Murchana, ūԲ, ūԲ, Murcchana, ū: 25 definitions
Introduction:
Murchana means something in Hinduism, Sanskrit, Marathi, 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.
Alternative spellings of this word include Murchchhana.
In Hinduism
Ayurveda (science of life)
Rasashastra (Alchemy and Herbo-Mineral preparations)
Source: Wisdom Library: Rasa-śstraūԲ (मूर्च्छन):—Third of the eighteen Saṃskra (special purification process). They are used to purify rasa (mercury) as per 鲹śٰ literature (Medicinal Alchemy), and are mentioned in texts such as the 鲹śܻ첹. In Āyurveda, Saṃskra refers to the “detoxification� process of metals and herbs. The ūԲ-ṃs is commonly used for Dravya-karma and 鲹ⲹԲ-첹, but also to remove various types of -ṣa (mercury impurities). In other words: the first eight ṃs are sequentially used to purify and detoxify mercury in preparation for internal use. ūԲ refers to the process of ‘swooning� of mercury, by which it is ground in a mortar tohether with vegetable matter, until it loses its natural characteristic—lustre, density, volatility, etc.—and becomes purged of certain naturally occurring toxins, impurities, and defects.
Source: Wisdom Library: Rasa-śstraūԲ (मूर्छन) refers to the process of “swooning�, a specific processes used for rendering mercury fit for internal use. It is used throughout 鲹śٰ literature, such as the 鲹śܻ첹.
: Google Books: The Alchemical Body1) ūԲ (third ṃs) is the “fainting� or “swooning� of mercury, by which it is ground in a mortar together with vegetable matter, until it loses its natural characteristics (luster, density, volatility, etc.) and form and becomes purged of certain naturally occurring toxins, impurities, and defects. This is to be distinguished from another process of the same name.
2) ūԲ as a supplementary operation takes mercury that has already been processed, either through the first eight ṃs or by other means, and combines it with sulfur to produce a number of medical preparations for Ayurvedic ⲹԲ or ī첹ṇa therapy.
: archive.org: History of Indian Science Technology (rasashastra)ūԲ (मूर्छन, “swooning�) refers to “swooning or making mercury lose its form� and represents to the third of eighteen alchemical purification processes of mercury (mahrasa, rasendra or 岹). A religio-philosophic base was given to mercury-based alchemy in India. Mercury was looked upon as the essence of God Śiva, and sulphur as that of Goddess Prvatī.
Mercury had to undergo 18 processes (e.g., ūԲ) before it could be used for transforming either metals or the human body. A combination of male and female principles (i.e. mercury and sulphur) forming cinnabar or mercuric sulphide or even of mercury and mica, was supposed to be highly potent and was therefore consumed as a Rasyana or medicine for increasing body fluids or vitality. The earliest mention of Rasyana was found in Āyurveda which was probably composed by 8th or 9th century BC, since it was a part of Atharvaveda, the last of the four Vedas.
: Academia.edu: Ayurveda and Pharmaceutics (rasashastra)ūԲ (swooning).—One of the eight ṣṭ, or, processes that render mercury fit for internal use. These ṣṭ of 岹 (eight detoxification techniques for mercury) are mandatory before mercury is used in the pharmaceutical preparations. In the ūԲ, mercury mixed with jaggery, rock salt etc. is rubbed for three days in khalva (crucible) and then washed with warm water. In the process of ūԲ mercury is mixed with three myrobalans (triphala), aloe etc. is rubbed for another three days before taking it to ܳٱٲԲ process. In this ensuing process distillation apparatus (پⲹٲԲ) is used.
: CCRAS: Ayurvedic pharmacopoeia of India, Appendix IūԲ (मूर्छन):—The third of the eight purification steps of 岹 (mercury), also known as the Aṣṭaṃs.—Take the ingredients numbered [iii] to [vi], dry, powder and pass through sieve number 85. Add ingredient number [ii] and grind with sufficient quantity of water to prepare kalka. Add 岹 to the kalka and triturate for three days. (see the 鲹ṛdⲹٲԳٰ 2.6: a 10th-century Sanskrit alchemical treatise by Govinda Bhagavatpda).
Ingredients:
- 岹 [Mercury] (1 part),
- ṛh첹Բ [Kumrī] (1/16th part of the Leaves),
- Ჹīٲī (1/16th part of the Pericarp),
- īٲ첹 (1/16th part of the Pericarp),
- Āī (1/16th part of the Pericarp),
- Citraka (1/16th part of the Roots),
Unclassified Ayurveda definitions
: Google Books: Ayurveda Materia Medicaū (मूर्छन�).—According to ayurvedic texts, raw oil has to be processed before it is used for the preparation of medicated oil. This processing is known as ū.

