Dipaka, Dīpaka: 29 definitions
Introduction:
Dipaka means something in Hinduism, Sanskrit, Jainism, Prakrit, Buddhism, Pali, the history of ancient India, Marathi, Hindi, biology. 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 Deepak.
In Hinduism
Ayurveda (science of life)
Nighantu (Synonyms and Characteristics of Drugs and technical terms)
Dīpaka (दीपक) is another name for Kāsamarda, a medicinal plant identified with Senna occidentalis (formerly known as Cassia occidentalis Linn.) or “septicweed” from the Fabaceae or “legume” family of flowering plants, according to verse 4.171-172 of the 13th-century Raj Nighantu or Rājanighaṇṭu. The fourth chapter (śatāhvādi-varga) of this book enumerates eighty varieties of small plants (pṛthu-kṣupa). Together with the names Dīpaka and Kāsamarda, there are a total of eight Sanskrit synonyms identified for this plant.
Unclassified Ayurveda definitions
Dīpaka (दीपक) is another name (synonym) for Kāsamarda, which is a Sanskrit name for the plant Cassia occidentalis (septicweed). This synonym was identified by Narahari in his 13th-century Rājanighaṇṭu (verses 4.171-172), which is an Ayurvedic medicinal thesaurus.
Āyurveda (आयुर्वेद, ayurveda) is a branch of Indian science dealing with medicine, herbalism, taxology, anatomy, surgery, alchemy and related topics. Traditional practice of Āyurveda in ancient India dates back to at least the first millenium BC. Literature is commonly written in Sanskrit using various poetic metres.
Natyashastra (theatrics and dramaturgy)
Dīpaka (दीपक, “condensed expression”) refers to one of the four “figures of speech” (alaṃkāra), used when composing dramatic compositions (kāvya), according to Nāṭyaśāstra chapter 17. ( Description): Combining of words in different topics in a single sentence for their mutual illumination, is called Condensed Expression (dīpaka, lit. “light”).
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).
Chandas (prosody, study of Sanskrit metres)
1) Dīpaka (दीपक) is the name of an author of works dealing with prosodoy (chandas or chandaśśāstra) quoted by Kṣemendra (11th century) in his Suvṛttatilaka. The Suvṛttatilaka is a monumental work of Sanskrit prosody in which the author discusses 27 popular metres which were used frequently by the poets (e.g., Dīpaka).
2) Dīpaka (दीपक) refers to one of the twenty-seven mātrāvṛttas (quantitative verse) dealt with in the second chapter of the Vṛttamuktāvalī, ascribed to Durgādatta (19th century), author of eight Sanskrit work and patronised by Hindupati: an ancient king of the Bundela tribe (presently Bundelkhand of Uttar Pradesh). A Mātrāvṛtta (e.g., dīpaka) refers to a type of metre found in classical Sanskrit poetry.
Chandas (छन्दस्) refers to Sanskrit prosody and represents one of the six Vedangas (auxiliary disciplines belonging to the study of the Vedas). The science of prosody (chandas-shastra) focusses on the study of the poetic meters such as the commonly known twenty-six metres mentioned by Pingalas.
Kavyashastra (science of poetry)
Dīpaka (दीपक) refers to one of the 93 alaṃkāras (“figures of speech”) mentioned by Cirañjīva Bhaṭṭācārya (fl. 17th century) in his Kāvyavilāsa and is listed as one of the 89 arthālaṃkāras (figure of speech determined by the sense, as opposed to sound).—The figure of speech dīpaka has been admitted by Ālaṃkārikas like Bhāmaha (II/25), Ruyyaka (A.S. P.71), Mammaṭa (K.P. X/103), Viśvanātha (S.D. X/67) and Jayadeva (C.L. V/53).
Cirañjīva has defined dīpaka-alaṃkāra as follows—“avarṇyānāṃ ca varṇyānāṃ dharmaikye sati dīpakam”.—When things which are not intended to be described and things which are intended to be described are related by one common attribute (or action), it gives rise to the figure named dīpaka. Ālaṃkārikaslike Ruyyaka, Mammaṭa etc. have used the terms prakṛta or prastuta and aprakṛta or aprastuta. But Cirañjīva has used the term avarṇyiya and varṇyiya. In a verse a poet intends to describe a contextual thing. This description becomes attractive when a non-contextual thing is tied up together by one common attribute or action. So when contextual and non-contextual things are related by one common attribute it is the figure dīpaka.
