Praveshaka, Praveśaka: 17 definitions
Introduction:
Praveshaka 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.
The Sanskrit term Praveśaka can be transliterated into English as Pravesaka or Praveshaka, using the IAST transliteration scheme (?).
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstra1) Praveśaka (प्रवेशक) refers to the “introductory scene” and represents one of the five explanatory devices (arthopakṣepaka). According to the Nāṭyaśāstra chapter 21, an Introductory Scene (praveśaka) in relation to the Nāṭaka and the Prakaraṇa, is to occupy a place between two Acts and to treat the summary of the Segments. These ‘explanatory devices’ were adopted by the playwright for clarifying the obscurities that were liable to occur due to his extreme condensation of the subject-matter. The term is used throughout nāṭyaśāstra literature.
2) Praveśaka (प्रवेशक) refers to one of the twenty aspects of tāla (time-measure), according to the Nāṭyaśāstrahapter chapter 28. In musical performance, tāla refers to any rhythmic beat or strike that measures musical time. It is an important concept in ancient Indian musical theory (gāndharvaśāstra) traceable to the Vedic era.
3) Praveśaka (प्रवेशक) (also known as praveśana or praveśa) is one of the four varieties of the silent tāla, according to the Nāṭyaśāstra chapter 31. Accordingly, “the praveśa is the drawing away of the palm turned downwards”, and “after showing the āvāpa (lit. the curving the fingers) one should be making the niṣkrāma and then the vikṣepa and next the praveśana (praveśa)”. The tāla is so called because it measures time by a division of songs into kalās”.
Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)Praveśaka (प्रवेशक) refers to the “introducer” (of the Sanskrit drama), according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—The Viṣṇudharmottarapurāṇa says that at the very beginning of the Sanskrit drama, praveśaka i.e., the introducer should introduce the plot of the drama that has been continuing for many days and this narration must be very brief. In the Sāhityadarpaṇa also, the description of those incidents which have already been happened are suggested in the very beginning of the Drama and the technical term of this part of a Drama is known as mukha or āmukha.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—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), construction and performance of Theater, and Poetic works (kavya).
Shaktism (Shakta philosophy)
Source: Google Books: ManthanabhairavatantramPraveśaka (प्रवेशक) or Praveśa refers to “entry (of the breath)” [as opposed to niṣkāsa—exit], according to the Ṣaṭsāhasrasaṃhitā, an expansion of the Kubjikāmatatantra: the earliest popular and most authoritative Tantra of the Kubjikā cult.—Accordingly, “[...] The (lunar) energies within the first lunar day in the beginning (and those energies of the subsequent days), the waxing and waning (of the moon) and are (all) here. And (here) the lunar days and the rest reach the (supreme) plane (pada). It is said that the entry (of the breath) [i.e., praveśa] is the left and the exit is the right, (corresponding) to the division of the Moon and Sun. One should know that death resides in the exit (of the breath) and that life is in the entry [i.e., praveśa]. Exit and entry are (brought about) by these sixteen parts. He who knows this with effort is a yogi who (truly) knows Yoga”.
Shakta (शाक्त, śākta) or Shaktism (śāktism) represents a tradition of Hinduism where the Goddess (Devi) is revered and worshipped. Shakta literature includes a range of scriptures, including various Agamas and Tantras, although its roots may be traced back to the Vedas.
India history and geography
Source: Cologne Digital Sanskrit Dictionaries: Indian Epigraphical GlossaryPraveśaka.—(SITI), admission, entry. Note: praveśaka 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 mythology, zoology, 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 dictionary
Source: DDSA: The Molesworth Marathi and English Dictionarypravēśaka (प्रवेशक).—m S In the drama. Prologue. 2 Proem, exordium, introduction.
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pravēśaka (प्रवेशक).—a S That introduces; that ushers or conducts in, lit. fig.
Source: DDSA: The Aryabhusan school dictionary, Marathi-Englishpravēśaka (प्रवेशक).—m Prologue. Exordium. a That introduces.
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 dictionary
Source: DDSA: The practical Sanskrit-English dictionaryPraveśaka (प्रवेशक).—'The introducer', an interlude acted by inferior characters (such as servants, buffoon &c.) for the purpose of acquainting the audience with events not represented on the stage, but a knowledge of which is essential for the proper understanding of what follows; (like the Viṣkambhaka it connects the story of the drama and the subdivisions of the plot, by briefly referring to what has occurred in the intervals of the acts, or what is likely to happen at the end; it never occurs at the beginning of the first act or at the end of the last). S. D. thus defines it:-प्रवेशकोऽनु- दात्तोक्त्या नीचपात्रप्रयोजितः । अङ्कद्वयान्तर्विज्ञेयः शेषं विष्कम्भके यथा (praveśako'nu- dāttoktyā nīcapātraprayojitaḥ | aṅkadvayāntarvijñeyaḥ śeṣaṃ viṣkambhake yathā) || 39; see विष्कम्भक (viṣkambhaka); cf. Ve.3.
