Sandhyanga, Sandhi-anga, Sandhyaṅga: 2 definitions
Introduction:
Sandhyanga means something in Buddhism, Pali, Hinduism, Sanskrit. 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
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraSandhyaṅga (सन्ध्यङ्ग) refers to the sixty-four elements (aṅga) of the segments (sandhi), according to the Nāṭyaśāstra chapter 21. It can also be spelled as Saṃdhyāṅga. There are five kinds of segments of the plot (itivṛtta or vastu) of a dramatic play (nāṭaka).
The sixty-four elements of segments (sandhyaṅga) are grouped under five headings as follows:
- mukhāṅga or mukhasandhi (the 12 limbs of the opening segment),
- pratimukhāṅga or pratimukhasandhi (the 13 limbs the progression segment),
- garbhāṅga or garbhasandhi (the 13 limbs of the development segment),
- vimarśāṅga or vimarśasandhi (the 13 limbs of the pause segment),
- nirvahaṇāṅga or nirvahaṇasandhi (the 14 limbs of the conclusion segment).
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).
In Buddhism
Buddhist philosophy
Source: Google Books: The Treasury of Knowledge: Book six, parts one and two (philosophy)Sandhyaṅga (सन्ध्यङ्ग).—The “aspects of dramatic juncture” refer to the different sections of a play, signifying the particular phases of the plot, which require dialogue to be spoken in various languages. These comprise:
- mukhasandhi (introduction or protasis),
- pratimukhasandhi (progression or epitasis),
- garbhasandhi (development or catastasis),
- vimarśasandhi (crisis or peripeteia),
- nirvahaṇasandhi (conclusion or catastrophe).
These are known as the five sequences of dramatic juncture.
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See also (Relevant definitions)
Partial matches: Anga, Sandhi.
Full-text (+3): Bhranti, Samvarana, Pradana, Maya, Sahasa, Pratyutpannamatitva, Svapna, Duta, Avadharana, Lekha, Vadha, Dhi, Gotraskhalita, Mada, Ojas, Bhaya, Krodha, Bheda, Sandhyantara, Danda.
Relevant text
Search found 6 books and stories containing Sandhyanga, Sandhi-anga, Sandhyaṅga, Sandhi-aṅga; (plurals include: Sandhyangas, angas, Sandhyaṅgas, aṅgas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)
Sandhis and Sandhyaṅgas < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Mukha Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Analysis of Pratimukha Sandhi < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]
Annadatri-carita (study) (by Sarannya V.)
Dramatic Appraisal of Annadatri-carita (Introduction) < [Chapter 4 - Dramatic Appraisal of Annadatri-carita]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Technical treatises on Nāṭya (other works) < [Chapter 1 - Nāṭya]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Veṇīsaṃhāra as a Drama < [Chapter 3 - A general outline of Veṇīsaṃhāra]
Elephantology and its Ancient Sanskrit Sources (by Geetha N.)