Simhavikridita, Simha-vikridita, Siṃhavikrīḍita: 8 definitions
Introduction:
Simhavikridita 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)
Siṃhavikrīḍita (सिंहविक्रीडित).—One of the 108 karaṇas (minor dance movement) mentioned in the Nāṭyaśāstra chapter 4. The instructions for this siṃhavikrīḍita-karaṇa is as follows, “after observing the Alātā Cārī one is to move swiftly and hands to follow the feet.”.
A karaṇa represents a minor dance movements and combines sthāna (standing position), cārī (foot and leg movement) and nṛttahasta (hands in dancing position).
Siṃhavikrīḍita (सिंहविक्रीडित) [=prasarpitatala?] refers to one of the 108 kinds of Karaṇa (“coordination of precise movements of legs and hands”), 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.—According to the Viṣṇudharmottarapurāṇa, karaṇas are the coordination of precise movements of legs and hands performed in a particular posture. The Nāṭyaśāstra also gives its view point in the same spirit. In the Viṣṇudharmottarapurāṇa, one hundred and eight kinds of karaṇas are accepted, e.g., Siṃhavikrīḍita.
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
Mahayana (major branch of Buddhism)
Siṃhavikrīḍita (सिंहविक्रीडित) is the name of a samādhi (concentration), according to Mahāprajñāpāramitāśāstra (chapter XIV). Accordingly, “then the Bhagavat, on the same lion-seat (siṃhāsana), entered into the concentration called Lion’s Play (siṃhavikrīḍita) and, by the action of his miraculous superknowledge, shook the trisāhasramahāsāhasralokadhātu which trembled in six different ways”.
Why is this samādhi called Lion’s Play (siṃhavikrīḍita)?
1) Just as the lion (siṃha) who has taken a gazelle (mṛga) plays with it as a master, so the Buddha, having entered this samādhi, can upset the world in every way and thus make it shake in six different ways.
2) Moreover, sometimes the lion plays, and when he plays, all the animals are reassured; in the same way, when the Buddha enters this samādhi, he shakes the trisāhasramahāsāhasralokadhātu in such a way that beings in the three evil destinies (durgati) simultaneously attain cessation (nirvṛtti) and all will reach salvation (yogakṣema).
3) Finally, the Buddha is called the man-lion (puruṣasiṃha) and the samādhi of the Lion’s Play is the samādhi of the Buddha’s Play. When he enters this samādhi, he causes the great earth (mahāpṛthivī) to shake in six different ways and all beings deep in the hells (niraya) and the two unfortunate destinies (durgati) all receive deliverance (vimokṣa) and are reborn amongst the gods. Such is his ‘Play’.
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.
General definition (in Buddhism)
Siṃhavikrīḍita (सिंहविक्रीडित, “lion’s sport”) refers to one of the “four concentrations” (samādhi) as defined in the Dharma-saṃgraha (section 136). The Dharma-samgraha (Dharmasangraha) is an extensive glossary of Buddhist technical terms in Sanskrit (e.g., siṃha-vikrīḍita). The work is attributed to Nagarjuna who lived around the 2nd century A.D.
Languages of India and abroad
Sanskrit dictionary
Siṃhavikrīḍita (सिंहविक्रीडित).—(1) name of a Bodhisattva: Mahāvyutpatti 683; (probably the same; not a Tathāgata with Index) Śikṣāsamuccaya 173.13, 18 (voc.; separate from foll. words); (2) name of a samādhi: Mahāvyutpatti 509 (not in Śatasāhasrikā-prajñāpāramitā); Dharmasaṃgraha 136.
1) Siṃhavikrīḍita (सिंहविक्रीडित):—[=siṃha-vikrīḍita] [from siṃha] m. (in music) a kind of time, [Saṃgīta-sārasaṃgraha]
2) [v.s. ...] a kind of Samādhi, [Dharmasaṃgraha 136]
3) [v.s. ...] Name of a Bodhi-sattva, [ib.]
4) [v.s. ...] n. a kind of metre, [Kedāra’s Vṛtti-ratnākara]
Siṃhavikrīḍita (सिंहविक्रीडित):—(¯ ˘ ¯ ¯ ˘ ¯)
1) n. ein best. Metrum: 4 Mal ˘ ˘ ˘ ˘ ˘ ˘ ¯ ˘ ¯ ¯ ˘ ¯ ¯ ˘ ¯ ¯ ˘ ¯ [Weber’s Indische Studien 8, 398.] —
2) m. a) eine best. Meditation [Vyutpatti oder Mahāvyutpatti 16.] — b) Nomen proprium eines Bodhisattva [Vyutpatti oder Mahāvyutpatti 22.]
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.
Kannada-English dictionary
Siṃhavikrīḍita (ಸಿಂಹವಿಕ್ರೀಡಿತ):—
1) [noun] =ಸಿಂಹನಿಷ್ಕ್ರೀಡಿತ [simhanishkridita].
2) [noun] (mus.) name of one of the (one hundred and eight kinds of) time-cycles.
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 (+0): Vikridita, Simha.
Starts with (+0): Simhavikriditasamadhi.
Full-text (+0): Simhavikriditasamadhi, Shi zi you xi san mei, Shi zi fen xun san mei, Four Concentrations, Shi zi you xi, Samadhi, Vikridita, Liu pu sa, Shi zi duo xun san mei, Bang fu jing, Wu shi san zhi shi, Liu zhong zhen dong.
Relevant text
Search found 7 books and stories containing Simhavikridita, Simha-vikridita, Siṃha-vikrīḍita, Simha-vikrīḍita, Siṃhavikrīḍita, Simhavikrīḍita; (plurals include: Simhavikriditas, vikriditas, vikrīḍitas, Siṃhavikrīḍitas, Simhavikrīḍitas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Maha Prajnaparamita Sastra (by Gelongma Karma Migme Chödrön)
Act 5.1: The Buddha shakes the trisāhasramahāsāhasralokadhātu in six ways < [Chapter XIV - Emission of rays]
Indian Antiquary (a journal of oriental research) (by Jas Burgess)
Nijaguna’s notes on Indian music < [Volume 3 (1874)]
The Sanskrit Buddhist Literature of Nepal (by Rajendralala Mitra)
Page 386 < [The Sanskrit Buddhist Literature of Nepal (pages)]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2.5. Karaṇa (movements of legs and hands) < [Chapter 3 - Drama and Dance]
Old Brahmi Inscriptions (by B. M. Barua)
Part 7 - The style of the Cave Inscriptions < [Book 2 - Notes]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Description of Gati as in Bharatārṇava < [Chapter 2 - Concept and technique of Gati]
Elucidation of Karaṇas related to Gati < [Chapter 2 - Concept and technique of Gati]