Rupa, aka: Rūpa; 21 Definition(s)

Introduction

Rupa means something in Buddhism, Pali, Hinduism, Sanskrit, Jainism, Prakrit, 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.

In Hinduism

Pāñcarātra (worship of Nārāyaṇa)

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

(Source): SriMatham: Vaiṣṇava Iconology based on Pañcarātra Āgama
Pāñcarātra book cover
context information

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.

Nāṭyaśāstra (theatrics and dramaturgy)

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).

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”.

(Source): Wisdom Library: Nāṭya-śāstra

1) 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.

2) Rūpa (रूप).—One of the thirteen elements of the ‘development segment’ (garbhasandhi);—(Description:) A hypothesis with which novel meanings are combined, is called Supposition (rūpa).

(Source): archive.org: Natya Shastra
Nāṭyaśāstra book cover
context information

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).

Āyurveda (science of life)

Rūpa (रूप):—A Sanskrit technical term translating to “symptom”, referring to one of the “five characteristics of diagnosis” (pañcalakṣaṇanidāna). It is used throughout Āyurvedic 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): Wisdom Library: Āyurveda and botany
Āyurveda 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.

Vaiśeṣika (school of philosophy)

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.

(Source): Wisdom Library: Vaiśeṣika
Vaiśeṣika book cover
context information

Vaiśeṣika (वैशेषिक, vaisheshika) refers to a school of orthodox Hindu philosophy (āstika), drawing its subject-matter from the Upaniṣads. Vaiśeṣika deals with subjects such as logic, epistemology, philosophy and expounds concepts similair to Buddhism in nature

Vāstuśāstra (architecture)

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 (eg., 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.

(Source): Wisdom Library: Vāstu-śāstra
Vāstuśāstra book cover
context information

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.

General definition (in Hinduism)

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.

(Source): Wisdom Library: Hinduism

In Buddhism

Theravada (major branch of Buddhism)

Body; 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): Access to Insight: A Glossary of Pali and Buddhist Terms

N Form, appearance.

(Source): Dhamma Dana: Pali English Glossary

(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).

(Source): Pali Kanon: Manual of Buddhist Terms and Doctrines
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).

Abhidhamma

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.

  1. 4 mahabhuta rupas
  2. 5 pasada rupas
  3. 4 gocara rupas or visaya rupas ( or 7 gocara or 7 visaya rupas )
  4. 2 bhava rupas
  5. 1 hadaya rupa
  6. 1 jivita rupa
  7. 1 ahara rupa or 1 oja rupa ( altogether these 18 rupas are nipphanna rupas )
  8. 1 pariccheda rupa or akasa rupa
  1. 2 vinatti rupas
  2. 3 lahutadi rupas ( together with 2 vinatti rupas, these 5 are 5 vikara rupas )
  3. 4 lakkhana rupas ( these last 10 rupas are anipphanna rupas.

There are 28 paramattha rupas. In terms of their class there are 11 classes of rupa as shown in above.

Among them, 4 mahabhuta rupas are rupa that are called upada rupas. All other 24 rupas have to depend on these 4 mahabhuta rupas. Mahabhuta rupas are the base for all rupas including themselves.

Therefore, there are in total 28 paramattha rupa which are all realities and can be sensed by one of our 6 senses.
Rupa or vanna is sensed by eye only, sadda is sensed by ear only, gandha is sensed by nose only, rasa is sensed by tongue only and pathavi, tejo, vayo three of mahabhuta rupa are sensed by body only. All other rupas that is 5 pasada rupas and 16 sukhuma rupa or subtle materials are all sensed by mind only; that is 5 pasada rupas and 16 sukhuma rupa can never be sensed by any of eye, ear, nose, tongue, and body.

Even though there is one in terms of character still there are many different kinds of rupas.

(Source): Journey to Nibbana: Patthana Dhama

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): Buddhist Information: A Survey of Paramattha Dhammas
Abhidhamma book cover
context information

Abhidhamma (अभिधम्म) usually refers to the last section (piṭaka) of the Pali canon and includes schematic classifications of scholastic literature dealing with Theravāda Buddhism. Primary topics include psychology, philosophy, methodology and metaphysics which are rendered into exhaustive enumerations and commentaries.

Pali

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

(Source): BuddhaSasana: Concise 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 defns 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 trsln “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. expln 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 combns 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. defn 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 expld in detail at Vism. 610; rūpaṃ aniccaṃ Vin. I, 14; M. I, 228; III, 18 (also expld 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 defns 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 explns 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 trsln, 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°).

