Rupa, Rūpa: 54 definitions


Rupa means something in Buddhism, Pali, Hinduism, Sanskrit, Jainism, Prakrit, the history of ancient India, Marathi, Hindi, Tamil. 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.

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In Hinduism

Pancaratra (worship of Nārāyaṇa)

Source: SriMatham: Vaiṣṇava Iconology based on Pañcarātra Āgama

rūpa–Sanskrit term meaning 'form', 'aggregate' or 'a sum total of form.' and used in hindu iconology (e.g. the Āgamas).

Pancaratra book cover
context information

Pancaratra (पाञ्चरात्र, pāñcarātra) represents a tradition of Hinduism where Narayana is revered and worshipped. Closeley related to Vaishnavism, the Pancaratra literature includes various Agamas and tantras incorporating many Vaishnava philosophies.

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Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

1) Rūpa (रूप, “supposition”) refers to ‘consequent supposition’ or hypotheses expressing doubt. Rūpa represents one of the thirteen garbhasandhi, according to the Nāṭyaśāstra chapter 21. This element is also known by the name Vitarka. Garbhasandhi refers to the “segments (sandhi) of the development part (garbha)” and represents one of the five segments of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).

(Description of Rūpa): “a hypothesis with which novel meanings are combined, is called Supposition (rūpa)”.

2) Rūpa (रूप, “supposition”) refers to an aspect of the representation of objects and senses, according to the Nāṭyaśāstra chapter 24. Accordingly, “by holding on the head the patāka-hand with its fingers slightly moving, and looking intently at something with eyes, the wise one is to represent the form (rūpa)”.

3) Rūpa (रूप) is the name of a karaṇa (aspect of strokes) in playing the vipañcī (musical instrument), according. The vipañcī refers to an instrument with nine strings played with a plectrum (koṇa).

According to the Nāṭyaśāstra, “when on the vīṇā, two heavy and two light syllables are played, it is the rūpa”.

4) Rūpa (रूप) or Rūpakaraṇa refers to one of the six karaṇas, comprising a set of rules used in the playing of drums (puṣkara) [with reference to Mṛdaṅga, Paṇava and Dardura] according to the Nāṭyaśāstra chapter 33.

Accordingly, “Rūpa is when karaṇas are produced by two hands. Example.—gham khu khu ṇa khu gham kramam tthimam tthettaram ghaṭam ghatthi metthi gheṇṭa kaṭa guddharāṇa kiṭi gham ghe kaghatām ghe kakham”.

Source: Natya Shastra

Rūpa (रूप).—The terms like rūpaka or rūpa (representation) and prekṣā (spectacle), all denoting dramatic works, also characterise the Hindu dramas and show their difference from the drama of the Greeks who laid emphasis on action and not on the spectacle.

Though the Hindu plays are usually referred to as ‘drama’ all the ten varieties of play (rūpa) described in the Nāṭyaśāstra are not strictly speaking dramas in the modern sense. Due to the peculiar technique of their construction and production they would partially at least partake of the nature of pure drama, opera, ballet or merely dramatic spectacle.

The ten types of play:

  1. Nāṭaka,
  2. Prakaraṇa,
  3. Samavakāra, 
  4. Īhāmṛga,
  5. Ḍima,
  6. Vyāyoga,
  7. Prahasana,
  8. Utsṛṣṭikāṅka,
  9. Bhāṇa,
  10. Vīthī.
Natyashastra book cover
context information

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).

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Ayurveda (science of life)

Toxicology (Study and Treatment of poison)

Source: Shodhganga: Kasyapa Samhita—Text on Visha Chikitsa

Rūpa (रूप) refers to the “kind (of bites)” (of the Snakes) and represents an aspect of Agadatantra—“the ancient Indian science that alleviates the effects of poison”, as taught in the Kāśyapa Saṃhitā: an ancient Sanskrit text from the Pāñcarātra tradition dealing with both Tantra and Viṣacikitsā—an important topic from Āyurveda which deals with the study of Toxicology (Agadatantra or Sarpavidyā).—Tradition has it that Brahmā himself expounded the sarpavidyā to sage Kaśyapa [including topics such Daṃśa-rūpa—the kind of bites (of the Sarpas/Snakes)].

Unclassified Ayurveda definitions

Source: Wisdom Library: Āyurveda and botany

Rūpa (रूप):—A Sanskrit technical term translating to “symptom”, referring to one of the “five characteristics of diagnosis” (pañcalakṣaṇanidāna). It is used throughout Ayurvedic literature such as the Caraka-saṃhitā and the Suśruta-saṃhitā. These five characteristics are regarded as very important clues for diagnosis (nidāna) within Āyurveda.

Source: Ayurveda glossary of terms

Rūpa (रूप):—Form, figure, apperance of any visible object or thing.

Ayurveda book cover
context information

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.

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Shilpashastra (iconography)

Source: Wisdom Library: Śilpa-śāstra

Rūpa (रूप) is a Sanskrit word translating to “form”, “aggregate” or “a sum total of form”. It is used throughout texts and practice of Hindu iconology.

Shilpashastra book cover
context information

Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.

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Vaisheshika (school of philosophy)

Source: Wisdom Library: Vaiśeṣika

Rūpa (रूप, “colour”) is one of the seventeen guṇas (‘qualities’), according to the Vaiśeṣika-sūtras. These guṇas are considered as a category of padārtha (“metaphysical correlate”). These padārthas represent everything that exists which can be cognized and named. Together with their subdivisions, they attempt to explain the nature of the universe and the existence of living beings.

Vaisheshika book cover
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Vaisheshika (वैशेषिक, vaiśeṣika) refers to a school of orthodox Hindu philosophy (astika), drawing its subject-matter from the Upanishads. Vaisheshika deals with subjects such as logic, epistemology, philosophy and expounds concepts similar to Buddhism in nature

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Vastushastra (architecture)

Source: Wisdom Library: Vāstu-śāstra

Rūpa (रूप, “form”) refers to one of the twelve effects of āya (“profit”), according to the Mānasāra. Āya is the first of the āyādiṣaḍvarga, or “six principles” that constitute the “horoscope” of an architectural or iconographic object. Their application is intended to “verify” the measurements of the architectural and iconographic object against the dictates of astrology that lay out the conditions of auspiciousness.

The particular āya (e.g., rūpa) of all architectural and iconographic objects (settlement, building, image) must be calculated and ascertained. This process is based on the principle of the remainder. An arithmetical formula to be used in each case is stipulated, which engages one of the basic dimensions of the object (breadth, length, or perimeter/circumference). The twelve effects of āya may all be assumed as auspicious.

Vastushastra book cover
context information

Vastushastra (वास्तुशास्त्र, vāstuśāstra) refers to the ancient Indian science (shastra) of architecture (vastu), dealing with topics such architecture, sculpture, town-building, fort building and various other constructions. Vastu also deals with the philosophy of the architectural relation with the cosmic universe.

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Kavya (poetry)

Source: Shodhganga: The Kavyamimamsa of Rajasekhara

Rūpa (रूप) is the name of an important person (viz., an Ācārya or Kavi) mentioned in Rājaśekhara’s 10th-century Kāvyamīmāṃsā.—An ancient poet. To whom nothing can be known certainly. In the Kāvyamīmāṃsā, Rājaśekhara only says that his poetic excellence examined in the Ujjain.

