Sangeeta Sudhakara 

Sangeeta Samayasara  by Parsvadeva

Bharatesavaibhava by Ratnakaravarni (12th Century AD)

Sangita Ratnakara By Sarangadeva Suri (12th Century)

Basavapurana by Palkuriki somanatha

Panditaradhya charitra by Palkuriki somanatha

Sangita Suryodaya By Bandaru Lakshminarayana (16th Century )

Sangita sara  By Vidyaranya

Kalaanidhi  By Chaturakallinatha

Kavya Alankara sutra by Gopenda Tippa

Taladipika by Gopendra Tippa

Sangeeta Suryodaya lakshminarayana

Svaramelakalanidhi By Ramamatya (16th Century)

Shivatatva Ratnakara  Immadi Basavappa Nayaka (18th Century )

Kitab I Nauras Ibrahim Adil Shah-2 (16th century )

Sri Tatva Nidhi By Mummadi Krishnaraja Wodeyar (1825 A.D)

Sadraagachandroodaya ,  Raagamanjari ,  Raagamalaa  and  nartana nirNaya  By Pundarika Vittala, (16th Century )

Chaturdandi Prakashikaa  By Venkatamukhin, (17th century)

Sources
Classical Kannada

Related Posts
Ancient Music
BhavaGeethe
Gamaka
Technical Publications
Topics

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Ancient Technical Publications of Karnataka

Karnataka has been a innovation hub not just now but  has been land of science and technology, since time immemorial.  Let us see some of the technical writings in ancient times.

Kamasutra(171 BC)  by Vatsyayana - work on Erotics (kama)

Gajastaka (8th century AD) by Shivamara II - on Elephant Management in Kannada

Kalyanakaraka (850AD) by Ugraditya - WOrk on Medicine in Sanskrit.

Abhidanaratnamala or Sadrasanighantu (800 to 900 AD) unknown author - Medicinal work in sanskrit with kannada commentary.

Ganitasarasangraha by Mahaviracharya -  Mathematics work, ground breaking theories on Algebra, Arithmetic and Geometry

Lokopakaram (978 AD) Chavundaraya - Veterinary Science, Aromatics,Horticulture,Medicine, Astrology, Water resource, Cookery,etc

Gajankusha also known as Narayana wrote on Erotics

Jatakatilaka (1049AD) by Sridharacharya - work on Astrology in Kannada.

Madanatilaka(1050 AD) by Chandraraja - work on erotics in Kannada

Mitakshara (1070 AD) by Vijananeshvara - A legal work on Hindu inheritance in Sanskrit

Kshetraganita, Vyavaharaganita, and Lilavati  (1191 AD) by Rajaditya - Mathematical Works in Kannada

Karnataka kalyanakaraka(1150 AD) by Jagaddala Somanatha  - work on Medicine in Kannada

Govaidya(12th century AD) by Kirtivarma(chalukya Price) - Work on Vertinary Medicine in Kannada.

Abhilashitartha Chintamani (Manasollasa)(1127-1138 A.D) - work on rt, architecture, dance, music, ornaments, food and drinks, love and lust

Rattamata(1300 AD) by Rattakavi  - work on Meterology and omens in kannada.

Khagendramanidarpana(14th century AD) by Mangaraja I - work on Toxicology in kannada.

Akaradi Vaidya Nighantu(1300AD) by Amrita nandi - Kannada Medicine Dictionary with Meanings in Sanskrit.

Asva Vaidya (14th century AD) by Abhinava Chandra  - work on Vetinary Medicine. in Kannada.

Manmathavijaya(14th century AD) by Kavi malla 

Vaidyamrita(15th century AD) by  Sridharadeva - Medical work in Kannada.

Ayurveda Sudhanidhi compiled by Sayana (1570AD) - Work on Ayurvedic Medcine in Sanskrit.

Works on Carnatic Music and Bharathanatyam , which originated in Karnataka and works on Hindustani Music which primarily developed in karnataka are vast, which  we will see in another Article.

Ref
History of Kannada Literature by R. Narasimhacharya, Praktana vimarsa vichakshana mahamahopadhyaya rao Bahadur.

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History of Karnataka literature

Karnataka literature denotes to the wealth of literature created in the region of Karnataka in South India roughly corresponding to the modern state of Karnataka. This literature includes works in Sanskrit and Kannada.

Western Ganga Dynasty (350-999)
Pujyapada (Sarvathasiddi , Jinendra Vyakarana, KalayanaKaraka in Sanskrit)
Jinasena II (Adipurana - Sanskrit)
Ajitasena
Bharavi
Akalanka or Nemichandrasiddanta
King Madhava II (370-390 AD) (Dattaka Sutrain Sanskrit)
King Durvinita(495-535 AD) (Reference to his Kannada work in Kavirajamarga, Vaddakatha Sanskrit translation,Sabdavatara a work on Sanskrit grammar, commentary on the 15th sarga of Bharavi's Kiratarjuniya in Sanskrit )
Sripurusha (Gajasastra)
King Shivamara II (788-816 AD) (Gajashtaka, a Kannada work on elephant management, and Sethubandha in Prakrit).
Hemasena or Vidya Dhananjaya (Raghavpandaviya)
Vidhibhasimha (Gadyachintamani and Kshatrachudamani)
Guru Nemichandra (Gommatasara book on jain philosophy, his title was Siddhant-Chakravarti and was guru of Chavundaraya)
Chavundaraya (978 AD) (Chavundarayapurana, Charitrasara, Trishashti LaksanPurana -Kannada)
Gunavarma (Kannada Grammar)
Nagavarma (Chandombhudhi)
Jinasena I (738 AD) (Harivamsha - Sanskrit)

Rashtrakutas (753-973)
Trivikrama (Nalachampu in Sanskrit)
Halayudha (Kavirahasya and Mritasanjivini)
Somadevasuri (Nitikavyamrita)
Mahaviracharya (Ganita-sara-samgraha)
Padma pada
Visvarupa
Virasenacharya (Jayadhavala-tika)
Jinasenacharya (Parsvabhyudaya Mahapurana , Dhavala)
Gunabhadra (Uttarapurana - Sanskrit)
Pushpadanta
Akalanka
Asaga (Vardhamana Purana-Kannada)
King Amoghavarsha I Nripatunga, (Prashottara Ratnamakike, Kavirajamarga, a treatise on Kannada poetics, 850 A.D.)
Sri Ponna (950 AD) (title, Kavichakravarthi wrote Bhuvanaika- Ramabhyudaya, Santipurana and Jinaksaramale - Kannada)
Adikavi Pampa ( 902-975 AD) (called Adhikavi wrote Adipurana and Vikramarjuna Vijaya in Kannada)
Shivakotiacharya (Vaddaradhane 900 CE earliest prose in Kannada borrowed from Sanskrit work Brihatkathakosha of Harishena)
Sri Vijaya
Rudrabhatta of Banahatti - Kannada
Ravinagabhatta who wrote a record for Govinda IV - Kannada
Kavi Rajaraja wrote the Kalasa record, minister of Krishna II - Kannada
Gajankusha who wrote on erotics - Kannada