Āyurveda (आयुर्वेद, ayurveda) is a branch of Indian science dealing with medicine, herbalism, taxology, anatomy, surgery, alchemy and related topics. Traditional practice of Āyurveda in ancient India dates back to at least the first millenium BC. Literature is commonly written in Sanskrit using various poetic metres.
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nṭya-śstraū (मूर्छन�) refers to “modulation� or “melody�: it is a regulated rise or fall of sounds through the 峾 (or ‘musical scale�), according to the ṭyśٰ chapter 28. ū represents an aspect of musical notes (svara) arising from the īṇ�. These svaras (notes) represent an aspect of ‘musical performance� (Ի), together with (time-measure) and pada (verbal theme). Gndharva is a combination of vocal music and the music of instruments (ٴǻⲹ) employed in dramatic performance (ṭy/ ṭa첹).
: archive.org: Illustrations of Indian Music and Dance in Western Indian Style (natya)ū (मूर्छन�).—The recitation in ascending and in the descending of the seven svaras (musical notes) is called ū. These are seven in each of the three 峾s (scales). ūs are twenty-one in all.
The names of twenty-one ūs are:
- ܳٳٲ,
- ܳٳٲԻ,
- śԳ,
- ܱ,
- ṛhṛṣⲹ,
- ܳٳٲyat,
- ñᲹī,
- ṛṣⲹ,
- ⾱ī,
- śṛt,
- Իī,
- ,
- 첹貹徱ī,
- ٰī,
- Ի屹ī,
- priyasandhani,
- Բṭṭ,
- ԲԻī,
- ś,
- ܳܰī,
- ٰ屹ī,
ū (मूर्छन�, “mode�) are of fourteen kinds in the two Grmas.
Based on the ṣaḍj-峾 there are seven ūs:
- ٳٲԻ,
- 鲹Ჹī,
- ٳٲⲹ,
- Śܻṣaḍj,
- Ѳٲīṛt,
- śԳ,
- ܻ岵.
The first notes of these are respectively: ṣaḍj, Ծṣd, dhaivata, 貹ñ, madhyama, Ի and ṛṣ in the ṣaḍj-峾.
Based on the madhyama-峾 there are seven ūs:
- ܱīī,
- Ჹṇśv,
- DZ貹Բ,
- Śܻ,
- ī,
- ʲܰī,
- ṛṣⲹ.
The first notes of these are respectively madhyama, Ի, ṛṣ, ṣaḍj, Ծṣd, dhaivata and 貹ñ.
Thus combined in different orders, the notes constitute fourteen ūs of four classes, such as heptatonic (ūṇa, lit. full), hexatonic (ṣaḍaṛt), pentatonic (ḍaīṛt) and that including the overlapping note (ṇaṛt).

Natyashastra (नाट्यशास्त्र, ṭyśstra) 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).
Gitashastra (science of music)
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (gita)Mūrccha (मूर्च्छन�) refers to the “ascending and the descending movement of the seven svaras� (in successive order), according to the Saṃgītaratkara.—In Music, the dzṇa i.e., ascending and dzṇa i.e., descending of a scale in correct order is known as ū. The term ū is derived from the root �ū which means to increase. In the ṭyśٰ fourteen types of ūs are accepted where as the īṣ� accepts twenty.
In the վṣṇܻdzٳٲܰṇa twenty-one types of ūs are accepted and those are said to be related to seven svaras and are dependent on each of three 峾s.
The following seven ūs are related to madhyama峾:�
- ܱīī,
- ṇśv,
- 첹DZ貹Բ,
- śܻⲹ,
- ī,
- 貹ܰī and
- ṛṣⲹ.
The following seven ūs are related to ṣaḍj峾:�
- ܳٳٲsañja,
- ñī,
- ܳٳٲyat,
- śܻ,
- ṣaḍj,
- ٲīṛt and
- śԳ
The following seven ūs are related to Ի峾:�
- ī,
- ܲԳپ,
- ś,
- ܳٳٲ,
- ṣa,
- 貹Գⲹ and
- ܻ岵
Gitashastra (गीतशास्त्र, īٲśٰ) 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.