Kavya book cover
context information

Kavya (काव्य, kavya) refers to Sanskrit poetry, a popular ancient Indian tradition of literature. There have been many Sanskrit poets over the ages, hailing from ancient India and beyond. This topic includes mahakavya, or ‘epic poetry’ and natya, or ‘dramatic poetry’.

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Vyakarana (Sanskrit grammar)

Source: Wikisource: A dictionary of Sanskrit grammar

1) Rūpa (रूप).—Word-form which is complete with प्रकृति (prakṛti) (the base) and प्रत्यय (pratyaya), i.e. the affix which is attached to it; cf. रूपनिर्ग्रहश्च शब्दस्य नान्तरेण लौकिकं प्रयोगम् (rūpanirgrahaśca śabdasya nāntareṇa laukikaṃ prayogam) M. Bh. on P. I. 1.22 Vārt. 3; cf. also the usual expression का रूपसिद्धिः (kā rūpasiddhiḥ) in the Mahābhāșya; cf. M. Bh. on I. 1.51, 1.2.58 etc. ; the word is also used in the sense of a word-base (धातु (dhātu) or प्रातिपदिक (prātipadika)); cf. स्वं रूपं शब्दस्याशब्दसंज्ञा (svaṃ rūpaṃ śabdasyāśabdasaṃjñā) P. I. 1.68;

2) Rūpa.—The word form as characterized by its derivation and properties cf. तस्य रूपान्यत्वे वर्णान्यत्वम् (tasya rūpānyatve varṇānyatvam) explained as तस्य शब्दस्य अनुप्रदानादिभिः कारणौ रूपभेदे जन्यमाने वर्णभेदः संपद्यते (tasya śabdasya anupradānādibhiḥ kāraṇau rūpabhede janyamāne varṇabhedaḥ saṃpadyate) T. Pr. XXII. 2

Vyakarana book cover
context information

Vyakarana (व्याकरण, vyākaraṇa) refers to Sanskrit grammar and represents one of the six additional sciences (vedanga) to be studied along with the Vedas. Vyakarana concerns itself with the rules of Sanskrit grammar and linguistic analysis in order to establish the correct context of words and sentences.

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Jyotisha (astronomy and astrology)

Source: Wisdom Library: Brihat Samhita by Varahamihira

1) Rūpa (रूप) refers to the “shape” (i.e., of the moon), according to the Bṛhatsaṃhitā (chapter 4), an encyclopedic Sanskrit work written by Varāhamihira mainly focusing on the science of ancient Indian astronomy astronomy (Jyotiṣa).—Accordingly, “Having thus described the shape [i.e., rūpa] of the moon we next proceed to describe her size (generally): if the moon should appear small there will be famine, and if big, prosperity, in the land. If the middle of the moon (candra) should appear small, there will be hunger in the land and princes will be afflicted with cares. If the middle should appear big she will cause prosperity and plenty”.

2) Rūpa (रूप) refers to “personal beauty”, according to the Bṛhatsaṃhitā (chapter 15) (“On the nakṣatras—‘asterisms’”).—Accordingly, “Those who are born on the lunar day of Punarvasu will be noted for truthfulness, generosity, cleanliness, respectable descent, personal beauty (rūpa), sense, fame and wealth; they will also be merchants, dealing in excellent articles, will be fond of service and will delight in the company of painters and sculptors. [...]”.

Source: Wikibooks (hi): Sanskrit Technical Terms

Rūpa (रूप).—1. Known number; unity; abbr. as rū in algebra. Note: Rūpa is a Sanskrit technical term used in ancient Indian sciences such as Astronomy, Mathematics and Geometry.

Jyotisha book cover
context information

Jyotisha (ज्योतिष, jyotiṣa or jyotish) refers to ‘astronomy’ or “Vedic astrology” and represents the fifth of the six Vedangas (additional sciences to be studied along with the Vedas). Jyotisha concerns itself with the study and prediction of the movements of celestial bodies, in order to calculate the auspicious time for rituals and ceremonies.

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Shaktism (Shakta philosophy)

Source: Google Books: Manthanabhairavatantram

Rūpa (रूप) refers to one of the four states of consciousness (related to four yogic states), according to the Mālinīvijayottaratantra 2.36ff, Tantrāloka 10.227, Kubjikāmatatantra chapters 17-19, Manthānabhairavatantra Kumārikākhaṇḍa 19.6ff, 44.5-8 and Kulapañcāśikā 1.8ff.—[...] We do also find profound expositions of the states of waking, dreaming and deep sleep along with Fourth state beyond them in the work of Kashmiri Śaiva exegetes. This was probably because the early Kashmiri Śaivites were influenced by the Upaniṣads and philosophical reflections (initiated originally by Buddhists) concerning the relationship between thought and consciousness and so, by extension, with its states. By the time we reach Abhinavagupta, Kashmiri Śaivism crystallizes in his work as the highest development of the Trika school. At the scriptural level, this Tantric tradition reached its apogee in the compact and systematic Mālinīvijayottaratantra. Although known and respected by the redactors of the Kumārikākhaṇḍa, it was not, of course, rated as highly as it was by Abhinava, who took this, effectively, to be the main Trika Tantra. There the four states of consciousness [i.e., Rūpa] are related to four yogic states as we find commonly in Kaula Tantras of various schools, including those of the goddess Kubjikā.

Source: The Śāradātilakatantra on Yoga

Rūpa (रूप) represents one of the four stages of creation corresponding to the Ājñā-cakra, and is explained in terms of kuṇḍalinī by Lakṣmaṇadeśika in his 11th-century Śaradātilaka verse 25.62.—“The ‘solid mass’ (piṇḍa) is doubtlessly the kuṇḍalinī, equivalent to Śiva; the “position” (pada), on the other hand, is doubtlessly the haṃsaḥ, the inner Self of all. The “form” (rūpa) is doubtlessly the bindu of infinite lustre; the blissful union (sāmarasya) with Śiva is “form transcended” (atītarūpa)”.

Note: The terms piṇḍa, pada, rūpa and rūpātīta refer to four stages of creation. These four are also said to correspond to four Cakras: piṇḍa to mūlādhāra, pada to anāhata, rūpa to ājñā and rūpātīta to sahasrāra.

Shaktism book cover
context information

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.

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Nyaya (school of philosophy)

Source: Shodhganga: A study of Nyāya-vaiśeṣika categories

Rūpa (रूप, “colour”) or Rūpaguṇa refers to one of the twenty-four guṇas (qualities) according to all the modern works on Nyāya-Vaiśeṣika.—Rūpa (Colour) is the first quality amongst the twenty-four guṇas. It is a special quality. According to Praśastapāda, the colour is perceptible to the eye. Viśvanātha states in his Bhāṣāpariccheda that colour is cognized by the sense of vision. It is an aid to the cognition of substance, quality, action, generic attributes etc. It is an auxiliary cause of visual perception. Śivāditya defines rūpa as that quality which possesses the generality of colourness and is perceptible by the eye alone.