Western Chalukyas (973-1189)
Ranna (949 AD) (Ajitapurana, Sahasabhimavijaya, Gadayuddha, and Rannakanda - Kannada)
Chavundaraya II (Lokopakara,An important literary source in Kannada dealing with variety of subjects useful for mankind such as Veterinary Science, Aeromatics,Horticulture,Medicine, Astrology, Water resource,Cookery,etc belonging to 11 C AD - Kannada)
Chandraraja (Madanatilaka, a work on erotics - Kannada)
Shridharacharya (Jatakatilaka is a work on astrology - Kannada)
Kirtivarma (1125 AD) (Govaidya on veterinary science - Kannada)
Durgasimha (panchatantra - Kannada)
Nagavarma (Kavyavalokana - Kannada)
Brahmashiva (Samayaparikshe - Kannada)
Devara Dasimayya (Vachanakara belonged to this period - Kannada)
Vadiraja ( Yashodharacharitam and Parshvanatha Charitam - Sanskrit)
Bilhana (Vikramankadeva Charitha, The Kashmiri poet immortalized the name of his patron Vikramaditya VI through this work - Sanskrit)
Vijananeshvara (Mitakshara, a commentary on Yajnavalkya Smriti - Sanskrit)
Someshwara III (Abhilashithartha Chinthamani or Manasollasa, an encyclopedia of all arts and sciences and Chandraprabhacharite - Sanskrit)
Jagadekamalla (Sangithachudamani in Sanskrit)
Jagaddala Somanatha (Karnataka Kalyanakaraka) Kannada work on Ayurvedic medicine (1150 AD)
Karnaparya (1140 AD) (Neminatha purana- Kannada)
Nayasena (1112 AD) (Dharmamrita- Kannada)
Brahmasiva (1150 AD) (Samayaparikshe- Kannada)
Naga Chandra (Jain Ramayana- Kannada)
Kanti (Jain poetess - Kannada),
Shantiraja (Sukumaracharita - Kannada)
Nagavarma II (Kavyavalokana, Karnataka Bhashabhushana and Abhidana Vastukosha, Kirtti Varman and Vritta Vilasa-Kannada).

Hoysala Empire (1000-1346)
Madhvacharya(1238-1317 AD) wrote Rigbhashya in Sanskrit - propounded Dvaita Philosophy
Vidyatirtha (Rudraprashnabhashya - Sanskrit)
Nagachandra (Ramachandra Charita Purana, and Mallinathapurana - Kannada. He known as Abhinava Pampa).
Kanti (poetess)
Vishnudandadipa
Santa Mahanta
Harihara (Girija Kalyana, BasavarajadevaraRagale - Kannada)
Raghavanka (established Shatpadi, , Harischandra Kavya, Siddhara Chanitra, Veeresha Charite,Sharabha Charitre, somanathacharita and Harihara Mahatwa - Kannada)
Janna (1191-1230 AD) (Yashodhara Charite and Ananthanatha Purana- Kannada. Obtained title Kavichakravarti)
Nemichandra (1170 AD) ( (Leelavati, Neminatha Purana - Kannada)
Achanna (1195 AD) (Vardhamana Purana)
Rudra Bhatta (Jagannatha Vijaya - Kannada)
Mallikarjuna (Sukti & Sudharnava- Kannada)
Kesiraja (Shabdamanidarpana- Kannada grammar)
Hastimalla (1290 AD) (Adipurana- Kannada)
Andayya (1235 AD) - (Vardhamana Purana, Kabbigarakava - Kannada)
Choundarasa (1300 AD) (Abhinava-DashaKumara Charitha and Nala Champu - Kannada)
Rajaditya (1191 AD) (Kshetraganita, Vyavaharaganita, and Lilavati on mathematics-Kannada)
Ratta Kavi (1300 AD) (Rata-Mata work on meteorological topics - Kannada)
Bandhuvarma (1200 AD) (Neminatha Purana, Harivamsha - Kannada)
Mahabalakavi (1254 AD) (Neminatha Purana - Kannada)
Sumanobana - Kannada poet
Padmarasa (Dikshabodhe - Kannada)
Hastimalla (1290 AD) (Adipurana)
Trivikrama (Ushaharana, Dvaita philosohpy - Sanskrit)
Narayana Pandita (Madhwavijaya, Manimanjari and Parijataharana - Sanskrit)
Anandabodha - Advaitha Philosophy - Sanskrit
Vidyacharkarvartin II (Rukminikalyana - Sanskrit)

The Kalachuri kingdom (1130-1184), Virashaiva Saints and Vachanakaras
Basavanna (known as Basaveshvara wrote the spiritual lyrics vachanas- Kannada)
Renukacharya
Darukacharya
Ekoramacharya
Panditaradhyacharya
Vishwaradhyacharya
Akkamahadevi
Nilambike
Gangambike
Allama Prabhu
Siddarama
Chennabasava
Madivala Machayya (vachanakara- Kannada)
Madara Channayya (vachanakara -Kannada)
Sakalesha Madarasa (vachanakara-Kannada)
Ramanna (vachanakara-Kannada)
Sujikayakada Ramitande (vachanakara-Kannada)
Medara Ketayya (vachanakara-Kannada)
Kayakada Basappa (vachanakara-Kannada)
Virupaksha Pandita - (Chennabasavapurana- Kannada)
Dharani Pandita - (Bijjalarayacharite - Kannada)
Chandrasagara Varni (Bijjalarayapurana- Kannada)

Seuna Yadavas of Devagiri(850-1315)
Kamalabhava (Santhishwarapurana - Kannada)
Achanna (Varadhamanapurana - Kannada)
Amugudevi - Vachanakara
Chundarasa of Pandharapura (DashakumaraCharite - Kannada)

