Angahara, Aṅgahāra, Anga-hara, Aṅgahara, Amgahara: 15 definitions
Introduction:
Angahara means something in Hinduism, Sanskrit, 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.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Aṅgahāra (अङ्गहार, “movement of limbs”) refers to “major dance figures” consisting of minor dance figures (karaṇas), according to the Nāṭyaśāstra 4.13. It was first presented and performed before Śiva in the Himalayan region, in the presence many Bhūtas, Gaṇas and beautiful caves and waterfalls.
These are the thirty-two different kinds of aṅgahāras:
- sthirahasta,
- paryastaka,
- sūcividdha,
- apaviddha,
- ākṣiptaka,
- udghaṭṭita,
- viṣkambha,
- aparājita,
- viṣkambhāpasṛta,
- mattākrīḍa,
- svastikarecita,
- pārśvasvastika,
- vṛścika,
- (vṛścikāpasṛta) bhramara,
- mattaskhalitaka,
- madavilasita,
- gatimaṇḍala,
- paricchinna,
- parivṛttarecita,
- vaiśākharecita,
- parāvṛtta,
- alātaka,
- pārśvaccheda,
- vidyudbhrānta,
- uddhṛtaka,
- (udvṛttaka) alīḍha,
- recita,
- ācchurita,
- ākṣiptarecita,
- saṃbhrānta,
- apasarpita,
- Ardhanikuṭṭaka.
Abhinavagupta defines Aṅgahāra (अङ्गहार) and explains it as the process of moving the limbs from one place to another. Because it is loved and practiced by Hara (Śiva), the shadow of his name is incorporated in the term aṅgahāra. It must be understood as the twisting and bending of the limbs in a graceful manner
Aṅgahāra (अङ्गहार) or “dance-sequence” is a combination of Karaṇas (“dance-movements”), according to the Nṛttabhāga of Vema Bhūpāla’s Saṅgītacintāmaṇi and the Saṅgītaratnākara of Śārṅgadeva.—Accordingly: “The graceful movement of the limbs to the proper places, composed of groups of mātṛkās (combinations of two karaṇas), is called aṅgahāra [i.e., the hāra or movement of aṅgas]. Or it is explained that this [particular] movement pertains to Hara, [Lord Śiva], and is demonstrated with the limbs”.
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).
Purana and Itihasa (epic history)
Aṅgahara (अङ्गहर) is a name mentioned in the Mahābhārata (cf. XIV.8.30, XIV.8) and represents one of the many proper names used for people and places. Note: The Mahābhārata (mentioning Aṅgahara) is a Sanskrit epic poem consisting of 100,000 ślokas (metrical verses) and is over 2000 years old.
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.
Languages of India and abroad
Sanskrit dictionary
Aṅgahāra (अङ्गहार).—[aṅgaṃ hriyate itastataḥ cālyate yatra, hṛ-ādhāre or bhāve ghañ] gesticulation, movements of the limbs, a dance; अङ्गहारैस्तथैवान्या कोमलै- र्नृत्यशालिनी (aṅgahāraistathaivānyā komalai- rnṛtyaśālinī) Rām.5.1.36. संसक्तैरगुरुवनेषु साङ्गहारम् (saṃsaktairaguruvaneṣu sāṅgahāram) Kirātārjunīya 7.37. Kumārasambhava 7.91.
Derivable forms: aṅgahāraḥ (अङ्गहारः).
Aṅgahāra is a Sanskrit compound consisting of the terms aṅga and hāra (हार).
Aṅgahāra (अङ्गहार).—m.
(-raḥ) Gesture, gesticulation. E. aṅga, and hāra taking, moving; also aṅgahāri.
Aṅgahāra (अङ्गहार):—[=aṅga-hāra] [from aṅga] ([Kathāsaritsāgara]) ([cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]) m. gesticulation.
Aṅgahāra (अङ्गहार):—[tatpurusha compound] m.
(-raḥ) Gesture, gesticulation. E. aṅga and hāra. Also aṅgahāri.
Aṅgahāra (अङ्गहार):—[aṅga-hāra] (raḥ) 1. m. Gesture.
[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
Aṃgahāra (ಅಂಗಹಾರ):—[noun] expression of sentiments by moving the body or part or part of it; gesticulation.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
Aṅgahāra (अङ्गहार):—n. 1. cosmetics; 2. ornaments;
Nepali is the primary language of the Nepalese people counting almost 20 million native speakers. The country of Nepal is situated in the Himalaya mountain range to the north of India.
Pali-English dictionary
[Pali to Burmese]
aṅgahāra—
(Burmese text): လက်ခြေစသော ကိုယ်အင်္ဂါကို ပစ်လွှဲခြင်း။ ထိုးပစ်လွှဲခြင်းရှိသော ကခြင်းအထူး။
(Auto-Translation): Throwing away a body part. A special attention to the throwing method.
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.
See also (Relevant definitions)
Partial matches: Hara, Anga, Anka.
Full-text (+45): Angahari, Nritta, Karana, Akshiptaka, Paryastaka, Madavilasita, Apasarpita, Vishkambhapasrita, Mattaskhalitaka, Gatimandala, Paricchinna, Sthirahasta, Vrishcikapasrita, Acchurita, Ardhanikuttaka, Mattakrida, Parshvasvastika, Parshvaccheda, Udvrittaka, Svastikarecita.
Relevant text
Search found 15 books and stories containing Angahara, Aṅgahāra, Anga-hara, Aṅga-hāra, Aṅgahara, Amgahara, Aṃgahāra; (plurals include: Angaharas, Aṅgahāras, haras, hāras, Aṅgaharas, Amgaharas, Aṃgahāras). 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)
Technical treatises on Nāṭya (other works) < [Chapter 1 - Nāṭya]
Analysis of technical terms: Nāṭya, Nṛtta, Nṛtya < [Chapter 1 - Nāṭya]
Representation of Gati with Karaṇas and Aṅgahāras < [Chapter 2 - Concept and technique of Gati]
Hastalaksanadipika a critical edition and study (by E. K. Sudha)
11. The built up Sequence in Stage business < [Chapter 2 - Bharata’s Dramaturgy]
3. Relevance of the Abhinaya-darpana < [Chapter 3 - Later developments of dramatic techniques]
9. Structure of the Natyashastra < [Chapter 2 - Bharata’s Dramaturgy]
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Kohala and Nṛtya (9): The concept of Aṅgahāra < [Chapter 2 - Kohala as seen in citations]
Kohala and Gītā (14): Tālas for specific Gaits < [Chapter 2 - Kohala as seen in citations]
Kohala and Nāṭya (4): The concept of Daśarūpaka < [Chapter 2 - Kohala as seen in citations]
Natya, the Celestial Art of Ancient India < [July 1939]
Uday Shankar < [July-August 1933]
Dance Traditions of South India < [May-June 1935]
Arts in the Puranas (study) (by Meena Devadatta Jeste)
2. The Art of Dance in the Vishnudharmottara < [Chapter 2 - Dance in the Puranas]
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
Chapter 4.3 - (d) Technical terms used by Arurar in relation to Dance and Music < [Volume 2 - Nampi Arurar and Mythology]