Colour (rūpa) is divided into seven kinds, viz., and white, blue, yellow, red, green, brown and variegated. Among these the last one is the mixture of the other qualities. The seven colours reside in earth, water and light. All the seven kinds exist in earth, pale-white resides in water and bright white is found in light.

Nyaya book cover
context information

Nyaya (न्याय, nyaya) refers to a school of Hindu philosophy (astika), drawing its subject-matter from the Upanishads. The Nyaya philosophy is known for its theories on logic, methodology and epistemology, however, it is closely related with Vaisheshika in terms of metaphysics.

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Shaivism (Shaiva philosophy)

Source: Brill: Śaivism and the Tantric Traditions (philosophy)

Rūpa (रूप) refers to the “form (of atoms)”, according to the Īśvarapratyabhijñāvivṛtivimarśinī 2.140.—Accordingly, “[The opponent:] ‘And why is [this spatial extendedness of the pot] not possible if [we admit that] the numerous atoms get to have different places because, since they are of a material, [i.e. solid] nature, [they] cannot extend to the place of the others’ forms (anyonya-rūpa)?’ Anticipating this [objection, Utpaladeva] says ‘To explain …’ Here is the implicit meaning [of this passage]: if the pot is [nothing but] atoms with intervals [separating them from each other], then [the pot] must be imperceptible. [...]

Source: Brill: Śaivism and the Tantric Traditions

Rūpa (रूप) refers to “(human/material) form/beauty”, according to the 13th-century Matsyendrasaṃhitā: a Kubjikā-Tripurā oriented Tantric Yoga text of the Ṣaḍanvayaśāmbhava tradition from South India.—Accordingly, “[Devī spoke]:—O God, what kind of a woman is a Yoginī? Who is Māyā and who is Pāśavī? Tell me, O Bhairava, the pros and cons of having sex with them. [Bhairava spoke]:—[...] A woman who possesses all favourable characteristics [but] has neither a [Yoginī] Clan/noble family nor a [human/material] form/beauty (kula-rūpa-vivarjitā), and who is to be approached by empathic imagination, O Maheśānī, is called Māyā”.

Shaivism book cover
context information

Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.

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Ganitashastra (Mathematics and Algebra)

Source: Hindu Mathematics

1) Rūpa (रूप) represents the number 1 (one) in the “word-numeral system” (bhūtasaṃkhyā), which was used in Sanskrit texts dealing with astronomy, mathematics, metrics, as well as in the dates of inscriptions and manuscripts in ancient Indian literature.—A system of expressing numbers by means of words arranged as in the place-value notation was developed and perfected in India in the early centuries of the Christian era. In this system the numerals [e.g., 1—rūpa] are expressed by names of things, beings or concepts, which, naturally or in accordance with the teaching of the Śāstras, connote numbers.

2) Rūpa (रूप) refers to “drawing and geometry”, which represented an important subject in the subject of Mathematics in Hindu Education.—The elementary stage in Hindu education lasted from the age of five till the age of twelve. This period slightly differed in the case of sons of kings and noblemen. The main subjects of study were lipi or lekhā (alphabets, reading and writing), rūpa (drawing and geometry) and gaṇanā (arithmetic). It is said in the Arthaśāstra of Kauṭilya (400 B.C.) that having undergone the ceremony of tonsure, the student shall learn the alphabets (lipi) and arithmetic (saṃkhyāna). We find in the Hathigumpha Inscription that king Kharavela (163 B.C.) of Kalinga spent nine years (from the age of sixteen to the age of 25) in learning lekhā, rūpa and gaṇanā. Prince Gautama began his education when he was eight years of age “firstly (with) writing and then arithmetic as the most important of the 72 sciences and arts”. Mention of lekhā, rūpa and gaṇanā is also found in the Jaina canonical works.

3) Rūpa (रूप) refers to the “coefficient”, according to the principles of Bījagaṇita (“algebra” or ‘science of calculation’), according to Gaṇita-śāstra, ancient Indian mathematics and astronomy.—In Hindu algebra there is no systematic use of any special term for the coefficient. Ordinarily, the power of the unknown is mentioned when the reference is to the coefficient of that power. [...] However, occasional use of a technical term is also met with. [...] Śrīpati (1039) in his Siddhāntaśekhara also used rūpa for the same purpose.

4) Rūpa (रूप, “appearance”) refers to the “absolute”, according to the principles of Bījagaṇita.—In the Bakhshali treatise the absolute term is called dṛśya (visible). In later Hindu algebras it has been replaced by a closely allied term rūpa (appearance), though it continued to be employed in treatises on arithmetic. Thus the true significance of the Hindu name for the absolute term in an algebraic equation is obvious. It represents the visible or known portion of the equation while its other part is practically invisible or unknown.

Ganitashastra book cover
context information

Ganitashastra (शिल्पशास्त्र, gaṇitaśāstra) refers to the ancient Indian science of mathematics, algebra, number theory, arithmetic, etc. Closely allied with astronomy, both were commonly taught and studied in universities, even since the 1st millennium BCE. Ganita-shastra also includes ritualistic math-books such as the Shulba-sutras.

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In Buddhism

Theravada (major branch of Buddhism)

Source: Access to Insight: A Glossary of Pali and Buddhist TermsBody; physical phenomenon; sense datum. The basic meaning of this word is "appearance" or "form." It is used, however, in a number of different contexts, taking on different shades of meaning in each. In lists of the objects of the senses, it is given as the object of the sense of sight. As one of the khandha, it refers to physical phenomena or sensations (visible appearance or form being the defining characteristics of what is physical). This is also the meaning it carries when opposed to nama, or mental phenomena.Source: Dhamma Dana: Pali English Glossary

N Form, appearance.

Source: Journey to Nibbana: Patthana Dhama

Rupa (“material”).—Apart from citta and cetasika which are realities, there is another reality. It is rupa. Rupa are the nature which are always influenced by one or more of four causes namely kamma, citta, utu, and ahara. Rupa are always changing as citta and cetasika are always changing even though they are relatively slower than nama dhamma.Unlike nama dhamma, rupa do not have the nature that can be aware of themselves and their surroundings.

Rupa can never know anything. But rupa serve various functions in connection with nama dhamma citta and cetasika. In terms of their intrinsic character, there are 28 separate paramattha rupa.

Source: Buddhist Information: A Survey of Paramattha Dhammas

Rupa or physical phenomenon, is the Dhamma which does not know or experience anything, such as color, sound, odor or flavor. There are 28 types of rupas in all.

The meaning of rupa, material phenomenon or matter, is different from matter in conventional sense, such as table, chair, or book. Among the 28 kinds of rupa, there is one kind of rupa, visible object or color, citta can experience through the eyes. That which appears through the eyes is the only kind of rupa, which can be seen by citta. As regards the other 27 rupas, these cannot be seen by citta, but they can be experienced through the appropriate doorways by the cittas concerned. Sound, for example, can be experienced by citta through the ears.