Vijayanagara Empire (1335-1565), Kannada Haridasa Sahitya
Kumara Vyasa (1430 AD) (Gadugina Bharata or Karnataka Bharata KathaManjari a Kannada adaptation of Mahabharata and Airavata. His title was Rupaka Samrajya Chakravarti (Emperor of the World of Metaphors).)
Narahri or Kumara Valmiki (1500 AD) (Torave Ramayana in Kannada & Smriti Kaustubha in Sanskrit)
Vittalanatha (Bhagavatha)-Kannada
Ratnakarvarni (16th century) (Bharatesha Vaibhava, Triloka Sataka,Someswara Sataka) - Kannada
Nanjunda -Kumara Rama Charita (16th century) - Kannada
BhimaKavi - Basavapurana(1369 AD) - Kannada
Padmanaka - Kannada
Kereya Padmarasa - Padmaraja Purana (1385 AD) - Kannada
Lakkana Dandesa Shivatatwa Chintamani (1428 AD) - -Kannada
Gubbi Mallanacharya - Veerasaivamrita (1513 AD) - Kannada
Singiraja - Kannada
Chamarasa (Prabhulinga Leele) -Kannada
Akalanka (16th century), Jain scholar - Kannada
Bhattakalaka (16th century) -Kannada grammrian
Mangaraja (1360 AD) (Khagendra-Mani-Darpana, work on poisons and antidotes) -Kannada
Sayana (Vedartha Prakasha, Yajnatantra Sudhanidhi, Prayaschitra Sudhanidhi and Purushartha Sudhanidhi) -Sanskrit
Madhava Vidyaranya (Parasara – Madhaviya, Sarva-darshana-samgraha) -Sanskrit
Devanna Bhatta (Smriti Chandrika) - Sanskrit
Gangadevi (Poetess, Madhura Vijayam) - Sanskrit
Tirumalamba Devi (Poetess, Varadambika Parinayam) - Sanskrit
Krishnadevaraya (Madalasa Charita, Satyavadu Parinaya, Rasamanjari, Nyayamritam, Tarkatandava, Tatparya Chandrika - Sanskrit
Ramaraja (Bakhair - Battle of Talikota - Persian??)
Timmanna Kavi, patronised by king Krishnadevaraya, Kannada
Kereya Padmarasa, Padmaraja Purana - Kannada
Linganna, Keladinripavijayam - Kannada
Unknown author, Krishnadevarayana Dinachari is a recent discovery in Kannada.
Chatu Vithalanatha, Kannada
Madhura, Kannada
Salva
Mallanarya, Veerasaivamrita- Kannada
Lakkana Dandesa, Shivatatwa Chintamani - Kannada
Shivagna Prasadi Mahadevayya and Halageyadeva ,Shunya Sampadane- Kannada
Kallumathada Prabhuva - Kannada
Jakkanna - Kannada
Maggeya Mayideva - Kannada
Tontada Siddalingayati - Kannada

Haridasa
Narahari Thirtha
Padmanabha Thirtha
Akshobhya Thirtha
Jayatirtha - Nyaya sudha, Tattva prakashika, Prameya deepika, Nyaya deepika Important works
Sripadaraya of Mulbagal (1500 AD)
Vyasatirtha (1447 – 1539 AD) - Guru of Purandaradasa, Kanakadasa and Krishnadevaraya wrote Nyayamritam, Tarkatandava, Tatparya Chandrika Important Works
Sri Vadirajaswami
Purandaradasa (1484 – 1564 AD) (Father of Carnatic music. Composed 475,000 songs in Kannada. His titles wereDasaShreshta Purandaropanishat, Sangitapitamaha)
Kanakadasa (1509 - 1607 AD) (Padas and Keertans
RamadhyanaCharite, Haribhakthisara,Kalacharithre, Mohana Tarangini, Nalacharitre - Kannada)

Later Haridasa
Guru Raghavendra Swami (1600-1671 AD) the great Sage of Manthralaya.Important works
Vijaya Dasa (1687–1755 AD)
Mohana Dasa
Gopala Dasa (1721–1762 AD)
Helavanakatte Giriyamma
Jagannatha Dasa (1728–1809 AD) (Harikathamrithasara, Uga Bhogas, Keerthanas and Tathva Suvalis- Kannada)

Kannada literature from Mysore Kingdom, Keladi Nayaka kingdom
Basappanayaka (Shivatatwa Ratnakara - History Keladi Kings)
Linganna (Keladi Napra Vijaya- History of Keladi Kings)
Chikkupadhyaya, Minister and teacher of His Highness Sri Chikkadevaraja Wodeyar, (1670 AD) - more than 30 works in Kannada
Tirumalaraya (1680 CE) (Chikkadevaraja Vijayam, Chikkadevaraja Vamshaavali - History of Mysore Kings)
Govinda Vaidya (1648 CE) (Narasaraja Vijaya - History of Mysore Kings)
Bhattakalanka Deva (1604 AD) (Karnataka Shabdaushasana on grammar)
Sakdakshara Deva (1657 AD) (Rajshekhara Vilasa- romantic champu)
Noorondayya (1740 AD) (Soundara Kavya)
Nijaguna Yogi (1650 AD) (Viveka Chintamani- Shaiva work)
Nanja Raja (1760 AD) (Shiva Bhakti Mahatmya and Hari Vamsa - Puranic works)
Brahma Kavi (Samaya Pariksha)
Sarvajna (1650 AD) (tripadis or vachanas pithy three lined poems in Kannada)\

Kannada Literature From Old Bangalore (18th - 21st century AD)
18th Century Kannada
Guru Nanjesh (Jayastuti)
Ekambara Dikshit (Veerabhdra Vijaya)
Jayaram Pande (Radha Madhava Vilasa)
Mudduveeraswamy (1700 AD) (Vachanakara)
Sarpabhooshana Shivayogi (1795-1839 AD) (Vachanakara)
Mahant Desika (Vachanakara)
Jeerage Basavalingacharya (Vachanakara)

19th Century Kannada (topics-grammar, linguistics, Jain and Virashaiva philosophy, geology, agriculture, politics)
Siddhanti Velanada
Subramanya Shastri
Siddhanti Shivakumara Shastri
Srinivasa
Nagasharma
Dakshinamurthy Shastri
Padmaraja Bhramasuri
Ramanathapuram Raguraya
S.N. Narasimhaiah
Doddabele Narayana Shastri - commentary on Jaimini Bharatha, Sundarakhanda, translations of Kalidasa works

20th century Kannada
Bidare Ashwatha Narayana shastri (Dhammapada)
B. Puttiah (priniting technology)
Panyam Sudarashastri (a translation of Bhasa Dharma)
S.K. Nasasimhaiya (biography of Magadi Kempe Gowda)
Toppulu Raghavacharya (translation of commentary on Gita)
Mahant desika (Yakshagana composition)
Balasaraswati (first detective novel)
Mahadevaswamy (nicknamed Abhinava Allama)
Pt. Shivakumar Swamy
Siddalingaswamy of Beli Matha
Nanjundaswamy of Guruvanna Matha
Pt. B. Shivamurty Shastri

20th century Sanskrit Keerthanakaras
Singeri NarasimhaShastri
M. Lakshminarasimha Shastri
Varada Desikachar
Jaggu Vakulabhushana
Rariapalli Anantha Krishna Sharma
Motaganahalli Subramanya Shastri

2oth century harikathe dasaru
Gururajulu Naidu
Sant Keshava Das
Bhadragiri Achuth Das
Malur Sonnappa
Muiratnam Mudaliar

Modern Kannada Poets, Scholars & Writers (Navya, Navodaya or Bandaya Style)
Jnanpitha Awardees
Kuvempu
D. R. Bendre
Shivaram Karanth
Maasti Venkatesh Ayengar
V. K. Gokak
U. R. Ananthamurthy
Girish Karnad