—ārammaṇa a visible thing as object Dhs. 146, 365; DhsA. 310 (cp. Expos. 407). —âvacara world of form, sphere of matter (cp. Expos. 67, 216n, 264) PvA. 163. —ûpaga (satta) (a being) living in (bodily) form It. 62; Sn. 754. —ūpajīvinī f. a woman living on her beauty, i.e. a harlot PvA. 46, 201. —ññu knowing (var.) bodily forms M. I, 220=A. V, 347. —taṇhā craving after form D. II, 309; III, 216, 244, 280; VbhA. 179 (in det.). —dakkha one clever in forms, viz. an artist (accountant?) Miln. 344 (in the Dhamma-nagara). —dhātu the element of form, material element Vism. 486; Nett 32, 97. See above D 2. —nimitta sign of form Ps. I, 92. —patta beautiful J. I, 61. —pamāṇika measuring by form (outward appearance), one of the 4 kinds of measurements which the world takes of the Tathāgata (see A. II, 71 & Pug. 53), viz. rūpa°, ghosa°, lūkha°, dhamma° DhA. III, 113; the same four similarly at SnA 242. —pātubhāva appearance of form (also as °antara° intermediate form) SnA 245. —bhava material existence: see above D 2. —rāga lust after rebirth in rūpa D. III, 234 (+arūpa°); Nett 28 (pañc’indriyāni rūpīni rūpa-rāgassa padaṭṭhānaṃ. —rūpa material form (mutable material quality?) Cpd. 156, doubtful trsln & expln —saññā perception of material qualities, notion of form D. I, 34; II, 112 (expld in det. at Vism. 328); III, 224, 244, 253; Nd2 545; DhsA. 200 (cp. Expos. 269). —saññin perceiving form D. III, 260; Ps. II, 38; Sn. 1113. —santati duration of material form Vism. 431; VbhA. 21. —samussaya accumulation of form, complex form ThA. 98. —samāpatti attainment of beauty J. I, 406. —sampatti beauty J. III, 187. —siri personal splendour J. I, 60. (Page 574)

(Source): Sutta: The Pali Text Society's Pali-English Dictionary
Pali book cover
context information

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.

General definition (in Buddhism)

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.

(Source): Buddhist Door: GlossarySee Matter or Five Skandhas.(Source): Buddhist Door: Glossary

Third kind of Nama.

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.

Whenever we see, hear, taste, smell or touch an object, that experience, as was mentioned before, is resultant- consciousness (vipaka citta). It is the result of a deed performed at some time in the past. The area of cause and result (kamma and vipaka) is most important in Abhidhamma. To sort out experience into cause and result can cast our lives into a much clearer perspective.

(Source): Dhamma Study: Introduction to the Dhamma

In Jainism

General definition (in Jainism)

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

(Source): Wisdom Library: Jainism
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.

Languages of India and abroad

Marathi-English dictionary

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

--- OR ---

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.

(Source): DDSA: The Aryabhusan school dictionary, Marathi-English
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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Namarupa
nāmarūpa (नामरूप).—n Name and form.
Rupadhatu
The world of subtle form; the second of the Three Worlds. The world of subtle form is th...
Dasharupa
Daśarūpa (दशरूप) refers to the “ten kinds of dramatic plays”, according to the Nāṭyaśāstra chap...
Rupa Rupa
nipphanna-rūpa.
Pasada Rupa
the rupas which ate capable of receiving visible object, sound, etc.
Rupa Sutta
Rūpa, (nt.) (cp. Vedic rūpa, connected etymologically with varpa (Grassmann).—The Nom. pl. is r...
Rupa Loka
Rūpa, (nt.) (cp. Vedic rūpa, connected etymologically with varpa (Grassmann).—The Nom. pl. is r...
Rupa Vagga
Rūpa, (nt.) (cp. Vedic rūpa, connected etymologically with varpa (Grassmann).—The Nom. pl. is r...
Nipphanna Rupa
'produced corporeality', is identical with rūpa-rūpa, 'corporeality proper', i.e. material or a...
Upadinna Rupa
'karmically acquired corporeality', or 'matter clung-to (by karma)', is identical with karma-pr...
Rupa Kalapa
'corporeal group', material unit, designates a combination of several physical phenomena consti...
Sappatigha Rupa
'corporeality reacting to sense stimuli', refers to the 5 sense-organs (āyatana). - Cf. Vibh. I...
Kammaja Rupa
'karma-produced corporeality'; s. samutthāna.
Rupa Kaya
'body-group', as distinguished from nāma-kāya, 'mind-group'. See nāma-rūpa.
No Upada Rupa
'underived corporeality', designates the 4 primary elements (mahābhūta or dhātu), as distinguis...

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