Rupa is a Dhamma, which is infinitesimal and intricate. It arises and falls away very rapidly, all the time. When comparing the duration of rupa with the duration of citta, one unit of rupa arises and falls away in the time seventeen cittas arise and fall away, succeeding one another and this is extremely fast. For example, it seems that at this moment the citta which sees and the citta which hears appear at the same time, but in reality they arise and fall away apart from each other, with more than seventeen moments of citta in between them. Therefore, the rupa which arises at the same time as the citta which sees must arise and fall away before the citta which hears arises.

Source: Dhamma Study: Introduction to the Dhamma

Rupa (material phenomena); There are 28 classes of rupa, 16 being classified as subtle and 12 as gross. There are the four great elements:

  1. element of earth, or solidity
  2. element of water, or cohesion
  3. element of fire, or temperature
  4. element of wind, or motion

The four great elements always arise with those rupas which are known as the derived rupas.

The derived rupas are the physical sense organs of eye sense, ear sense, taste sense, etc., and the sense objects of color, sound, smell and flavor. Other examples of rupa are the male or female characteristic, heart base, nutritive essense (food), space, lightness, bodily intimation, speech intimation, etc. All that matter consists of is these 28 different types of rupa in different combinations.

Source: Pali Kanon: Manual of Buddhist Terms and Doctrines

(corporeality): s. khandha, rūpa-kalāpa.

Source: Pali Kanon: Manual of Buddhist Terms and Doctrines

(1) corporeality (s. khandha 1); (2) visual object (s. āyatana); (3) fine-material (s. avacara, jhāna).

context information

Theravāda is a major branch of Buddhism having the the Pali canon (tipitaka) as their canonical literature, which includes the vinaya-pitaka (monastic rules), the sutta-pitaka (Buddhist sermons) and the abhidhamma-pitaka (philosophy and psychology).

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Tibetan Buddhism (Vajrayana or tantric Buddhism)

Source: Google Books: An Illustrated History of the Mandala

Rūpa (रूप, “form”) refers to one of the Seventeen Viśuddhipadas (“stations of purity”) and is associated with the deity Rūpavajra, according to the Prajñāpāramitānayasūtra: an ancient Buddhist Tantric text recited daily in the Japanese Shingon sect which is closely related to the Sarvatathāgatatattvasaṃgraha.—The visualization of the seventeen-deity maṇḍala, representing the deification of the seventeen Viśuddhipadas [e.g., rūpa], was thought to facilitate the attainment of enlightenment through the sublimation of the defilements into the mind of enlightenment (bodhicitta).

Source: The Indian Buddhist Iconography

Rūpa (रूप, “form”) refers to one of the five Skandhas (cosmic elements), according to Vajrayāna or Tantric Buddhism.—The Buddhists believe that the world is composed of five cosmic elements or Skandhas [viz., Rūpa (form)...]. These elements are eternal cosmic forces and are without a beginning or an end. These cosmic forces are deified in Vajrayāna as the five Dhyāni Buddhas. In the course of time they were regarded as the five primordial gods responsible for this diversified creation, [..].

Source: OSU Press: Cakrasamvara Samadhi

Rūpa (रूप, “form”) or Rūpaskandha refers to “(the aggregate of) forms”, according to the Cakrasaṃvara Samādhi [i.e., Cakrasamvara Meditation] ritual often performed in combination with the Cakrasaṃvara Samādhi, which refers to the primary pūjā and sādhanā practice of Newah Mahāyāna-Vajrayāna Buddhists in Nepal.—Accordingly, “There, in the five aggregates, originates the making of I. Vairocana in the aggregate of forms (rūpa-skandha). Vajrasūrya in sensations. Padmanṛtyeśvara in perceptions. Vajrarāja in mental formations. Vajrasattva in consciousness. Śrī Heruka Vajra in the truth of all Tathāgata”.

Tibetan Buddhism book cover
context information

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.

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Mahayana (major branch of Buddhism)

Source: A Study and Translation of the Gaganagañjaparipṛcchā

Rūpa (रूप) refers to the “perfect visual form” of the Lord, according to the Gaganagañjaparipṛcchā: the eighth chapter of the Mahāsaṃnipāta (a collection of Mahāyāna Buddhist Sūtras).—Accordingly: “[...] (177) The Lord, the protector, ascending to the height of eighty palm trees (tāla) in the open space, said to the king (Puṇyālaṃkāra): ‘[...] (181) Sons, wives, kingship, or even your kingdom is not your lasting friend when you are dying; the accumulation of disciplined sight, vow, and morality are your friends who go to the other side [with you.] (182) When you see my perfect visual form (rūpa), qualities, eloquence, and supernatural knowledges, if you want to be like that, you should produce this highest awakening.. [...]’”.

Mahayana book cover
context information

Mahayana (महायान, mahāyāna) is a major branch of Buddhism focusing on the path of a Bodhisattva (spiritual aspirants/ enlightened beings). Extant literature is vast and primarely composed in the Sanskrit language. There are many sūtras of which some of the earliest are the various Prajñāpāramitā sūtras.

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General definition (in Buddhism)

Source: Wisdom Library: Dharma-samgraha

1) Rūpa (रूप, “bodily-form”) refers to the first of the “five components” (pañcaskandha) as defined in the Dharma-saṃgraha (section 22). The Dharma-samgraha (Dharmasangraha) is an extensive glossary of Buddhist technical terms in Sanskrit (e.g., rūpa). The work is attributed to Nagarjuna who lived around the 2nd century A.D.

Rūpa or rūpāyatana also represents one of the “twelve sense spheres” (āyatana), one of the “eighteen elements” (dhātu) as well as one of the “eleven form components” (rūpaskandha).

Rūpa also refers to one of the “six spheres” (ṣaḍviṣaya) as defined in the Dharma-saṃgraha (section 33).

Rūpa (“form”) also refers to the “five qualities” (pāñcabhautika) as defined in the Dharma-saṃgraha (section 40).

2) Rūpa (रूप, “form”) refers to a set of “twenty form objects” as defined in the Dharma-saṃgraha (section 34):

  1. nīla (black),
  2. pīta (yellow),
  3. lohita (red),
  4. avadāta (white),
  5. harita (green),
  6. dīrgha (long),
  7. hrasva (short),
  8. parimaṇḍala, (circular),
  9. unnata (bent up),
  10. avanata (bent down),
  11. sāta (pleasant),
  12. visāta (unpleasant),
  13. accha (clear),
  14. dhūma (clouded),
  15. rajas (dusty),
  16. mahikā (frosty),
  17. chāyā (shadowy),
  18. atapa (sunny),
  19. āloka (light),
  20. andhakāra (dark).

The Dharma-samgraha (Dharmasangraha) is an extensive glossary of Buddhist technical terms in Sanskrit (e.g., rūpa). The work is attributed to Nagarjuna who lived around the 2nd century A.D.


Source: Wisdom Library: Buddhism

Rupa:—Physical phenomena

Source: Buddhist Door: Glossary

Rupa (‘matter’ or ‘form’ or ‘thing’).—The Sanskrit word is Rupa. It is defined as that which has resistence, or which changes and disappear, i.e., the phenomenal. There are inner and outer forms representing the organs and objects of sense respectively. Rupa is one of the Six Bahya ayatanna or Six Gunas and also one of the Five Skandhas.