Yoga (school of philosophy)
: ORA: Amanaska (king of all yogas): A Critical Edition and Annotated Translation by Jason Birchū (मूर्छन�) refers to “fainting�, according to the Amanaska Yoga treatise dealing with meditation, absorption, yogic powers and liberation.—Accordingly, as Īśvara says to Vmadeva: “[...] [Now], I shall define the nature of that highest, mind-free absorption which arises for those devoted to constant practice. [...] For a Yogin who is in an absorption for a period of six moments, loss of body heat, sleep and fainting (ū) may occur repeatedly. [...]�.

Yoga is originally considered a branch of Hindu philosophy (astika), but both ancient and modern Yoga combine the physical, mental and spiritual. Yoga teaches various physical techniques also known as sanas (postures), used for various purposes (eg., meditation, contemplation, relaxation).
Languages of India and abroad
Marathi-English dictionary
: DDSA: The Molesworth Marathi and English DictionaryMūrccha (मूर्च्छन�).—f S Fainting or swooning. 2 A tone or semitone as placed in its scale,--the seventh part of a 峾 or scale. There are twenty-one.
: DDSA: The Aryabhusan school dictionary, Marathi-EnglishMūrccha (मूर्च्छन�).�f Fainting. swooning.
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.
Sanskrit dictionary
: DDSA: The practical Sanskrit-English dictionaryūԲ (मूर्च्छन).�a. (-ī f.)
1) Stupefying insensibility or stupor (an epithet applied to one of the five arrows of Cupid).
2) Increasing, augmenting, strengthening.
-nam, - [murccha-yuc]
1) Fainting, swooning.
2) Prevalence, growth, increase (usually n. in this sense); अनुकर्षं � निष्कर्ष� व्याधिपावकमूर्च्छनम् (anukarṣa� ca niṣkarṣa� vydhipvakaūanam) Mahbhrata (Bombay) 2.13.13.
3) A process in metallic preparation, calcining quicksilver with sulphur; cf. मूर्च्छा (ū) (3) also.
4) (In music) The rising of sounds, an intonation, a duly regulated rise and fall of sounds conducting the air and the harmony through the keys in a pleasing manner, changing the key or passing from the key to another; modulation, melody; स्फुटीभवद्ग्रामविशेषमूर्च्छनाम� (sphuṭībhavad峾viśeṣaūm) Si.1.1; भूयो भूयः स्वयमप� कृता� मूर्च्छनां विस्मरन्ती (bhūyo bhūya� svayamapi kṛt� ū� vismarantī) Meghadūta 88; वर्णानामपि मूर्च्छनान्तरगतं तारं विरामे मृदु (varṇmapi ūntaragata� tra� virme mṛdu) Mṛcchakaṭika 3.5; सप्त स्वरास्त्रयो ग्रामा मूर्च्छनाश्चैकविंशति� (sapta svarstrayo grm ūścaikaviṃśati�) ʲñٲԳٰ (Bombay) 5.54; (ū or ū is thus defined:-kramt svarṇṃ saptmrohaścvarohaṇam | s ūetyucyate 峾sth et� sapta sapta ca || see Malli. on Śiśuplavadha 1.1 for further information); 'यत्रैव स्यु� स्वराः पूर्णा मूर्च्छन� सेत्युदाहृता (yatraiva syu� svar� pūrṇ� ū setyudhṛt)' com. on Rm.1.4.1.
: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryūԲ (मूर्च्छन).—nf. (-na�-ī) 1. Fainting syncope, swooning, meeting. 2. Vehemence growth, increase. 3. Causing insensibility, (applied to one of the five arrows of Kama.) 4. Calcining quicksilver with sulphur, &c. f.
(-) 1. The rise and fall of sounds in music. 2. Modulation, melody. E. ū to faint, to become insensible, aff. �.
: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English DictionaryūԲ (मूर्छन).—i. e. murch + ana, I. n. Modulation, [峾ⲹṇa] 1, 4, 11. Ii. f. . 1. A melody, [Meghadūta, (ed. Gildemeister.)] 84. 2. A tone as placed in its scale, the seventh part of a scale, [Lassen, Anthologia Sanskritica.] 39, 9; [ʲñٲԳٰ] iii. [distich] 43.
: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English DictionaryūԲ (मूर्छन).—[adjective] stunning; strengthening (—�). [neuter] increase, growth; [feminine] fainting, swooning; swelling or rising of sounds, intonation, note, tone or semitone (in the scale), melody.
