Vimarshasandhi, aka: Vimarśasandhi, Vimarsha-sandhi; 2 Definition(s)
Vimarshasandhi 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.
The Sanskrit term Vimarśasandhi can be transliterated into English as Vimarsasandhi or Vimarshasandhi, using the IAST transliteration scheme (?).
Natyashastra (theatrics and dramaturgy)
Vimarśasandhi (विमर्शसन्धि) refers to the “segments (sandhi) of the pause part (vimarśa)”, according to the Nāṭyaśāstra chapter 21. It can also be spelled as Vimarśasaṃdhi and is also known by the name Vimarśāṅga. These elements are essential for a successful dramatic play (nāṭya). The pause part represents one of the five segments (sandhi) of the plot (itivṛtta or vastu) of a dramatic composition (nāṭaka).
There are thirteen elements of the pause segment (vimarśasandhi) defined:
- apavāda (censure),
- saṃpheṭa (angry words),
- abhidrava (insolence),
- śakti (placation),
- vyavasāya (assertion),
- prasaṅga (mention),
- druti (injury),
- kheda (lassitude),
- niṣedhana (opposition),
- virodhana (altercation),
- ādāna (sumning up),
- sādana (humillation),
- prarocanā (foresight),
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).
Tibetan Buddhism (Vajrayana or tantric Buddhism)
Vimarśasandhi (विमर्शसन्धि).—The “dramatic juncture of the plot crisis or peripeteia” in wich words that seek to expose the wrongdoings of another backfire, exposing the speaker’s own wrong-doings, which cannot be tolerated, engendering suffering due to attachment and an unbearable crisis.
The plot crisis comprises the following thirteen aspects:
- apavāda (‘censure’ of another’s misdeeds),
- saṃpheṭa (‘altercation’),
- adhidrava (‘tumultuous consternation’; showing disrespect or insolence),
- śakti (‘powerful placation’ of one who is angry),
- vyavasāya (‘resolute pledge’ or assertion with regard to the original objective of the plot),
- prasaṅga (‘incidental comments’ concerning one’s superioirs),
- dyuti (‘disdainful words’),
- kheda (‘lassitude’ or depression arising from over-exertion),
- niṣedha (‘prohibition’ or opposition blocking the desired objective of the plot),
- virodhana (‘quarrelsome altercation’),
- ādāna (‘capture’ of the germ of the plot within the actions of the plot),
- chādana (‘words of humiliation’),
- prarocanā (‘words presaging’ the denouement).
Tibetan Buddhism includes schools such as Nyingma, Kadampa, Kagyu and Gelug. Their primary canon of literature is divided in two broad categories: The Kangyur, which consists of Buddha’s words, and the Tengyur, which includes commentaries from various sources. Esotericism and tantra techniques (vajrayāna) are collected indepently.
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