Nritya, Nṛtyā, Nṛtya: 17 definitions
Nritya 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.
The Sanskrit terms Nṛtyā and Nṛtya can be transliterated into English as Nrtya or Nritya, using the IAST transliteration scheme (?).
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Natyashastra (theatrics and dramaturgy)Source: Wisdom Library: Nāṭya-śāstra
Nṛtya (नृत्य, “dance”) is a Sanskrit technical term used in plays and dramas (nāṭya), as explained in the Nāṭyaśāstra.Source: Google Books: Dhanapāla and His Times (arts and learning)
Nṛtya (नृत्य, “dance”).—Various types of dances, namely, ‘tāṇḍava’, ‘nāṭya’, ‘lāsya’, ‘prekṣā’ and ‘lāghava’ are mentioned in Tilakamañjarī. Someśvara in his Mānasollāsa has referred to six types of dances: viz., ‘nāṭya’, ‘lāsya’, ‘tāṇḍava’, ‘laghava’, ‘viṣama’ and ‘vikaṭa’. We hear of ‘veśyārāsa-maṇḍalīs’ (a party of courtesans who performed circular dance, imitating the dance of Kṛṣṇa) in Tilaka-mañjarī.Source: archive.org: The mirror of gesture (abhinaya-darpana)
Nṛtya is that form of dance which possesses flavour, mood, and suggestion (rasa, bhāva, vyañjanā etc.), and the like. Nātya and Nṛtya should be seen especially at festivals. Nṛtya at coronations, celebrations, processions of men or gods, marriages, reunion of friends, entry into towns or houses, the birth of children, and all auspicious occasions, by those who desire fortune. Nṛtya should be seen by a royal audience in the courts of kin.
Nṛtta and Nṛtya constitute as a separate art. The ordinary performance of a nācnī (nautch-girl, bayadere) consists of alternate nṛtya , the former consisting of set dances with some special subject, and accompanied by varied gesture, the latter merely moving to and fro, marking time with the feet, and so forth.
According to Dhanaṃjaya (“Daśarūpa” I, 14) speaking of Nṛtya and Nṛtta,
Source: Indian Classical Dances: Techniques of classical dances
“the former, gesture-with-meaning is high (mārga), the latter popular (deśī).”
Nritya is combination of rhythm with expression. Nritya identifies with theme, story and narrative. It makes fullest use of Abhinaya, especially in respect of Angika (physical) and Satvika (emotional) to achieve purpose.
Nritya is basically an expressional dance. It is concerned with conveying the meaning of an idea or a subject. It is achieved through facial expressions, hands and other elements of body language known in Indian dance.Source: Shodhganga: The significance of the mūla-beras (natya)
Nṛtya refers to “emotion dance” as used within the classical tradition of Indian dance and performance, also known as Bharatanatyam.—In Bharatanatyam, the use of nṛtta is found in basic movements and a few dance pieces; nṛtya is seen in expressional dancing pieces and nāṭya is found in the dance-dramas of classical dances. According to the Abhinayadarpaṇa, verse 16, “that (dance) which relates to sentiment (rasa) and psychological state (bhāva) is called nṛtya. This dance is always fit to find a place in the court of great kings”.
Nṛtya is that manifestation of dancing which possesses aesthetic flavour (rasa), mood or emotion (bhāva) and suggestion (vyañjana). According to the Saṃgītōpanishad, verse 2, “Nṛtya pleases all the five senses, makes one forget misery and provides pleasure at all times”. Nandikeśvara declared that the aesthetic pleasure experienced on witnessing Nṛtya is greater than the supreme bliss enjoyed by the sages; otherwise it could not have attracted sages like Narada. Nṛtya expresses bhāvas and produces rasas. It is that aspect of dance performed with some special subject accompanied by varied gestures. To be precise, it brings out an idea, message or story through codified gestures of the hands and postures of the body.
Nṛtya is especially seen at coronations, celebrations, processions, marriages, the birth ceremonies, auspicious occasions and many other festivals. It used to be watched by a royal audience in the courts of kings. Nṛtya interprets a story in rhythmic movements. The theme may be erotic, epic, religious, philosophical, or secular. In nṛtya, the theme or the literary compositions are set to a particular musical pattern called melody (rāga) and rhythmic pattern (tāla), which are needed for the dance representations and are interpreted through the dance sequences
Nṛtya is of two kinds: mārga and deśī. Mārgī is systematically composed of both music and dancing. Deśī is more spontaneous and popular among people, and is performed before the public for entertainment at various social functions.
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).
Purana and Itihasa (epic history)Source: Cologne Digital Sanskrit Dictionaries: The Purana Index
The Purana (पुराण, purāṇas) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahapuranas total over 400,000 shlokas (metrical couplets) and date to at least several centuries BCE.
