Dhvani, Dhvanī, Dhvanin: 24 definitions
Dhvani means something in Buddhism, Pali, Hinduism, Sanskrit, Marathi, 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 Dhwani.
Purana and Itihasa (epic history)Source: archive.org: Puranic Encyclopedia
Dhvani (ध्वनि).—The son of Āpa who is one of the eight Vasus. Āpa had four sons called Vaitaṇḍa, Śrama, Śānta and Dhvani. (Viṣṇu Purāṇa, Āṃśa 1, Chapter 15).Source: Cologne Digital Sanskrit Dictionaries: The Purana Index
1) Dhvani (ध्वनि).—A Sudhāmāna god.*
- * Brahmāṇḍa-purāṇa II. 36. 27.
2) Dhvanī (ध्वनी).—A goddess enshrined at Śankhoddhāra.*
- * Matsya-purāṇa 13. 48.
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.
Shaivism (Shaiva philosophy)Source: Wisdom Library: Śaivism
Dhvani (ध्वनि) is the Sanskrit name of a deity presiding over Siddheśvara, one of the sixty-eight places hosting a svāyambhuvaliṅga, which is one of the most sacred of liṅgas according to the Śaivāgamas. The list of sixty-eight svāyambhuvaliṅgas and presiding deities (e.g., Dhvani) is found in the commentary on the Jirṇoddhāra-daśaka by Nigamajñānadeva. The word liṅga refers to a symbol used in the worship of Śiva and is used thoughout Śaiva literature, such as the sacred Āgamas.Source: Google Books: Manthanabhairavatantram (shaivism)
Dhvani (ध्वनि) refers to the “(ever manifest) resonance”, according to Abhinavagupta’s Tantrāloka verse 3.247-249 and 250cd-251ab.—Accordingly, “(Consciousness) is reflective awareness, and so its spontaneous and ever manifest resonance (dhvani) is called the great supreme, Heart. The self-awareness, in the Heart (from which) all things have fallen away, present in the first and last moment of perception is called, according to the (Spanda) teachings the universal vibration of consciousness and is the outpouring of consciousness within one's own nature”.Source: SOAS University of London: Protective Rites in the Netra Tantra
Dhvani (ध्वनि) refers to a “sound”, according to the Netratantra of Kṣemarāja: a Śaiva text from the 9th century in which Śiva (Bhairava) teaches Pārvatī topics such as metaphysics, cosmology, and soteriology.—Accordingly, [verse 2.20-22ab]—“[The Mantrin] should worship the mother of Mantras with the highest bhakti, by spreading flowers and perfume, O Devī. He should extract the deity invoked by the Mantra [with the mantra]. Beginning with the all-pervading and ending with manifold [oṃ], [he should] always [worship with] the nectar of the white flower. The bright sound is highest Śakti (jyoti-dhvani—jyotir dhvaniḥ parāśaktiḥ), [who] resembles one-in-the-same Śiva. By this [worship] the pearls [of the mantra] are all bound in a cord”.
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.
Vyakarana (Sanskrit grammar)Source: Wikisource: A dictionary of Sanskrit grammar
1) Dhvani (ध्वनि).—Sound; cf. ध्वनिं कुर्वन्नेवमुच्यते-शब्दं कुरु शब्दं मा कार्षीः (dhvaniṃ kurvannevamucyate-śabdaṃ kuru śabdaṃ mā kārṣīḥ) M. Bh. I. 1. Ahnika 1; cf. also Vak. Pad. I. 77; cf. also स्फोटः शब्दः, ध्वनिः शब्दगुणः (sphoṭaḥ śabdaḥ, dhvaniḥ śabdaguṇaḥ), M.Bh. on I. 1.70 Vart. 5. ध्वनि (dhvani) or sound is said to be the indicator (सूचक्र (sūcakra) or व्यञ्जक (vyañjaka)) of स्फोट (sphoṭa) the eternal sound.
Vyakarana (व्याकरण, vyākaraṇa) refers to Sanskrit grammar and represents one of the six additional sciences (vedanga) to be studied along with the Vedas. Vyakarana concerns itself with the rules of Sanskrit grammar and linguistic analysis in order to establish the correct context of words and sentences.
Shaktism (Shakta philosophy)Source: Google Books: Manthanabhairavatantram
1) Dhvani (ध्वनि) refers to the “resonance” (e.g., of Śiva).—Accordingly, the manner in which the teaching is transmitted may be compared with two other typical views found in the Svacchandatantra. One is that scripture originates directly from the male deity who utters it. This is generally the view of the earlier male dominated Śaiva Āgamas of the Siddhānta and the early Bhairava Tantras. It is expressed succinctly in the following verse: “The scripture that is supremely hard to acquire is in the form of the resonance (dhvani) that comes from Śiva, the supreme cause who is tranquil and (whose) form is invisible”—(cf. Svacchandabhairavatantra 8.27).
