Ankamukha, Aṅkāmukha, Aṅkamukha, Anka-mukha, Amkamukha: 8 definitions
Introduction:
Ankamukha means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraAṅkāmukha (अङ्कामुख) refers to the “anticipatory scene”. According to the Nāṭyaśāstra chapter 21, it is one of the five explanatory devices (Arthopakṣepaka). These ‘explanatory devies’ were adopted by the playwright for clarifying the obscurities that were liable to occur due to his extreme condensation of the subject-matter. The term is used throughout nāṭyaśāstra literature.
Source: archive.org: Natya ShastraAṅkāmukha (अङ्कामुख).—One of the five explanatory devices (arthopakṣepaka);— When the detached beginning of an Act is summarized beforehand by a male or a female character, it is called a Anticipatory Scene (aṅkamukha).
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
Languages of India and abroad
Sanskrit dictionary
Source: DDSA: The practical Sanskrit-English dictionaryAṅkamukha (अङ्कमुख).—(or āsyam) that part of an act, wherein the subject of all the acts is intimated, is called अङ्कमुख (aṅkamukha), which suggests the germ as well as the end; e. g. in Mālatīmādhava (Bombay) 1 कामन्दकी (kāmandakī) and अवलोकिता (avalokitā) hint the parts to be played by भूरिवसु (bhūrivasu) and others and give the arrangement of the plot in brief (yatra syādaṅka ekasminnaṅkānāṃ sūcanākhilā | tadaṅka- mukhamityāhurbījārthakhyāpakaṃ ca tat || S. D.322.) The Daśarūpa defines it thus: अङ्कान्तपौत्ररङ्कास्यं छिन्नाङ्कस्यार्थसूचनात् (aṅkāntapautraraṅkāsyaṃ chinnāṅkasyārthasūcanāt) | i. e. where a character at the end of an act cuts short the story and introduces the beginning of another act; as in the second of Mv.
Derivable forms: aṅkamukham (अङ्कमुखम्).
Aṅkamukha is a Sanskrit compound consisting of the terms aṅka and mukha (मुख).
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English DictionaryAṅkamukha (अङ्कमुख):—[=aṅka-mukha] [from aṅka > aṅk] n. introductory act of a drama giving a clue to the whole plot.
Source: Cologne Digital Sanskrit Dictionaries: Goldstücker Sanskrit-English DictionaryAṅkamukha (अङ्कमुख):—[tatpurusha compound] n.
(-kham) That act of a drama, usually the first, which contains the exposition and furnishes a clue to the subject of the whole story. E. aṅka and mukha.
[Sanskrit to German]
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Kannada-English dictionary
Source: Alar: Kannada-English corpusAṃkamukha (ಅಂಕಮುಖ):—[noun] = ಅಂಕಾಸ್ಯ [amkasya].
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
See also (Relevant definitions)
Ends with: Kankamukha, Karankamukha, Shashankamukha.
Full-text: Arthopakshepaka, Akkasya.
Relevant text
Search found 3 books and stories containing Ankamukha, Aṅkāmukha, Aṅkamukha, Anka-mukha, Aṅka-mukha, Amkamukha, Aṃkamukha; (plurals include: Ankamukhas, Aṅkāmukhas, Aṅkamukhas, mukhas, Amkamukhas, Aṃkamukhas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Arthopakshepakas (modes of Introduction) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Dhanañjaya’s methodology of discussion < [Introduction]
Natyashastra (English) (by Bharata-muni)
Chapter XXI - Limbs of Segments (sandhi)
Part 3 - Literary Structure of the Drama < [Introduction, part 1]