Sahitya Academy Awardees
1955 'Kuvempu' (K. V. Puttappa) Sri Ramayana Darsanam (Epic)
1956 R.S. Mugali Kannada Sahitya Charitre (History of Literature)
1958 D. R. Bendre Aralu-Maralu (Poetry)
1959 K.S. Karanth Yakshagana Bayalata (A treatise on folk-drama)
1960 'Vinayaka' (V. K. Gokak) Dyava-Prithvi (Poetry)
1961 A.R. Krishna Sastri Bengali Kadambarikara Bankim Chandra (A critical study)
1962 Devudu Narasimha Sastri Mahakshatriya (Novel)
1964 B. Puttaswamayya Kranti-Kalyana (Novel)
1965 S.V. Ranganna Ranga Binnapa (Philosophical reflections)
1966 P.T. Narasimhachar Hamsa Damayanti Mattu Itara Rupakagalu (Musical plays)
1967 D.V. Gundappa Shrimad Bhagavadgita Tatparya Athava Jivanandharmayoga (Philosophical expositions)
1968 'Srinivasa' (Masti Venkatesa Iyengar) Sannakathegalu (12-13) (Short stories)
1969 H. Tipperudraswamy Karnataka Samskriti Sameekshe (Cultural study)
1970 S.B. Joshi Karnataka Samskritiya Poorva Peethike (Cultural study)
1971 Adya Rangacharya Kalidasa (Literary criticism)
1972 S.S. Bhoosnurmath Shoonyasampadaneya Paramarshe (Commentary)
1973 V. Sitaramiah Aralu Baralu (Poetry)
1974 Gopalakshrishna Adiga Vardhamaana (Poetry)
1975 S.L. Bhyrappa Daatu (Novel)
1975 L. Gundappa Translations from Tamil, Sanskrit to Kannada
1976 M. Shivaram Mana Manthana (Psychiatric studies)
1977 K.S. Narasimhaswamy Tereda Baagilu (Poetry)
1978 B.G.L. Swamy Hasuru Honnu (Travelogue)
1979 A.N. Moorthy Rao Chitragalu Patragalu
1980 Goruru Ramaswami Iyengar Americadalli Goruru (Travelogue)
1981 Chennaveera Kanavi Jeewa Dhwani (Poetry)
1982 Chanduranga Vyshakha (Novel)
1983 Yashwant Chittal Katheyaadalu Hudugi (Short stories)
1984 G.S. Sivarudrappa Kavyartha Chintana (Literary criticism)
1985 T.R. Subba Rao Durgaasthamaana (Novel)
1986 Vyasaraya Ballal Bandaaya (Novel)
1987 K.P. Poornachandra Tejaswi Chidambara Rahasya (Novel)
1988 Shankar Mokashi Punekar Avadheshwari (novel)
1989 H.M. Nayak Samprati (Belles Lettres)
1990 Devanur Mahadeva Kusuma Bale (Novel)
1991 Chandrasekhar Kambar Sirisampige (Play)
1992 Subbanna Ekkundi Bakulada Hoovugalu (Poetry)
1993 P. Lankesh Kallu Karaguva Samaya (Short stories)
1994 Girish Raghunath Karnad Tale Danda (play)
1995 Kirtinath Kurtkoti Uriya Nalage (Criticism)
1996 G.S. Amur Bhuvanada Bhagya (Literary Criticism)
1997 M. Chidananda Murthy Hosatu Hosatu (Criticism)
1998 B.C. Ramchandra Sharma Sapthapadi (Poetry)
1999 D. R. Nagaraj Sahitya Kathana (Essays)
2000 Shantinath Kuberappa Desai Om Namo (Novel)
2001 L. S. Seshagiri Rao English Sahitya Charitre (Literary history)
2002 Sujana (S. Narayana Shetty) Yugasandhya (Epic)
2003 K.V. Subbanna Kaviraja Marga Mattu Kannada, Jagattu (Essays)
2004 Geetha Nagabhushana Baduku (Novel)
2005 Raghavendra Patil Teru (Novel)

Kendra Sahitya Academy Awardees (Translation)
2005 Dr. Panchakshari Hiremath, Urdu to Kannada

Other Eminent Writers
De. Javare Gowda
Samethanahalli Rama Rao (Raasa)
Anupama Niranjana
B M Srikanthaiah (B M Sri)
Dr. A. N. Krishna Rao (Anakru)
G P Rajarathnam
G.B.Joshi (JadaBharata)
M Govinda Pai
M.V.Seetaramiah
Nisar Ahmed K.S.
P Lankesh
Dr.Panchakshari Hiremath
Panje Mangesh Rao
S.V.Parameshwara Bhatta
T. P. Kailasam - drama
Tha. Ra. Subbarao
Thee. Nam. Shree
R.K. Narayan, Noted Indian Author
R.K. Laxman, Famous Indian Cartoonist & Humorist
Kamala Markhandaya
Triveni (Sharapanjara)Novelist
G.P.Rajaratnam (Ratnana Padagalu)
Beechi - humorist
Dr M.Shivaram, Rashi - humorist
T. Sunandamma - humorist
H.L. Nage Gowda - folklorist
Anakaru - Novelist
M. Ramamurthy
K.V Iyer
Devudu
Niranjana
Na. Kasturi
Navaratna RamaRao
T.T Sharma - Journalism
VeeraKesari
Siddavanahalli Krishna Sharma
Hariharapriya
R.Kalyanamma
Tirumale Rajamma
Ambabai
H.V. Savitramma
H.S. Parvathi
Chi. Na. Mangala
H.R. Indira
M.K. Indira
M.V. Kanakamma
Nirupama
N. Pankaja
Usha Navaratna Ram
Kakolu Saroja Rao
Anupama Niranjana
Vi. Seetharamiah . - Poet, Critic
Basavaraja Kattimani
Nanjanagudu Tirumalamba (authoress)
Sundar V. Nadkarni Fiction writer and Poet
Ta. Raa.Subba Rao Novelist
Veenaa Shantheshvara Short Story Writer
Vaidehi Short Story Writer
Sumangala Short Story Writer
Dr K R Sandhya Reddy Poet, Story Writer, Folk Literature
Prathibha Nandakumar Poetess
D.R.Nagraj Critic
K.V.Narayana Literary Critic and Linguist
B.C.Ramachandra Sharma Poet and Fictionist
Shanhinatha Desai Novelist, Story Writer
Kum. Veerabhadrappa Novelist, Story Writer
Gowri Lankesh, Columnist
Vishweswara Bhat, Columnist
Ravi Hanj, Columnist
B.V Veerabhadrappa, Columnist
A N Murthy Rao
Shivarudraprasad, shimoga. poet and story writer
 won prize for his story from Samyuktha Karnataka News daily,2007

Christian Missionaries Literature
Rev. John Garet (translated Bible, Bhagavadgita, Panchatantra, Shabda Manidarpana to Kannada)
Daniel Sanderson
Ellis Robert
Rev. B.L Rice
Edward Peter Rice

Ref
Dr. Suryanath U. Kamat, A Concise history of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore, 2001 (Reprinted 2002) OCLC: 7796041
Prof K.A. Nilakanta Sastri, History of South India, From Prehistoric times to fall of Vijayanagar, 1955, OUP, New Delhi (Reprinted 2002), ISBN 019560686-8
R. Narasimhacharya, History of Kannada Literature, 1988, Asian Educational Services, New Delhi, Madras,1988 ISBN 81-206-0303-6.
Ramachandra Sidenur, Karmanye Vadhi Karaste, 2004, Dharwad
History of Karnataka, Arthikaje
History of Kannada Literature, Dr. Jyotsna Kamat
Literature from old Bangalore
Dvaita saints

Source Wiki
List is incomplete with prehistoric, Satavahana, Kadamba, Chalukya  and many other dynasties Literature not added. Will be Added shortly.

