Pancamahashabda, Panca-mahashabda, Pañcamahāśabda: 2 definitions
Pancamahashabda means something in Jainism, Prakrit, the history of ancient India. 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 term Pañcamahāśabda can be transliterated into English as Pancamahasabda or Pancamahashabda, using the IAST transliteration scheme (?).
Alternative spellings of this word include Panchamahashabda.
General definition (in Jainism)Source: archive.org: The Jaina Iconography
Pañcamahāśabda (पञ्चमहाशब्द) refers to the five Dundubhis (musical instruments).—The Heavenly Dundubhis consist of five musical instruments.
These are the Pañcamahāśabda: viz.
- Śṛṅga, the horn.
- Tammata, the drum.
- Śaṃkha, the conch-shell.
- Bherī, the trumpet.
- Jayaghāta, the cymbal.
(Cf. Prof. Bhandarkar’s “Jaina Iconography” Ind. Ant., 1911, June.)
Jainism is an Indian religion of Dharma whose doctrine revolves around harmlessness (ahimsa) towards every living being. The two major branches (Digambara and Svetambara) of Jainism stimulate self-control (or, shramana, ‘self-reliance’) and spiritual development through a path of peace for the soul to progess to the ultimate goal.
India history and geogprahySource: Cologne Digital Sanskrit Dictionaries: Indian Epigraphical Glossary
Pañca-mahāśabda.—(IE 8-2; EI 30; CII 3, 4; SITI; CITD; BL), refers to the privilege of enjoying the sounds of five musical instruments, or five titles beginning with mahat; five official designations or musical instruments mentioned in con- nection with feudatories; five official designations beginning with the word mahā in the North and five kinds of musical instruments in the South; in South India, it was the same as pañca-mahānināda, i. e. the sounds of the five great musical ins- truments called the pañca-mahāvādya enumerated by some as a horn, a tabor, a conch-shell, a kettle-drum and a gong; in some parts of North India, the expression indicated five official designations with the prefix mahā. (CII 3), sounds of five musical instruments, the use of which was allowed to persons of high rank and authority; usually a title of feudatories; cf. tat-pradatta-pañcamahāśabda (IE 8-2), used in respect of feudatory rulers who received the right of enjoying the pañca-mahāśabda from their overlords; rarely used in the South by independent monarchs. Cf. pañca-vādya (EI 4) and pañca-mahāvādya. See Samadhigata-pañcamahāśabda, etc. Cf. pañca-māśattam (SITI), the five musical instruments, to the use of which a nobleman was entitled; sometimes enu- merated as ceṇḍai, timilai, śegaṇḍi, cymbals and kāhaḻam or as tattaḻi, maddaḻi, karaḻikai, cymbals and kāhaḻam. (SII 11-1), cf. grant of 40 mattars of land to a piper for arranging to play the five musical instruments. Note: pañca-mahāśabda is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions commonly written in Sanskrit, Prakrit or Dravidian languages.
The history of India traces the identification of countries, villages, towns and other regions of India, as well as royal dynasties, rulers, tribes, local festivities and traditions and regional languages. Ancient India enjoyed religious freedom and encourages the path of Dharma, a concept common to Buddhism, Hinduism, and Jainism.
See also (Relevant definitions)
Ends with: Prapta-pancamahashabda.
Full-text (+2): Prapta-pancamahashabda, Ashesha-mahashabda, Samadhigata-panca-mahashabda, Panca-vadya, Panca-mahavadya, Panca-shabda, Mahashvashal-adhikrita, Mahashabda, Samkha, Mahabhandagarika, Shringa, Tammata, Bheri, Jayaghata, Mahasadhanika, Mahakartakritika, Dundubhi, Mahadandanayaka, Mahapratihara, Mahasandhivigrahika.
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