Prabandha: 13 definitions
Prabandha means something in Hinduism, Sanskrit, the history of ancient India, 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.
Natyashastra (theatrics and dramaturgy)Source: Google Books: Music and Musical Thought in Early India
Prabandha (प्रबन्ध, “bonded, well-knit”) is the generic term for the independent art songs of medieval India. There are two continuous ideological strands connecting the various musical and literary compositions designated by the term prabandha, one explicit and the other implicit: the explicit meaning is that these are strict, formal, regulated compositions, as opposed to free, unregulated improvisations.
The meaning of prabandha may be furtyher amplified through the connotations of two popular synonyms: rūpaka (having good form, figurative, and hence metaphoric) and vastu (essential substance, subject matter). Prabandha is the most general term, rūpaka signifies its elevated and metaphoric poetic ocntent, and vastu calls attention to the underlying formal structure.Source: Google Books: Saṅgītaśiromaṇi: A Medieval Handbook of Indian Music
Prabandha (प्रबन्ध, “composition”).—When the main sections contain all the phrasal elements, i.e. regulard words (pada), etc., separately or combined, it is considered to be a prabandha (lit. “composition”). One should known that prabandha, vastu and rūpaka are the three names of composed music (nibaddha) based on regular words (pada) and the other phrasal elements (aṅga). (cf. Saṅgītaśiromaṇi 13.6)Source: Shodhganga: Vijayanagara as a seat of music
Prabandha (प्रबन्ध).—In deśī music, all compositions were known by the generic name of ‘prabandha’. A brief description of the standard features of prabandha as seen in Śārṅgadeva’s Saṅgītaratnākara is as follows:
A prabandha had the following mandatory sections known as ‘dhātus’:
- Udgrāha – the section with which the prabandha commences,
- Melāpaka – the section which links the Udgrāha with the next section called Dhruva,
- Dhruva – this is the section which is mandatory in a prabandha and is rendered several times. The prabandha terminates on it even though this is not the last section.
- Ābhoga – this is the last section of the prabandha which contains the name of the composer/deity/patron.
The following six were aṅgas or parts of a prabandha:
- Svara – the musical notes expressed as solfa syllables in a prabandha.
- Biruda – the eulogistic descriptions in a prabandha.
- Pada – the meaningful text (apart from Biruda) of the prabandha.
- Tena – the musical phrases in a prabandha which are expressed with the syllables ‘tena’.
- Pāṭa – the syllables used to depict the sounds produced on percussion instruments.
- Tāla – the rhythmic component of a prabandha.
Prabandhas are of two varieties – Niryukta and Aniryukta. The former is one where there is prescription of chanda, tāla etc. and the latter is one where there is no such prescription.Source: Vrindavan Today: Govinda-lilamrita: Rasa-lila musicology
Prabandha (प्रबन्ध) refers to songs (gāna) that are composed of all of the dhātus and aṅgas.—There are five classifications of prabandha:
- Those having all six aṅgas are called medinī,
- Those having five are called nandinī.
- Those having four are called dīpanī,
- Those with three are called pāvanī,
- Those with two are called tārāvalī.
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).
India history and geogprahySource: Cologne Digital Sanskrit Dictionaries: Indian Epigraphical Glossary
Prabandha.—name of hymnical compositions in Tamil by ancient Vaiṣṇava devotees. The contributions of hymns and prayers by the twelve āḻvārs in praise of Viṣṇu make up the Nālāyiradivyaprabandham. Nālāyira (four thousand) indicates the rough total number of items and prabandham is regarded as mean- ing a compilation. The first thousand is known as Tirumoḻi and comprises hymns of Periyāḻvār, Āṇḍāl, Kulaśekhara, etc.; the second thousand contains the hymns of Tirumaṅgai; the third comprises the compositions of the first three āḻvārs called Iyaṟpā, viz. Tirumaḻiśai, Nammāḻvar and Tirumaṅgai, and the fourth called Tiruvāymoḻi is entirely the work of Nammāḻvār. Nāthamunigaḻ is stated to be the compiler of this anthology. See M. S. Purnalingam Pillai, Tamil Literature, pp. 181 ff. Note: prabandha 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.
Languages of India and abroad
Marathi-English dictionarySource: DDSA: The Molesworth Marathi and English Dictionary
prabandha (प्रबंध).—m S A kind of song or metrical composition in the Sanskrit language. 2 Composition or construction (of a discourse, of verses &c.): also a discourse, disquisition, treatise &c.; or the pamphlet or book containing it.Source: DDSA: The Aryabhusan school dictionary, Marathi-English
prabandha (प्रबंध).—m A kind of metrical composition. Composition.
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-English dictionarySource: DDSA: The practical Sanskrit-English dictionary
1) A bond, tie.