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BhavaGeethe - Poetry Marries Music

In 1980, medium wave radio sets across Karnataka began to tune into something new. Each day, for half an hour, people all over the state began to listen to a programme on Vividh Bharati Seva that played non-filmy Kannada songs or bhavageete. In the decade that followed, bhavageete, literally meaning “songs with emotion”, went through an incredible revival. Musty recording studios in Bangalore, Mysore and Dharwad started putting out compilations of Kannada bhavageete on tape, and these cassettes competed with mainstream Kannada film audio releases. Bhavageete combines expressionist poetry and light or semi-classical music, and relies heavily on both words and musical score. A resurgence of enthusiasm for the genre in Karnataka in the ’80s led to a renewed interest in modern Kannada poetry as well. Kuvempu, DR Bendre, Gopalkrishna Adiga and lesser known poets like KS Nissar Ahmed were reintroduced to an entire generation by bhavageete performers like Mysore Ananthaswamy, C Aswath, Shimoga Subbanna and Ratnamala Prakash. Thirty years since that half-hour programme debuted on AIR, bhavageete continues to be a force in Karnataka, with many performers, regular concerts and the odd album release.

As a classical form of "Folk music" Bhavageete has also gained applaud in the rich chronicle of Karnataka Music, which is again exceptionally atmospheric. Both the elements of the classical music and folk music are ideally interwoven in the genre of Bhavegeete. Rustic emotion, native wit and spontaneity are the base of the "Bhavegeete", which pounded a million souls. Bhavegeete, till today stands as that bridge to connect the high and low with its musical and literary expression.

Bhavegeete is an emblematic form of "emotion poetry" where expressing the deep desire of meeting the ultimate, Experiencing the "Omnipresence of the Omnipotent" is articulated amidst light music and perfect verbiage. Love, love for nature, Indian philosophy above all the philosophy of life are all united with the strings of "Bhavageete" which is even lot more than being just a particular form of " Expressionist poetry" This genre of music became popular  as a form of expressionist lyrics especially in Karnataka. Whilst the verve of the Kannada  lyrics enriched the Karnataka bhavageete.

Bhavageethe also known as Sugama Sangeeth, is the semi-classical form of Music, influenced by both the systems of Music Folk as well as classical . Metrical Poetry written in kannada is set to tune by composers.  A group of musicians composed of one or more singers with percussion support and one or two lead instruments (Mandolin, sitar, flute etc.) supported by guitar and bass guitar performs these songs. Of late,  electronic keyboards and synthesizers have crept in as the lead instruments making traditional classical instruments less prominent. “B hrungada Benneri Bantu Bhavageeta”, exclaimed the mystic bard Bendre, tracing the malodorous flight of the Kannada lyric. If the song came riding the bee's back,  then who but the poet can fathom the many fragrances it embodies! A form that is unique to Kannada and marathi languages –the bhavageethe or sugama sangeeta – came with the intention taking to every home verses written
by major poets of the land.  Thus lyric and melody got intertwined into a lasting relationship, like bee and honey. If every Kannadiga worth his salt hums “Hachchevu Kannadada Deepa” or “Ede Tumbi Haadidenu” it's not only a celebration of the immortal lyric, but also of timeless  tunes that dropped it on every lip Coming together.
Scan the pages of BhavaGeethe history and you will see that every great singer who came by gave it a rich, distinct personality.The organic texture of the Kannada lyric at once had a strain of khyal music, carnatic classical, the ghazal, the folk song, apart from the singer's own persona. Now, as you lament the fading away of such a glorious tradition that once throbbed with vitality, M.D. Pallavi renews the faint hope.
MSIL Geethagalu
In 1980, long before it became fashionable for corporate houses to take an interest in culture, Mysore Sales International Limited (MSIL) created and presented a high quality programme of Kannada songs called MSIL Geethegalu.  Thursdays became special for Kannada music lovers. That half-hour slot on Vividh Bharati sparked off great enthusiasm  for the Kannada bhavageete, taking even its sponsors by surprise. Hundreds of Kannada poems sprang to musical life on  audio cassettes, and a genre found its voice. Sugama
sangeeta, the singing of non-film Kannada songs, assumed such momentum  that Bangalore studios were busy for a whole decade, recording one bhavageete album or the other. That movement unveiled musicians like C Ashwath and Rathnamala Prakash, who are celebrities today. And composers like Mysore Ananthaswamy became household names. The mystic poet Shishunala Sharif's songs Taravalla tagi ninna tamboori and Alabeda tangi alabeda were first sung on this programme. These poems had been in circulation in north Karnataka, but they suddenly became popular all over the State after Ashwath made new tunes for them. Sharif's compositions were later recorded in eight cassettes, and set a record in the sale of  Kannada cassettes. Ashwath made the music for 72 Sharif songs. Kannada literary giants of this century -- B M Sri, Kuvempu, D V Gundappa, G P Rajarathnam, K S Narasimhaswamy and others -- became more popular when they were sung by sugama sangeeta artistes,  although one school, led by poet Ramachandra Sharma, maintains that sugama sangeeta can ruin the poetic instinct, which doesn't need  the "crutches" of music.

After a gap of 20 years, MSIL is renewed its association with Kannada music. Its just-instituted Nityotsava Award presented in November to the best male and female singers of the year. "It's our way of discovering sugama sangeeta singers of the future," said I M Vittala Murthy, the poetry-loving IAS officer who heads MSIL.The awards are named after Nityotsava, the first Kannada bhavageete album, and one of the most remembered tapes to this day. It featured the poems of K S Nissar Ahmed, with music by Mysore Ananthaswamy. Later tapes like Bhavasangama and Mysore Mallige also achieved cult status.

Starting this year,MSIL will hold an annual competition to spot young talent from schools and colleges all over Karnataka. Four young people (a boy and a girl each from the school and college categories) will be given Nityotsava Awards and named 'MSIL singers of the year'.



Sources
Music Magazine
IndianetZone
TimeoutBengaluru

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Karnataka 's Persian Affair

Persia (Iran) and karnataka  had intensive relations since ancient times. Each influenced each other to a great extend in all fields , let us explore the unique relationship.

