Dima, Ḍima: 12 definitions
Introduction:
Dima 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.
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In Hinduism
Natyashastra (theatrics and dramaturgy)
Ḍima (डिम) refers to one of the “ten kinds of dramatic plays” (daśarūpa), according to the Nāṭyaśāstra chapter 20. These different types of dramas are considered to have originated from the various styles (vṛtti), which is discussed in chapter 22 of the same work. The Ḍima type of drama includes the following styles: Verbal (bhāratī), Grand (sāttvatī) and Energetic (ārabhaṭī).
Ḍima (डिम).—One of the ten types of play (nāṭya).—The Ḍima is a play with a well-constructed Plot and its Hero should be well-known and of the exalted type. It is to contain all the Sentiments except the Comic and the Erotic, an should consist of four Acts only. Incidents depicted in it are mostly earthquake, fall of meteors, eclipses, battle, personal combat, challenge and angry conflict. It should abound in deceit, jugglery and energetic activity of many kinds. The sixteen characters which it must contain are to include different types such as gods, Nāgas, Rākṣasas, Yakṣas and Piśācas.
The Ḍima and the Samavakāra are to have four segments (sandhi), and the playwright should never make the Pause (vimarśa) in them.
Ḍima (डिम) refers to one of the twelve kinds of Rūpaka, which represents the dṛśyakāvya division of Kāvya (“poetry”), 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.—The Viṣṇudharmottarapurāṇa states that the plot and the hero of ḍima should be well known. In the Nāṭyaśāstra it is said that six sentiments except śṛṅgāra and hāsya are to be associated in a ḍima. According to the Sāhityadarpaṇa, ḍima consists of four acts. This book relates that the hero of a dima should be a devatā, gandharva, yakṣa, rākṣasa, mahānāga, bhūta, preta or piśāca
Ḍima (डिम) refers to one of the twenty-one divisions of the Mārga-Rūpaka compositions in ancient Indian art of dance and theater.—Puruṣottama Miśrā, while defining the terms mārga and deśī quotes the Saṅgītanārāyaṇa (Vol. II, pp.406-410) which he says has been taken from Kohala (the work of Kohala). He says that mārga is that which was shown to Śiva and Pārvatī by Brahma after performing penance. He says the mārgarūpakas are twenty in number [e.g., ḍima]. [...] But when listing out the names, there appear twenty-one rūpakas. [...]
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
Ḍima (डिम).—One of the ten kinds of dramas; मायेन्द्रजालसंग्रामक्रोधोद्भ्रान्तादिचेष्टितैः । उपरागैश्च भूयिष्ठो डिमः ख्यातोऽतिवृत्तकः (māyendrajālasaṃgrāmakrodhodbhrāntādiceṣṭitaiḥ | uparāgaiśca bhūyiṣṭho ḍimaḥ khyāto'tivṛttakaḥ) || S. D.517.
Derivable forms: ḍimaḥ (डिमः).
Ḍima (डिम).—m.
(-maḥ) A dramatic entertainment, dramatic exhibition of battle or seige, such as the Tripurabadha, in which the destruction of the three cities of Tripura by Siva is dramatised. E. ḍima affray, and affix ka 2. One of the ten kinds of drama, thus defined:—māyendrajālasaṃgrāmakrodhodbhāntādiceṣṭitaiḥ . uparāgaiśca bhūyiṣṭho ḍimaḥ khyāto'tivṛttakaḥ ..
Ḍima (डिम).—[masculine] a kind of drama; a cert. caste.
1) Ḍima (डिम):—m. a dramatic exhibition of a siege (as of Tripura-dāha q.v.), [Daśarūpa; Pratāparudrīya; Sāhitya-darpaṇa]
2) a kind of mixed caste, [Brahma-purāṇa i, 10, 105.]
Ḍima (डिम):—(maḥ) 1. m. A dramatic entertainment or exhibition of battle.
Ḍima (डिम):—m.
1) eine best. Art von Schauspielen [Hemacandra’s Abhidhānacintāmaṇi 284.] māyendrajālasaṃgrāmakrodhodbhrāntādiceṣṭitaiḥ . uparāgaiśca bhūyiṣṭho ḍimaḥ khyāto tivṛttakaḥ .. [Sāhityadarpana 157.] —
2) eine best. Mischlingskaste [Oxforder Handschriften 22], a, [2.]
--- OR ---
Ḍima (डिम):—
1) [DAŚAR.1,8.] [PRATĀPAR. 24,a,9.b,3.] [Z. 3 lies 517 Stenzler 157.]
Ḍima (डिम):—m. —
1) eine Art von Schauspielen. —
2) eine best. Mischlingskaste.
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
Ḍima (ಡಿಮ):—[noun] the dramatic exhibition of an invasion or siege.
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 (+0): The, The, Dima, Te.
Starts with (+17): De mao, Dhimai, Di man, Di mao, Dimac, Dimadi, Dimadima, Dimag, Dimag-chatnu, Dimaga, Dimaga-catnu, Dimagadara, Dimagdar, Dimagi, Dimagila, Dimagili, Dimagilo, Dimak, Dimaka, Dimakha.
Full-text (+0): Timam, Sabansa-dima, Bandor-dima, Sekima, Tandimanata, Manmathonmathana, Tripuradaha, Dendima, Anaka, Aviddha, Rupakam, Dasharupa, Vrittalankaramalika, Rupaka, Samavakara, Rupa, Marga, Rama, Dhavala.
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Search found 50 books and stories containing Dima, Ḍima, Dimas, The dima; (plurals include: Dimas, Ḍimas, Dimases, The dimas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Society as depicted in the Chaturbhani (study) (by Mridusmita Bharadwaj)
Part 2 - Rūpaka and its Varieties < [Chapter 2 - Introduction to Dṛśyakāvya and Bhāṇa kind of Rūpaka]
Part 4 - Specimen of Bhāṇa Found in Sanskrit Literature < [Chapter 2 - Introduction to Dṛśyakāvya and Bhāṇa kind of Rūpaka]
Hanuman Nataka (critical study) (by Nurima Yeasmin)
Part 2: Varieties of Dṛśyakāvya < [Chapter 1]
Natyashastra (English) (by Bharata-muni)
Chapter XX - Ten Kinds of Play (daśarūpa)
Part 3 - Literary Structure of the Drama < [Introduction, part 1]
Part 2 - The Ancient Indian Theory of Drama < [Introduction, part 1]
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Kohala and Nāṭya (7): The concept of Uparūpakas < [Chapter 2 - Kohala as seen in citations]
Kohala and Nāṭya (1): The concept of Pūrvaraṅga < [Chapter 2 - Kohala as seen in citations]
Kohala and Nāṭya (4): The concept of Daśarūpaka < [Chapter 2 - Kohala as seen in citations]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
1.4. Types of Drama < [Chapter 3 - Drama and Dance]
Bhasa (critical and historical study) (by A. D. Pusalker)