Example of the dīpaka-alaṃkāra (from Cirañjīva’s own work Kalpalatā):—
induḥ kāntyā yatiḥ śāntyā nītyā ca vasudhādhipaḥ |
rityā kāvyaṃ vadhūrdhṛtyā kurute janarañjanam ||“The moon, the ascetic, the king, poetry and bride entertain people by rays, peace, law, diction and patience”.
Notes: In this verse the moon, the ascetic, poetry and bridge are non-contextual and the king is contextual. These are tied up together by one common attribute that is entertaining the people.
Dīpaka (दीपक, “illuminator”) refers to one of the various Alaṅkāras (‘figures of speech’) classified as Artha (‘sense’), as employed in the Bhīṣmacarita (Bhishma Charitra) which is a mahākāvya (‘epic poem’) written by Hari Narayan Dikshit.—The poet has made a wonderful use of ‘dīpaka-alaṅkāra’ in this epic. In II.19 of Bhīṣmacarita, he has aptly narrated the childhood of Devavrata, never crying like other children nor showing obstinacy and many times playing with the royal swans. The other examples are II.5, III.23, XV.32, XVIII.44, XVIII.45, etc.
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.
Shaktism (Shakta philosophy)
1) Dīpaka (दीपक) refers to “energizing (fire)”, according to the commentary on the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, as Bhairava promises Himavat: “[...] The divine emergence of the Aggregate of Letters takes place within Kuṇḍalī. You will be the emperor who is the energizing (dīpaka) fire within the letters”.
2) Dīpaka (दीपक) refers to the “energizers” (of a mantra), according to the Manthānabhairavatantra.—The Five Praṇavas that precede and conclude the recitation of the Vidyā and, indeed, are normally prefixed and, sometimes also suffixed in reverse order, to the mantras of the Kubjikā cult, came to be represented by the five sacred seats. In this way the Five Praṇavas that energize (dīpana) the mantra to which they are attached are, as the five sacred seats of the Vidyā, the energizers (dīpaka) of the mantras of the Kaula liturgy (kulakrama). Prefixed and suffixed by these five, the mantra is filled with the energy of the sacred seats from which it, like all other mantras of the Kubjikā tradition, originate.
3) Dīpaka (दीपक) or Dīpakanātha is the name of a Siddha, according to the Saubhāgyasudhodaya and the Nityāṣoḍaśikārṇava.—The three lineages (olis) of the Śrīvidyā school are also described in the last chapter of the Saubhāgyasudhodaya by Amṛtānanda, well known as an early commentator of the [Yoginīhṛdaya]. [...] The fifth of these six Siddhas is Dīpaka-nātha and the last in line is Amṛtānanda who completes the Current of Men (mānavaugha) up to his time.
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.
In Jainism
General definition (in Jainism)
Dīpaka (दीपक, “light”) refers to one of the three types of Saṃyagdarśana (“right-belief”), as mentioned in chapter 1.3 [ādīśvara-caritra] of Hemacandra’s 11th century Triṣaṣṭiśalākāpuruṣacaritra: an ancient Sanskrit epic poem narrating the history and legends of sixty-three illustrious persons in Jainism.
Accordingly, as mentioned in Ṛṣabha’s sermon:—
“[...] mokṣa is attained by those who practice unceasingly the brilliant triad of knowledge, faith, and conduct. Attachment to the principles told by the scriptures is called ‘right-belief’ (saṃyakśraddhāna or saṃyagdarśana), and is produced by intuition or instruction of a Guru. [...] Right-belief is three-fold from the stand-point of qualities (guṇas), namely rocaka, dīpaka, and kāraka. In the case of a firm uprising of confidence in the principles described in the scriptures, without reason and illustration, that is rocaka. It is called dīpaka, when it is a light for right-belief for others; kāraka, when it is the cause of restraint, penance, etc.”.
Jainism is an Indian religion of Dharma whose doctrine revolves around harmlessness (ahimsa) towards every living being. The two major branches (Digambara and Svetambara) of Jainism stimulate self-control (or, shramana, ‘self-reliance’) and spiritual development through a path of peace for the soul to progess to the ultimate goal.
India history and geography
Dīpaka is the name of a village mentioned in the “Dive Āgar stone inscription of Anantadeva III”. The village Dīpaka mentioned in the present inscription is evidently modern Dive Āgar, where the inscribed stone was found.