In Jainism

General definition (in Jainism)

Source: Wisdom Library: Jainism

In Jainism, 'rupi' stands for 'material'. Probably the same as Rupa.

Source: Trisastisalakapurusacaritra

Rūpā (रूपा) refers to one of the four Dikkumārīs coming from Rucakadvīpa, according to chapter 1.2 [ādīśvara-caritra] of Hemacandra’s 11th century Triṣaṣṭiśalākāpuruṣacaritra: an ancient Sanskrit epic poem narrating the history and legends of sixty-three illustrious persons in Jainism.


“[...] Four Dikkumārīs [viz., Rūpā] came from Rucakadvīpa. They cut the Lord’s navel-cord, leaving three inches, made a hole in the ground, and deposited it there. They filled the hole with diamonds and jewels quickly, and made a platform covered with durvā-grass over it. To the east, south and north of the Lord’s birth-house, they created three houses of plantain like houses of Śrī. In each one of them, they created an extensive four-room apartment adorned with a lion-throne, resembling their own palaces. [...]”.

Source: The University of Sydney: A study of the Twelve Reflections

Rūpa (रूप) refers to the “form” (of the Jina), according to the 11th century Jñānārṇava, a treatise on Jain Yoga in roughly 2200 Sanskrit verses composed by Śubhacandra.—Accordingly, “After [the meditator] whose unsteadiness has disappeared has a mind that has become fixed on the form (rūpaatha rūpe sthirībhūtacittaḥ) [of the Jina], then he commences to meditate on what is formless, imperceptible [and] existing from all eternity”.

General definition book cover
context information

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.

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India history and geography

Source: Cologne Digital Sanskrit Dictionaries: Indian Epigraphical Glossary

Rūpa.—(HRS), according to the Arthaśāstra, (1) a subsidiary charge in excess of the prescribed fines; (2) a charge upon mines and upon imported salt. See Ghoshal, H. Rev. Syst., pp. 94, 106. (IE 8-8; EI 20, 21), currency or coins; name of a silver coin; same as rūpya or rūpaka. (EI 1), an animal. (CII 1), a representation. Note: rūpa is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions commonly written in Sanskrit, Prakrit or Dravidian languages.

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Rūpa.—same as rūpaka or rūpyaka (q. v.). Note: rūpa is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions commonly written in Sanskrit, Prakrit or Dravidian languages.

India history book cover
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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.

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Languages of India and abroad

Pali-English dictionary

Source: BuddhaSasana: Concise Pali-English Dictionary

rūpa : (nt.) form; figure; image; object of the eye; a material composition.