King Darius I and Parashurama
The unfavorable condition of Northwestern part of India(Pakistan, Afghanistan),  under Darius I is aptly described in Behistan Inscription. He describes how he captured the Magu king and killed. The Samkiccha Jataka describes the same story - 'Yo cha Raja Adhammattho Mago tapayitva Janpadam, Tapne pecca paccati'.
What is the relevance of this King Darius  of  Achaemenid Dynasty who ruled Iran(Persia) to Karnataka. Many people unable to bear harshrule migrated from these regions and settled in several colonies under parashuram leadership from Gujarat to Kerala. Thus was started the migration of Paisachi Prakrit speaking people into Karnataka radically altering the demographic and geo- political landscape. In fact satavahana inscriptions show many paisachi words. Many of them settled in Maharastra especially Aparanta(konkan) region and vidarba region. One Group went south through karnataka and one group through Andhra and another through  western coast to kerala and Tamilnadu and eventually Lanka.

Ashoka Parthavi edict
In The Nittur Edict(Bellary) Ashoka Calls Himself The Ruler Of Parthia, "Mahalake hi vijitam" ('Vast is my empire'), proclaims Ashoka, but how extensive really was his dominion in the West? In the Nittur Edict he explicitly calls himself the king of Pathavi - an unmistakable allusion to Parthia or Parthava of the Achaemenian records of Darius. Writers like Romila Thapar attempt to explain this away by suggesting that Pathavi corresponds to Prithvi, or the Earth, and that the statement only demonstrates royal vainglory. A world emperor like Ashoka who sent missionaries to kings of many other parts of the Earth surely was not so foolish as to call himself the ruler of the Earth. The Edict shows he is also ruler of parthia (Persia – Modern Iran). This explains the wide contact between Karnataka and Persia since earliest times.Significance of Nittur Inscription reveals persia(Iran) was under Ashoka Rule.

Pulikesin II exchanges envoys with Sassanaid Khusro II
Around 625-26 AD , Chalukya King Pulakesin II (AD 610-42) exchanged envoys with Sassanian King Khusrau II (AD 596- 626). The same has been depicted in Ajantha Cave I. This information is also mentioned by persian historian Tabari, who says in the 35th year of Khusrau perviz reign an Indian King Pharmeish or paramesa(parmeswara - title of pulakesin) sent to an ambassador carrying letters and presents to monarch and sons.The return embassy by Khusrau is depicted in Ajanta.

Vinayaditya gives protection to Persia
With the defeat of Harsha by pulikesin II and his successor Yasovarman by Vinayaditya the whole of India was under the chalukyas. Great ruler Vinayaditya realised the value of strong persia against the Arabs which was under Islamic Invasion. So he sent a battalion to protect the persia. The chalukya records show that the tribute was paid for protection by Kamera (Khamer or Combodia), Parasika (persia) and Simhala (Lanka). Visionary Vinayaditya sent a ambassdor to chinese Kao-Tsung as well. This is confirmed by Ma-Twan- Lin, who says Indian Emperor Tche-Leou-k'I-Pa-Lo(chi-lu-khi-pa-lo) or Chalukya Vallabha sent an ambassador (date 692AD). With the decline of persia, During Vikramaaditya II (733-745 AD) reign an Arab attempt to penetrate into the Deccan was thwarted by Avanijanashraya Pulakesi, the Chalukya general of Lata.

Rastrakuta , persia and Zorastrians
Persian travelers who visited Malkhed at the time of Rastrakuta's spoke of the monarchs of Rastrakutas Dynasty as 'the Emperors of Hindustan'- among the most powerful rulers of the period. The Rastrakuta's provided protection to Zorastrians fleeing persia in India. Records show large trade between persia and Rastrakuta Empire. The persian account Hudud al alam(982AD) mentions rastrakuta and chalukyas as the Bhallaraj(Srivallabha – Chalukyas and Rastrakutas) of kamkar (karnata). The persian account also claims that Rastrakuta and pratihara's were enemies of Pala. Kannauj was under poessision of Rastrakuta for a considerable time. And aptly it adds Rastrakutas as the Emperors of Hind.  
Karnata vamsavali kings near Persia
Masudi calls even Khandahar as the country of Rahbut(Rajputs are of karnataka origin) , which puts karnata rulers in the neibhourhood of Persia. Masud calls them Chach (seems to be Rajputs of Chalukya origin). Curiously Rajputs of that area (Sindh and Baluchistan and Punjab of pakistan) call themselves Bhatti Rajputs, Janjuas have always claim descendancy from Pandavas. Name Bhatti(Bhatt) and pandavas(Matrilineal society) can be only be a community that is from Coastal Karnataka around Mangalore. May be the community developed out of chalukyan expedition against Arabs and settled there. Janjuas rajputs gave rise to famous Janjuas shahi dynasty (though they did not call themselves shahis, they are named shahis because they immediately succeeded shahi dynasty and resisted Ghaznavids invasions.

Western Chalukya trade with Persia
Aihole inscription gives vivid account of flourishing trade between karnata and persia. Travelling both land and sea routes, these merchants traded mostly in precious stones, spices and perfumes, and other specialty items such as camphor. Business flourished in precious stones such as diamonds, lapis lazuli, onyx, topaz, carbuncles and emeralds. Commonly traded spices were cardamom, saffron, and cloves, while perfumes included the by-products of sandalwood, bdellium, musk, civet and rose. These items were sold either in bulk or hawked on streets by local merchants in towns. While eastern Chalukyas controlled the eastern seaboard, The Western Chalukyas controlled most of South India's west coast and by the 10th century they had established extensive trade ties with the Tang Empire of China, the empires of Southeast Asia and the Abbasid Caliphate in Bhagdad, and by the 12th century Chinese fleets were frequenting Indian ports. Exports included textiles, spices, medicinal plants, jewels, ivory, rhino horn, ebony and camphor to Dhofar, Aden and also Song dynasty in China. The final destinations for those trading with the west were Persia, Arabia and Egypt. The thriving trade center of Siraf, a port on the eastern coast of the Persian Gulf, served an international clientele of merchants including those from the Chalukya empire who were feasted by wealthy local merchants during business visits. An indicator of the Chalukyan merchants' importance in Siraf comes from records describing dining plates reserved for them. In addition to this, Siraf received aloe wood, perfumes, sandalwood and condiments. The most expensive import to karnataka were Arabian horse shipments, this trade being monopolised by Arabs and local merchants. The Western coast was the responsibility of Gujarat Chalukyas, Silharas and later Kadambas. All the three took great care to cultivate good relations with persia and Middle east.


Persian envoy Abdul Razak visited during Krishnadeva raya regime
Awe-struck by the splendor and prosperity prevailing in the Vijayanagar Empire, Abdur Razaak said,- “The pupil of the eye has never seen a place like it and the ear of intelligence has never been informed that there existed anything to equal it in the world”. Abdur Razaak was the Persian ambassador who had visited Vijayanagara in 1446.