Tibetan Buddhism (Vajrayana or tantric Buddhism)Source: archive.org: The Indian Buddhist Iconography
Nṛtyā (नृत्या) refers one of four dance-deities, commonly depicted in Buddhist Iconography, and mentioned in the 11th-century Niṣpannayogāvalī of Mahāpaṇḍita Abhayākara.—Her Colour is mixed; her Symbol is the vajra; she has two arms.—All these four deities (viz., Nṛtyā) are popular in the Vajrayāna pantheon and are described times without number both in the Sādhanamālā as well as in the Niṣpannayogāvalī.
Nṛtyā is described in the Niṣpannayogāvalī (pañcaḍāka-maṇḍala) as follows:—
Source: academia.edu: The Structure and Meanings of the Heruka Maṇḍala
“Nṛtyā is of variegated colour and she dances with her two hands holding the vajra”.
[All these dance-deities are violent in character with garland of severed heads, and dance in pratyālīḍha. They show the tarjanī against the chest as the common gesture.]
Nṛtyā (नृत्या) is the name of a Ḍākinī who, together with the Vīra (hero) named Nṛtya forms one of the 36 pairs situated in the Ākāśacakra, according to the 10th century Ḍākārṇava chapter 15. Accordingly, the ākāśacakra refers to one of the three divisions of the dharma-puṭa (‘dharma layer’), situated in the Herukamaṇḍala. The 36 pairs of Ḍākinīs [viz., Nṛtyā] and Vīras are dark blue in color; they each have one face and four arms; they hold a skull bowl, a skull staff, a small drum, and a knife. Alternatively, the Ḍākinīs have their own marks and motions according to the taste instead of a small drum and a skull staff.
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 dictionarySource: DDSA: The Molesworth Marathi and English Dictionary
nṛtya (नृत्य).—n (S) Dancing: also acting, playing, performing.Source: DDSA: The Aryabhusan school dictionary, Marathi-English
nṛtya (नृत्य).—n Dancing. Acting, playing.
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 dictionarySource: DDSA: The practical Sanskrit-English dictionary
Nṛtya (नृत्य).—Dancing, acting, a dance, pantomime, gesticulation; नृत्तादस्याः स्थितमतितरां कान्तम् (nṛttādasyāḥ sthitamatitarāṃ kāntam) M.2.7; नृत्यं मयूरा विजहुः (nṛtyaṃ mayūrā vijahuḥ) R.14.69; Me.34,36; R.3.19.
Derivable forms: nṛtyam (नृत्यम्).
See also (synonyms): nṛtta.Source: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit Dictionary
Nṛtyā (नृत्या).—(dramatic) Dance or Drama, name of a goddess or yoginī: Sādhanamālā 157.12 etc.; 324.6.Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-tyaṃ) Dancing, acting, the actor’s practice in general. E. nṛt to dance, aff. kyap.Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Nṛtya (नृत्य).—[neuter] dance, pantomime.Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
Nṛtya (नृत्य):—[from nṛt] n. dancing, acting, gesticulation, pantomime, [Mahābhārata; Varāha-mihira; Kāvya literature etc.]
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)
Ends with (+16): Bandhanritya, Camatkaranritya, Deshinritya, Dhadunritya, Dhrupadakhyanritya, Dhruvagitanritya, Dhruvanritya, Gitanritya, Jhampanritya, Kalpanritya, Kattarinritya, Lilanritya, Mahanritya, Mancanritya, Manchanritya, Mandalanritya, Mandalinritya, Mattanritya, Mayuranritya, Pramodanritya.
Full-text (+57): Mandalanritya, Nrityasthana, Nrityashastra, Nrityahasta, Nrityashala, Natya, Nrityapriya, Rupakanritya, Kalpanritya, Lilanritya, Mancanritya, Mahanritya, Nritta, Bandhanritya, Rudra Nritya, Venunritya, Nrityagitavadya, Nrityavilasa, Nrityasarvasva, Nrityagita.
Search found 13 books and stories containing Nritya, Nṛtyā, Nṛtya, Nrtya; (plurals include: Nrityas, Nṛtyās, Nṛtyas, Nrtyas). 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 Ananda Coomaraswamy)
The Indian Buddhist Iconography (by Benoytosh Bhattachacharyya)
Sri Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.4.31 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
Verse 1.3.14 < [Part 3 - Devotional Service in Ecstasy (bhāva-bhakti)]
Bhajana-Rahasya (by Srila Bhaktivinoda Thakura Mahasaya)
Text 17 < [Chapter 1 - Prathama-yāma-sādhana (Niśānta-bhajana–śraddhā)]
Text 23 < [Chapter 1 - Prathama-yāma-sādhana (Niśānta-bhajana–śraddhā)]
Text 4 < [Chapter 6 - Ṣaṣṭha-yāma-sādhana (Sāyaṃ-kālīya-bhajana–bhāva)]
The Bhagavata Purana (by A.C. Bhaktivedanta Swami Prabhupada)
The Great Chariot (by Longchenpa)
Part 4a.4 - The great mandala of the environment and inhabitants < [B. The explanation of meditation practice]