Source: Sutta: The Pali Text Society's Pali-English Dictionary

Rūpa, (nt.) (cp. Vedic rūpa, connected etymologically with varpa (Grassmann).—The Nom. pl. is rūpā & rūpāni) form, figure, appearance, principle of form, etc.—A. Definitions. According to P. expositors rūpa takes its designation fr. ruppati, e.g. “ruppanato rūpaṃ” Vism. 588; “ruppan’aṭṭhena r. ” VbhA. 3; “rūpa-rūpaṃ= ruppana sabhāvena yuttaṃ” Cpd. 1567 (where ruppati is, not quite correctly, given as “change”), “ruppatī ti: tasmā rūpan ti vuccati” S. III, 86; other definitions are “rūpayatī ti rūpaṃ” (with cakkhu & the other 10 āyatanas) VbhA. 45; and more scientifically: “paresu rūp’ādisu cakkhu-paṭihanana lakkhaṇaṃ rūpaṃ” Vism. 446.—Of modern interpretations & discussions see e.g. Dhs. trsl. introd. ch. vi. (pp. 41—63, or 248—71); Dial. II. 244; Expos. 67n; Cpd. 270 sq. (where objections are raised to translation “form, ” and as better (philosophical) terms “matter, ” “material quality” are recommended). See also loka for similar etym.—B. (lit.) appearance, form, figure Dhs. 597 sq. (=form either contrasted with what is unseen, or taken for both seen and unseen), 751; Mhvs 27, 30 (sīha-vyagghādirūpāni representations of lions, tigers etc.); 30, 68 (ravicanda-tāra-rūpāni id.); 36, 31 (loha° bronze statue); ThA. 257.—Esp. beautiful form, beauty S. IV, 275= Pv. II, 958 (as one of the 10 attributes, with sadda etc., of distinction: see also below D. II, a); Miln. 285; Mhvs 20, 4 (rūpa-māninī proud of her beauty); PvA. 89.—surūpa very beautiful ThA. 72; durūpa of evil form, ugly A. II, 203 sq. (dubbaṇṇa+).—In phrase rūpaṃ sikkhati Vin. I, 77=IV. 129 the meaning is doubtful; it may be “to study drawing, or arts & craft, ” or (with Mrs. Rh. D.) “weights & measures, ” or (w. Hardy) “money changing. ” It is said that through this occupation the eyes become bad; it is opposed to gaṇanā.—C. (-°) of such & such a form, like, kind, of a certain condition or appearance. In this appln very frequent & similar to E.—hood, or Ger.—heit, i.e. an abstract formation. Often untranslatable because of the latter character. It is similar to kāya (cp. explanation of ātura‹-› rūpa Vv 8314 by abhitunna-kāya Vva 328), but not so much with ref. to life & feeling as to appearance and looks. E. g. aneka° Sn. 1079 (=anekavidha Nd2 54); adissamāna° invisible PvA. 6 (lit. with invisible form); ummatta° as if mad, under the appearance of madness, like a madman Pv. I, 81; II, 63; eva° in such a condition Pv. II, 15; tapassī° appearing to be an ascetic Pv. I, 32; tāraka° the (shapes of the) stars Dhs. 617; deva° as a deva PvA. 92. Pleonastically e.g. in: anupatta° attaining Pv IV. 166; taramāna° quickly Pv. II, 62; yutta° fit PvA. 157; sucitta° variegated Pv. I, 109.—Cases ad verbially: citta-rūpaṃ according to intention Vin. III, 161; IV, 177; cetabba-rūpaṃ fit to be thought upon J. IV, 157. (=°yuttakaṃ C.).—atta-rūpena on my own account S. IV, 97; godha-rūpena as an iguana Mhvs 28, 9.—D. (as philos. t. t.) principle of (material) form, materiality, visibility.—There are var. groups of psychological and metaphysical systematizations, in which rūpa functions as the material, gross factor, by the side of other, more subtle factors. In all these representations of rūpa we find that an element of moral psychology overshadows the purely philosophical & speculative aspect. A detailed (Abhidhammatic) discussion of rūpa in var. aspects is to be found at Dhs. § 585—980. ‹-› 1. rūpa as āyatana or sense object. It is the object of the activity or sphere of the organ of sight (cakkhu). As such it heads the list of the 6 bāhirāni āyatanāni (see e.g. Nd2 p. 238 A-E & āyatana3) with “cakkhunā rūpaṃ disvā” (the others: sota›sadda, ghāna›gandha, jivhā›rasa, kāya›phoṭṭhabba, mano›dhamma), cp. cakkhu-viññeyyā rūpā iṭṭhā kantā etc. D. I, 245; M. I, 266; cakkhunā rūpaṃ passati iṭṭha-rūpaṃ kanta-rūpaṃ etc. S. IV, 126;— see further: Vin. I, 34 (sabbaṃ ādittaṃ: cakkhuṃ ādittaṃ, rūpa ādittā etc. with sequence of other āyatanas); D. II, 308 sq. , 336 sq.; M. III, 18 (yaṃ kho rūpaṃ paṭicca uppajjati sukhaṃ somanassaṃ, ayaṃ rūpe assādo; cp. Ps. II, 109 sq.), 291 (ye te cakkhu-viññeyyesu rūpesu avīta-rāgā etc.); Ps. I, 79; II, 38 (rūpī rūpāni passatī ti vimokkho); Dhs. 617, 653, 878; Tikp 28. ‹-› 2. (metaphysically) as the representative of sensory or material existence: (a) universally as forming the corporeal stratum in the world of appearance or form (rūpa- bhava) as compared with the incorporeal (arūpa-bhava), being itself above, and yet including the kāma-bhava. (The kāmabhava is a subdivision of rūpabhava, which has got raised into a third main division.) This triad is also found in combinations with loka or dhātu (see dhātu 2 a & d), or avacara. See e.g. D. I, 17; III, 215 (°dhātu), 216 (°bhava); Kvu 370 sq. (°dhātu); Dhs. 499 (°âvacara), 585 (°dhātu); Vbh. 17 (°āvacara), 25 (as garu-pariṇāma & dandha-nirodha compd with arūpa). A similar sequence rūpa arūpa & nirodha (i.e. nibbāna) in old verses at Sn. 755; It. 45, 62 (rūpehi arūpā santatarā, arūpehi nirodho santataro). On indriya-rūpa “faculty as form” see indriya B.—(b) individually in the sphere of saṃsāra as one (i.e. the material quality) of the substrata of sensory individual existence or the khandhas. They are the 5: rūpa-kkhandha, vedanā°, saññā°, saṅkhārā°, viññāṇa°; otherwise called rūp’ûpādāna-kkhandha etc. (e.g. D. III, 223, 278; Vism. 443). See khandha II. B.—In this property rūpa consists of 28 subdivisions, viz. the 4 (great) dhātūs (mahābhūtāni or else bhūta-rūpa primary matter) and 24 upādārūpāni (i.e. derivative forms or accidentals). These are given in extenso in the rūpakkhandha section of the Vism. (pp. 443—450), also at Dhs. 585; the 24 consist of: cakkhu, sota, ghāna, jivhā, kāya, rūpa, sadda, gandha, rasa, itthindriya, purisindriya, jīvitindriya, hadaya‹-› vatthu, kāya-viññatti, vacī-viññatti, ākāsa-dhātu, (rūpassa) lahutā mudutā kammaññatā, upacaya santati jaratā aniccatā, kabaḷiṅkār’—āhāra; cp. definition at Nett 73: cātu-mahābhūtikaṃ rūpaṃ catunnaṃ ca mahābhūtānaṃ upādāya rūpassa paññatti. The rūpakkhandha shares with the others the qualities of soullessness, evanescence and ill (anattā, anicca, dukkha); e.g. rūpañ ca h’idaṃ attā abhavissa, na y’idaṃ rūpaṃ ābadhāya saṃvatteyya Vin. I, 13, cp. similarly M. III, 282 sq.; S. III, 66; quoted and explained in detail at Vism. 610; rūpaṃ aniccaṃ Vin. I, 14; M. I, 228; III, 18 (also explained at Vism. 610); S. III, 48, 66, 88; rūpe anicc’ânupassanā Ps. II, 186 sq.—See also D. II, 301; III, 233; Ps. I, 23, 53, 104; II, 96, 102, 109 (rūpassa ādīnavo); Vbh. 1. sq. , 12 sq. (in detail); Kvu 11 sq.; Vism. 443 sq.; Tikp 33; VbhA. 2, 3, 32 sq. =S. III, 142 (with var. similes); DhA. IV, 100.—(c) in the making up of the individuality as such (nāma-rūpa), where in contrast with nāma (as abstract, logical, invisible or mind-factor) rūpa represents the visible (material) factor, resembling kāya (cp. phrase nāma-kāya in same sense). The foll. are current definitions of nāma-rūpa: nāma-(kāya)=vedanā, saññā, cetanā, phassa, manasikāra (otherwise citta-saṅkhārā), rūpa(—kāya)=cattāro mahā-bhūtā catunnaṃ m-bhūtānaṃ upādāya rūpaṃ (otherwise kāya-saṅkhārā) S. II, 4; III, 59 sq.; Ps. I, 183; with explanations at Vism. 558 & VbhA. 169. Defined at Nett 15: “ye phassa-pañcamakā dhammā: idaṃ nāmaṃ, yāni pañc’indriyāni rūpāni: idaṃ rūpaṃ, tad ubhayaṃ nāmarūpaṃ viññāṇa-sampayuttaṃ. ” Discussed in detail also at Vism. 562 (=VbhA. 173, 174), 587—597; cp. DhsA. 392 (Expos. 500, where “mind-matter” is given as corresp. couple in translation, do. Cpd. 271 sq. “mind and body”). See also under paṭicca-samuppāda.—3. various references: D. III, 102, 212, 225, 244, 273; M. I, 84 (Gotamo kāmānaṃ pariññaṃ paññāpeti, rūpānaṃ, vedanānaṃ); S. II, 198; III, 11 (evaṃ-rūpo siyaṃ, evaṃ vedano etc.), 101 (id. , & the khandhas); Sn. 867, 874, 943, 1037, 1121; Nd1 425; Tikp 36, 38, 54, 262; Vism. 625 (uppajjanaka°).

Pali book cover
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Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.

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Marathi-English dictionary

Source: DDSA: The Molesworth Marathi and English Dictionary

rupā (रुपा).—, m (rupēṃ Silver.) A rupee. The covert terms for a rupee and its parts are rāma One rupee, sītā Half a rupee, lakṣumaṇa A quarter, bharata An eighth or two an̤as, rāmadāsa A sixteenth or one an̤a. rupayācī māna mōḍaṇēṃ To change a rupee.

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rupā (रुपा).—a That has dark (red or black) spots upon a white ground--a bullock &c.

