In Hinduism

Shaktism (Shakta philosophy)

Source: Google Books: Manthanabhairavatantram

Aunmukhya (औन्मुख्य) refers to “way”, according to the Svacchandabhairavatantra.—The Transmental (unmanā), just below this state, is the reflective awareness of one’s own nature that is directed in a subtle way (kiñcid-aunmukhya) to its self-realisation. It represents the highest and subtlest limit of immanence as the universal Being (mahāsattā), which contains and is both being and non-being. At the same time, the energy of the Transmental is the direct means to the supreme state of Non-being. Thus while contemplation of the other lower phases in the development of OṂ bestows yogic powers (siddhi) of an increasing order of perfection, it alone leads to liberation directly. Accordingly, the Tantra enjoins that the yogi should constantly contemplate supreme and subtle Non-being by means of this energy. This is because Non-being is beyond the senses and mind and is, according to Kṣemarāja, the pure knower who has no objectively distinguishable characteristics (alakṣya).

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Shakta (शाक्त, śākta) or Shaktism (śāktism) represents a tradition of Hinduism where the Goddess (Devi) is revered and worshipped. Shakta literature includes a range of scriptures, including various Agamas and Tantras, although its roots may be traced back to the Vedas.

Shaivism (Shaiva philosophy)

Source: Google Books: The Krama Tantricism of Kashmir

Aunmukhya (औन्मुख्य) refers to “proneness”, according to the Śivadṛṣṭi.—The Mother Divine, who is the Divinty par trascendence, is pure luminosity and passes under the name of Śiva also. He, in a slight deviation from the general practice of identifying Śakti with Ānanda and in apparent agreement with Somānanda, equated the Śakti-category with “little swelling” which is identical with proneness (aunmukhya). This Śakti-stage came just after the ultimate stage which is akin to the Mother Divine—this view was used as a counter-argument by Somānanda against Pradyumna Bhaṭṭa. [...]

Source: Google Books: Spanda Karikas (The Divine Creative Pulsation)

Aunmukhya (औन्मुख्य) refers to “inclination towards manifestation”, according to (commentaries on) the Spanda Kārikās section 1.—Both Rāmakaṇṭha and Utpala Bhaṭṭa warn that pralaya and udaya are not to be taken as corresponding to unmeṣa and nimeṣa exactly in the order in which they are given in the text but rather in a different order i.e. udaya with unmeṣa, and pralaya with nimeṣa:—“When there is unmeṣa i.e., aunmukhya or inclination towards manifestation, there is the udaya or emergence of the world. When there is nimeṣa or retraction of that inclination, there is submergence of the world”. Kṣemarāja takes pralaya and udaya both ways i.e. in a different order (bhinnakrama) as advocated by Rāmakaṇṭha and Utpalabhaṭṭa, and also in the order as they appear in the text. When taken in a different order, the meaning would be as given above. When taken in the order in which they appear in the text, the meaning would be as given below:—“When there is unmeṣa or revelation of the essential nature of the Divine, there is the pralaya or disappearance of the world. When there is nimeṣa or concealment of the essential nature of the Divine, there is the udaya or appearance of the world”. Both these interpretations are correct. In the first interpretation, the words unmeṣa and nimeṣa are construed with reference to Śakti of Śiva. In the second interpretation, they are construed with reference to the svarūpa or essential nature of Śiva.

Source: Mahānaya: Yugmacaryātrayodaśā

Aunmukhya (औन्मुख्य) refers to the “primordial expectance”, according to the Yugmacaryātrayodaśā (“thirteen verses on the activity of the divine couple”.—Accordingly, “In the eternal unity (asakta-advaye) of Śiva and Śakti (śiva-śaktyoḥ), (there is) a hidden (sam-līnā) desire (manas-gatiḥ) in the form of a subtle, initial vibration, (sūkṣma-ādi-spanda-rūpeṇa) because of the nature of primordial expectancy (pūrva-aunmukhya-svarūpakāt)”.

Source: academia.edu: The Evidence for Somānanda's Pantheism

Aunmukhya (औन्मुख्य) refers to “eagerness” according to Somānanda’s Śivadṛṣṭi 1.7-8.—Somānanda identifies an initial moment of will, aunmukhya or “eagerness,” that stirs the moment Śiva begins to desire to create experience in the form of phenomena appearing in his consciousness. This first stirring of will, this eagerness, is a sort of sudden excitement that occurs in an instant (tuṭi), and it initiates the process of creation. As such, it may be experienced in the first moment of an action as one can see it in the moment of tension in the hand about to be closed into a fist, and so on. Insofar as will (icchā) has two parts, an initial moment in the form of eagerness (aunmukhya), and a subsequent, fully formed manifestation of will (icchā), Somānanda considers it also to be a form of action (as Utpaladeva informs us), one that is performed entirely within the movement, as it were, of consciousness.

Source: Brill: Śaivism and the Tantric Traditions

Aunmukhya (औन्मुख्य) refers to “being on the verge of (reaching)” [?], consisting of four stages, according to Abhinava’s Tantrāloka chapter 10.—Accordingly, “In the fourth state … knowable entities appear as awareness on the verge of reaching plentitude (pūrṇatāgamana-aunmukhya) because [the] indifference [that characterized the third state of deep sleep] is abating [...]”.

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Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.

Shaiva philosophy

Source: academia.edu: Notes on the Śivadṛṣṭi by Somānanda and its commentary

Aunmukhya (औन्मुख्य) refers to the first outline of a dynamic wave stirring the surface of the quiescent bliss of Śiva consciousness (the first śakti), named after a concept that also has a strong aesthetic connotation, nirvṛti (“lysis, contentment”), the deep sense of inner satisfaction associated to an intense aesthetic enjoyment: this dynamic wave represents the very first opening of a disposition to create, a desiring state still without a definite object (the second śakti), technically called aunmukhya (‘tension towards…’).

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Natyashastra (theatrics and dramaturgy)

Source: svAbhinava: Abhinava's Conception of Humor

Aunmukhya (औन्मुख्य) refers to “eager intentness” on the object (of sensual pleasure).—[...] sexual emotion (or love, rati), hāsa, enthusiasm (utsāha) and surprise are of pleasant nature. Of these, rati is penetrated by an element of pain because, though it consists of the determination of (fixation of the mind on) abiding pleasure characterize by eager intentness (aunmukhya) on the object (of sensual pleasure), there is fear of its loss due to the exaggerated expectation centered on the object. That (variety of) laughter based on determination (anusandhāna) (is penetrated by an element of pain) because it is accompanied by pleasure comprising a lightning-like (i.e., momentary, incipient) immediate presence of a slight proportion of pain. [...]

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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

Sanskrit dictionary

Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary

Aunmukhya (औन्मुख्य).—[neuter] longing, ardent desire.

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

Aunmukhya (औन्मुख्य):—n. ([from] un-mukha), expectancy, [Rājataraṅgiṇī]

[Sanskrit to German]

Aunmukhya in German

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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.

See also (Relevant definitions)

Ends with: Kincidaunmukhya, Meghaunmukhya.

Full-text: Aunnetra, Purnata, Purnatagamana, Tuti, Unmesha, Nimesha, Udaya, Pralaya, Unmukha, Kincit.

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