Samdamsha, Saṃdaṃśa, Saṃdaṃsa, Samdamsa, Sandamsha: 19 definitions
Introduction:
Samdamsha means something in Hinduism, Sanskrit, Jainism, Prakrit, Hindi. 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 Saṃdaṃśa can be transliterated into English as Samdamsa or Samdamsha, using the IAST transliteration scheme (?).
Images (photo gallery)
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In Hinduism
Natyashastra (theatrics and dramaturgy)
Sandaṃśa (सन्दंश) refers to a gesture (āṅgika) made with a ‘single hand’ (asaṃyuta), according to the Nāṭyaśāstra chapter 8. The hands (hasta) form a part of the human body which represents one of the six major limbs (aṅga) used in dramatic performance. With these limbs are made the various gestures (āṅgika), which form a part of the histrionic representation (abhinaya).
(Instructions of Sandaṃśa): The forefinger and the thumb of the Arāla hand crossed and the palm a little hollowed. The Sandaṃśa (hand) according to the Sentiments and States, is of three kinds, viz. that [held] in front, that near the mouth and that on one side.
(Uses of Sandaṃśa): In representing the plucking of flowers, taking up grass, leaves, hairs or thread and holding or pulling out an arrow or thorn the Sandaṃśa should be held in one’s front. And to represent taking off a flower from its stem, the wick [of a lamp], [collyrium] stick, etc. filling up [any vessel with any thing], in saying ‘fie [upon you]’, in anger, this should be held near the mouth.
Saṃdaṃsa (grasping) refers to “one of the Twenty-eight Single Hands (hasta)”:—[Instructions]: The fingers of the Padmakośa hand arerepeatedly opened and closed. Usage: generosity, sacrificialofferings, tumour, insect, apprehension, worship (arcana), the number five.
According to another book: The middle finger of the Haṃsāsya-hand is outstretched. This hand originates from the Goddess of Speech, when she bestowed a rosary. Its sage is Viśvavāsu, its race Vidhyādhara, its colour white, its patron deity Vālmīki. Usage: tooth, small bud, singing (saṃgīta) , gentle dances (lāsyanaṭana), exegesis (ṭīka), jñāna-mudrā, scales, flaw in a tooth, sacred thread (yajñopavīta) , line, examining, painting pictures (citra-lekhana), truth, saying “No!”, saying “A little”, moment,listening, testing metals etc. on the touchstone (nikaṣa), shining white, taking aim, nail, sprout, gunja seed, the number eight, fire-fly, poison, blades of grass, red ants, mosquito, eclipse, collecting pearls, bug, fly, garland, down, pointing (sūcana), solitude, touching, Veda, snow, speaking, slipping, cutting off, a wound,brow-spot, collyrium, Vidyādhara caste, white colour, slowness.
Note: In this case, exceptionally, the definition quoted “from other books” differs markedly from that of Nandikeśvara: this form of Saṃdaṃsa hand is identicalwith Nandikeśvara’s Haṃsāsya hand, and is quite distinct in form and significance from his Saṃdaṃsa.
Sandaṃśa (सन्दंश) refers to one of the twenty-two Asaṃyuktahastas or “single hand gestures” (in Indian Dramas), 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 hasta-mudrās (lit. “hand-gestures”) are very essential to denote some particular action or state in dancing and these mudrās are formed with the help of hands and fingers.
The word sandaṃśa means kaṅkamukha i.e., a pair of tong. Tong is a kind of tool which is used to hold something. According to the Viṣṇudharmottarapurāṇa, when the tip of the forefinger and the thumb are pressed together like the mouth of a tong and the middle portion of the palm is curved in arāla-hasta, this posture is called sandaṃśa-hasta. This hand posture involves the closing and opening of fingers. The Viṣṇudharmottarapurāṇa speaks of three kinds this form viz., agraja, mukhaja and pārśvakṛta and it gives detailed discussion of the usages of each one clearly. The agraja sandaṃśa-hasta is used for holding and extraction of thorns or splinters. The mukhaja is used to show the activity of plucking flowers. There are many uses of pārśvakṛta type of sandaṃśa-hasta viz., colouring of picture, pressing of breast, showing of head etc.
According to the Abhinayadarpaṇa, sandaṃśa-hasta is used to show the action of offering something to gods. The belly portion is also indicated with this hand posture. Besides, this posture is also used to indicate something like injury, worm, terror as well as number five.
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)
Saṃdaṃśa (संदंश) refers to one of the thirty hells (naraka) mentioned in the Devī-bhāgavata-purāṇa 8.21 (on the narrative of hells). The hells are destinations where dead beings brought by messengers of Yama (the God of the Pitṛs), and get punished by him according to their karmas and faults.
