Alapadma: 6 definitions
Introduction:
Alapadma 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.
Images (photo gallery)
(+1 more images available)
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraAlapadma (अलपद्म) is another name for Alapallava, a Sanskrit technical term referring to a gesture (āṅgika) made with a ‘single hand’ (asaṃyuta), according to the Nāṭyaśāstra chapter 8.
Source: Shodhganga: Kohala in the Sanskrit textual tradition (ns)Alapadma (अलपद्म) refers to one of the twenty-four Vartanās (“movements of the arm”), discussed in Kallinātha’s commentary on Saṅgistaratnākara of Śārṅgadeva (1953: Vol. IV: p.105).—Kallinātha says that in spite of Śārṅgadeva not having mentioned these, he will describe the vartanās which have been expounded by Kohala. He proceeds to give a quotation of Kohala from the work Saṅgītameru which gives the definitions of twenty four kara-vartanās. [For example, Alapadma] [...] Kohala says that in the case of these vartanās, their names themselves make their lakṣaṇa clear and therefore he has mentioned only their names.
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).
Shilpashastra (iconography)
Source: Shodhganga: The significance of the mūla-beras (śilpa)Alapadma (अलपद्म) or Alapadmahasta refers to “blossomed lotus, happiness” and represents one of the twenty-four gestures with a single hand, as defined according to texts dealing with śilpa (arts and crafs), known as śilpaśāstras.—Accordingly, pratimā-lakṣaṇa (body postures of the icons) is comprised of hand gestures (hasta, mudrā or kai-amaiti), stances/poses (āsanas) and inflexions of the body (bhaṅgas). There are thirty-two types of hands [viz., alapadma-hasta] classified into two major groups known as tolirkai (functional and expressive gestures) and elirkai (graceful posture of the hand).
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
Languages of India and abroad
Sanskrit dictionary
[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 corpusAlapadma (ಅಲಪದ್ಮ):—[noun] (dance) a hand gesture showing a) the blowing up of a lotus bud into flower; or b) the circular moon, with fingers stretched slowly and turning the palm on either side.
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: Alapadmahasta, Alapadmaka, Alapadmavartana, Alapadmavartana.
Full-text (+9): Purukutsa, Sagara, Alapadmahasta, Cakravaka, Ashvattha, Ikshu, Udveshtitala-padma, Alapadmavartana, Vismayahasta, Avahittha, Ardhasuci, Kolapadma, Asamyuta, Candra, Alapallava, Bhikshatana, Varasiddhi, Kashi-annapurani, Kapittha, Surya.
Relevant text
Search found 7 books and stories containing Alapadma; (plurals include: Alapadmas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Abhinaya-darpana (English) (by Ananda Coomaraswamy)
Chapter 25 - Hands denoting Trees
Chapter 21 - Hands denoting Famous Emperors
Hastalaksanadipika a critical edition and study (by E. K. Sudha)
3. Relevance of the Abhinaya-darpana < [Chapter 3 - Later developments of dramatic techniques]
Agni Purana (by N. Gangadharan)
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2. The Viṣṇudharmottara-purāṇa and the Indian Classical Dances < [Chapter 6 - Modern Relevance of Different Art Forms and Architecture]
2.2. Hand Postures (a): Asaṃyukta-hasta < [Chapter 3 - Drama and Dance]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Description of Gati in Abhinayadarpaṇa < [Chapter 2 - Concept and technique of Gati]
Analysis of technical terms: Nāṭya, Nṛtta, Nṛtya < [Chapter 1 - Nāṭya]
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Kohala and Nṛtya (4): The concept of Vartanā < [Chapter 2 - Kohala as seen in citations]