2) Uninterruptedness, continuance, continuity, uninterrupted series or succession; विच्छेदमाप भुवि यस्तु कथाप्रबन्धः (vicchedamāpa bhuvi yastu kathāprabandhaḥ) K.239; क्रियाप्रबन्धादयमध्वराणाम् (kriyāprabandhādayamadhvarāṇām) R.6.23;3.58; Māl.6.3.
3) A continued or connected narrative or discourse; अनुज्झितार्थसंबन्धः प्रबन्धो दुरुदाहरः (anujjhitārthasaṃbandhaḥ prabandho durudāharaḥ) Śi.2.73.
4) Any literary work or composition; प्रथित- यशसां भासकविसौमिल्लकविमिश्रादीनां प्रबन्धानतिक्रम्य (prathita- yaśasāṃ bhāsakavisaumillakavimiśrādīnāṃ prabandhānatikramya) M.1; प्रत्यक्षर- श्लेषमयप्रबन्ध (pratyakṣara- śleṣamayaprabandha) &c. Vās.
5) Arrangement, plan, scheme; as in कपटप्रबन्धः (kapaṭaprabandhaḥ)
6) A commentary.
Derivable forms: prabandhaḥ (प्रबन्धः).Source: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit Dictionary
Prabandha (प्रबन्ध).—m. (Sanskrit, continuation, continuity), in Laṅkāvatāra-sūtra 37.10 ff., 38.5 ff., 39.3, seems to be nearly a synonym [Page382-a+ 71] for pravṛtti (which occurs as var. for it in one ms. 39.3; see pravṛtti-vijñāna), continuous activity or existence, viz. of vijñāna, contrasted with lakṣaṇa, the external mark or manifested aspect (Suzuki, Studies, 183) of vijñāna; both must be subjected to suppression (nirodha); 38.5 f. prabandha-nirodhaḥ…yasmān na (so, with Tibetan) pra- vartate, as a result of which it no longer operates; the pra- bandha of vijñāna is analogous to the relation between atoms of clay and a Jump of clay composed of them, ‘neither different nor not different’, 38.9 ff.Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-ndhaḥ) 1. Continuous application or action, continuance, uninterruptedness. 2. A connected discussion. 3. A tie, a bond. 4. A literary composition, particularly a poetical one. E. pra before, badhi to bind, aff. ac .
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family. 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 (+29): Anuprabandha, Atiprabandha, Bhanuprabandha, Bhojaprabandha, Candrashekharacampuprabandha, Churi-prabandha, Citraprabandha, Dakshayajnaprabandha, Devarajaprabandha, Divya-prabandha, Drishtarasaprabandha, Ekadinaprabandha, Hanumatprabandha, Ishvaraprasadaprabandha, Jatakaparipatiprabandha, Kapataprabandha, Kathaprabandha, Kesaraprabandha, Krishnakirtiprabandha, Kriyaprabandha.
Full-text (+227): Prabandhacintamani, Prabandhavarsha, Kathaprabandha, Kanta, Prabandhadhyaya, Prabandhartha, Divya-prabandha, Vikramaprabandha, Bhojaprabandhasara, Humpha, Strata, Hampha, Sovaka, Sanibapa, Shahanushahi, Maduka, Sandhika, Kakkoli, Atiprabandha, Rakhadi.
Search found 9 books and stories containing Prabandha, Pra-bandha; (plurals include: Prabandhas, bandhas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
A History of Indian Philosophy Volume 3 (by Surendranath Dasgupta)
Part 5 - The Influence of the Āḻvārs on the followers of Rāmānuja < [Chapter XVIII - An Historical and Literary Survey of the Viśiṣṭādvaita School of Thought]
Part 3 - Āḻvārs and Śrī-vaiṣṇavas on certain points of controversy in religious dogmas < [Chapter XVII - The Āḻvārs]
Part 1 - The Chronology of the Āḻvārs < [Chapter XVII - The Āḻvārs]
Maha Prajnaparamita Sastra (by Gelongma Karma Migme Chödrön)
Section A.2 - Rejection of pleasant sounds < [Part 2 - Means of acquiring meditation]
Story of the Kiṃnarī and the five hundred ṛṣis < [Part 2 - Means of acquiring meditation]
VI. Why the first power includes the other nine < [Part 1 - General questions]
The Mirror of Gesture (abhinaya-darpana) (by Ananda Coomaraswamy)
Parama Samhita (English translation) (by Krishnaswami Aiyangar)
Kathasaritsagara (the Ocean of Story) (by Somadeva)
Notes on the entering of another’s body < [Notes]
Chapter XXXVIII < [Book VII - Ratnaprabhā]
Chapter IV < [Book I - Kathāpīṭha]
A History of Indian Philosophy Volume 2 (by Surendranath Dasgupta)