Trade during VijayNagar regime
Persian Ambassador Abdul Razak graphic discription of Mangalore, Bhatkal, Honavar is significant.
Mangalore, Bhatkal and Honavar were international ports in Vijayanagar times trading with Arabia and Persia. During the reign of Vijaynagar dynasty’s ‘Pepper Queen’ Ambakka, an ascription given by the Portuguese whom she had defeated. Indian spices including black pepper, cloth, rice, medicines, jaggery, sugar etc. were in great demand in Middle East, Europe and Mediterranean countries. These were produced in abundance in all the coastal belt. More than a dozen chiefs ruled in this region whose area at times, did not exceed more than 100 – 200 villages. Prominent among them were Santras (Bairaras) of Karkal, Bangas of Bangadi (Nandavar), Sawants of Mulki, Choutas of Mudbidri & Ullal, Ajilas of Venur, and Tolahas of Sura. These chiefs fought among themselves and with local administrators of Vijayanagar, most of the time, to become independent or for reduction fee in tributes and subsidies. But the strong Central Government of Vijayanagar had kept them under control, with overall supervision of Nayakas of Keladi. Over time, Some Persian-Arab traders decided to settle Bhatkal and that sect got the name ‘Navayaths’, or newcomers. Food – has an intricate relationship with the Navayath people and their culture, the cuisine from Bhatkal is just that. Rich in cultural history with strands of cuisine from the Arab and persian world which eventually have blended with the local dishes of the land.

Bahmani Kingdom and Persia
The sultanate was founded on 3rd of August 1347 by governor Ala-ud-Din Hassan Bahman Shah, possibly of Tajik-Persian descent, who revolted against the Sultan of Delhi, Muhammad bin Tughluq. Nazir uddin Ismail Shah who had revolted against the Delhi sultanate stepped down on that day in favour of Zafar Khan who ascended the throne with the title of Alauddin Bahman Shah with first Gulabarga and then Bidar as capital. His revolt was successful, and he established an independent state on the Deccan. But soon the kingdom split into five sultanates. The Bahmani dynasty believed that they descended from Bahman, the legendary king of Iran. They were patrons of the Persian language, culture and literature. Some of the Bahmanid kings and princes took a personal interest in Persian, as well, and became well-versed in Persian language and literature. Hazrat Khwaja Syed Muhammad Gesu Draz, scholar of both kannada and persian, greatly encouraged the interaction between the two. Bahmani kings brought artisans from persia, Arabia and Turkey blending with local styles they built great many architectural wonders like Gol Gumbaz. The Bahamani army had soldiers from Turkey, Arabia and Persia.

Mahmud Gawan
Mahmud Gawan arrived in Bidarfrom Persia in 1453. A great scholar of Islamic lore, he founded the Madarassa (college) from his own funds on the line of Universities of Samarkhand and Khorasan. A selefless worker, he became a prime-minister of Bahamani king Mahmud III (1462- 82) whom he tutored in earlier days. But Gawan became a victim of the palace intrigue and was beheaded by the drunkern king. The later kings of the Bahamani dynasty were too weak to keep the kingdom in tact, and this led to the breakup. Bahmani kingdom survived until babur took over.

Adil Shah Origin
According to the historian Mir Rafi-uddin Ibrahim-i Shirazi, or Rafi', Yusuf's full name was Sultan Yusuf 'Adil Shah Sawa or Sawa-i, the son of Mahmud Beg of Sawa in Iran. Rafi's history of the 'Adil Shahi dynasty was written a the request of Ibrahim Adil Shah II, and was completed and presented to the patron in AH 1017. T.N. Devare mentioned that while Rafi's account of the Bahmani dynasty is filled with anachronisms, his account of the Adilshahi is "fairly accurate .

Rafi's account is less well known than that of the popular historian Firishta, the author of the Nawras- nama, also known as the Gulshan-i Ibrahim. Rafi's account of the life of Yusuf 'Adil Shah directly contradicts a fanciful legend related by Firishta on the origins of the Adil Shahi dynasty. According to him, Yusuf Adil Shah is said to have been the son of Murad II, Ottoman sultan and caliph of Islam, who was succeeded by one of his sons, Mehmed II. After his accession, the new sultan is said to have ordered the execution by strangling of all his brothers, including Yusuf. Yusuf's mother contrived to save him by replacing him with a slave boy; she then arranged to have Yusuf conveyed to Persia. Yusuf eventually came to India, where he took service under the Bahmani ruler of the Deccan, ultimately becoming a personage of importance at the court of Mahmud II.

kannada and persian as court languages in karnataka
Kannada, Persian and Arabic were court languages in Bahmani kingdom. Many of scholars in Bahmani court were well versed in both. During Mughal rule kannada elements were taken into persian by the local scholars when they went to Mughal Imperial court. Tipu sultan also made persian and kannada as court languges.  The direct interaction between Kannada (and Telugu, Marathi) and Persian along with Arabic has given a unique blend of Urdu called Deccani and it has large number of Kannada, Telugu and Marathi words.
 
Persia accounts
Persian historian Tabari gives vivid accounts of Chalukyas under pulikesin.

In 1017 A.D., at the behest of Sultan Mahmud of Persia, Alberuni (a.k.a. Al-Biruni) traveled to India to learn about the Hindus, "and to discuss with them questions of religion, science, and literature, and the very basis of their civilization". He remained in India for thirteen years, studying, and exploring. Al beruni gives a vivid accounts of Rastrakutas and karnataka.

Persian historians give account of the glory of seunas of Devagiri. Persian accounts such Burhan-i-Ma'asi , Janjira Nawab , Riyazul Insha have greatly helped in the stitching together the history in south India and karnataka in particular.

Writings of Nuniz confirms that the kings of Burma paid tributes to Vijayanagara.

Famous historian Muhammad Qasim Firishta (1560 – 1620) lived in court of Adilshah and wrote Khulasatu-t Tawarikh. Firishta not only gives vivid account of extend of Gazni raids but also the ruthlessness with which local people, temples and property destroyed by muslim rulers. It gives the vivid accounts of Bahmani rulers.

Timurid Abdur Razzaq persian Ambassador to VijayNagar Empire court during the Great Krishna Deva Raya gives vivid account of the Empire and the Emperor.

Afanasy Nikitin Russian traveler of 15th century who visited Bahmani and VijayNagar kingdoms says, There were many people coming from Khorassan (north east of Iran) Bahmani kings kept close link with the region and scholars were invited to settle in Bidar by Muhammad Gawan.

Other Accounts
Cosmas Indicopleustes of the 6th century talks about Churches Persian bishop at Kalliana (Kalyan) then under Kadambas.
Ahbar as-Sin wa'l-Hind the Arab accounts of 9th century speak of flourishing trade between Karnataka and persia (and Middle east). Al beruni pays glowing tributes to Rastrakuta regime saying that the only country where muslims were allowed to practice the religion unhindered. He also talks about the trade ties between persia and then Rastrakuta empire.

