Sanyasa, Sanyāsa: 4 definitions
Sanyasa means something in Hinduism, Sanskrit, 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.
Purana and Itihasa (epic history)Source: archive.org: Puranic Encyclopedia
Sanyāsa (सन्यास).—(SANNYĀSA) One of the four stages of Brahminical life. The four stages are Brahmacarya (Religious student), Gārhasthya (householder), Vānaprastha (Forest-dweller) and Sannyāsa (hermit or sage). (For further details see under Āśrama). Duties of a hermit. Manu has ordained that one should perform sannyāsa (renunciation) at the fourth stage of life renouncing every tie with the world. After becoming a hermit he should travel daily alone. He should enter villages only for food. He should have renounced wealth. He should not acquire any wealth. He should be a sage filled with knowledge. He should have a skull as the pot for taking alms. He should sleep under trees. He should wear poor cloth and should be solitary. He should consider everybody as equal. Having become a hermit he should not delight in death or life. (See full article at Story of Sanyāsa from the Puranic encyclopaedia by Vettam Mani)
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.
Gitashastra (science of music)Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (gita)
Sanyāsa (सन्यास) refers to one of the thirteen Jātis or “proper combination of two grāmas” (in Indian music), according to the Kallinātha’s commentary Kalānidhi on the Saṃgītaratnākara.—In the Nāṭyaśāstra, jātis are broadly divided into two types viz., śuddhā and vikṛtā. The Saṃgītaratnākara also agrees on it. But in the Viṣṇudharmottarapurāṇa, the reference about the types of jātis is not found. The Saṃgītaratnākara accepts thirteen kinds of characteristic features of jātis. For example: Sanyāsa, which is however not accepted by the Nāṭyaśāstra.
Gitashastra (गीतशास्त्र, gītaśāstra) refers to the ancient Indian science of Music (gita or samgita), which is traditionally divided in Vocal music, Instrumental music and Dance (under the jurisdiction of music). The different elements and technical terms are explained in a wide range of (often Sanskrit) literature.
Languages of India and abroad
Hindi dictionarySource: DDSA: A practical Hindi-English dictionary
Sanyāsa (सन्यास):—(nm) see ['saṃnyāsa'].
Kannada-English dictionarySource: Alar: Kannada-English corpus
1) [noun] the act of leaving, giving up something completely or for ever; abandonment.
2) [noun] the stage in which a person renounces everything in the wordly life and is living a self-imposed poverty with regorous discipline and desireless life, for realising a higher spiritual stage.
3) [noun] a vow of abstaining from food.
4) [noun] a kind of disease.
5) [noun] a singing of a rāga in an elaborate and aesthetic manner.
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)
Search found 24 books and stories containing Sanyasa, Sanyāsa; (plurals include: Sanyasas, Sanyāsas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Jivanandana of Anadaraya Makhin (Study) (by G. D. Jayalakshmi)
Sannipātas (fevers due to Vāta, Pitta and Kapha) < [Chapter 4 - Āyurvedic principles in Jīvanandana Nāṭaka]
Mundaka Upanishad with Shankara’s Commentary (by S. Sitarama Sastri)
Ishavasya Upanishad with Shankara Bhashya (Sitarama) (by S. Sitarama Sastri)
The Matsya Purana (critical study) (by Kushal Kalita)
Rig Veda (translation and commentary) (by H. H. Wilson)
Yoga-sutras (Ancient and Modern Interpretations) (by Makarand Gopal Newalkar)