2) Dhvani (ध्वनि) refers to “resonance” (from which arises nāda—sound), according to the Ṣaṭsāhasrasaṃhitā, an expansion of the Kubjikāmatatantra: the earliest popular and most authoritative Tantra of the Kubjikā cult.—Accordingly, “Sound (nāda) has arisen from Resonance (dhvani) and is said to be of five kinds as 1) subtle (sūkṣma), 2) very subtle (susūkṣma), 3) manifest (vyakta), 4) unmanifest (avyakta), and 5) artificial (kṛtrima). It is placed within the half-portion of the Self, in the lower place. From there it brings about emanation, which is of many forms. [...]”.
3) Dhvanin (ध्वनिन्) [?] refers to “that which resounds”, according to the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, “Candramaṅgalyā (Jñānamaṅgalā) is in the south-west. She sits on an owl. She has one face and three eyes. She has matted hair, which is (adorned with a) Half Moon. She holds a pestle and trident in her left and right hands, respectively. She wears a garment of human skin and she resounds with the sound of (her) anklets [i.e., dhvanin—nūpuradhvaninādin]. When the goddess is worshipped in the south-west she consumes inauspicious accidents”.
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.
Kavyashastra (science of poetry)Source: DASH: The Theology of Literary Emotions in Medieval Kashmir
Dhvani (ध्वनि) refers to “poetic manifestation”.—Dhvani was so important to Ānandavardhana that his text, Dhvanyāloka, is named after it.—“Poetic manifestation” translates two Sanskrit terms: dhvani and vyañjanā. These terms have slightly different provenances, both significant. The former term [dhvani] means “sound” or “murmur” and originates in philosophical discussions of grammar and phonetics, where it is used to describe the way in which the uttered sounds of speech are related to the language that they represent and convey. The latter term, vyañjanā, is more closely related to metaphysics. It means, literally, “manifestation”, and it is often used in metaphysical discussions to describe the relationship between causes and effects. [...] Dhvani, however, is a more specifically linguistic issue and Vyañjanā a more broadly metaphysical term.
Note: The very first verse of Ānandavardhana’s Dhvanyāloka is phrased as an intervention in an ongoing debate about poetic manifestation: “Some have said that the soul of poetry, which has been handed down from the past by wise men as ‘[manifestation]’ (dhvani), does not exist; others that it is an associated meaning (bhākta); while some have said that its nature lies outside the scope of speech: of this [manifestation] we shall here state the true nature in order to delight the hearts of sensitive readers”.Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (kavya)
Dhvani (ध्वनि) refers to one of the three types of Kāvya (“poetry”), according to Mammaṭabhaṭṭa, the author of the Kāvyaprakāśa.—There are three kinds of kāvya viz., dhvani-kāvya, guṇībhūtavyaṅga-kāvya and citra-kāvya. The suggestive sense is referred to as dhvani in Sanskrit poetics. Ānandavardhana, the founder of Dhvani school of Sanskrit poetics and also the author of Dhvanyāloka speaks about two broad divisions of the suggestive meaning—It establishes that the meaning that satisfies the soul of the connoisseur is the soul of poetry and it is divided into two varieties viz., vācyārtha and pratīyamānārtha. Vācyārtha is the primary meaning which is explicit in nature and pratīyamānārtha is the suggestive meaning.
Kavyashastra (काव्यशास्त्र, kāvyaśāstra) refers to the ancient Indian tradition of poetry (kavya). Canonical literature (shastra) of the includes encyclopedic manuals dealing with prosody, rhetoric and various other guidelines serving to teach the poet how to compose literature.
General definition (in Hinduism)Source: Google Books: Croaking Frogs: A Guide to Sanskrit Metrics and Figures of Speech
Dhvani (ध्वनि, “suggested meaning”):—The Dhvanyāloka of Ānandavardhana went beyond Bharata’s rasa-theory and introduced the new idea that rasa can only be communcated by the power of implied or suggested meaning (dhvani).
To clarify the new idea he defines dhvani as “that type of poetry where the expression and the literal meaning keep themselves subordinate and reveal the suggested meaning which is the most imporant”. Dhvani is a poetic factor that goes beyond simple denotation or metaphor. The role of dhvani was hotly debated among poets, but eventually gained widespread support.
