Khandita, Khaṇḍitā: 11 definitions
Introduction
Introduction:
Khandita means something in Buddhism, Pali, Hinduism, Sanskrit, Marathi. 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.
Images (photo gallery)
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraKhaṇḍitā (खण्डिता) refers to a “young woman who is enraged” according to the Nāṭyaśāstra 4.315. Accordingly, “But dance (nṛtta) should not be applied to the part of a young woman who is enraged (khaṇḍitā), deceived (vipralabdhā); or separated [from her lover] by a quarrel (kalahāntaritā)”.
Source: archive.org: Natya ShastraKhaṇḍitā (खण्डिता) refers to “one enraged with her lover” and represents a type of mistress (nāyikā), according to the Nāṭyaśāstra chapter 24. The different nāyikās, or ‘heroines’ of dramatic plays (nāṭaka) are defined according to the rules of king’s etiquette to women.
Accordingly, “a women whose beloved one, due to attachment for another female, does not come for the conjugal union (vāsaka) when it is due, is an enraged (khaṇḍitā) heroine (nāyikā)”.
Source: Shodhganga: The significance of the mūla-beras (natya)Khaṇḍitā (खण्डिता) refers to a “[heroine] annoyed with her lover” and represents one of the “eight heroines” (aṣṭanāyikā) in a dramatic representation, according to the Nāṭyaśāstra chapter 24 and the Abhinaya-sāra-saṃputa chapter 2.—The aṣṭanāyikās (eight heroines) who are separately described in eight ways according to their different emotional states or moods towards the hero. Chapter 24 of the Nāṭyaśāstra and chapter II of Abhinaya-sara-samputa speak of these aṣṭanāyikās [viz., Khaṇḍitā] in detail.
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).
Chandas (prosody, study of Sanskrit metres)
Source: Journal of the University of Bombay Volume V: Apabhramsa metres (2)Khaṇḍitā (खण्डिता) is the name of a catuṣpadi metre (as popularly employed by the Apabhraṃśa bards), as discussed in books such as the Chandonuśāsana, Kavidarpaṇa, Vṛttajātisamuccaya and Svayambhūchandas.—Khaṇḍitā (6, 4, 4) is identical with the Gandhodakadhārā.—[Gandhodakadhārā has 14 mātrās in each of its four lines, divided into the groups of 4, 4, 4 and 2 mātrās or 6, 4 and 4 mātrās.]
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.
Shilpashastra (iconography)
Source: Shodhganga: Vaisnava Agamas And Visnu ImagesKhaṇḍita (खण्डित) refers to a “broken mould”, mentioned in a list of difficulties during the process of beeswax modeling (madhūcchiṣṭa), as defined in treatises such as the Pāñcarātra, Pādmasaṃhitā and Vaikhānasa-āgamas, extensively dealing with the technical features of temple art, iconography and architecture in Vaishnavism.—The Vaiṣṇava Āgamas insist that the metal icons should be made through a casting process called Madhūcchiṣṭa-kriyā. [...] Atri defines the complete casting-presence of all parts of the body, presence of all lakṣaṇas whatever found on the bee-wax moulding, attributes and ornaments properly attached together. The authors were aware of certain difficulties in the casting, i.e., khaṇḍita (broken), sphuṭita (cracks) and asampūrṇa (incompletion of the garbha). In such, it is considered just the metal but not the icon. In any of the problem, the trio, i.e. Ācarya, Yajamāna and Śilpin should inspect the output and should decide the remaking of bee wax model and casting.
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
In Buddhism
Tibetan Buddhism (Vajrayana or tantric Buddhism)
Source: academia.edu: The Structure and Meanings of the Heruka MaṇḍalaKhaṇḍita (खण्डित) refers to one of the eight charnel grounds (śmaśāna) of the Kāyacakra, according to the 10th century Ḍākārṇava chapter 15. Accordingly, the kāyacakra refers to one of the four divisions of the nirmāṇa-puṭa (‘emanation layer’), situated in the Herukamaṇḍala. Khaṇḍita is associated with the tree (vṛkṣa) named Pārijāta and with the hell-guardian (narakapāla) named Pārijātā.
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 dictionary
Source: DDSA: The Molesworth Marathi and English Dictionarykhaṇḍita (खंडित).—p (S) Broken. 2 Confuted, refuted, interrupted, intermitted &c. 3 Contracted for; undertaken to be performed or supplied for a certain sum.
Source: DDSA: The Aryabhusan school dictionary, Marathi-Englishkhaṇḍita (खंडित).—p Confuted. Broken. Contracted for.
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
Source: DDSA: The practical Sanskrit-English dictionaryKhaṇḍita (खण्डित).—p. p. [khaṇḍ-kta]
1) Cut, broken in pieces.
