Nirvahaṇasandhi, aka: Nirvahana-sandhi; 2 Definition(s)
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.
Natyashastra (theatrics and dramaturgy)
Nirvahaṇasandhi (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 (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).
Tibetan Buddhism (Vajrayana or tantric Buddhism)
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’).
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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