Aviddha, Āviddha: 18 definitions
Introduction:
Aviddha means something in Hinduism, Sanskrit, Jainism, Prakrit, Buddhism, Pali. 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.
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In Hinduism
Purana and Itihasa (epic history)
Source: Cologne Digital Sanskrit Dictionaries: The Purana IndexAviddha (अविद्ध).—The son of Janamejaya; conquered the eastern region.*
- * Vāyu-purāṇa 99. 120.
The Purana (पुराण, purāṇas) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahapuranas total over 400,000 shlokas (metrical couplets) and date to at least several centuries BCE.
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstra1a) Āviddha (आविद्ध) refers to a specific gesture (āṅgika) , or “movements made with the arms (bāhu)”. It is a Sanskrit technical term defined in the Nāṭyaśāstra chapter 9. These movements form a part of the histrionic representation (abhinaya).
1b) Āviddha (आविद्ध, “energetic”) refers to one of the two types of production of a dramatic play (nāṭya), according to the Nāṭyaśāstra chapter 14.
According to the Nāṭyaśāstra chapter 34, “Ḍima, Samavakāra, Vyāyoga and Īhāmṛga are known to be plays of the energetic of type by producers. The play which requires energetic (āviddha) type of aṅgahāras to represent cutting, piercing, and fighting, and includes a representation of the use of magic and thaumaturgy as well as artificial objects and costumes, and has among its dramatis personae many males and a small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles applied in its production, is of the energetic type”.
2) Āviddhā (आविद्धा) refers to a one of the thirty-two cārīs, according to the Nāṭyaśāstra chapter 11. The Āviddhā-cārī is classified as a ākāśikī, or “aerial”, of which there are sixteen in total. The term cārī refers to a “dance-step” and refers to the simultaneous movement of the feet (pāda), shanks (jaṅghā) and the hip (ūru). From these cārīs proceed dance as well as movements in general.
Source: archive.org: Natya Shastra1) Āviddhā (आविद्धा).—A type of aerial (ākāśikī) dance-step (cārī);—Instructions: one Kuñcita foot from the Svastika position stretching and falling on the ground quickly as an Añcita foot.
2) Āviddha (आविद्ध).—The play which requires energetic gestures and dance movements (aṅgahāra) to represent, cutting, piercing and challenging, and contains the use of magic and occult powers as well as artificial objects and make-up, and has more men and less women [among its dramatis personae] and applies [in its production] mostly the Grand and the Violent Styles, is of the energetic type (āviddha).
According to the expert producers, plays of the Ḍima, the Samavakāra, the Vyāyoga and the Īhāmṛga clases are known to be of the energetic type.
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Āviddha (आविद्ध) refers to one of the thirty Nṛttahastas or “dance hand gestures” (in Indian Dramas), according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—The hasta-mudrās (lit. “hand-gestures”) are very essential to denote some particular action or state in dancing and these mudrās are formed with the help of hands and fingers. In the Viṣṇudharmottarapurāṇa, thirty kinds of nṛttahastas (“dance-hand gestures”) are mentioned. e.g., āviddha. The practice of these nṛttahastas is strictly prohibited in sickness of body, in old age, in fear, drunk and anxiety.
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 Jainism
General definition (in Jainism)
Source: archive.org: TrisastisalakapurusacaritraĀviddha (आविद्ध) refers to one of the four kinds of Dhātu (kind of musical composition), according to the Nāṭyaśāstra.—Dhātu is some kind of musical composition, but exactly what I have not been able to ascertain. There are 4 Dhātus: vistāra, karaṇa, āviddha, and vyañjana. Vyañjana is used for vīṇās. It has 10 subdivisions of which puṣpa is the first. This is according to the Nāṭyaśāstra 29.52ff. which Hemacandra evidently follows, but the Saṅgītaratnākara, 4.7ff., discusses dhātu from quite a different point of view. In this it seems to be vocal composition. Śruti may be used here in the technical sense of an ‘interval’.
Jainism is an Indian religion of Dharma whose doctrine revolves around harmlessness (ahimsa) towards every living being. The two major branches (Digambara and Svetambara) of Jainism stimulate self-control (or, shramana, ‘self-reliance’) and spiritual development through a path of peace for the soul to progess to the ultimate goal.
