Prasada, aka: Prāsāda, Prasāda; 13 Definition(s)
Prasada 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.
Āyurveda (science of life)
Prasāda (प्रसाद) refers to “essence”.(Source): Wisdom Library: Āyurveda and botany
Āyurveda (आयुर्वेद, ayurveda) is a branch of Indian science dealing with medicine, herbalism, taxology, anatomy, surgery, alchemy and related topics. Traditional practice of Āyurveda in ancient India dates back to at least the first millenium BC. Literature is commonly written in Sanskrit using various poetic metres.
1) Prāsāda (प्रासाद) is a Sanskrit technical term denoting a “residence” in general, according to the lists of synonyms given in the Mayamata XIX.10-12 and the Mānasāra XIX.108-12, both populair treatises on Vāstuśāstra literature.
2) Prāsāda (प्रासाद) is a Sanskrit technical term roughly corresponding to “temple”. It represents the dwelling place, or a residence of God. The Samarāṅgaṇasūtradhāra (chapter 49) mentions 64 types of Prāsāda classified under 5 different Vimānas, which represent the aerial cars of the Gods (but also refers to ‘palace’).
The names of the 24 Prāsādas of the Vairāja type (square shaped) of Vimāna are:
Then follow the names of 4x10 groups of Prāsādas for the Kailāśa (globular), Puṣpaka (square and rectangular or oblong), Maṇika (globular and oblong) and Triviṣṭapa (octangular) type of Vimānas:
Thus totalling to 64 different types of Prāsāda.(Source): Wisdom Library: Vāstu-śāstra
Prāsāda is defined as the upper storey or storeys of any building. It may be of a temple or a palace or a house. In the context of temple architecture, prāsāda refers to the upper storeys or the tower built above the sanctum or the gateway.(Source): Shodhganga: Development of temple architecture in Southern Karnataka
Prāsāda (प्रासाद):—The word “Prāsāda” has been used to denote temple througout the work. The name Prāsāda has the widest application. The word is unique in this respect that it does not mean a house or something that is uilt like Devāgāra or Vimāna respectively. “It denotes a settling down (pra-sad) and a seat made of that which has settled down and aqcuired concrete form, the form of a dwelling, a residence, the seat of God”. Thus our Śilpa-śāstras do not consider Prāsāda, the Hindu Temple as a congregational structure alone, but the house of the Spirit. Temple is the house of God. God is the Spirit immanent in the Universe and the temple is His abode.
Thus, Prāsāda, the Hindu Temple from this Brāhmaṇic conception is the visible outer casement (body) of the Invisible Brahma (gods and goddesses only an emblem of this Supreme Being). It is according to this fundamental conception that in temple architecture, the various parts of a temple are designated by names which correspond to the names of the various parts of the human body, e.g.
- Śikhā etc.
The popular etymology for the meaning of the word Prāsāda is accepted by the author of the Śilparatna (XVI.1) and he says:—“Prāsādas please by their beauty, the minds of gods and men.”(Source): Digital Library of India: Bharatiya Vastu-sastra volume 1
Prāsāda (प्रासाद) is defined as the upper storey or storeys of any building. It may be of a temple or a palace or a house. In the context of temple architecture prāsāda refers to the upper storeys or the tower built above the sanctum or the gateway. The towers on the sanctum and gateway are specifically named as vimāna and gopura respectively. Even in Mānasāra (verse 18.2), the tower above the sanctum is referred by the term prāsāda.
The different types of prāsādas mentioned in the Texts:
It further mentions that the number of faces i.e. sides of a prāsāda possesses can be up to sixty beginning from six.(Source): Shodhganga: Temples of Salem region Up to 1336 AD
Vāstuśāstra (वास्तुशास्त्र, vastu-shastra) refers to the knowledge of architecture. It is a branch of ancient Indian science dealing with topics such architecture, construction, sculpture and their relation with the cosmic universe.
1a) Prasāda (प्रसाद).—Born of Maitrī.*
- * Bhāgavata-purāṇa IV. 1. 50.
1b) A fruit of prāṇāyāma; control of the five winds by the senses.*
- * Vāyu-purāṇa 11. 4, 10.