This stone inscription (mentioning Dīpaka) was found while digging in the hamlet of Mr. Yashvantrao Joshi at Āgar in the Śrīvardhan Tālukā of the Kolābā District. It records that a māṇḍalika of the king, named Rāma donated a vāṭikā (orchard) in the village Dīpaka to one Gaṇapati Nāyaka. It is dated in the Śaka year 1176, on the 8th tithi of the dark fortnight of Āṣāḍha, the cyclic year being Ānanda.
The history of India traces the identification of countries, villages, towns and other regions of India, as well as mythology, zoology, royal dynasties, rulers, tribes, local festivities and traditions and regional languages. Ancient India enjoyed religious freedom and encourages the path of Dharma, a concept common to Buddhism, Hinduism, and Jainism.
Biology (plants and animals)
Dipaka in India is the name of a plant defined with Crocus sativus in various botanical sources. This page contains potential references in Ayurveda, modern medicine, and other folk traditions or local practices It has the synonym Safran officinarum Medik. (among others).
Example references for further research on medicinal uses or toxicity (see latin names for full list):
· Gardeners Dictionary, ed. 8 (1768)
· BMC Complementary and Alternative Medicine (2004)
· Gard. Chron. (1879)
· Nomenclator Botanicus (1840)
· Regnum Vegetabile, or ‘a Series of Handbooks for the Use of Plant Taxonomists and Plant Geographers’ (1993)
· Fl. Ital. (1860)
If you are looking for specific details regarding Dipaka, for example health benefits, extract dosage, chemical composition, pregnancy safety, side effects, diet and recipes, have a look at these references.
This sections includes definitions from the five kingdoms of living things: Animals, Plants, Fungi, Protists and Monera. It will include both the official binomial nomenclature (scientific names usually in Latin) as well as regional spellings and variants.
Languages of India and abroad
Pali-English dictionary
dīpaka : (nt.) a small island. (adj.) shawing; explaining.
1) Dīpaka, 3 in vaṇidīpaka PvA.120 for vanibbaka (q. v.). (Page 324)
2) Dīpaka, 2 (=dīpa2) a (little) island J.I, 278, 279; II, 160. (Page 324)
3) Dīpaka, 1 (=dīpa1) (a) f. dīpikā a lamp, in daṇḍa° a torch DhA.I, 220, 399, — (b) (°-) an image of, having the appearance of, sham etc.; in —kakkara a decoy partridge J.II, 161; —tittira same J.III, 358; —pakkhin a decoy bird J.V, 376; —miga a d. antelope J.V, 376. (Page 324)
dīpaka (ဒီပက) [(pu) (ပု)]—
[dīpa+ṇvu．,ṭī.52va．dīpa+ka．pā,yo,1.214.]
[ဒီပ+ဏွု။ ဓာန်၊ဋီ။၅၂ဝ။ ဒီပ+က။ ပါစိတ်၊ ယော၊၁။၂၁၄။]
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.
Marathi-English dictionary
dīpaka (दीपक).—m S A lamp. 2 A Rag or mode of music. See rāga. 3 Cupid.
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dīpaka (दीपक).—a (S) That kindles, inflames, excites: digestive, peptic, tonic, stimulant &c.
dīpaka (दीपक).—m A lamp; a dī or mode of music. a That kindles.
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 dictionary
Dīpaka (दीपक).—a. (-pikā f.) [दीप्-ण्वुल् (dīp-ṇvul)]
1) Kindling, inflaming.
2) Illuminating, making bright.
3) Illustrating, beautifying, making illustrious.
4) Exciting, making intense; सामवादाः सकोपस्य तस्य प्रत्युत दीपकाः (sāmavādāḥ sakopasya tasya pratyuta dīpakāḥ) Śiśupālavadha 2.55; Pañcatantra (Bombay) 3.28.
5) Tonic, stimulating digestion, digestive.
6) Skilful in managing a lamp.
-kaḥ 1 A light, lamp; तावदेव कृतिनामपि स्फुरत्येष निर्मलविवेकदीपकः (tāvadeva kṛtināmapi sphuratyeṣa nirmalavivekadīpakaḥ) Bhartṛhari 1.7.
2) A falcon.
3) An epithet of Kāmadeva (also dīpyaka).
4) Name of several plants (Mar. oṃvā, jireṃ, citraka, kāṃdā, moraśeṃḍā)
5) Name of a Rāga.
5) A kind of measure.