Languages of India and abroad
Pali-English dictionary
Source: BuddhaSasana: Concise Pali-English Dictionaryāviddha : (pp. of āvijjhati) 1. encircled; went round; whirled round; 2. pierced through.
Source: Sutta: The Pali Text Society's Pali-English DictionaryĀviddha, (pp. of āvijjhati 2, cp. BSk. āviddha in meaning curved, crooked Av. S. I, 87 Lal. V. 207) whirling or spinning round, revolving; swung round, set into whirling motion J. IV, 6 (cakkaṃ = kumbhakāra-cakkam iva bhamati C.); V, 291. What does an-āviddha at PvA. 135 mean? (Page 112)
Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.
Sanskrit dictionary
Source: DDSA: The practical Sanskrit-English dictionaryAviddha (अविद्ध).—a. Unpierced.
-ddhaḥ A Yavana, because his ears are not pierced. (Mar. avindha.) प्रतिबध्नास्यविद्धानाम- ध्वानमकुतोभयः (pratibadhnāsyaviddhānāma- dhvānamakutobhayaḥ) Śiva. B.18.54.
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Āviddha (आविद्ध).—See under आव्यध् (āvyadh).
See also (synonyms): āvidha.
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Āviddha (आविद्ध).—p. p.
1) Pierced, bored, rent, splintered, broken down; उत्पाताविद्धमूर्तिः (utpātāviddhamūrtiḥ) Mv.5.44 rent or contracted; R.12.73.
2) Curved, crooked, uneven; V.4.52; हर्षाविद्धमभ्युत्थितः (harṣāviddhamabhyutthitaḥ) Daśakumāracarita 37.
3) Cast with force; दूरनिक्षेप° (dūranikṣepa°) Mālatīmādhava (Bombay) 8 cast forth in taking long strides; Mv.2; Manusmṛti 9.4; thrown, put in motion.
4) Disappointed.
5) Fallacious, false.
6) Stupid, foolish.
7) Thrown, placed closely near one another; स पाण्डुराविद्धविमानमालिनीम् (sa pāṇḍurāviddhavimānamālinīm) Rām.5.2.53.
-ddham A particular manner of fencing; Hariv.
Source: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit DictionaryĀviddha (आविद्ध).—[, ppp. of ā-vyadh, in Avadāna-śataka i.87.5 vihāraḥ… āviddhaprākāratoraṇo, probably (with walls and arched gateways) fastened on, attached, or possibly pierced. Acc. to Speyer curved, crooked; he refers to Lalitavistara 207.16, but here the word is applied to a potter's wheel and means whirled, set in motion, made to revolve.]
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryĀviddha (आविद्ध).—mfn.
(-ddhaḥ-ddhā-ddhaṃ) 1. Pierced, wounded. 2. Crooked. 3. Cast, thrown, sent. 4. Disappointed. 5. Stupid, foolish. E. āṅ before vyadha to hurt, kta aff.
Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English DictionaryAviddha (अविद्ध).—[adjective] unpierced.
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Āviddha (आविद्ध).—[adjective] thrown (arrow), pierced, broken; wound, crooked.
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Aviddha (अविद्ध):—[=a-viddha] mfn. unpierced, not perforated (as pearls), [Kumāra-sambhava vii, 10]
2) [v.s. ...] ‘unimpaired’ See below.
3) Āviddha (आविद्ध):—[=ā-viddha] a See ā-√vyadh.
4) [=ā-viddha] [from ā-vyadh] b mfn. cast, thrown, sent, [Manu-smṛti]
5) [v.s. ...] pierced, wounded, [Taittirīya-saṃhitā; Raghuvaṃśa]
6) [v.s. ...] swung, whirled, [Suśruta]
7) [v.s. ...] disappointed, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
8) [v.s. ...] crooked
9) [v.s. ...] false, fallacious, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
10) [v.s. ...] stupid, foolish, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
11) [v.s. ...] n. swinging
12) [v.s. ...] a particular manner of fencing, [Harivaṃśa]
Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary1) Āviddha (आविद्ध):—[ā-viddha] (ddhaḥ-ddhā-ddhaṃ) p. Pierced; crooked; cast; sent; stupid.