2a) Prāsāda (प्रासाद).—(ety). that which pleases the mind; generally a palace.*
- * Vāyu-purāṇa 8. 127; 35. 4; 39. 36; 40. 9.
2b) Of Viṣṇu; offering of bali to deities as a preliminary to building; varieties of buildings descrbied—meru, mandara, kailāśa, kumbha, siṃha, mṛga, vimāna, chandaka, catusra, aṣṭāsra, ṣoḍaśāsra, vartula, sarvabhadraka, siṃhāsya, nandana, nandivardhanaka, haṃsa, vṛṣa, suvarṇeśa, padmaka and samudraka; with toraṇas and archways of wood, stone or brick.*
- * Brahmāṇḍa-purāṇa IV. 7. 28; Matsya-purāṇa chh. 268-9.
The Purāṇas (पुराण, purana) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahāpurāṇas total over 400,000 ślokas (metrical couplets) and date to at least several centuries BCE.
Nāṭyaśāstra (theatrics and dramaturgy)
1) Prasāda (प्रसाद, “perspicuity”) refers to one of the ten merits (guṇa) of a dramatic play (kāvya), according to Nāṭyaśāstra chapter 17. They are characterised by their sweetness and depth of meaning.
(Description): “where the unexpressed word or sense is comprehended through a use of easily understood words and sense, it is an instance of perspicuity (prasāda)”.
2) Prasāda (प्रसाद, “gratification”) refers to ‘lucid sense of gratification’ following the subsidence of anger. Prasāda represents one of the fourteen nirvahaṇasandhi, according to the Nāṭyaśāstra chapter 21. Nirvahaṇasandhi refers to the “segments (sandhi) of the concluding part (nirvahaṇa)” and represents one of the five segments of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).
(Description): “treating one with waiting upon or the like, is is called gratification (prasāda)”.
3) Prasāda (प्रसाद) refers to one of the thirty-three alaṃkāras (embellishments), according to the Nāṭyaśāstra chapter 29. These alaṃkāras, or, ‘embellishments of song’, depend upon the four types of varṇas, which refers to a specific order of musical notes (svara). They are attached to the songs of seven forms, although not generally used in the dhruvās.
According to the Nāṭyaśāstra, “prasāda is when in a kalā, notes descend gradually by one note”.(Source): Wisdom Library: Nāṭya-śāstra
Nāṭyaśāstra (नाट्यशास्त्र, natya-shastra) refers to both the ancient Indian tradition of performing arts, (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 (nāṭya) and poetic works (kāvya).
Pāñcarātra (worship of Nārāyaṇa)
Prāsāda (प्रासाद) refers to an aspect of nṛsiṃha (‘man-lion’), according to the Vihagendra-saṃhitā 4.17, which mentions seventy-four forms (inlcuding twenty forms of vyūha). He is also known as Prāsādanṛsiṃha or Prāsādanarasiṃha. Nṛsiṃha is a Tantric deity and refers to the furious (ugra) incarnation of Viṣṇu.
The 15th-century Vihagendra-saṃhīta is a canonical text of the Pāñcarātra corpus and, in twenty-four chapters, deals primarely with meditation on mantras and sacrificial oblations.(Source): Wisdom Library: Pāñcarātra
Pāñcarātra (पाञ्चरात्र, pancaratra) represents a tradition of Hinduism where Nārāyaṇa is revered and worshipped. Closeley related to Vaiṣnavism, the Pāñcarātra literature includes various Āgamas and tantras incorporating many Vaiṣnava philosophies.
1) Prāsāda (प्रासाद, “temple”).—In śilpaśāstras of the Śaiva school in south India three types of temples are defined, the differentiating feature being the section of the śikhara (Mayamata XIX.38):
- nāgara with square section up to the śikhara,
- drāviḍa square with octagonal kaṇṭha and śikhara,
- vesara square with circular kaṇṭha and śikhara.
2) Prasāda (प्रसाद, “graciousness”) is depicted as a sculpture on the seventh pillar of the southern half of the maṇḍapa of the temple of Lokeśvara.—The topmost medallion contains a very rare scene of carrying the prasāda, grace of the god, in all pomp. The scene is pictured in this manner: a person, seated on an elephant, holding a container on his head with his right hand and keeping his balance by holding the seat fixed to the saddle. He is accompanied by a mahout (elephant driver) and all paraphernalia, such as drum player, conch blower and porter of daṇḍa, stick. A big, beautiful bell is hanging on the left hind leg of the elephant. The stick that is in the hand of the elephant rider looks either like a flag or an umbrella.
