Nirvahaṇasandhi, Nirvahana-sandhi: 2 definitions
Introduction:
Nirvahaṇasandhi 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)
Source: Wisdom Library: Nāṭya-śāstraNirvahaṇasandhi (निर्वहणसन्धि) refers to the “segments (sandhi) of the conclusion part (nirvahaṇa)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Nirvahaṇasaṃdhi and is also known by the name Nirvahaṇāṅga. These elements are essential for a successful dramatic play (nāṭya). The conclusion part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).
There are fourteen elements of the conclusion segment (nirvahaṇasandhi) defined:
- sandhi (junction),
- vibodha (awakening),
- grathana (assembling),
- nirṇaya (ascertainment),
- paribhāṣana (conversation),
- dhṛti (confirmation) or kṛti (achievement),
- prasāda (gratification),
- ānanda (joy),
- samaya (deliverance),
- upagūhana (surprise),
- bhāsana (clever speech),
- pūrvavākya (retrospect),
- kāvyasaṃhāra (termination of the play),
- praśasti (benediction),
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).
In Buddhism
Buddhist philosophy
Source: Google Books: The Treasury of Knowledge: Book six, parts one and two (philosophy)Nirvahaṇasandhi (निर्वहणसन्धि).—The “dramatic juncture of the conclusion or catastrophe” in which, following many statements expressing hesitation, a singular resolution or positive outcome is obtained.
The conclusion comprises the following fourteen aspects:
- saṃdhi (‘the resurfacing of the original juncture’ in which the plot was germinated),
- virodha (‘impediment’),
- grathana (‘convergence’ of the main issues of the plot),
- nirṇaya (‘settlement’ of the plot),
- paribhāṣaṇa (‘admonition’; accepting responsibility for the plot),
- dyuti (‘confirmation’ of the outcome of the plot),
- prasāda (‘lucid sense of gratification’ following the subsidence of anger),
- ānanda (‘joy’ in the attainment of the desired object),
- śama (‘deliverance’ from all misery or misfortune),
- upagūhana (‘expressions of wonderment’),
- bhāṣaṇa (‘conciliatory speech’),
- pūrvāvākya (‘retrospective comments’),
- kāvyāsaṃhāra (‘epilogue’),
- praśasti (‘formal benediction’).
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See also (Relevant definitions)
Partial matches: Nirvahaṇa, Sandhi.
Full-text: Kavyasamhara, Ananda, Purvavakya, Nirnaya, Bhashana, Paribhashana, Samaya, Grathana, Prashasti, Kriti, Vibodha, Sandhyanga, Upaguhana, Nirvahananga, Prasada, Sandhi, Dhriti, Sama.
Relevant text
Search found 5 books and stories containing Nirvahaṇasandhi, Nirvahana-sandhi, Nirvahaṇa-sandhi, Nirvahanasandhi; (plurals include: Nirvahaṇasandhis, sandhis, Nirvahanasandhis). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 10 - Application of the Junctures (sandhi) in a Vīthī < [Chapter 7 - Vīthī (critical study)]
Part 10 - Application of the Junctures (sandhi) in a Bhāṇa < [Chapter 2 - Bhāṇa (critical study)]
Part 10 - Application of the Junctures (sandhi) in a Vyāyoga < [Chapter 5 - Vyāyoga (critical study)]
Mudrarakshasa (literary study) (by Antara Chakravarty)
5. Deliberation of the Pañcasandhi in Mudrārākṣasa < [Chapter 6 - Other Literary Estimates of Mudrārākṣasa]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Nirvahaṇa Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Sandhis and Sandhyaṅgas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Sandhi (the combination of different phases) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
The Kalaapam < [January 1955]