Nepathya: 16 definitions
Introduction:
Nepathya means something in Hinduism, Sanskrit, Marathi, Hindi. 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.
Alternative spellings of this word include Nepathy.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstra1) Nepathya (नेपथ्य) refers to the “tiring room” and forms part of a playhouse (raṅga), according to Nāṭyaśāstra 2.69. While building the stage of the playhouse,
“The tiring room (nepathya) should be furnished with two doors (dvāra). In filling up [the ground marked for the stage] the black earth should be used with great care. This earth is to be made free from stone chips (loṣṭa), gravel (śarkara) and grass (tṛṇa) by the use of a plough (lāṅgala) to which are to be yoked two white draught animals.”
2) Nepathya (नेपथ्य) refers to “costumes and make-up”, the main concern of the Āhāryābhinaya, or “extraneous representation” of a dramatic play, according to Nāṭyaśāstra chapter 23.
Nepathya is of four kinds:
- pusta (model work),
- alaṃkāra (decoration),
- aṅgaracanā (painting the limbs),
- sañjīva (the use of living creatures).
The tiring room (nepathya) was the place in which the actors and the actresses put on the costumes suited to the different roles, and from this place, the tumults, divine voices (daiva-vāṇī) and similar other acts proceeded. This part of the theatre was separated from the stage by two screens over its two doors, Between these two doors the members of the orchestra (kutapa) were to sit and the direction facing them was to be considered conventionally the east.
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).
Kama-shastra (the science of Love-making)
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (kama)Nepathya (नेपथ्य) or Nepathyaprayoga refers to “dressing and decorating a body”, representing one of the “sixty four kinds of Art”, according to the Kāmasūtra of Vātsyāyaṇa.—Indian tradition, basically includes sixty four Art forms are acknowledged. The references of sixty four kinds of kalā are found in the Bhāgavatapurāṇa, Śaiva-Tantras, Kāmasūtra of Vātsyāyaṇa etc.
Kamashastra (कामशास्त्र, kāmaśāstra) deals with ancient Indian science of love-making, passion, emotions and other related topics dealing with the pleasures of the senses.
Languages of India and abroad
Marathi-English dictionary
Source: DDSA: The Molesworth Marathi and English Dictionarynēpathya (नेपथ्य).—n S The part behind the scenes (on a stage); the tiring room &c. 2 Ornament, decoration, embellishment.
Source: DDSA: The Aryabhusan school dictionary, Marathi-Englishnēpathya (नेपथ्य).—n The part behind the scenes (on a stage); the tiring room. Ornament, decoration.
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.
Sanskrit dictionary
Source: DDSA: The practical Sanskrit-English dictionaryNepathya (नेपथ्य).—
1) Decoration, an ornament.
2) Dress, apparel, costume, attire; उदारनेपथ्यभृत् (udāranepathyabhṛt) R.6.6; राजेन्द्रनेपथ्य- विधानशोभा (rājendranepathya- vidhānaśobhā) 14.9; उज्ज्वलनेपथ्यविरचना (ujjvalanepathyaviracanā) Mālatīmādhava (Bombay) 1; Kumārasambhava 7.7; V.5; न पथ्यं नेपथ्यं बहुतरमनङ्गोत्सवविधौ (na pathyaṃ nepathyaṃ bahutaramanaṅgotsavavidhau) S. D.
3) Particularly, the costume of an actor; विरलनेपथ्ययोः पात्रयोः प्रवेशोऽस्तु (viralanepathyayoḥ pātrayoḥ praveśo'stu) M.1.
4) The tiring-room, the space where the actors attire themselves (which is always behind the curtain), the postscenium; नेपथ्ये (nepathye) 'behind the scene'.
Derivable forms: nepathyam (नेपथ्यम्).
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryNepathya (नेपथ्य).—n.
(-thyaṃ) 1. A stage, or the part behind the scenes, the tiring room, &c. 2. Ornament, decoration, embellishment. E. ṇī to guide, vic aff. and the vowel changed, ne the eye, or a chief, pathya proper, agreeable, grateful.
Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English DictionaryNepathya (नेपथ्य).— n. 1. Ornament, attire, [Raghuvaṃśa, (ed. Stenzler.)] 6, 6. 2. The attire of an actor, [Śākuntala, (ed. Böhtlingk.)] 3, 6. 3. The tiring room of a stage, the part behind the scenes, [Śākuntala, (ed. Böhtlingk.)] 8, 20.
Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English DictionaryNepathya (नेपथ्य).—[neuter] ornament, decoration, attire, dress, adj. —° dressed in, adorned with; also = seq., [locative] behind the scene.
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Nepathya (नेपथ्य):—n. (and m., [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]) an ornament, decoration, costume ([especially] of an actor), attire (ifc. f(ā). ), [Mahābhārata; Kāvya literature] etc. (thyaṃ-√kṛ, or grah or rac or vi-dhā, ‘to make the toilet’)
2) n. (in [dramatic language]) the place behind the stage (separated by the curtain from the raṅga), the postscenium, the tiring-room
Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English DictionaryNepathya (नेपथ्य):—[ne-pathya] (thyaṃ) 1. n. A stage; the dressing or tiring room; an ornament.
Source: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionary (S)Nepathya (नेपथ्य) in the Sanskrit language is related to the Prakrit word: Ṇevattha.
[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.
Hindi dictionary
Source: DDSA: A practical Hindi-English dictionaryNepathya (नेपथ्य) [Also spelled nepathy]:—(nm) back of the stage, green room; -[saṃgīta] playback music.
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Kannada-English dictionary
Source: Alar: Kannada-English corpusNēpathya (ನೇಪಥ್ಯ):—
1) [noun] that which lends beauty or grace; an ornament.
2) [noun] a room or place behind the screen where actors make themselves ready with make-up, attires, etc.
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)
Starts with: Nepathyabhimukham, Nepathyabhrit, Nepathyagita, Nepathyagrahana, Nepathyagriha, Nepathyaprayoga, Nepathyasamprayoga, Nepathyasavana, Nepathyavidhana.
Ends with: Baddhanepathya, Sunepathya, Vivahanepathya.
Full-text (+166): Nepathyagriha, Nepathyavidhana, Nepathyaprayoga, Baddhanepathya, Vivahanepathya, Nepathyasavana, Nepathyasamprayoga, Nepathyagrahana, Nepathyabhrit, Naipathyasavana, Nepathyabhimukham, Nevattha, Naipathya, Angaracana, Sunepathya, Nepathye, Nepattha, Sanjiva, Nepathy, Viracana.
Relevant text
Search found 10 books and stories containing Nepathya, Nēpathya, Ne-pathya; (plurals include: Nepathyas, Nēpathyas, pathyas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 11 - The technical aspects of a Prahasana < [Chapter 3 - Prahasana (critical study)]
Part 11 - Technical Aspects of a Samavakāra < [Chapter 6 - Samavakāra (critical study)]
Part 11 - Technical Aspects of a Īhāmṛga < [Chapter 9 - Īhāmṛga (critical study)]
Bhajana-Rahasya (by Srila Bhaktivinoda Thakura Mahasaya)
Text 19 < [Chapter 8 - Aṣṭama-yāma-sādhana (Rātri-līlā–prema-bhajana sambhoga)]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Description of Gati as in Viṣṇudharmottarapurāṇa < [Chapter 2 - Concept and technique of Gati]
Gaits relevant for sentiments < [Chapter 2 - Concept and technique of Gati]
Importance of Gati in Uparūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Amarakoshodghatana of Kshirasvamin (study) (by A. Yamuna Devi)
Daily Life (2): Dress and Ornaments < [Chapter 3 - Social Aspects]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Act III (Summary) < [Chapter 3 - Summary of the Play Jīvānandana Nāṭaka]
Analysis of Kāla and Karma (Time and Action) < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Establishing the Authorship of Ānandarāya Makhin < [Chapter 2 - Author, His Life and Works]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (b): Costume and Make up < [Chapter 3 - Drama and Dance]