Kaishiki, Kaiśikī: 3 definitions
Introduction:
Kaishiki 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.
The Sanskrit term Kaiśikī can be transliterated into English as Kaisiki or Kaishiki, using the IAST transliteration scheme (?).
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstra1) Kaiśikī (कैशिकी, “graceful style”) is the Sanskrit name for one of the four styles (vṛtti) of dramatic performance (prayoga). According to Nāṭyaśāstra 1.41-43, the four styles were originally prepared by Bharata and presented to Brahmā (who created the Nāṭyaveda from the four Vedas). The term is used throughout nāṭyaśāstra literature.
According to the Nāṭyaśāstra chapter 22, there are four varieties of the graceful style:
- narma (pleasantry),
- narmasphurja (beginning of pleasure),
- narmasphoṭa (unfoldment of pleasure),
- narmagarbha (covert pleasure).
2) Kaiśikī (कैशिकी) refers to one of the jātis (melodic class) related to the madhyama-grāma, according to the Nāṭyaśāstra chapter 28. It is therefore also known as kaiśikījāti. Jāti refers to a recognized melody-type and can be seen as a precursor to rāgas which replaced them.
According to the Nāṭyaśāstra 28.146-149, “in the kaiśikī-jāti the aṃśa (key note) consists of all the notes in the grāma except ṛṣabha, and these are the apanyāsa (semi-terminal note), and the nyāsa (terminal note) is gāndhāra and niṣāda, but when the dhaivata and niṣāda are the aṃśa in it pañcama will be the nyāsa. In it ṛṣabha is weak and it is skipped over, and sometimes ṛṣabha will be its apanyāsa”.
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: Monier-Williams Sanskrit-English Dictionary1) Kaiśikī (कैशिकी):—[from kaiśika > kaiśava] f. ([scilicet] vṛtti) one of the four varieties of dramatic style (graceful style, suited especially to the passion of love), [Bharata-nāṭya-śāstra xx, 45 ff.; Daśarūpa ii, 44; Pratāparudrīya; Sāhitya-darpaṇa] ([varia lectio] kauśikī)
2) [v.s. ...] Name of a locality or of a river, [Mahābhārata iii, 10095]
3) [v.s. ...] for kauśikī (Name of Durgā), [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
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
Source: Alar: Kannada-English corpusKaiśiki (ಕೈಶಿಕಿ):—
1) [noun] the graceful style that suits especially the dealing of passion of love; one of the four varieties of dramatic style.
2) [noun] one of the modes of old system of music.
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: Kaishikimaya, Kaishikinishadha, Kaishikivritti.
Ends with: Mamgalakaishiki, Mamgalyakaishiki, Shadjakaishiki.
Full-text (+73): Narmagarbha, Narmasphota, Narmasphurja, Narma, Kaishikivritti, Narman, Kaishikimaya, Vishnukshetra, Pragjyotisha, Arvuda, Utkalinga, Nepalaka, Malava, Anarta, Malada, Marttikavata, Bahirgira, Mallavartaka, Pranga, Nataka.
Relevant text
Search found 16 books and stories containing Kaishiki, Kaiśikī, Kaisiki, Kaiśiki; (plurals include: Kaishikis, Kaiśikīs, Kaisikis, Kaiśikis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Guṇas, Vṛttis and Rīti < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Basic features of Nāṭaka < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati in Vṛttis and Pravṛttis < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Importance of Gati in Uparūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Relevance of Gati in Rūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]
Mudrarakshasa (literary study) (by Antara Chakravarty)
4. The entity of Vṛtti and its use in Mudrārākṣasa < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
4.1. Kaiśikī-vṛtti < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
4.3. Ārabhaṭī-vṛtti < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Kaiśikī-vṛtti (delightful vivacity and charming expression) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Vṛtti (mode of conduct)—Introduction < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Bhāratī-vṛtti (eloquent bearing) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Natyashastra (English) (by Bharata-muni)
Chapter XIV - Zones (kakṣyā) and Local Usages (pravṛtti)
Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 4.1.30 < [Part 1 - Laughing Ecstasy (hāsya-rasa)]