The Devī-bhāgavata-purāṇa or Śrīmad-devī-bhāgavatam (mentioning Saṃdaṃśa), is categorised as a Mahāpurāṇa, a type of Sanskrit literature containing cultural information on ancient India, religious/spiritual prescriptions and a range of topics concerning the various arts and sciences. The whole text is composed of 18,000 metrical verses, possibly originating from before the 6th century.
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.
Purana and Itihasa (epic history)
Sandaṃśa (सन्दंश).—A hell. (See under Kāla).
The Purana (पुराण, purāṇas) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahapuranas total over 400,000 shlokas (metrical couplets) and date to at least several centuries BCE.
Ayurveda (science of life)
Saṃdaṃśa (संदंश):—An apparatus for holding
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.
Shaivism (Shaiva philosophy)
Saṃdaṃśa (संदंश) refers to a “clamp”, according to the Netratantra of Kṣemarāja: a Śaiva text from the 9th century in which Śiva (Bhairava) teaches Pārvatī topics such as metaphysics, cosmology, and soteriology.—Accordingly, [verse 13.25cd-28, while describing the appearance and worship of Viśvakarman]—“Furthermore, [I shall describe] Viśvakarman, the Lord of the world. [He] is bright as a ray of light, risen alone [i.e., from itself]. [Viśvakarman] has [either] two or four arms. [When he has four hands he] bears a stone cutter’s chisel and a book with [his] beautiful right hand. [In the left he holds] a clamp (saṃdaṃśa) and a cord. [...]”.
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.
Vedanta (school of philosophy)
Sandaṃśa (सन्दंश) refers to the “tweezers” (of the knowledge of the truth), according to the Aṣṭāvakragītā (5th century BC), an ancient text on spirituality dealing with Advaita-Vedānta topics.—Accordingly, [as Janaka says to Aṣṭavakra]: “Using the tweezers (sandaṃśa) of the knowledge of the truth I have managed to extract the painful thorn of endless opinions from the recesses of my heart. [tattvavijñānasandaṃśamādāya hṛdayodarāt] For me, established in my own glory, there is no religion, sensuality, possessions, philosophy, duality or even non-duality. For me established in my own glory, there is no past, future or present. There is no space or even eternity. [...]”.
Vedanta (वेदान्त, vedānta) refers to a school of orthodox Hindu philosophy (astika), drawing its subject-matter from the Upanishads. There are a number of sub-schools of Vedanta, however all of them expound on the basic teaching of the ultimate reality (brahman) and liberation (moksha) of the individual soul (atman).
Languages of India and abroad
Sanskrit dictionary
Saṃdaṃśa (संदंश).—
1) A pair of tongs; अयस्मयैरग्निपिण्डैः संदंशैस्त्वचि निष्कुषन्ति (ayasmayairagnipiṇḍaiḥ saṃdaṃśaistvaci niṣkuṣanti) Bhāgavata 5.26.19.
2) Too great compression of the teeth in the pronunciation of vowels (or letters).
3) Name of those parts of the body used for grasping.
4) Name of a hell.
5) A chapter or section of a book.
6) The side of a village.
Derivable forms: saṃdaṃśaḥ (संदंशः).
Sandaṃśa (सन्दंश).—m.
(-śaḥ) 1. A pair of tongs or nippers. 2. The great compression of the teeth in the pronunciation of vowels. E. sam with, daṃśa biting.
Saṃdaṃśa (संदंश).—i. e. sam-daṃś + a, m. A pair of tongs, [Pañcatantra] 52, 8 (sva -daśana-, His claws which are like a pair of nippers).
Saṃdaṃśa (संदंश).—[masculine] biting or pinching together (the (lips); junction, union i.[grammar]; crotchet, tongs, or any instrument of that kind.
1) Saṃdaṃśa (संदंश):—[=saṃ-daṃśa] [from saṃ-daṃś] m. compression (of the lips), [Mahābhārata]
2) [v.s. ...] too great compression of the teeth in the pronunciation of vowels, [Ṛgveda-prātiśākhya]
3) [v.s. ...] junction, connection, [Subhāṣitāvali]
4) [v.s. ...] a pair of tongs or pincers or nippers, [Atharva-veda; Brāhmaṇa; Purāṇa; Suśruta]
5) [v.s. ...] Name of those parts of the body which are used for grasping or seizing (as the thumb and forefinger together, the opposite eye-teeth, the nippers of a crab etc.), [Yājñavalkya; Varāha-mihira’s Bṛhat-saṃhitā; Suśruta; Pañcatantra; Kathāsaritsāgara]
6) [v.s. ...] a [particular] Naraka or hell (where the flesh of the wicked is tortured with pincers), [Purāṇa]
7) [v.s. ...] a chapter or section of a book, [Dāyabhāga]
8) [v.s. ...] a [particular] Ekāha, [Vaitāna-sūtra]
9) [v.s. ...] the site of a village etc. (fixed according to the compass), [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
Sandaṃśa (सन्दंश):—[sa-ndaṃśa] (śaḥ) 1. m. A pair of tongs or nippers; a hell.
