Lasya, aka: Lāsya; 3 Definition(s)
Introduction
Lasya 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.
In Hinduism
Nāṭyaśāstra (theatrics and dramaturgy)
Lāsya (लास्य) refers to a “gentle form of dance”, in the form of a specific type of dramatic play (nāṭya) similar to that of the Bhāṇa type, according to the Nāṭyaśāstra chapter 20.
There are twelve types of the lāsya defined:
- geyapada,
- sthitapāṭhya,
- āsīna (or āsīnapāṭhya),
- puṣpagaṇḍikā,
- pracchedaka,
- trimūḍha,
- saindhava,
- dvimūḍhaka,
- uttamottamaka,
- vicitrapada,
- uktapratyukta,
- bhāvita (or bhāva).
According to the Nāṭyaśāstra chapter 31, “it is said that the lāsya is so called because of its shining (lāsana). It relates to mutual attraction of men and women, and like the bhāṇa it is to be performed by one person, and its subject-matter also should be suitable”.
Source: Wisdom Library: Nāṭya-śāstraLāsya dancing is very sweet.
Source: archive.org: The mirror of gesture (abhinaya-darpana)Lāsya (लास्य) is a gentle dance. The word lāsya is derived from the root ‘las’ meaning to play, to frolic. It is so called due to the mutual state of attraction between a woman and a man. Abhinava explains ‘lasana’ as ‘krīḍā’—the sportive state. It is the mutual jo ining of one’s mind with that of the other, i.e., the state of attraction of a wo man in regard to a man or of a man in regard to a woman.
Source: svAbhinava: Abhinavagupta’s Treatment of the lāsyāṅgas
Nāṭyaśāstra (नाट्यशास्त्र, natya-shastra) refers to both the ancient Indian tradition of performing arts, (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 (nāṭya) and poetic works (kāvya).
Relevant definitions
Search found 23 related definition(s) that might help you understand this better. Below you will find the 15 most relevant articles:
| Lasyanga | Lāsyāṅga (लास्याङ्ग) is an one act play which requires lāsya or a gentle form of dance for its ... | |
| Bhava | 1) Bhāva (भाव, “thought-activity”) refers to “thought-activity”, according to Tattvārthasūtra 1... | |
| Bhavita | bhāvita (भावित).—n Product of two or more un- known quantities. a Conceived, imagined. | |
| Nritya | nṛtya (नृत्य).—n Dancing. Acting, playing. | |
| Saindhava | Saindhava refers to “rock-salt”. (see Bhudeb Mookerji and his Rasajalanidhi)
| |
| Sthitapathya | Sthitapāṭhya (स्थितपाठ्य).—One of the twelve types of lāsya;—If a separated woman burning with ... | |
| Uktapratyukta | Uktapratyukta (उक्तप्रत्युक्त).—One of the twelve types of lāsya;—The Ukta-pratyukta is a duett... | |
| Dvimudhaka | Dvimūḍhaka (द्विमूढक).—One of the twelve types of lāsya;—Delineating a song of the Caturasra ty... | |
| Pushpagandika | Puṣpagaṇḍikā (पुष्पगण्डिका).—One of the twelve types of lāsya;—When a woman in the guise of a m... | |
| Geyapada | Geyapada (गेयपद).—One of the twelve types of lāsya;—When the Heroine being seated surrounded wi... | |
| Trimudhaka | Trimūḍhaka (त्रिमूढक).—One of the twelve types of lāsya;—A play adorned with even metres and ab... | |
| Pracchedaka | Pracchedaka (प्रच्छेदक).—One of the twelve types of lāsya;—When a separated woman pained by the... | |
| Saindhavaka | Saindhavaka (सैन्धवक).—One of the twelve types of lāsya;—When one represents a lover who has fa... | |
| Uttamottamaka | Uttamottamaka (उत्तमोत्तमक).—One of the twelve types of lāsya;—The Uttamottamaka is composed in... | |
| Asina | Āsīna (आसीन) refers to one of the twelve types of lāsya, or “gentle form of dance” according to... |
Relevant text
Search found books containing Lasya or Lāsya. You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
The Mirror of Gesture (abhinaya-darpana) (by Nandikeshvara)
Chapter 2 - Nāṭya, Nṛtta, and Nṛtya
Chapter 13 - Twenty-four Combined Hands
Sri Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 3.3.88 < [Part 3 - Fraternal Devotion (sakhya-rasa)]
The Great Chariot (by Longchenpa)
Part 4a.3 - Meditating on the deities < [B. The explanation of meditation practice, together with its action of ripening and freeing]
Part 4a.4 - How to meditate on the great mandala of the environment and inhabitants < [B. The explanation of meditation practice, together with its action of ripening and freeing]
The Natyashastra (by Bharata-muni)
Chapter XX - Ten Kinds of Play (daśarūpa)
Chapter XXXI - On the Time-measure (tāla)
Trishashti Shalaka Purusha Caritra (by Helen M. Johnson)
Part 8: Later history of the image < [Chapter XI - The story of Rauhiṇeya]
Part 22: Bharata resumes normal life < [Chapter VI]
Part 3: Description of Aṣṭāpada < [Chapter VI]
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