: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) ūԲ (मूर्छन):—[from ū] a mfn. stupefying, causing insensibility (applied to one of the 5 arrows of Kma-deva), [峾ⲹṇa]
2) [v.s. ...] (ifc.) strengthening, augmenting, confirming, [Pañcartra]
3) [v.s. ...] n. (mc.) and f(). fainting, swooning. syncope, [Suśruta; Kirtrjuīya [Scholiast or Commentator]]
4) [v.s. ...] n. (in music) modulation, melody, a regulated rise or fall of sounds through the Grma or musical scale (ifc. f(). ), [Kvya literature; Purṇa; Saṃgīta-srasaṃgraha]
5) [v.s. ...] n. vehemence, violence, prevalence, growth, increase (of diseases, fire etc.), [Mahbhrata]
6) [v.s. ...] n. (also f(). ) a [particular] process in metallic preparations, calcining quicksilver with sulphur, [Bhvaprakśa; Rasaratkara]
7) b See p. 823, col. 3.
: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English DictionaryūԲ (मूर्च्छन):—[(na�-)] 1. n. f. Fainting; mixing; a tone in music.
[Sanskrit to German]
Sanskrit, also spelled संस्कृतम� (ṃsṛt), 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.
Hindi dictionary
: DDSA: A practical Hindi-English dictionary1) ūԲ (मूर्च्छन):�(nm) fainting, swooning.
2) Mūrccha (मूर्च्छन�):�(nf) cadence, modulation (in music); the scale obtained by a module shift within a gamut.
...
Kannada-English dictionary
: Alar: Kannada-English corpusūԲ (ಮೂರ್ಛನ):—[noun] = ಮೂರ್ಛನ� [murchane].
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
: unoes: Nepali-English DictionaryMūrccha (मूर्च्छन�):—n. 1. name of a particular melody in music; 2. � मूर्च्छा [ū]
Nepali is the primary language of the Nepalese people counting almost 20 million native speakers. The country of Nepal is situated in the Himalaya mountain range to the north of India.
See also (Relevant definitions)
Starts with: Murccanai, Murccanam.
Full-text (+167): Sammurchana, Vimurchana, Matsarikrita, Pauravi, Harinashva, Shuddhashadja, Uttarayata, Hrishyaka, Uttaramandra, Kalopanata, Sauviri, Naramurchana, Murccanam, Ashvakranta, Uttamamurchana, Shuddhamadhyama, Matangaja, Madhyamadhya, Utthapana, Dana.
Relevant text
Search found 43 books and stories containing Murchana, ūԲ, Mūrccha, ūԲ, Murcchana, ū, Murcchanas; (plurals include: Murchanas, ūԲs, Mūrcchas, ūԲs, Murcchanas, ūs, Murcchanases). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Kohala and Gīt (4): The concept of Mūrccha < [Chapter 2 - Kohala as seen in citations]
Kohala and Gīt (5): The concept of Tna < [Chapter 2 - Kohala as seen in citations]
Part 20 - Citations of Kohala in the Abhinavabharatasrasaṅgraha < [Chapter 3 - Kohala as seen in citations—an analysis]
Brahmanda Purana (by G.V. Tagare)
Chapter 61 - A dissertation on Music < [Section 3 - Upodghta-pda]
Notes on Grmas, Mūrcchas and Tnas < [Notes]
Chapter 62 - The science of music < [Section 3 - Upodghta-pda]
Natyashastra (English) (by Bharata-muni)
Part 3 - Literature on Ancient Indian Music < [Introduction, Part 2]
Chapter XXVIII - On the Instrumental Music (ٴǻⲹ)
Part 2 - The Ancient Indian Theory and Practice of Music < [Introduction, Part 2]
Some Important Shiksha Vedangas (study) (by Mala Laha)
Part 1 - The relation between Nradī Śikṣ� and Music < [Chapter 3 - Nradī Śikṣ]
Introduction to the Nradī Śikṣ� < [Chapter 3 - Nradī Śikṣ]
Chaitanya Bhagavata (by Bhumipati Dsa)
Verse 1.1.37 < [Chapter 1 - Summary of Lord Gaura’s Pastimes]
Arts in the Puranas (study) (by Meena Devadatta Jeste)
5. Music in the Vayu Purana < [Chapter 1 - Music in the Puranas]
2. History of Music from the Vedic period < [Chapter 1 - Music in the Puranas]
10. Notes and References for chapter 1 < [Chapter 1 - Music in the Puranas]
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