Tibetan Buddhism (Vajrayana or tantric Buddhism)Source: Brill: Śaivism and the Tantric Traditions (tantric Buddhism)
Dhvanin (ध्वनिन्) refers to “making a sound” (e.g., ‘the sound/croaking of a frog’, according to the Bhūśalyasūtrapātananimittavidhi section of Jagaddarpaṇa’s Ācāryakriyāsamuccaya, a text within Tantric Buddhism dealing with construction manual for monasteries etc.—Accordingly, “[...] If a frog croaks (maṇḍūka-dhvanin), there is danger of water in the [donor’s?] house. If smoke [is seen], there is distraction of mind. If a person suffering from a disease, a person of a lower [class], a person suffering from leprosy, a deranged person, and a woman are seen, then it causes disease”.
Tibetan Buddhism includes schools such as Nyingma, Kadampa, Kagyu and Gelug. Their primary canon of literature is divided in two broad categories: The Kangyur, which consists of Buddha’s words, and the Tengyur, which includes commentaries from various sources. Esotericism and tantra techniques (vajrayāna) are collected indepently.
Languages of India and abroad
Marathi-English dictionarySource: DDSA: The Molesworth Marathi and English Dictionary
dhvani (ध्वनि).—m f (S) Sound. 2 An obscure rumor. 3 S A meaning implied; a matter involved and tacitly inculcated; an inference deducible. 3 Poetical style.Source: DDSA: The Aryabhusan school dictionary, Marathi-English
dhvani (ध्वनि).—m f Sound. An obscure rumour. An inference deducible.
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.
Sanskrit dictionarySource: DDSA: The practical Sanskrit-English dictionary
1) Sound, echo, noise in general; मृदङ्गधीरध्वनिमन्वगच्छत् (mṛdaṅgadhīradhvanimanvagacchat) R.16.13;2.72;4.72; Uttararāmacarita 6.17. शब्दो ध्वनिश्च वर्णश्च मृदङ्गादिभवो ध्वनिः (śabdo dhvaniśca varṇaśca mṛdaṅgādibhavo dhvaniḥ) Bhāṣa. P.; स्फोटस्य ग्रहणे हेतुः प्राकृतो ध्वनिरिष्यते (sphoṭasya grahaṇe hetuḥ prākṛto dhvaniriṣyate) Vāk. P.
2) Tune, note, tone; Śiśupālavadha 6.48.
3) The sound of a musical instrument; R.9.71.
4) The roar or thunder of a cloud.
5) A mere empty sound.
6) A word.
7) Hint, implied meaning.
8) (In Rhet.) The first and best of the three main divisions of काव्य (kāvya) or poetry, in which the implied or suggested sense of a passage is more striking than the expressed sense; or where the expressed sense is made subordinate to the suggested sense; इदमुत्तममतिशयिनि व्यङ्ग्ये वाच्याद् ध्वनिर्बुधैः कथितः (idamuttamamatiśayini vyaṅgye vācyād dhvanirbudhaiḥ kathitaḥ) K. P.1. (R. G. gives 5 kinds of dhvani; see under dhvani).
Derivable forms: dhvaniḥ (ध्वनिः).Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-niḥ) 1. Sound. 2. Figurative or poetical style. 3. The sound of a drum. E. dhvan to sound, in aff.Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary
Dhvani (ध्वनि).—[dhvan + i], m. 1. Sound, [Mānavadharmaśāstra] 4, 123. 2. Figurative style, Sāh. D. 5, 9.Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Dhvani (ध्वनि).—[masculine] sound, noise, roar, thunder; hint, figure of speech.Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
1) Dhvani (ध्वनि):—[from dhvan] m. sound, echo, noise, voice, tone, tune, thunder, [Atharva-veda] etc. etc.
2) [v.s. ...] the sound of a drum, [Horace H. Wilson]
3) [v.s. ...] empty sound without reality, [Monier-Williams’ Sanskrit-English Dictionary]
4) [v.s. ...] a word, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
5) [v.s. ...] allusion, hint, implied meaning, poetical style, [Sāhitya-darpaṇa]
6) [v.s. ...] Name of [work]
7) [v.s. ...] Name of one of the Viśve Devās, [Viṣṇu-purāṇa]
8) [v.s. ...] of a son of the Vasu Āpa, [ib.]Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary
Dhvani (ध्वनि):—(niḥ) 2. m. Sound; high style.Source: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionary (S)
[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.
Hindi dictionarySource: DDSA: A practical Hindi-English dictionary
Dhvani (ध्वनि) [Also spelled dhwani]:—(nf) sound; suggestion (in Poetics); suggested meaning; ~[kī] Phonetics; ~[grāma] a phoneme; •[vijñāna] phonemics; -[parivartana/vikāra] sound-change; -[vijñāna] phonetics; phonology.
Kannada-English dictionarySource: Alar: Kannada-English corpus
1) [noun] sound made through the mouth by human beings; voice.
2) [noun] a sound produced by playing a musical instrument.
3) [noun] the quality or tone of vocal sound.