Above the medallion is a small panel with an unfinished sculpture of a seated couple. It may be Śiva with his consort Pārvatī. In that case it may not be wrong to think that the prasāda is carried to their abode.(Source): Archaeological Survey of India: Śaiva monuments at Paṭṭadakal (śilpa)
Śilpaśāstra (शिल्पशास्त्र, shilpa-shastra) represents the ancient Indian science of creative arts such as sculpture, iconography and painting. Closely related to Vāstuśāstra (architecture), they often share the same literature.
General definition (in Hinduism)
Prāsāda (प्रासाद).—The North Indian temple is still called “palace” (prāsāda), however—a “house” for the god. Architects transformed and compacted the palace into a single symbolic emblem. The totality of the temple’s form can be read as a mountain, altar, flame, puruṣa (cosmic man), whatever one’s metaphysical system wishes to make of it.(Source): Academia.edu: Prāsāda as Palace
India history and geogprahy
Prāsāda (प्रासाद, “temple”).—Temples are compared to the sacred mountains of India. Keeping this in view, many temples are built either on hilltops or on elevated mounds. If the surface of the chosen land is flat, then an artificial mound is created to make it slightly higher than the normal ground level to give an impression of a mountain. This is true especially with those temples that are built on the Tuṅgabhadrā riverbanks.(Source): Archaeological Survey of India: Śaiva monuments at Paṭṭadakal
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
prasāda (प्रसाद).—m (S) Favor, graciousness, propitiousness. 2 Anything (a fruit, flower, rice) given by an idol, a Guru, a saint, as a blessing or mark of favor. Pr.guraviṇīcīṃ śitēṃ prasādāvārīṃ gēlīṃ. 3 Food &c. presented to an idol or a holy person to be distributed, thus honored, among worshipers &c. 4 The sweatmeats and fruits distributed among the audience at the conclusion of a Katha or a Puran̤reading. 5 The rice, betelnuts &c. which are stuck upon an idol when it is consulted. 6 S (Lit. Cleanness, clearness, brightness.) fig. Mental sanctity or purity. prasādōpibhayaṅkaraḥ The favor (tender mercies) of the wicked are fearful.
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prāsāda (प्रासाद).—m S A temple. 2 A palace.(Source): DDSA: The Molesworth Marathi and English Dictionary
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.
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Search found 26 books and stories containing Prasada, Prāsāda or Prasāda. You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Brihad Bhagavatamrita (by Śrīla Sanātana Gosvāmī)
Verse 2.4.62-63 < [Chapter 4 - Vaikuṇṭha: The Spiritual Kingdom]
Verse 2.4.256 < [Chapter 4 - Vaikuṇṭha: The Spiritual Kingdom]
Verse 1.7.64 < [Chapter 7 - Purna: The Complete Perfection]
The Bhagavata Purana (by A.C. Bhaktivedanta Swami Prabhupada)
Chapter 16 - Executing the Payo-vrata Process of Worship < [Canto VIII - Withdrawal of the Cosmic Creations]
Chapter 19 - Performing the Pumsavana Ritualistic Ceremony < [Canto VI - Prescribed Duties for Mankind]
Chapter 14 - Ideal Family Life < [Canto VII - The Science of God]
Early Chola Temples (by S. R. Balasubrahmanyam)
Introduction < [Chapter XIII - Prasada: Component Parts]
The Manasara < [Chapter XIII - Prasada: Component Parts]
Rasa Jala Nidhi, vol 4: Iatrochemistry (by Bhudeb Mookerjee)
Part 65 - Treatment for chronic diarrhea (37): Vijaya rasa < [Chapter III - Jvaratisara fever with diarrhoea]
Part 64 - Treatment for chronic diarrhea (36): Shambhu-prasada rasa < [Chapter III - Jvaratisara fever with diarrhoea]
Śrī Kṛṣṇa-vijaya (by Śrī Gunaraja Khan)
Śrī Hari-bhakti-kalpa-latikā (by Sarasvati Thkura)
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