Mukhasandhi, Mukha-sandhi: 2 definitions
Introduction:
Mukhasandhi means something in Buddhism, Pali, 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-śāstraMukhasandhi (मुखसन्धि) refers to the “segments (sandhi) of the opening part (mukha)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Mukhasaṃdhi and is also known by the name Mukhāṅga. These elements are essential for a successful dramatic play (nāṭya). The opening part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).
There are twelve elements of the opening segment (mukhasandhi) defined:
- upakṣepa (suggestion),
- parikara (enlargement),
- pariṇyāsa (establishment),
- vilobhana (allurement),
- yukti (decision)
- prāpti (accession),
- samādhāna (settling),
- vidhāna (conflict of feeling),
- paribhāvana (surprise),
- udbheda (disclosure),
- karaṇa (activity),
- bheda (incitement),
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).
In Buddhism
Buddhist philosophy
Source: Google Books: The Treasury of Knowledge: Book six, parts one and two (philosophy)Mukhasandhi (मुखसन्धि).—The “dramatic juncture of the introduction or protasis” in which an initial proposal is made. The introduction comprises the following twelve aspects:
- upakṣepa (‘suggestive insinuation’, alluding to the forthcoming plot),
- parikara (‘enlargement,’ indirectly intimating the coming events),
- parinyāsa (‘allurement’, by extolling the qualities of the hero or heroine),
- vilobhana (‘establishment’ of the seed of the plot),
- yukti (‘resolve’ to attain the objective of the plot),
- prāpti (‘accession’ to the anticipated joyful conclusion of the plot),
- samādhāna (‘determination’ of the purpose or germ of the plot),
- vidhāna (‘conflict’ of joyful and sorrowful sentiments),
- paribhāvanā (‘expressions of surprise’, giving rise to curiosity),
- udbheda (‘the first disclosure’ of the germ of the plot),
- karaṇa (‘the initial enactment’ of the plot),
- bheda (‘the hatching of’ a conspiracy).
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See also (Relevant definitions)
Partial matches: Mukha, Sandhi.
Ends with: Pratimukhasandhi.
Full-text: Vidhana, Yukti, Vilobhana, Paribhavana, Upakshepa, Samadhana, Udbheda, Parinyasa, Bheda, Mukacanti, Prapti, Sandhyanga, Parikara, Mukhanga, Vishkambhaka, Karana, Khatakamukha.
Relevant text
Search found 7 books and stories containing Mukhasandhi, Mukha-sandhi; (plurals include: Mukhasandhis, sandhis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Mudrarakshasa (literary study) (by Antara Chakravarty)
5. Deliberation of the Pañcasandhi in Mudrārākṣasa < [Chapter 6 - Other Literary Estimates of Mudrārākṣasa]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Sandhis and Sandhyaṅgas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Mukha Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Vīra-rasa < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 10 - Application of the Junctures (sandhi) in a Vīthī < [Chapter 7 - Vīthī (critical study)]
Part 10 - Application of the Junctures (sandhi) in a Utsṛṣṭikāṅka < [Chapter 8 - Utsṛṣṭikāṅka (critical study)]
Part 10 - Application of the Junctures (sandhi) in a Īhāmṛga < [Chapter 9 - Īhāmṛga (critical study)]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Sandhi (the combination of different phases) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Arthopakshepakas (modes of Introduction) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Shishupala-vadha (Study) (by Shila Chakraborty)
Knowledge of Nāṭyaśāstra in the Śiśupālavadha < [Introduction]
Śiśupālavadha is an epic < [Introduction]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2.2. Hand Postures (a): Asaṃyukta-hasta < [Chapter 3 - Drama and Dance]