-kam 1 Saffron.
2) (In Rhet.) A figure of speech in which two or more objects (some prakṛta 'relevant' and some aprakṛta 'irrelevant') having the same attribute are associated together, or in which several attributes (some relevant and some irrelevant) are predicated of the same object; सकृद्वृत्तिस्तु धर्मस्य प्रकृताप्रकृतात्मनाम् । सैव क्रियासु बह्वीषु कारकस्येति दीपकम् (sakṛdvṛttistu dharmasya prakṛtāprakṛtātmanām | saiva kriyāsu bahvīṣu kārakasyeti dīpakam) || K. P. 1; cf. वदन्ति वर्ण्यावर्ण्यानाम् धर्मैक्यं दीपकं बुधाः । मदेन भाति कलभः प्रतापेन महीपतिः (vadanti varṇyāvarṇyānām dharmaikyaṃ dīpakaṃ budhāḥ | madena bhāti kalabhaḥ pratāpena mahīpatiḥ) || Chandr.5.45.
Dīpaka (दीपक).—mfn.
(-kaḥ-kā-kaṃ) 1. Making luminous or beautiful. 2. Kindling, inflaming. 3. Exciting, rendering intense (a feeling, &c.) 4. Tonic, stimulant. m.
(-kaḥ) 1. An aromatic seed, (Ligusticum ajwaen, Rox.) 2. Small cumin. 3. Celosia cristata. 4. Saffron. 5. A lamp. 6. A falcon. 7. A name of Kama. 8. One of the Ragas or modes of music. f.
(-pikā) 1. One of the Raginis or female personifications of the musical modes. 2. A title of various books, (the illustrator, the illuminator.) 3. Moonlight. n.
(-kaṃ) A figure of rhetoric, dilating upon an idea, or accumulation of expressions tending to one object. E. dīp to shine, in the causal form, affix ṇvul .
Dīpaka (दीपक).—[dīp + aka], I. adj. 1. Inflaming, [Pañcatantra] iii. [distich] 27. 2. Illuminating, [Pañcatantra] 190, 2. Ii. m. A lamp, [Bhartṛhari, (ed. Bohlen.)] 1, 55. Iii. f. pikā, A lamp, [Daśakumāracarita] in
Dīpaka (दीपक).—[adjective] kindling, inflaming, illuminating; [masculine] & [feminine] dīpikā = [preceding]
1) Dīpaka (दीपक) as mentioned in Aufrecht’s Catalogus Catalogorum:—[grammatical] by Bhadreśvara Sūri. Mentioned in Gaṇaratnamahodadhi p. 2.
2) Dīpaka (दीपक):—and—[commentary] jy. by Mahādeva. B. 4, 148.
3) Dīpaka (दीपक):—poet. Quoted by Kṣemendra in Aucityavicāracarcā 29. 32, in Suvṛttatilaka 2, 29, in Śp. p. 36. [Subhāshitāvali by Vallabhadeva] Padyāvalī.
1) Dīpaka (दीपक):—[from dīp] mfn. kindling, inflaming, illuminating, [Pañcatantra iii, 27, 221/222]
2) [v.s. ...] exciting, stimulating (digestion), [Suśruta]
3) [v.s. ...] skilful in managing a lamp ([gana] ākarṣādi)
4) [v.s. ...] m. a light, lamp, [Harivaṃśa; Bhartṛhari; Bhāgavata-purāṇa]
5) [v.s. ...] the shining body, [Līlāvatī of bhāskara]
6) [v.s. ...] Name of two plants having digestive properties, Ptychotis Ajowan or Celosia cristata, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
7) [v.s. ...] a bird of prey, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
8) [v.s. ...] (in music) Name of a Rāga
9) [v.s. ...] a kind of measure
10) [v.s. ...] Name of Kāma (the inflamer), [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
11) [v.s. ...] of a son of Garuḍa ([Mahābhārata v, 3596]) etc.
12) [v.s. ...] m. or n. saffron, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
13) [from dīp] n. a [particular] class of [rhetoric] figures (throwing light upon an idea), [Sāhitya-darpaṇa; Kuvalayānanda]
14) [v.s. ...] Name of a metre
Dīpaka (दीपक):—[(kaḥ-kā-kaṃ) a.] Making light or beautiful; stimulant. 1. m. An aromatic seed; saffron; a lamp. f. (pikā) A Rāginī; title of books; moon-light. n. Rhetorical figure, dilating on an idea, illustration.
