Who among the following is also called 'Nishank'?

Question

Accepted Answer

The correct option is 3:
Sharangdev (also spelled Sharngadeva) is the musicologist who is also famously known by the honorific title 'Nishank' or 'Niśśaṅka Śārṅgadeva'. This epithet translates to 'fearless' or 'doubtless' and was bestowed upon him due to the comprehensive and authoritative nature of his work. He is the author of the monumental 13th-century Sanskrit treatise, the *Sangeet Ratnakar* (Ocean of Music and Dance). This text is considered a pivotal reference point in the history of Indian classical music, as it synthesizes the older concepts of *Gram* and *Murchhana* with the emerging practice of *Ragas*, thereby bridging the gap between ancient and medieval music systems. His meticulous documentation and systematic classification cemented his status as an unquestionable authority in the field.

The incorrect option is 1:
Bharat Muni is the earliest and most revered figure in the history of Indian performing arts, renowned for authoring the *Natyashastra*. He established the foundational principles of *Rasa* (aesthetic emotion), *Bhava* (psychological states), and the system of *Murchhanas*. He is routinely referred to by the honorific 'Muni' (sage) but is not known by the specific title 'Nishank'. His work forms the base of all subsequent theoretical texts, predating Sharangdev by over a thousand years.

The incorrect option is 2:
Matang Muni is credited with writing the important musicological text *Brihaddeshi*, sometime between the 5th and 9th centuries A.D. His major contribution lies in formally defining the term *Raga* as a melodic form that delights the mind, a crucial step away from the earlier *Jati* system. Like Bharat, he is known as 'Muni,' signifying his revered status as a sage and theorist, but the title 'Nishank' is not historically attributed to him.

The incorrect option is 4:
Ahobal was a later theorist who lived in the 17th century and authored the *Sangeet Parijat*. His text is significant for introducing a pragmatic, scientific system for determining the position of *Swaras* (notes) based on the measured length of the string on the *Veena*. This departure from the purely *Shruti*-based system of the past helped pave the way for the modern twelve-note scale. Ahobal's innovation marks a much later phase in music history and he did not carry the epithet 'Nishank'.