Sthanaka, Sthānaka: 12 definitions


Sthanaka means something in Hinduism, Sanskrit, the history of ancient India. 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

Kavya (poetry)

[«previous (S) next»] — Sthanaka in Kavya glossary
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’.

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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.

Shilpashastra book cover
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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.

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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.

Natyashastra book cover
context information

Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (śāstra) of performing arts, (nāṭya, e.g., 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) and poetic works (kavya).

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India history and geogprahy

Source: 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.

India history book cover
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The history of India traces the identification of countries, villages, towns and other regions of India, as well as 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.

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Languages of India and abroad

Sanskrit-English 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.

context information

Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family. 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.

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