Dīpaka (दीपक) in the Sanskrit language is related to the Prakrit word: Dīvaa.
[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 dictionary
Dīpaka (दीपक) [Also spelled deepak]:—(nm) a lamp; —[bujhanā] the light to go out; one’s lineage to come to an end.
...
Kannada-English dictionary
Dīpaka (ದೀಪಕ):—
1) [adjective] causing to give forth light or shine brightly.
2) [adjective] beautifying; increasing the beauty.
3) [adjective] urging to action; inciting.
4) [adjective] stimulating the appetite; exciting hunger.
--- OR ---
Dīpaka (ದೀಪಕ):—
1) [noun] a source of light; a lamp.
2) [noun] the part of a stove, lamp, etc. from which the flame comes; a burner.
3) [noun] a giving of light or causing to give light.
4) [noun] explanatory notes, annotations that helps to understand a difficult treatise.
5) [noun] a musical mode in Karnāṭaka system derived from the main mode Kāmavardhini.
6) [noun] name of a musical mode in Hindūstāni system singing of which is believed to light the lamps.
7) [noun] (rhet.) a figure of speech which says that two contradictory things have a similar and comparable quality.
8) [noun] a kind of dance.
9) [noun] the plant Celosia cristata of Amaranthaceae family.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
Dīpaka (दीपक):—adj. 1. illuminating; brightening; 2. exciting; intensifying;
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.
See also (Relevant definitions)
Partial matches: Dipa.
Starts with (+11): Dipakabbhantara, Dipakadhovana, Dipakagara, Dipakakara, Dipakakarenu, Dipakakukkuta, Dipakalamkara, Dipakalika, Dipakalike, Dipakalyana, Dipakamala, Dipakamalli, Dipakamatthaka, Dipakamiga, Dipakamigapakkhi, Dipakanatha, Dipakanigalu, Dipakanritya, Dipakapakkhi, Dipakapallaka.
Full-text (+174): Dipika, Gunadipaka, Uddipaka, Pradipaka, Maladipaka, Guhyadipaka, Vahnidipaka, Avrittidipaka, Adipaka, Mantradipaka, Lakkhana, Samdipaka, Madhyadipaka, Catuddipaka, Dipakamala, Pratipadipaka, Hridayadipaka, Vidipaka, Dravyadipaka, Adidipaka.
Relevant text
Search found 68 books and stories containing Dipaka, Dīpaka, Dipa-nvu, Dīpa-ṇvu; (plurals include: Dipakas, Dīpakas, nvus, ṇvus). 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)
Verses 2.20.34-37 < [Chapter 20 - The Rāsa-dance Pastime]
Verses 2.24.8-9 < [Chapter 24 - The Story of Asuri Muni in the Rāsa-dance Pastime]
Verse 2.13.16 < [Chapter 13 - The Story of Śeṣa]
Alamkaras mentioned by Vamana (by Pratim Bhattacharya)
18: Definition of Dīpaka Alaṃkāra < [Chapter 4 - Arthālaṃkāras mentioned by Vāmana]
25: Definition of Tulyayogitā Alaṃkāra < [Chapter 4 - Arthālaṃkāras mentioned by Vāmana]
1-2: The number of Alaṃkāras (poetic figures) mentioned < [Chapter 5 - A Comparative study of the different alaṃkāras mentioned by Vāmana]
Sahitya-kaumudi by Baladeva Vidyabhushana (by Gaurapada Dāsa)
Text 10.96 < [Chapter 10 - Ornaments of Meaning]
Text 10.95 [Dīpaka] < [Chapter 10 - Ornaments of Meaning]
Text 10.98 [Mālā-dīpaka] < [Chapter 10 - Ornaments of Meaning]
Amarakoshodghatana of Kshirasvamin (study) (by A. Yamuna Devi)
Education (8): Knowledge of Metres and Figures of speech < [Chapter 4 - Cultural Aspects]
Education (6): Literature < [Chapter 4 - Cultural Aspects]
Hanuman Nataka (critical study) (by Nurima Yeasmin)
The backdrop of the Srikanthacarita and the Mankhakosa (by Dhrubajit Sarma)
Part 5 - Alaṃkāra or the figures of speech < [Chapter III - Literary Assessment Of The Śrīkaṇṭhacarita]
Part 4 - Style of the Maṅkhakośa text < [Chapter V - The Maṅkhakośa]