[Sanskrit to German]
Saṃdaṃśa (संदंश) in the Sanskrit language is related to the Prakrit words: Saṃḍāsa, Saṃdaṃsa.
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.
Hindi dictionary
Saṃdaṃśa (संदंश) [Also spelled sandansh]:—(nm) forceps; sting.
...
Prakrit-English dictionary
Saṃdaṃsa (संदंस) in the Prakrit language is related to the Sanskrit word: Saṃdaṃśa.
Prakrit is an ancient language closely associated with both Pali and Sanskrit. Jain literature is often composed in this language or sub-dialects, such as the Agamas and their commentaries which are written in Ardhamagadhi and Maharashtri Prakrit. The earliest extant texts can be dated to as early as the 4th century BCE although core portions might be older.
Kannada-English dictionary
Saṃdaṃśa (ಸಂದಂಶ):—
1) [noun] a joining or being joined; a junction; a connection.
2) [noun] a pair of tongs, pincers or nippers.
3) [noun] the thumb and forefinger (together or individually) which are used for grasping or seizing.
4) [noun] the act or an instance of biting one’s lips.
5) [noun] a pressing of both the lips togther while pronouncing some letters.
6) [noun] either of the two pointed teeth in the upper jaw of a horse; an eye-tooth.
7) [noun] (myth.) name of a hell.
8) [noun] (dance.) a posture of the hand, in which the tip of the forefinger is placed on the tip of the thumb, other fingers stretched and separated from each other, the palm is sunken and hollowed a little.
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: Damsha, Sam, Can, Shan.
Starts with: Samdamshadharin, Samdamshadharini, Samdamshaka, Samdamshana.
Full-text (+5): Mukhasamdamsha, Karasamdamsha, Samdamshaka, Samdamshadharin, Sandisa, Samdamshika, Samdamshadharini, Sandamshahasta, Karasamdamshahinaka, Vakula, Svacchika, Sandansh, Samdamshita, Sandasa, Angulisamdesha, Samdashta, Shvashru, Abhicarayajna, Cantancam, Cibuka.
Relevant text
Search found 21 books and stories containing Samdamsha, Saṃdaṃśa, Saṃdaṃsa, Sandamśa, San-damsha, San-daṃśa, Sam-damsha, Saṃ-daṃśa, Sam-damsa, Samdamsa, Sandamsha, Sandaṃsa, Sandamsa, San-damsa; (plurals include: Samdamshas, Saṃdaṃśas, Saṃdaṃsas, Sandamśas, damshas, daṃśas, damsas, Samdamsas, Sandamshas, Sandaṃsas, Sandamsas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Surgery in ancient India (Study) (by P. P. Prathapan)
6. Application of the Samdamsha instrument < [Chapter 5 - Surgical instruments in Sushruta Samhita]
19. Surgery Reference in Astanga Hrdayam < [Chapter 2 - The concept and practice of Surgery in ancient India]
World Journal of Pharmaceutical Research
An ayurvedic insight on yantras and its modern advancement < [2023: Volume 12, August special issue 14]
Pharmaceutical study on gandhak druti < [2021: Volume 10, April issue 4]
Conceptual study of shatprasrutik krimighna basti in the management of krimiroga < [2021: Volume 10, August issue 10]
Abhinaya-darpana (English) (by Ananda Coomaraswamy)
Chapter 16 - Hands denoting Relationships
Chapter 12 - Twenty-eighth Single Hands
International Ayurvedic Medical Journal
Co-relation of ancient yantra and modern surgical instruments-a review < [2024, Issue 05, May]
Analogy: the base of surgical developments in ayurveda < [2015, Issue XI November]
Co-relation of sushrutokta nadi yantra and modern surgical instrument: an anatomical perspective < [2024, Issue 01. January]
Vishnu Purana (Taylor) (by McComas Taylor)
Chapter 6 - The hell realms < [Book Two: The Word]
Shishupala-vadha (Study) (by Shila Chakraborty)
Citrakāvya (1): Yamaka < [Introduction]