Garbhasandhi, aka: Garbha-sandhi; 2 Definition(s)

Introduction

Garbhasandhi means something in Buddhism, Pali, 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.

In Hinduism

Natyashastra (theatrics and dramaturgy)

[Garbhasandhi in Natyashastra glossaries]

Garbhasandhi (गर्भाङ्ग) refers to the “segments (sandhi) of the development part (garbha)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Garbhasaṃdhi and is also known by the name Garbhāṅga. These elements are essential for a successful dramatic play (nāṭya). The development part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).

There are thirteen elements of the development segment (garbhasandhi) defined:

  1. abhūtāharaṇa (mis-statement),
  2. mārga (indication),
  3. rūpa (supposition),
  4. udāharaṇa (exaggeration),
  5. krama (progress),
  6. saṃgraha (propitiation),
  7. anumāna (deduction),
  8. prārthanā (supplication),
  9. ākṣipta (revelation),
  10. toṭaka (quarrel),
  11. adhibala (outwitting),
  12. udvega (dismay),
  13. vidrava (consternation).
(Source): Wisdom Library: Nāṭya-śāstra
Natyashastra book cover
context information

Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (śāstra) of performing arts, (nāṭya, e.g., 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) and poetic works (kavya).

Discover the meaning of garbhasandhi in the context of Natyashastra from relevant books on Exotic India

In Buddhism

(Vajrayana or tantric Buddhism)

[Garbhasandhi in Tibetan Buddhism glossaries]

Garbhasandhi (गर्भसन्धि).—The “dramatic juncture of the development or catastasis” in which, following many verbal exchanges, exemplified by episodic discussions, the deliberations are decisevely determined. The development comprises the following thirteen aspects:

  1. abhūtāharaṇa (‘deliberate mis-statement’ of events that never took place),
  2. mārga (‘clear indication of the course of action’ one intends to follow),
  3. vitarka (‘consequent supposition’ or hypotheses expressing doubt),
  4. udāharaṇa (‘employment of exaggerated’ examples or hyperbole),
  5. krama (‘employment of progressive similes’ to obtain knowledge of another person’s sentiments),
  6. saṅgraha (‘winning over’ another person by sweet words and gifts),
  7. anumāna (‘making of an inference’ or conjecture),
  8. prārthanā (‘solicitation’),
  9. ākṣipta (‘painful disclosure’ of the desired object of the plot),
  10. toṭaka (‘quarreling’),
  11. adhibala (‘outwitting’ through guile),
  12. udvega (‘distress’ caused by spearation or exposure to enemies),
  13. vidrava (‘consequent panic’ or consternation).
(Source): Google Books: The Treasury of Knowledge: Book six, parts one and two
Tibetan Buddhism book cover
context information

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.

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