Derivable forms: praveśakaḥ (प्रवेशकः).
Source: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit DictionaryPraveśaka (प्रवेशक).—adj. (= AMg. pavesaa), entering: katham etāni °kāni bhaviṣyanti Divyāvadāna 249.4, how will they enter (lit. come to be entering)?
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryPraveśaka (प्रवेशक).—mfn.
(-kaḥ-kā-kaṃ) Who or what enters. m.
(-kaḥ) 1. An inferior actor who announces the enterance of the principal characters, or an interlude acted by inferior characters for the sake of making known to the audience events which are not represented on the stage and a knowledge of which is necessary for the understanding of what follows, proiled that it can never occur in the beginning of the first act or at the end of the last. 2. An entry. E. pra before, viś to enter, ṇvul aff.
Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English DictionaryPraveśaka (प्रवेशक).—i. e. pra-viś + aka, I. adj. Who or what enters. Ii. m. An interlude, [Śākuntala, (ed. Böhtlingk.)] 76, 10.
Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English DictionaryPraveśaka (प्रवेशक).—(adj. —°) = [preceding]; a kind of interlude ([drama]).
Source: Cologne Digital Sanskrit Dictionaries: Aufrecht Catalogus CatalogorumPraveśaka (प्रवेशक) as mentioned in Aufrecht’s Catalogus Catalogorum:—[grammatical] Oppert. 2902.
Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Praveśaka (प्रवेशक):—[=pra-veśaka] [from pra-veśa > pra-viś] ifc. = veśa entering, entrance, [Kathāsaritsāgara]
2) [v.s. ...] m. a kind of interlude (acted by some of the subordinate characters for the making known of what is supposed to have occurred between the acts or the introducing of what is about to follow), [Kālidāsa; Ratnāvalī; Daśarūpa; Sāhitya-darpaṇa] etc. (cf. viṣkambhaka and, [Indian Wisdom, by Sir M. Monier-Williams 473])
3) [v.s. ...] Name of [work]
Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English DictionaryPraveśaka (प्रवेशक):—[pra-veśaka] (kaḥ-kā-kaṃ) a. Entering. m. Entrance; announcing the entrance.
[Sanskrit to German]
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.
Kannada-English dictionary
Source: Alar: Kannada-English corpusPravēśaka (ಪ್ರವೇಶಕ):—[noun] in dramas, an interlude acted by subordinate characters for making known of what is supposed to have occurred between the acts or the introducing of what is about to follow.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
See also (Relevant definitions)
Partial matches: Veshaka, Pra.
Ends with: Anekantapraveshaka, Anupraveshaka.
Full-text: Arthopakshepaka, Anekantavada, Praveshak, Mukha, Amukha, Pravesha, Vishkambha, Tala.
Relevant text
Search found 12 books and stories containing Praveshaka, Praveśaka, Pravesaka, Pravēśaka, Pra-veshaka, Pra-veśaka, Pra-vesaka; (plurals include: Praveshakas, Praveśakas, Pravesakas, Pravēśakas, veshakas, veśakas, vesakas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Nāṭaka rules < [Chapter 1 - Nāṭaka (critical study)]
Part 13 - Technical Aspects of a Nāṭaka < [Chapter 1 - Nāṭaka (critical study)]
Part 11 - Technical Aspects of a Ḍima < [Chapter 4 - Ḍima (critical study)]
Annadatri-carita (study) (by Sarannya V.)
4. Praveshaka (link between two chapters) < [Chapter 4 - Dramatic Appraisal of Annadatri-carita]
Dramatic Appraisal of Annadatri-carita (Introduction) < [Chapter 4 - Dramatic Appraisal of Annadatri-carita]
5. Vishkambha (brief description of story) < [Chapter 4 - Dramatic Appraisal of Annadatri-carita]
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Analysis of Arthopakṣepakas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Kāsa < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Pratimukha Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Description of Ḍima < [Chapter 2 - Nature and Classification of Sanskrit Drama]
Arthopakshepakas (modes of Introduction) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Description of Samavakāra < [Chapter 2 - Nature and Classification of Sanskrit Drama]
The validity of Anumana (inference) in Nyaya system (by Babu C. D)
Mudrarakshasa (literary study) (by Antara Chakravarty)