2) Aviddha (अविद्ध):—[(ddhaḥ-ddhā-ddhaṃ) a.] Unpierced; unequalled.
Source: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionary (S)Āviddha (आविद्ध) in the Sanskrit language is related to the Prakrit words: Āiddha, Āviddha.
[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.
Prakrit-English dictionary
Source: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionaryĀviddha (आविद्ध) in the Prakrit language is related to the Sanskrit word: Āviddha.
Prakrit is an ancient language closely associated with both Pali and Sanskrit. Jain literature is often composed in this language or sub-dialects, such as the Agamas and their commentaries which are written in Ardhamagadhi and Maharashtri Prakrit. The earliest extant texts can be dated to as early as the 4th century BCE although core portions might be older.
Kannada-English dictionary
Source: Alar: Kannada-English corpusAviddha (ಅವಿದ್ಧ):—[adjective] not pierced; unpunched.
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Aviddha (ಅವಿದ್ಧ):—[noun] = ಅವಿದ್ಧಕರ್ಣ [aviddhakarna].
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Āviddha (ಆವಿದ್ಧ):—
1) [adjective] pierced; bored.
2) [adjective] turned; turned aside; pushed further a little.
3) [adjective] curved; crooked.
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Āviddha (ಆವಿದ್ಧ):—[noun] = ಆವಿದ್ಧಪ್ರಯೋಗ [aviddhaprayoga].
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: Aviddhachurna, Aviddhacurna, Aviddhadrish, Aviddhahasta, Aviddhaka, Aviddhakarna, Aviddhakarni, Aviddhakarnika, Aviddhanas, Aviddhaprayoga, Aviddharupaka, Aviddhashira, Aviddhavakra, Aviddhavakraka, Aviddhavaktra, Aviddhavarcas, Aviddhavarccas, Aviddhavarchas, Aviddhayoni.
Ends with (+16): Anaviddha, Apapaviddha, Apaviddha, Ashalyaviddha, Atipraviddha, Avaviddha, Avyaviddha, Cakkaviddha, Chhinnaviddha, Chinnaviddha, Deshaviddha, Digdhaviddha, Dikshaviddha, Himaviddha, Kamaviddha, Kilaviddha, Kshatraviddha, Padaviddha, Paraviddha, Paviddha.
Full-text (+25): Aviddhakarna, Aviddhakarni, Aviddhadrish, Anaviddha, Paraviddha, Aviddhavarcas, Vyaviddham, Aviddhanas, Vyaviddha, Aiddha, Aviddhavarccas, Savyadh, Dholla, Samaviddha, Aaviddh, Aviddhakarnika, Avelita, Manasyu, Aviddhavakra, Vyadh.
Relevant text
Search found 16 books and stories containing Aviddha, A-viddha, Ā-viddha, Āviddha, Āviddhā; (plurals include: Aviddhas, viddhas, Āviddhas, Āviddhās). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Performance of Cārī < [Chapter 2 - Concept and technique of Gati]
Gait identified in the martial arts of India < [Chapter 4 - Practice of Gati]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
The Agni Purana (by N. Gangadharan)
Chapter 367 - The class of words dependent on the substantives for their genders
Natyashastra (English) (by Bharata-muni)
Chapter IV - Description of the Class Dance (tāṇḍava)
Part 2 - The Ancient Indian Theory and Practice of Music < [Introduction, Part 2]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2.2. Hand Postures (c): Nṛtta-hasta < [Chapter 3 - Drama and Dance]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Introduction to the Īhāmṛga type of Drama < [Chapter 9 - Īhāmṛga (critical study)]
Vinaya (3): The Cullavagga (by T. W. Rhys Davids)
Cullavagga, Khandaka 5, Chapter 19 < [Khandaka 5 - On the Daily Life of the Bhikkhus]
Cullavagga, Khandaka 5, Chapter 17 < [Khandaka 5 - On the Daily Life of the Bhikkhus]