2) Destroyed, annihilated, lost, decayed; खण्डिते च वसुनि (khaṇḍite ca vasuni) Bh.3.33.
3) Refuted (in argument), controverted.
4) Rebelled.
5) Disappointed, betrayed, abandoned; खण्डितयुवतिविलापम् (khaṇḍitayuvativilāpam) Gīt.8.
6) Disregarded (in order); मण्डले खण्डिताज्ञत्वं दिद्दायाः समजृम्भत (maṇḍale khaṇḍitājñatvaṃ diddāyāḥ samajṛmbhata) Rāj. T.6.229.
-tā A woman whose husband or lover has been guilty of infidelity, and who is therefore angry with him; one of the 8 principal Nāyikas in Sanskrit; निद्रावशेन भवता- प्यनवेक्षमाणा पर्युत्सुकत्वमबला निशि खण्डितेव (nidrāvaśena bhavatā- pyanavekṣamāṇā paryutsukatvamabalā niśi khaṇḍiteva) R.5.67; Me.41. She is thus described :-पार्श्वमेति प्रियो यस्या अन्यसंभोगचिह्नितः । सा खण्डितेति कथिता धीरैरीर्ष्याकषायिता (pārśvameti priyo yasyā anyasaṃbhogacihnitaḥ | sā khaṇḍiteti kathitā dhīrairīrṣyākaṣāyitā) || S. D.114.
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryKhaṇḍita (खण्डित).—mfn.
(-taḥ-tā-taṃ) 1. Cut, torn, broken in pieces. 2. Destroyed. 3. Broken as allegiance, disobeyed against, rebelled. 4. Refuted, controverted. 5. Scattered, dispersed. 6. Disappointed. 7. Betrayed, abandoned, (as a lover.) f.
(-tā) A woman whose husband or lover has been guilty of infidelity. E. khaḍi to cut. affix kta.
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Khaṇḍita (खण्डित):—[from khaṇḍ] mfn. ([gana] tārakādi) cut, torn, broken in pieces, scattered, dispersed, destroyed, removed, [Vikramorvaśī; Pañcatantra; Kathāsaritsāgara; Prabodha-candrodaya; Hitopadeśa]
2) [v.s. ...] injured ([especially] by the teeth), [Pañcatantra]
3) [v.s. ...] broken as allegiance, disobeyed against, rebelled
4) [v.s. ...] refuted, controverted
5) [v.s. ...] disappointed, betrayed, abandoned (as a lover), [Raghuvaṃśa v, 67; Meghadūta; Śāntiśataka]
6) Khaṇḍitā (खण्डिता):—[from khaṇḍita > khaṇḍ] f. a woman whose husband or lover has been guilty of infidelity, [Sāhitya-darpaṇa]
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.
See also (Relevant definitions)
Starts with: Khanditapanditya, Khanditashamsa, Khanditavigraha, Khanditavrata, Khanditavritta, Khanditavya.
Ends with: Akhandita, Avikhandita, Shikhandita, Utkhandita, Vikhandita, Vikkhandita.
Full-text (+6): Khanditashamsa, Khanditavigraha, Khanditavritta, Khanditi, Akhandita, Vikhandita, Khand, Vipralabdha, Akhandittu, Ajnatva, Utkhandita, Vikhandin, Khanditya, Akhanditarttu, Khanditavrata, Khanday, Ashtanayika, Kalahantarita, Khandati, Parijata.
Relevant text
Search found 7 books and stories containing Khandita, Khaṇḍitā, Khaṇḍita; (plurals include: Khanditas, Khaṇḍitās, Khaṇḍitas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Sri Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.4.96 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
Verse 3.5.23 < [Part 5 - Conjugal Love (mādhurya-rasa)]
The backdrop of the Srikanthacarita and the Mankhakosa (by Dhrubajit Sarma)
Part 2 - Dress and decoration (found in the Śrīkaṇṭhacarita) < [Chapter IV - Socio-cultural study of the Śrīkaṇṭhacarita]
Brihad Bhagavatamrita (commentary) (by Śrī Śrīmad Bhaktivedānta Nārāyana Gosvāmī Mahārāja)
Verse 2.4.46 < [Chapter 4 - Vaikuṇṭha (the spiritual world)]
Rasa Jala Nidhi, vol 3: Metals, Gems and other substances (by Bhudeb Mookerjee)
Part 7 - Incineration of iron (26) < [Chapter IV - Metals (4): Lauha (iron)]
The Natyashastra (by Bharata-muni)
Chapter XXIV - Harmonious Representation (sāmānyābhinaya)
The Skanda Purana (by G. V. Tagare)
Chapter 29 - Gaṅgā-Sahasranāma (A Thousand Names of Gaṅgā) < [Section 1 - Pūrvārdha]