Inscriptions in Arabic and Persian
The Bahmani kings first started giving inscriptions in persian and Arabic along with local languages Kannada, Telugu and Marathi. Large number of Inscription have found of Bahmani rule, subsequent Mughal dynasty, also Hyder Ali and Tipu Sultan regimes.

Music and Persian influence.
Some scholars say , Hindustani music is a rich combination of Carnatic music and traditional persian music in Bahmani rulers courts. While carnatic music flourished south of Krishna(VijayNagar Empire), Hindustani flurished in north of Krishna(Bahmani sultanates). Bijapur ruler Ibrahim II composed Kitabe Navras to introduce Hindu music to the Muslims and the book begins with an invocation to Saraswati and Ganapati. Thus started the Sufi tradition. When Mughals took over Bahmani kingdom, music went to North to Delhi Courts as well. Meanwhile Carnatic music was not insular to persian influences, Persian modes came to be grafted and the new ragas like Darbara and kalyana were evolved by saints like Purandara.

Persian influence in Architecture
The Bahamanis introduced the large scale use of paper in administration and began the Indo-Sarasenic architectural style, designed and constructed by Persian architects and artisans, (also known as Deccani architecture) with its local influences from Karnataka.The Sultanate monuments of Bidar and Gulbarga are testimony to their interest in architecture. The Bande Nawaz tombs and a Jama Masjid in Gulbarga which exhibits a persian influence are well known. In Bidar, their buildings have Persian, Turkish, Arabic and Roman influences (the Solah Khamba mosque being an example).Rangin Mahal, Gangan Mahal, Tarkash Mahal, Chini Mahal, Nagina Mahal and the Taqk Mahal are some of the palaces built by them that have retained their beauty. The Ahmad Shah Wali tombs are noted for their decor, and the school of learning (madrasa) built by Gavan in Bidar (1472), with its lecture halls, library, mosque and residential houses are also famous. The contributions of the Bijapur Sultanate in the Indo-Saracenic idiom to the architectural landscape of Karnataka is noteworthy. Their most famous monuments are the mausoleums called Ibrahim Rauza and the Gol Gumbaz apart from many other palaces and mosques. The elegance, finish and beauty of Mehtar Mahal is claimed by a historian to be equal to anything in Cairo. Their Kali Masjid at Lakshmeshwar is a synthesis of Hindu and Muslim styles. The Ibrahim Rauza built by Ibrahim II is a combination of a mausoleum and a mosque and is called the "Taj Mahal of the Deccan".The Gol Gumbaz built by Muhammad is the largest dome in India and the second largest pre-modern dome in the world after the Byzantine Hagia Sophia with an impressive "whispering gallery". Some historians consider this one of the architectural marvels of the world.

Kashida (Kasuti) 
The word kashida is derived from the Persian word meaning embroidery. This shows that there were contacts between Persia and Karnataka since the reign of Chalukyas in the 6th century A.D. Traditionally designs are worked out on the web of black Irkal handloom saris-the warp and weft of the fabrics regulated stitches. It was worked by counting threads and without knots, hence is identical on both sides. This type of embellishment is usually done by four varieties of stitches namely Ganthi- line or backstitch, vertical, horizontal and diagonal. Murgi- zig zag, it runs up and down like steps of a ladder. Negi, weaving stitch and Menthe-forked branch or cluster stitch resembling fenugreek seeds.

Bidriware
According to one version, Abdullah-bin-Khaiser, an expert in bidriware, migrated to Bidar in the 11th century and joined hands with an equally proficient goldsmith familiar with the secrets of the trade. Together they gave impetus to the craft.
Another popular tale recounts that one of the Hindu kings of Bidar innovated the crafts of bidriware, using the articles thus decorated to hold flowers and other offerings in honor of his household Gods. Later, under the patronage of the Mughals, indigenous manufacturers were extended both co-operation and encouragement and in course of time, bidriwork reached its zenith in perfection, design and finesse.
The traditional art of damascening in silver or Koftgari work, as Bidri is popularly known, entails encrusting one metal into another in the form of a wire. It is akin to the ancient art of inlaying gold and silver in copper and steel, which was practiced in Persia and Arabia at one time. It is believed that the know-how was brought to India from these countries but took an altogether different form, which became the specialty of Bidar from where it derives its name

Process of Making Bidriware The origin of the technical aspect of bidriware is not definitely known. It appears that like other Persian articles of metal, this particular type of work was probably developed by experimenting with various alloys to guarantee brilliance by contrast. The resultant ingredient was an alloy of zinc and copper combined with other non-ferrous metals.

The new alloy, thus produced, is brittle but does not rust or corrode and has the additional advantage of allowing a better polish. Each bidri utensil has to pass through a long complicated process of casting, polishing, engraving, inlaying and blackening of the alloy before the final product is ready for the market.

Persian wheel in Karnataka
The Persian wheel is a mechanical water lifting device operated usually by draught animals like bullocks, buffaloes or camels. It is used to lift water from water sources typically open wells. In Sanskrit the word Araghatta has been used in the ancient texts to describe the Persian Wheel. The ‘ara-ghatta’ comes from the combination of the words ‘ara’ meaning spoke and ‘ghatta’ meaning pot. There is evidence to argue that this system of lifting water from open wells was probably invented in the India of the past. With its use also in Iran, the then Persia, and perhaps its discovery there, it came to be called the Persian wheel. The celebrated writer philosopher Ananda K Coomaraswamy in his monograph ‘The Persian Wheel’ argues that it is not justified to draw its origins to Persia as it finds mention in the Panchatantra (3rd Century BCE) and the Rajatarangini (12 th century CE) as the ‘cakka-vattakka’ or the ‘ghati yantra’.

Persian wheel represents a water culture and water heritage of India. It therefore seems imperative to document and preserve the knowledge base around this instrument which was both a function and an indicator of the ecological availability of water at shallow levels. The great water heritage still practiced in Karnataka should be preserved.

The Rastrakuta empire records while decribing Agriculture ,explains about Persian wheel technology. The Vijaynagar empire promoted both persian wheel and Ghanat system (originated in persia) for irrigation.

As you can see the relations is very vast and we need  a chair either at Gulbarga, Bijapur or Bidar Universities  with a counterpart in Iran to study each aspect in this long interaction between karnataka and Persia on the one hand and Kannada and Persian on the other.

Sources
The Persian Wheel in India by Srikantaiah VISHWANATH
Political History of the Chalukyas of Badami By D. P. Dikshit
Chronicles of Early Janjuas By Hussain Khan
Goa Through the Ages: An economic history By Teotonio R. De Souza
Bahamani Kings of Gulbarga and Bidar by Dr. (Mrs) Jyotsna Kamat
Indo-Persian Travels in the Age of Discoveries, 1400–1800 by Muzaffar Alam, Sanjay Subrahmanyam

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