Pancama, Pamcama, ʲñ: 30 definitions
Introduction:
Pancama means something in Hinduism, Sanskrit, Buddhism, Pali, the history of ancient India, Marathi, Jainism, Prakrit, 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 Panchama.
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: Nāṭya-śāstraʲñ (पञ्च�) refers to the fifth of the seven “musical notes� (svara), according to the Nāṭyaśāstra chapter 6, chapter 19 and chapter 28. These seven notes are part of the ‘vocal representation� (峦첹), which is used in communicating the meaning of the drama and calling forth the sentiment (rasa). The seven notes (svara) are to be used in different sentiments (rasa). For example, madhyama and 貹ñ are to be used in the heroic (ī), the furious (raudra) and the marvellous (adbhuta) sentiment.
The presiding deity of the 貹ñ musical note (svara) is defined by various sources:
Nāradīyā-śīkṣ� 1.5.13-14 mentions that the 貹ñ note is sung by Nārada.
Bṛhaddeśī 75-76 mentions Indra as the presiding deity of 貹ñ.
Saṅgītaratnākara 1.3.57-58 mentions Viṣṇu as the presiding deity of 貹ñ.
Saṃgītamakaranda 1.1.38, Idem.
Cf. Saṃgītarāja 2.1.1.264.
The following animal sounds are associated with this note:
Nāradīyā-śīkṣ� 1.5.3 assigns this note to the call of the cuckoo (kokila: cucculus indicus) in spring-time.
Bṛhaddeśī 64, p13, 2.1-5, Idem.
Saṃgītamakaranda 1.1.13, Idem, names the cuckoo pika.
Saṅgītaratnākara 1.3.4.6, Idem Nāradīyā-śīkṣ�.
Cf. Saṃgītarāja 2.1.1.212.

Natyashastra (नाट्यशास्त्र, ṭyśٰ) 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)
: archive.org: Shiva Purana - English Translationʲñ (पञ्च�) refers to “shouts of ‘well-done’�, according to the Śivapurāṇa 2.3.53 (“Description of Śiva’s return journey�).—Accordingly, as Brahmā narrated to Nārada: “[...] Then the ladies of the city indulged in the customary utterance of foul abusive words laughing, jingling and peeping at all of them. [...] On the fifth day (貹ñ) [貹ñme divase] the delighted gods lovingly intimated to the mountain about their desire to go back. On hearing that, the lord of mountains spoke to the gods with palms joined in reverence ‘O gods, please stay a few days more�. [...]�
: Cologne Digital Sanskrit Dictionaries: The Purana Index1a) ʲñ (पञ्च�).—A pupil of Kṛta.*
- * Brahmāṇḍa-purāṇa II. 35. 51.
1b) Outside the pale of the four ś a mixed caste.*
- * Brahmāṇḍa-purāṇa III. 15. 37.
1c) The twenty-first Kalpa; consisting of prāṇa, apāna, samāna, udāna, and Բ; mind-born sons of Brahmā.*
- * Vāyu-purāṇa 21. 47.
1d) The fifth note in music.*
- * Vāyu-purāṇa 21. 49. 86. 37.
1e) A pupil of Hiraṇyanābha's son; a Sāmaga.*
- * Vāyu-purāṇa 61. 44.
ʲñ (पञ्च�) is a name mentioned in the Ѳٲ (cf. I.48.7, I.53) and represents one of the many proper names used for people and places. Note: The Ѳٲ (mentioning ʲñ) is a Sanskrit epic poem consisting of 100,000 śǰ첹 (metrical verses) and is over 2000 years old.

The Purana (पुरा�, 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.
Shiksha (linguistics: phonetics, phonology etc.)
: Wisdom Library: Śikṣ�ʲñ (पञ्च�, “the fifth�) is the name of a note (svara) used by singers of the 峾 (religious songs from Sāmaveda), corresponding to the dhaivata-svara of the flute, according to the Nāradīyā-śīkṣ� 1.5.1. The Nāradīyā-śīkṣ� is an ancient Sanskrit treatise dealing phonetics and musicology. Its proclaimed author is the Nārada.
: Google Books: Dattilam: A Compendium of Ancient Indian Music [shiksha]ʲñ (पञ्च�) refers to the fifth of six notes (svara) in Indian music.—The air, which, rising from the navel and striking the chest, the heart, the throat and the head, sptrings from these five places, is accounted to be the essence of 貹ñ. (ī-śṣ� 1. 5.7-11)
Shiksha (शिक्षा, śikṣ�) deals with Sanskrit linguistics and represents a branch of vedanga (vedic ancillary science). Shiksha deals with subjects such as phonetics, phonology, study of sound, letters of the Sanskrit alphabet and related topics. Much attention is also given to the study of recitation (patha) of Vedic verses.
Shilpashastra (iconography)
: archive.org: Illustrations of Indian Music and Dance in Western Indian Styleʲñ (पञ्च�).—Illustration of the 貹ñ-svara according to 15th century art.—The colour of the body of 貹ñ-svara is white. He has six hands. He holds a conch in his uper right hand and a lotus flower in the left hand, with the two middle hands hold a īṇ� (Indian lute); his lower one hand is in 岹ܻ and the other in ⲹܻ. His vehicle is a cuckoo. The colour of his scarf is rosy with a red design and the colour of his lower garment is green with a black design.
The illustrations (of, for example ʲñ) are found scattered throughout ancient Jain manuscripts from Gujarat. The descriptions of these illustrations of this ٰ屹ī are based on the śǰ첹 of Vācanācārya Gaṇi Sudhākalaśa’s Saṅgītopaniṣatsāroddhāra (14th century) and Śārṅgadeva’s Saṅgītaratnākara (13th century).