4) [noun] echo a) the repetition of a sound by reflection of sound waves from a surface, b) a sound so produced.
5) [noun] (ling.) a word or part of a word pronounced with a single, uninterrupted sounding of the voice; a unit of pronunciation, consisting of a single sound of great sonority; a syllable.
6) [noun] the sense of a word or expression suggested indirectly as opp. to its literal sense)7) [noun] ಧ್ವನಿ ಕೂರು [dhvani kuru] dhvani kūru (one’s voice) to fail; ಧ್ವನಿ ಬೀಳು [dhvani bilu] dhvani bīḷu = ಧ್ವನಿ ಕೂರು [dhvani kuru]; ಧ್ವನಿ ಮಾಡು [dhvani madu] dhvani māḍu to produce a vocal sound of sounds; ಧ್ವನಿ ಹೂತುಹೋಗು [dhvani hutuhogu] dhvani hūtuhōgu = ಧ್ವನಿ ಕೂರು [dhvani kuru]; ಧ್ವನಿ ಹೊರಡು [dhvani horadu] dhvani horaḍu (a vocal sound) to be produced; 2. usu. used negatively) (reply, answer) to come forth from shame, 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)
Starts with (+38): Dhvanibhrame, Dhvanibodhaka, Dhvanibodhana, Dhvanidhvamsa, Dhvanigai, Dhvanigathapanjika, Dhvanigay, Dhvanigey, Dhvanigodu, Dhvanigraha, Dhvanigudu, Dhvanijaru, Dhvanika, Dhvanikara, Dhvanikavya, Dhvaniki, Dhvanikrit, Dhvanima, Dhvanimant, Dhvanimarpatu.
Ends with (+76): Adhvani, Akramanadhvani, Akramdanadhvani, Akroshadhvani, Amamdadhvani, Ambudadhvani, Anahatadhvani, Anakadhvani, Anaksharadhvani, Anekarthadhvani, Anudhvani, Anuhatadhvani, Anurananadhvani, Apurvadhvani, Artadhvani, Ashariradhvani, Atyantatiraskritavacyadhvani, Atyuccairdhvani, Avashravanadhvani, Avyaktadhvani.
Full-text (+175): Dhvaninala, Pavanadhvani, Dhani, Gadgadadhvani, Pratidhvani, Jayadhvani, Dhvanivikara, Dhvanigraha, Kaladhvani, Jatakadhvani, Kroshadhvani, Dharadhvani, Nanadhvani, Brihaddhvani, Dhvaninatha, Dhvanibodhaka, Anekarthadhvanimanjari, Simhadhvani, Gabhiradhvani, Mangaladhvani.
Search found 47 books and stories containing Dhvani, Dhvanī, Dhvanin; (plurals include: Dhvanis, Dhvanīs, Dhvanins). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Garga Samhita (English) (by Danavir Goswami)
Verse 5.9.30 < [Chapter 9 - The Happiness of the Yadus]
Verse 5.4.4 < [Chapter 4 - The Journey to Śrī Mathurā]
Verse 1.11.51 < [Chapter 11 - Description of Śrī Kṛṣṇacandra’s Birth]
Brihad Bhagavatamrita (commentary) (by Śrī Śrīmad Bhaktivedānta Nārāyana Gosvāmī Mahārāja)
Verse 2.1.129 < [Chapter 1 - Vairāgya (renunciation)]
Verse 2.1.142 < [Chapter 1 - Vairāgya (renunciation)]
Verse 2.3.48 < [Chapter 3 - Bhajana (loving service)]
Kavyamimamsa of Rajasekhara (Study) (by Debabrata Barai)
Part 8 - Dhvanyāloka of Ānandavardhana < [Chapter 2 - A General Outlines of Sanskrit Poetics]
Part 9 - Abhinavabhāratī of Abhinavagupta < [Chapter 2 - A General Outlines of Sanskrit Poetics]
Part 4 - Dhvani theory and the Kāvyamīmāṃsā < [Chapter 4 - Position of the Kāvyamīmāṃsā in Sanskrit Poetics]
Vakyapadiya (study of the concept of Sentence) (by Sarath P. Nath)
4. The Concept of Sentence Indivisibility and Sphoṭa < [Chapter 3 - The Concept of Sentence and Sentence-Meaning]
1. Śabda: A Valid Source of Knowledge < [Chapter 2 - Perspectives on the Concept of Sentence]
3. The Concept of Pratibhā in Indian Poetics < [Chapter 4 - The Concept of Pratibhā and its Implications]
Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.4.68 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
Verse 2.4.172 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
Verse 2.1.375 < [Part 1 - Ecstatic Excitants (vibhāva)]
The Tattvasangraha [with commentary] (by Ganganatha Jha)