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rūpa (रूप).—n (S) External appearance; semblance or seeming as consisting in figure and color. 2 A form or figure; a visible object. 3 Countenance, visage, look; the form of the face or system of the features. 4 Form, figure, particular model or modification; the specific and distinguishing mode of being. Ex. padārtha yadrūpa asatō tadrūpēṅkarūnaca tō antaḥkaraṇānta bhāsatō; bhāvarūpa padārtha sāhā ā- hēta āṇi abhāva ēka miḷūna sāta padārtha; paṭāmadhyēṃ tanturūpānēṃ kāpūsa rāhatō. 5 (Used with great freedom. ) Beauty, grace, lustre, splendor, glory, eclat, figure. Ex. lajjā hēṃ kulastriyāñcēṃ rūpa hōya; cāra rupayē miḷālē tara vyavahāra kēlyācēṃ rūpa nāhīṃ tara kāya; hēṃ kāma asēṃ kīṃ manuṣyānēṃ jīva dēūna kēlēṃ tarīṃ rūpa vhāyācēṃ nāhīṃ. 6 Nature; the natural constitution, quality, or state. 7 An inflected form (by declension or conjugation) of a noun or a verb. 8 In grammar. Mood. 9 In arithmetic. The number one: or, in algebra, a known quantity. 10 m A suit at cards,--the seventh. 11 In comp. Like or resembling; as pitṛrūpa, mātṛrūpa &c.; or Of the very form and essence of; composed of, consisting of; as piśācarūpa, nararūpa, siṃharūpa, jala- rūpa, agnirūpa, vāyurūpa, dravyarūpa, māyārūpa, alaṅkārarūpa, akṣararūpaśabda, padarūpavākya. 12 In medicine. The second of the five divisions of nidāna or Pathology, --the Form (of a disease). rūpa pālaṭaṇēṃ To change form or figure. Ex. asō vānara rūpa pālaṭōni || aṇupramāṇa vēṣa dharōnni ||. 2 To change complexion, color, visage, or form of countenance. rūpāsa yaṇēṃ To acquire a form, lit. fig.; to assume an appearance or a character: also to acquire a good (i. e. substantial, sound, healthy, flourishing &c.) form, aspect, complexion, or quality. Applied freely. Ex. kāṃ ikṣudaṇḍa gāḷitāṃ sācāra || tayāsī sāyāsa lāgati phāra || sēvaṭīṃ rūpāsa yētāṃ sākhara || cavī khāṇāra jāṇati ||.

Source: DDSA: The Aryabhusan school dictionary, Marathi-English

rupā (रुपा).—a That has dark spots upon a white ground-a bullock.

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rūpa (रूप).—n External appearance; form; coun- tenance. Beauty. Nature. Mood.rūpa pālaṭaṇēṃ Change form or figure. rūpāsa yēṇēṃ Assume an appearance or a character.

context information

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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Sanskrit dictionary

Source: DDSA: The practical Sanskrit-English dictionary

Rūpa (रूप).—a. = अनुरूप (anurūpa) q. v. (शक्तीश्च (śaktīśca) ... करवालांश्च (karavālāṃśca) ... स्वदेहरूपाण्यादाय गदाश्चोग्रप्रदर्शनाः (svadeharūpāṇyādāya gadāścograpradarśanāḥ) Mahābhārata (Bombay) 1.3.49.

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Rūpa (रूप).—[rūp ka bhāve ac vā Uṇādi-sūtra 3.28]

1) Form, figure, appearance; विरूपं रूपवन्तं वा पुमानित्येव भुञ्जते (virūpaṃ rūpavantaṃ vā pumānityeva bhuñjate) Pañcatantra (Bombay) 1.143; so सुरूप, कुरूप (surūpa, kurūpa) &c.

2) Form or the quality of colour (one of the 24 guṇas of the Vaiśeṣikas); चर्क्षुर्मात्रग्राह्यजातिमान् गुणो रूपम् (carkṣurmātragrāhyajātimān guṇo rūpam) Tarka K; (it is of six kinds :-śukla, kṛṣṇa, pīta, rakta, harita, kapila, or of seven, if citra be added).

3) Any visible object or thing.

4) A handsome form or figure, beautiful form, beauty, elegance, grace; मानुषीषु कथं वा स्यादस्य रूपस्य संभवः (mānuṣīṣu kathaṃ vā syādasya rūpasya saṃbhavaḥ) Ś.1.25; विद्या नाम नरस्य रूपमधिकम् (vidyā nāma narasya rūpamadhikam) Bhartṛhari 2.2; रूपं जरा हन्ति (rūpaṃ jarā hanti) &c.

5) Natural state or condition, nature, property, characteristic, essence; circumstances (opp. to 'time' and 'place'); देशं रूपं च कालं च व्यवहारविधौ स्थितः (deśaṃ rūpaṃ ca kālaṃ ca vyavahāravidhau sthitaḥ) Manusmṛti 8.45.

6) Mode, manner.

7) A sign, feature.

8) Kind, sort, species.

9) An image, a reflected image.

1) Similitude, resemblance.

11) Specimen, type, pattern.

12) An inflected form, the form of a noun or a verb derived from inflection (declension or conjugation).

13) The number one, an arithmetical unit.

14) An integer.

15) A drama, play; see रूपक (rūpaka).

16) Acquiring familiarity with any book by learning it by heart or by frequent recitation.

17) Cattle.

18) A sound, a word.

19) A known quantity.

2) A beast.

21) A verse.

22) A name.

23) The white colour.

24) A particular coin (as a rupee); कस्यचिद् गृहे चोरयित्वा रूपाभिग्राहितो बद्धः (kasyacid gṛhe corayitvā rūpābhigrāhito baddhaḥ) Daśakumāracarita 2.4.

25) Silver; मसारगल्वर्कसुवर्णरूपैः (masāragalvarkasuvarṇarūpaiḥ) Mahābhārata (Bombay) 7.16.54. (rūpa is frequently used at the end of comp. in the sense of 'formed or composed of', 'consisting of', 'in the form of', 'namely'; having the appearance or colour of', tapo- rūpaṃ dhanam; dharmarūpaḥ sakhā &c.). -m.

-paḥ a deer.

Derivable forms: rūpam (रूपम्).

Source: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit Dictionary

Rupa (रुप).—(m.c. for Sanskrit rūpa), form: read kupita-rupa-vaṃs (before t-) Lalitavistara 327.14 (verse), Lefm. °vaṃ.

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Rūpa (रूप).—(-rūpa) used as quasi-suffix, in emphasizing sense prescribed by Pāṇ.5.3.66 praśaṃsāyāṃ rūpam: ko nāma śaktaḥ pratikartu tubhyam udyuktarūpo bahukalpakoṭyaḥ Saddharmapuṇḍarīka 119.4 (verse), who pray could imitate you, (even) if he exerted himself greatly for many crores of kalpas?;… prīti- saumanasyajātaḥ śīghraṃ-śīghraṃ tvaramāṇarūpo rājā- naṃ…adhyabhāṣata Lalitavistara 132.5 (prose), in great haste; naiva tvayā kupuruṣa śrutapūrvarūpaṃ Mahāvastu i.130.9 and 13 (verse), base man, you have never before heard at all (= śrutapūrvam, with emphasis; wrongly Senart's note).

Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary

Rūpa (रूप).—mfn.

(-paḥ-pā-paṃ) Like, resembling, (in composition, as pitṛrūpaḥ puttraḥ a son like his father.) n.

(-paṃ) 1. Natural property or disposition, nature. 2. Beauty. 3. Form, figure. 4. Appearance, semblance. 5. Cattle in general, flocks and herds, &c. 6. A verse. 7. Declension, conjugation, the inflection of nouns or verbs. 8. A play, a dramatic poem. 9. Acquiring familiarity with any book or authority by frequent perusal, learning by heart or rote. 10. An image, a figure, a reflection or resemblance of any real object. 11. Colour, form, any object of vision. 12. (In arithmetic,) Discrete or distinct quantity, an entire number. 13. Known quantity, whence the first syllable Ru is used in algebra to express the same. E. rūp to express form, aff. ka; or ru to sound, Unadi aff. pa, and the radical vowel made long.

Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary

Rūpa (रूप).— (probably from rūp, an old form of rop, in ropaya, the [Causal.] of ruh), n. 1. Natural state or condition. 2. State, [Pañcatantra] 137, 19. 3. Form, [Vikramorvaśī, (ed. Bollensen.)] [distich] 9; figure, Chr. 17, 28; kind, [Pañcatantra] 21. 25. 4. Appearance. 5. An image. 6. Beauty, [Pañcatantra] iii. [distich] 239. 7. Colour, Bhāṣāp. 2. 99. 8. A play, a dramatic poem.

Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary

Rūpa (रूप).—[neuter] (adj. —° [feminine] ā, [rarely] ī) outward appearance, colour, form, shape (often —° adj. -coloured or -shaped, -like, consisting of or in—), the right form i.e. beauty; nature, character, mark, peculiarity; circumstances; drama, play (cf. daśarūpa). — Abstr. † [feminine], tva† [neuter]

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

1) Rupa (रुप):—m. [varia lectio] for rūpa, [Atharva-veda xviii, 3, 40.]

2) Rūpa (रूप):—[from rūp] n. (perhaps connected with varpa, varpas; ifc. f.(ā), rarely (ī)) any outward appearance or phenomenon or colour (often [plural]), form, shape, figure, [Ṛg-veda] etc. etc. (rūpeṇa ifc. in the form of ; rūpam-√kṛ or √bhū, to assume a form; often ifc. = ‘having the form or appearance or colour of’, ‘formed or composed of’, ‘consisting of’, ‘like to’; sometimes used after an [adjective (cf. [masculine, feminine and neuter; or adjective])] or [past participle] to emphasize its meaning or almost redundantly cf. ghora-r; or connected with a verb e.g. pacati-rūpam, he cooks very well cf. [Pāṇini 8-1, 57])

3) [v.s. ...] dreamy or phantom shapes ([plural]), [Vājasaneyi-saṃhitā; Śatapatha-brāhmaṇa]

4) [v.s. ...] handsome form, loveliness, grace, beauty, splendour, [Ṛg-veda] etc. etc.

5) [v.s. ...] nature, character, peculiarity, feature, mark, sign, symptom, [Vājasaneyi-saṃhitā] etc. etc.

6) [v.s. ...] likeness, image, reflection, [Manu-smṛti; Kathāsaritsāgara]

7) [v.s. ...] circumstances (opp. to ‘time’ and ‘place’), [Manu-smṛti viii, 45]

8) [v.s. ...] sort, kind, [Rāmāyaṇa; Suśruta]

9) [v.s. ...] mode, manner, way, [Kapila]

10) [v.s. ...] (ifc.) trace of [Rāmāyaṇa]

11) [v.s. ...] a single specimen or exemplar (and therefore a term for the number ‘one’), [Varāha-mihira’s Bṛhat-saṃhitā; Gaṇitādhyāya]

12) [v.s. ...] a [particular] coin ([probably] a rupee), [Varāha-mihira’s Bṛhat-saṃhitā]

13) [v.s. ...] a show, play, drama, [Daśarūpa]

14) [v.s. ...] (in [algebra]) the arithmetical unit

15) [v.s. ...] ([plural]) integer number

16) [v.s. ...] known or absolute number, a known quantity as having specific form (and expressed by id est. first syllable of rūpa), [Indian Wisdom, by Sir M. Monier-Williams 182]

17) [v.s. ...] (in gram.) any form of a noun or verb (as inflected by declension or conjugation), [Pāṇini 1-1, 68 etc.]

18) [v.s. ...] (in [philosophy]) the quality of colour (one of the 17 or 24 Guṇas of the Vaiśeṣikas), [Indian Wisdom, by Sir M. Monier-Williams 68]

19) [v.s. ...] (with Buddhists) material form id est. the organized body (as one of the 5 constituent elements or Skandhas), [Dharmasaṃgraha 22; Monier-Williams’ Buddhism 109]

20) [v.s. ...] (in [dramatic language]) a reflection or remark made under [particular] circumstances when the action is at its height (garbhe), [Bharata-nāṭya-śāstra; Daśarūpa] etc.

21) [v.s. ...] (only [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]) cattle

22) [v.s. ...] a beast

23) [v.s. ...] a sound, word

24) [v.s. ...] rereading a book (= granthāvṛtti)

25) [v.s. ...] m. a word of unknown meaning, [Atharva-veda xviii, 3, 40]

26) [v.s. ...] ([plural]) Name of a people, [Mahābhārata]

27) [v.s. ...] m. or n. Name of a place ([varia lectio] rūma), [Catalogue(s)]

28) Rūpā (रूपा):—[from rūpa > rūp] f. Name of a river, [Viṣṇu-purāṇa]

Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary

Rūpa (रूप):—[(paḥ-pā-paṃ) a.] Like. n. Natural property or dispostion; form, beauty, appearance; colour.

[Sanskrit to German]

Rupa in German

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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.

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Hindi dictionary

Source: DDSA: A practical Hindi-English dictionary

1) Rūpa (रूप) [Also spelled rup]:—(nm) form, shape, appearance; beauty; (good) looks, aspect; image; mould; type; ~[kāra] make-up man; ~[gata]normal; ~[garvitā] (a maiden) proud of (her) beauty; ~[citra] a portrait; -[tattva] formal element; ~[dhārī] see [bahurūpiyā; ~paraka] morphological; formal; ~[maya] beautiful; hence ~[mayī] (feminine form); ~[vāda/~vāditā] formalism; ~[vādī] a formalist; formalistic; ~[vijñāna] morphology; -[vidhāna] form, formal structure; ~[vaijñānika] a morphologist; morphological; ~[śālī] beautiful, handsome, good-looking; -[sajjā] make-up.

2) Rūpā (रूपा):—(nm) silver; ~[jīvā] a prostitute.

context information


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Kannada-English dictionary

Source: Alar: Kannada-English corpus

Rūpa (ರೂಪ):—

1) [noun] the shape, outline or configuration of anything; structure as apart from colour, material, etc.; form.

2) [noun] that quality or combination of qualities which delights the senses or mental faculties; beauty; loveliness.

3) [noun] any colour.

4) [noun] an animal; a brute.

5) [noun] riches; wealth.

6) [noun] the beautiful body of the Supreme Being.

7) [noun] the innate disposition or character of a person; a natural quality; nature.

8) [noun] a kind; a type.

9) [noun] something made by reproducing; a copy.

10) [noun] (math.) a symbol for the number one.

11) [noun] a play or drama (that is enacted, presented to the audience).

12) [noun] (gram.) the new form of a word that is inflected.

13) [noun] (phil.) the quality of colour (one of the twentyfour guṇas of the Vaiśeṣikas).

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Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.

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Tamil dictionary

Source: DDSA: University of Madras: Tamil Lexicon

Rūpā (ரூபா) noun < rūpya. See ரூபாய். [rupay.] (C. G.)

context information

Tamil is an ancient language of India from the Dravidian family spoken by roughly 250 million people mainly in southern India and Sri Lanka.

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