Images (photo gallery)

In Hinduism

Kavya (poetry)

Source: Shodhganga: A critical appreciation of soddhalas udayasundarikatha

Sthānaka (स्थानक).—One of the various countries and cities mentioned by Soḍḍhala.—Sthānaka is modem Thāṇā located to the north of Bombay in the Bombay State. This is Sthānakapura of Koṅkaṇa in the Jain Āgamas. It is said to be Droṇamukha, which means that it could be approached by both the paths of land and water.

context information

Kavya (काव्य, kavya) refers to Sanskrit poetry, a popular ancient Indian tradition of literature. There have been many Sanskrit poets over the ages, hailing from ancient India and beyond. This topic includes mahakavya, or ‘epic poetry’ and natya, or ‘dramatic poetry’.

Shilpashastra (iconography)

Source: Archaeological Survey of India: Śaiva monuments at Paṭṭadakal (śilpa)

1) Sthānaka (स्थानक).—The Sthānaka Śiva is a sculpture found at the temple of Lokeśvara, east façade, south side.—This scene of Śiva standing on Apasmārapuruṣa, like other important scenes, is occupying a niche depicted like a pratikṛti of a temple on the eastern wall. In the central portion of the niche is the main image of Śiva trampling the body of a personage, who is generally identified with Apasmārapuruṣa (epilepsy, loss of memory personified). By his side is a dwarf figure with a lion face on the stomach, like Kabandha in the Rāmāyaṇa.

Sthānaka-Śiva is also found as a sculpture on the exterior (southern wall) of the temple of Trailokyeśvara.—This is a standing image of (Sthānaka) Śiva with four hands but one of them is damaged. In the right damaged hand there are traces of holding a snake. The lower right with an effigy of the earth is near the lap. In the upper left is the dhvaja and the lower one is on the left lap. The tiara which looks like a crown, is extraordinarily beautiful. The smile on the lips is also noteworthy. It is hasitamūrti, laughing image. We can even see his teeth. In one word it is one of the most beautiful images on this wall. Above the niche is a replica of a temple with a Liṅga in the sanctum and a tower. There are also other minor images on the façade which are not worth mentioning.

2) Sthānaka (स्थानक).—The Sthānaka Viṣṇu is found as a sculpture at the temple of Lokeśvara, western wall, centre, west façade.—This is a niche in the northern half of the west wall and it protrudes from the remaining portion of the wall. Standing Viṣṇu with four hands is carved in the main portion of the niche. He holds in his upper right and left hands, cakra and śaṅkha. A round thing, like in the image of Śiva (figure 185), is in the lower right hand and the remaining left hand is in kaṭyavalambitahasta, resting on the hip. It is not the place for the representation of Viṣṇu in temples dedicated to Śiva. Generally, his place is on the northern façade of the temple.

Source: Shodhganga: The significance of the mūla-beras (śilpa)

Sthānaka (स्थानक) refers to the “standing pose”, and represents one of the five types of “body poses” (āsana), according to Ganapati Sthapati in his text Ciṟpa Cennūl, as defined according to texts dealing with śilpa (arts and crafs), known as śilpaśāstras.—Sthānaka is the standing vertical pose with two divisions found in iconography and is studied in relation to Bharatanatyam in chapter four. The sthānaka or the vertical stance is of two types. They are the samapāda-sthānaka (erect posture) and the kayotsarga-sthānaka.

The sthānaka in iconography has two divisions, namely,

1. samapāda-sthānaka,
2. kayotsarga-sthānaka.

In iconography the samapāda-sthānaka is again sub-divided into vaitastika-sthānaka (the distance between the big toes is equal to one vitasti, that is, two cāṇ or the span of the thumb to the little finger) and ardhavaitastika-sthānaka (the distance is half vitasti or one cāṇ). The deities found in this sthānaka are Candraśekhara Mūrti and Viṣṇu. The kayotsarga posture (the feet are placed together, with the body held erect, the gaze direct, the arms hanging close to the body, fingers placed gracefully, andpalms held close to the thigh) that is seen in iconography is not found in Bharatanatyam with a separate term but the same action is sometimes depicted while portraying the Gomateśvara icon.

context information

Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.

Natyashastra (theatrics and dramaturgy)

Source: Shodhganga: The significance of the mūla-beras (natya)

Sthānaka (स्थानक) refers to one of the nine maṇḍala (postures of the feet) which represents one of the four “movements of the feet” (pāda) according to the Abhinayadarpaṇa.

