Arabhati, Ārabhati, Ārabhaṭī: 8 definitions
Introduction:
Arabhati means something in Hinduism, Sanskrit, Buddhism, Pali, 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 Aarbhati.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraĀrabhaṭī (आरभटी, “energetic style”) is the Sanskrit name for one of the four styles (vṛtti) of dramatic performance (prayoga). According to Nāṭyaśāstra 1.41-43, the four styles were originally prepared by Bharata and presented to Brahmā (who created the Nāṭyaveda from the four Vedas). The term is used throughout nāṭyaśāstra literature.
According to the Nāṭyaśāstra chapter 22, there are four varieties of the energetic style:
- saṃkṣiptaka (compression),
- avapāta (commotion),
- vastūtthāpana (elevation of the plot),
- saṃpheṭa (conflict).
One of the Four Styles (vṛtti) of dramatic production (nāṭya).—Ārabhaṭī (the Energetic)—The Style which includes the presentation of a bold person speaking many words, practising deception, falsehood and bragging and of falling down, jumping, crossing over, doing deeds of magic and conjuration etc, is called the Energetic one. This is applicable to the Terrible, the Odious and the Furious Sentiments (Nāṭyaśāstra XXII. 55ff).
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Ārabhaṭī (आरभटी) or Ārabhaṭīvṛtti refers to one of the four Dramatic styles (vṛtti) 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.—There are four kinds of vṛttis (dramatic styles) accepted in the Viṣṇudharmottarapurāṇa. According to the Viṣṇudharmottarapurāṇa, sāttvatī-vṛtti mainly displays vīrarasa and ārabhaṭī-vṛtti exhibits raudrarasa. The Sāhityadarpaṇa agrees on it. Abhinavagupta states that sāttvatī-vṛtti is the action of mind and ārabhaṭī-vṛtti is the action of body.
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).
Languages of India and abroad
Pali-English dictionary
Source: BuddhaSasana: Concise Pali-English Dictionaryārabhati : (ā + rabh + a) 1. begins; starts; 2. kills; tortures.
Source: Sutta: The Pali Text Society's Pali-English Dictionary1) Ārabhati, 2 & Ārabbhati (ā + rabhati, Sk. ārabhati & ārambhati, ā + rabh) to begin, start, undertake, attempt S. I, 156 (ārabbhatha “bestir yourselves”) = Miln. 245 = Th. 1, 256 (bh.); Pug. 64 (bh.); viriyaṃ ārabhati to make an effort, to exert oneself (cp. ārambha) A. IV, 334. ‹-› aor. ārabhi DhA. II, 38 & ārabbhi PvA. 35.—ger. ārabbha, see sep.—pp. āraddha (q. v.). (Page 107)
2) Ārabhati, 1 (not with Morris J. P. T. S. 1889, 202 fr. rabh and identical with ārabhati2, but with Kern, Toev. s. v. identical with Sk. ālabhate, ā + labh meaning to seize the sacrificial animal in order to kill it; cp. nirārambha) to kill, destroy M. I, 371 (pāṇaṃ). (Page 107)
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: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Ārabhaṭī (आरभटी):—[=ā-rabhaṭī] [from ā-rabhaṭa > ā-rabh] f. boldness, confidence, heroism, [Rājataraṅgiṇī]
2) [v.s. ...] (in [dramatic language]) the representation of supernatural and horrible events on the stage.
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 dictionaryĀrabhaṭī (आरभटी) [Also spelled aarbhati]:—(nf) sense of adventure.
...
Kannada-English dictionary
Source: Alar: Kannada-English corpusĀrabhaṭi (ಆರಭಟಿ):—[noun] (rhet. & dance.) the classical or vehement way of expounding or presenting on the stage, a few sentiments such as wrath or furiousness, fear, 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)
Partial matches: A.
Starts with: Arabhati Sutta, Arabhativritti.
Ends with: Carabhati, Charabhati, Samarabhati.
Full-text (+25): Sampheta, Arabhativritti, Avapata, Samkshiptaka, Vastutthapana, Araddha, Vritti, Arabhi, Aarbhati, Shaurya, Nikkamati, Vayamati, Aradheti, Kashmira, Madra, Anarabdha, Ushinara, Valhika, Shalvaka, Nataka.
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Search found 17 books and stories containing Arabhati, Ārabhati, Ārabhaṭī, A-rabhati, Ā-rabhaṭī, Ārabhaṭi; (plurals include: Arabhatis, Ārabhatis, Ārabhaṭīs, rabhatis, rabhaṭīs, Ārabhaṭis). 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)
Gati in Vṛttis and Pravṛttis < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Analysis of technical terms: Tāṇḍava and Lāsya < [Chapter 1 - Nāṭya]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Guṇas, Vṛttis and Rīti < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Basic features of Nāṭaka < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Ḍima rules < [Chapter 4 - Ḍima (critical study)]
Dhanañjaya’s methodology of discussion < [Introduction]
Part 15 - Conclusion < [Chapter 6 - Samavakāra (critical study)]
Mudrarakshasa (literary study) (by Antara Chakravarty)
4. The entity of Vṛtti and its use in Mudrārākṣasa < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
4.3. Ārabhaṭī-vṛtti < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.3. Elements of Drama (f): Dramatic Style < [Chapter 3 - Drama and Dance]
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
The Pantaranka or Pantarankam dance < [Volume 2 - Nampi Arurar and Mythology]