Mukhasandhi, aka: Mukha-sandhi; 2 Definition(s)
Mukhasandhi 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.
Nāṭyaśāstra (theatrics and dramaturgy)
Mukhasandhi (मुखसन्धि) refers to the “segments (sandhi) of the opening part (mukha)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Mukhasaṃdhi and is also known by the name Mukhāṅga. These elements are essential for a successful dramatic play (nāṭya). The opening part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).
There are twelve elements of the opening segment (mukhasandhi) defined:
- upakṣepa (suggestion),
- parikara (enlargement),
- pariṇyāsa (establishment),
- vilobhana (allurement),
- yukti (decision)
- prāpti (accession),
- samādhāna (settling),
- vidhāna (conflict of feeling),
- paribhāvana (surprise),
- udbheda (disclosure),
- karaṇa (activity),
- bheda (incitement),
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).
Vajrayāna (Tibetan Buddhism)
Mukhasandhi (मुखसन्धि).—The “dramatic juncture of the introduction or protasis” in which an initial proposal is made. The introduction comprises the following twelve aspects:
- upakṣepa (‘suggestive insinuation’, alluding to the forthcoming plot),
- parikara (‘enlargement,’ indirectly intimating the coming events),
- parinyāsa (‘allurement’, by extolling the qualities of the hero or heroine),
- vilobhana (‘establishment’ of the seed of the plot),
- yukti (‘resolve’ to attain the objective of the plot),
- prāpti (‘accession’ to the anticipated joyful conclusion of the plot),
- samādhāna (‘determination’ of the purpose or germ of the plot),
- vidhāna (‘conflict’ of joyful and sorrowful sentiments),
- paribhāvanā (‘expressions of surprise’, giving rise to curiosity),
- udbheda (‘the first disclosure’ of the germ of the plot),
- karaṇa (‘the initial enactment’ of the plot),
- bheda (‘the hatching of’ a conspiracy).
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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