The sthānaka-maṇḍala in Bharatanatyam has six divisions, namely,

1. samapāda,
2. ekapāda,
3. nāgapāda,
4. aindra,
5. garuḍa,
6. brahmasthāna,

The sthānaka in iconography has two divisions, namely, the samapāda and the kayotsarga-sthānaka. Though there is similarity in the definition, there is difference in the divisions of the sthānaka-maṇḍala of the two arts.

context information

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).

Purana and Itihasa (epic history)

Source: archive.org: Shiva Purana - English Translation

Sthānaka (स्थानक) refers to a “standing posture”, according to the Śivapurāṇa 2.5.10 (“The burning of the Tripuras”).—Accordingly, as Sanatkumāra narrated to Vyāsa: “Then Śiva, the great lord, seated in the chariot and equipped with everything, got ready to burn the three cities completely, the cities of the enemies of the gods. The lord stood in the wonderful posture (sthānaka) [śīrṣaṃ sthānakamāsthāya] of Pratyālīḍha for a hundred thousand years. The bow was well strung and kept near the head. The arrow was fixed. The fingers clenched at the bow firmly. The eyes were fixed. [...]”.

context information

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.

In Jainism

General definition (in Jainism)

Source: archive.org: Trisastisalakapurusacaritra

Sthānaka (स्थानक) refers to “twenty religious activities”, according to chapter 1.1 [ādīśvara-caritra] of Hemacandra’s 11th century Triṣaṣṭiśalākāpuruṣacaritra: an ancient Sanskrit epic poem narrating the history and legends of sixty-three illustrious persons in Jainism.

Accordingly, Vajranābha acquired strong Tirthakṛt-body-making and family-karma by the twenty sthānakas as follows:—

1. The first [sthānaka] is by worship of the Arhats and Arhat-statues, and by hymns of praise containing true events, avoiding blasphemy.
2. The second [sthānaka] is the celebration in words of the true state of emancipation with festivals of watching in the places where the Siddhas attained perfection.
3. The third sthānaka is kindness to Yatis who are young, sick, students, etc., and affection for the scriptures.
4. The fourth sthānaka is the showing of great devotion to gurus by gifts of food, medicine, clothes, etc., and by making salutation.
5. The fifth [sthānaka] is devotion to Sthaviras, i.e., those who have been initiated for twenty years, those sixty years old, and the learned.
6. The sixth [sthānaka] is the showing of affection by gifts of food, clothes, etc., to those having more learning than oneself in regard to interpretation.
7. The seventh [sthānaka] is tenderness to ascetics making protracted penance by the gift of devotion and rest.
8. The eighth [sthānaka] is the acquisition of knowledge of both text and meaning, of the twelve aṅgas of the scriptures by daily questions, reciting, etc.
9. The ninth [sthānaka] is right-belief, free from the faults of doubt, etc., adorned with the qualities of firmness, etc., characterized by tranquillity, etc.
10. The tenth [sthānaka] is reverence (vinaya)—so-called from the destruction of karma, fourfold with knowledge, belief, good-conduct, and service to one’s superiors.
11. The eleventh [sthānaka] is earnest, determined avoidance, of transgression in the modes of conduct and daily duties.
12. The twelfth sthānaka is the observance without sin of the chief guṇas of non-injury, etc., and the subsidiary ones of carefulness, etc.
13. The thirteenth sthānaka is the making of pure meditation every minute and every second, with avoidance of negligence.
14. The fourteenth sthāna is constant penance, according to ability, without injury to mind and body.
15. The fifteenth [sthānaka] is sharing of food, etc., with ascetics, according to ability, with purity of mind, speech, and body.
16. The sixteenth sthāna is the rendering of service by food, drink, etc., to the ten persons, Ācārya, etc.
17. The seventeenth sthāna is enabling the fourfold congregation to concentrate their minds in meditation by warding off all evils.
18. The eighteenth sthāna is the daily zealous learning of new texts, interpretations, and both.
19. The nineteenth sthāna is devotion to knowledge of the scriptures by faith, by their publication, by destroying censure, etc.
20. The twentieth [sthānaka] is the propagation of the doctrine by vidyās, prognostication, literary composition, discussion, discourses on dharma, etc.

Note: There are useful discussions of these in Āvaśyakasūtra (Malayagiris commentary) 176-8, p. 161 and Pravacanasāroddhāra 310-19, pp. 82f.

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.

India history and geography

Source: archive.org: Gazetteer of the Bombay Presidency

Sthānaka is the name of an ancient locality mentioned in the “copper-plate charter from Khārepāṭaṇ in the Ratnāgiri District” (1095 A.D.).—The command contained in it is addressed to, amongst others, the people of the town of Hañjamana. And the object of it was to release certain tolls on carts coming into Sthānaka, Nāgapura (very possibly the modern Nāgaon, about six miles south-east of Alībāg), Surpāraka (Sopārā near Bassein), Cemūli (Chaul in the Kolāba District), and other sea-ports in the Koṅkaṇ fourteen-hundred. The record describes Anantadeva as “casting into the ocean of the edge” of his sword these fierce heaps of sin who, at a time of misfortune due to the hostility of relatives, obtained power and devastated the land of the Koṅkaṇ, harassing gods and Brāhmans.

Source: What is India: Inscriptions of the Śilāhāras

1) Sthānaka (स्थानक) is the name of a village mentioned in the “Janjira plates (set II) of Aparājita”. Sthānaka, where the Śilāhāra king Aparājita was staying at the time of the grant, is identical with modern Ṭhāṇā, the chief town of the Ṭhāṇā District in Mahārāṣṭra. It was his capital.

These copper plates (mentioning Sthānaka) were found together with those of Set I by one Bala Tukaram, while digging in the court-yard of his house at Chikhala-pākhāḍī, a part of Muruḍ-Janjirā in the Kolābā District of Māhārāṣtra. The grant was made by the king while residing at Sthānaka on the mahāparvan of the solar eclipse which occurred on Sunday, the fifteenth tithi of the dark fortinight of Śrāvaṇa in the expired śaka year 915, the cyclic year being Vijaya.

2) Sthānaka (स्थानक) is also mentioned in the “Bhadāna grant of Aparājita”. Sthānaka, the capital of the Śilāhāras, is of course modern Ṭhāṇā, a station on the Kalyaṇ-Bombay line of the Central Railway.

These copper plates (mentioning Sthānaka) were found in 1881 with the headman of Bhere, a village about ten miles north of Bhivaṇḍī, the chief town of the Bhivaṇḍī tālukā of the Thāṇā District in the Mahārāṣṭra State. The grant was made at Sthānaka on the occasion of the Karkaṭa saṅkrānti (called) Dakṣiṇāyana, which occurred on the fourth tithi of the dark fortnight of Āṣāḍha in the expired Śaka year 919, when the cyclic year was Hemlamba.

Source: Cologne Digital Sanskrit Dictionaries: Indian Epigraphical Glossary

Sthānaka.—(LL), same as sthāna, a temple. Note: sthānaka is defined in the “Indian epigraphical glossary” as it can be found on ancient inscriptions commonly written in Sanskrit, Prakrit or Dravidian languages.

context information

The history of India traces the identification of countries, villages, towns and other regions of India, as well as mythology, zoology, royal dynasties, rulers, tribes, local festivities and traditions and regional languages. Ancient India enjoyed religious freedom and encourages the path of Dharma, a concept common to Buddhism, Hinduism, and Jainism.

Languages of India and abroad

Sanskrit dictionary

Source: DDSA: The practical Sanskrit-English dictionary

Sthānaka (स्थानक).—[sthāna svārthe ka]

1) A position, situation.

2) A particular point or situation in dramatic action; e. g. पताकास्थानक (patākāsthānaka) q. v.; स्थानकेन अवलोक्य (sthānakena avalokya) V.4.44/45; it may also mean 'a kind of posture'.

3) A city, town.

4) A basin.

5) Froth, a kind of scum on spirits or wine.

6) A mode of recitation.

7) A division or section of the Taittirīya, a branch of the Yajurveda.

8) A temple in which the idol is kept in an erect posture.

9) The attitude of the body (in shooting &.).

Derivable forms: sthānakam (स्थानकम्).

Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary

Sthānaka (स्थानक).—n.

(-kaṃ) 1. A basin or trench dug for water at the root of a tree. 2. A town, a city. 3. A bubble or a bead on spirits or wine 4. Position, situation. 5. A particular point or situation in dramatic action. 6. A mode of recitation. 7. A division or section of the Taittiriya branch of the Yayur-Veda. E. kan added to the last.

Source: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionary

Sthānaka (स्थानक).—[sthāna + ka], n. 1. A town. 2. A basin of water at the root of a tree, 3. A bubble on spirits or wine. 4. A kind of speaking (addressing ?), [Vikramorvaśī, (ed. Bollensen.)] 64, 21.

Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary

Sthānaka (स्थानक).—[masculine] [Name] of a man. [neuter] position, attitude; rank, dignity; place, spot.

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

1) Sthānaka (स्थानक):—[from sthā] m. Name of a man, [Rājataraṅgiṇī]

2) [v.s. ...] n. position, situation, rank, dignity, [Mahābhārata]

3) [v.s. ...] a place, spot, [Pañcatantra]

4) [v.s. ...] a city, town, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]

5) [v.s. ...] attitude of the body (in shooting etc.), [Harṣacarita; Nalacampū or damayantīkathā]

6) [v.s. ...] a [particular] point or situation in dramatic action, [Vikramorvaśī iv, 44/45](others ‘a kind of posture’; but cf. patākā-sth)

7) [v.s. ...] a basin or trench dug for water at the root of a tree, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]

8) [v.s. ...] a division or section (esp,) of the Kāṭhaka ([according to] to some ‘a mode of recitation’)

9) [v.s. ...] froth or bubbles on spirits or wine ([probably] for sthāsaka), [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]

Source: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionary

Sthānaka (स्थानक):—(kaṃ) 1. n. Bason of water at the root of a tree; a town; a bubble on spirits of wine.

Source: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionary (S)

Sthānaka (स्थानक) in the Sanskrit language is related to the Prakrit words: Ṭhāṇaga, Thāṇaya.

[Sanskrit to German]

Sthanaka in German

context information

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

Source: Alar: Kannada-English corpus

Sthānaka (ಸ್ಥಾನಕ):—

1) [noun] a place or locality.

2) [noun] a town or city.

3) [noun] the posture of the body while shooting arrows.

4) [noun] a basin or trench for water round the root of a tree.

5) [noun] (dance.) any posture of a dancer.

6) [noun] the standing position of the idol of a deity.

context information

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)

Starts with: Sthanakalpana, Sthanakamurti, Sthanakavasi.

Ends with: Adhishthanaka, Aristhanaka, Brahmasthanaka, Ekapadasthanaka, Ekavimshatisthanaka, Gosthanaka, Gunadhishthanaka, Kayotsargasthanaka, Nishthanaka, Patakasthanaka, Prasthanaka, Samapadasthanaka, Samsthanaka, Shristhanaka, Vailasthanaka, Vaishakhasthanaka, Vaishnavasthanaka, Virasthanaka, Yashti-pratishthanaka.

Full-text (+155): Vaishnavasthanaka, Patakasthanaka, Samapada, Gosthanaka, Ekapada, Mulabera, Samapadasthanaka, Sthand, Shatsthanakavritti, Arishtanaka, Thanaga, Kriyasthanakavicara, Shristhanaka, Prasthanaka, Sthasaka, Aristhanaka, Samsthanaka, Thanaya, Garuda, Shanka.

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Search found 16 books and stories containing Sthanaka, Sthānaka; (plurals include: Sthanakas, Sthānakas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Garga Samhita (English) (by Danavir Goswami)

Verse 5.24.58 < [Chapter 24 - The Killing of the Kola Demon]

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Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)

Patākā-Sthānaka < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]

Chapter 5 - Major findings and Concluding observations

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Gati in Theory and Practice (by Dr. Sujatha Mohan)

Description of Gati as in Bharatārṇava < [Chapter 2 - Concept and technique of Gati]

Description of Gati in Abhinayadarpaṇa < [Chapter 2 - Concept and technique of Gati]

Gati in Maṇipurī < [Chapter 4 - Practice of Gati]

+ 3 more chapters / show preview

Trishashti Shalaka Purusha Caritra (by Helen M. Johnson)

Praśasti

Part 11: Puruṣasiṃha’s mendicancy < [Chapter III - Sumatināthacaritra]

Part 19: Eleventh incarnation as Vajranābha < [Chapter I]

+ 14 more chapters / show preview

The Skanda Purana (by G. V. Tagare)

Chapter 269 - Greatness of Vidurāśrama (Vidura-āśrama) < [Section 1 - Prabhāsa-kṣetra-māhātmya]

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Jainism and Patanjali Yoga (Comparative Study) (by Deepak bagadia)

Part 4 - Stages of spiritual elevation (guna-sthanakas) < [Chapter 3 - Jain Philosophy and Practice]

Part 12 - Similarities and differences of both the Philosophies in Nutshell < [Chapter 4 - A Comparative Study]

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