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.
Vyakarana (Sanskrit grammar)
: Wikisource: A dictionary of Sanskrit grammarʲñ (पञ्च�).—The fifth consonant of the five classes of consonants; the nasal consonant, called also वर्गपञ्च� (varga貹ñ); cf. यथ� तृतीयास्तथ� पञ्चमा आनुनासिक्यवर्जम् (yathā tṛtīyāstathā 貹ñ ānunāsikyavarjam) M. Bh. on P. I. 1.9 . 2.

Vyakarana (व्याकर�, vyākaraṇa) refers to Sanskrit grammar and represents one of the six additional sciences (vedanga) to be studied along with the Vedas. Vyakarana concerns itself with the rules of Sanskrit grammar and linguistic analysis in order to establish the correct context of words and sentences.
Shaivism (Shaiva philosophy)
: SOAS University of London: Protective Rites in the Netra Tantraʲñ (पञ्च�) refers to the “fifth� (i.e., ‘the fifth vowel�), according to the Netratantra of Kṣemarāja: a Śaiva text from the 9th century in which Śiva (Bhairava) teaches Pārvatī topics such as metaphysics, cosmology, and soteriology.—Accordingly, [verse 2.28cd-33]—“Now, I shall explain the limbs of the mantra, with which, tied together, he achieves perfection. The ṛdⲹԳٰ, [which] confers all perfections, is the letter that terminates in the middle [j], followed by the fifth (貹ñ-anuga) sovereign vowel [u], and summits with the conclusion of wind [�]. The śiras is terminal soma [v] joined with that from anala [y] and yoked with �. [...]�.

Shaiva (शै�, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.
Yoga (school of philosophy)
: ORA: Amanaska (king of all yogas): A Critical Edition and Annotated Translation by Jason Birchʲñ (पञ्च�) refers to the “fifth (year)� (of Yogic breathing exercises), according to the Śivayogadīpikā, an ancient Sanskrit text dealing with Yoga possibly corresponding to the Śivayoga quoted in Śivānanda’s Yogacintāmaṇi.—Accordingly, [while describing a sequence of Haṭhayoga practices]: “Thus, by means of this Haṭhayoga which has eight auxiliaries, those [students who are] life-long celibates obtain the Siddhis of the [best of Sages] because of their untiring practice. [...] In the fifth (貹ñ) year, he has clairaudience, the Siddhi of speech and [the power to] enter the bodies of other [beings]. Within six [years,] he cannot be pierced by even a thunderbolt, he can move extremely quickly and has clairvoyance. [...]�.

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 āsanas (postures), used for various purposes (eg., meditation, contemplation, relaxation).
Gitashastra (science of music)
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (gita)ʲñ (पञ्च�) refers to one of the Seven svaras (“notes of music�), 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.—The sound which has the quality of satisfying nature to please the listeners� minds and also has śܳپ immediately before it is called a svara. In the Viṣṇudharmottarapurāṇa and the Saṃgītaratnākara, seven kinds of svara [e.g., 貹ñ] are accepted. [...] It is seen that when two separate musical sounds occur at one time and both are gradually rising in one pitch following a particular direction, those sounds can be called as svaras.
: Shodhganga: Kohala in the Sanskrit textual tradition (gita)ʲñ (पञ्च�) refers to one of the seven Svaras which is mapped to the Vedic Prathama-svara, according to the Kohalamatam, one of the works ascribed to Kohala—a celebrated authority of the ancient period along with others such as Bharata, Yāṣṭika, Śārdūla, Kāśyapa etc.—Kohalamatam has dealt with the aspect of svara in great detail. It also refers to the Vedic origin of svaras. The list of Laukikasvaras (=seven notes) has been mapped with corresponding Vaidikasvaras (=Vedic svaras)—For example, ʲñ-svara has been mapped to the Vedic Prathama-svara. Note: The ī-śṣ� presents a very different scheme. Here ʲñ-svara is mapped to the Vedic Kruṣṭa-svara. Moreover, the ī-śṣ� presents the notes in the order of the 峾 scale viz.�ma, ga, ri, sa, dha, ni, pa—whereas in Kohalamatam we find a straight delineation of the svaras.
The ʲñ note is associated with Sāmaputrī representing the celestial being from whom the underlying śܳپ originated.
The following śܳپ are associated with ʲñ according to the Saṅgītārṇavacandrikā (Cf. the Saṅgītanārāyaṇa, Vol. I, V. 1.49-1.55, pp.24-26):
- ī,
- 貹,
- DZ,
- ٲ,
- 屹ī.
Earlier authors like Śārṅgadeva assign the following śܳپ to ʲñ:
- ṣiپ,
- ,
- Իī辱ī,
- 辱ī.
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.
India history and geography
: Wisdom Library: India HistoryPancama (or, Panchama, ʲñ) refers to one of the 84 castes (gaccha) in the Jain community according to various sources. The associated place of origin is known as Pancama-nagara (or, ʲñ-nagara). The Jain caste and sub-caste system was a comparatively later development within their community, and it may have arisen from the ancient classification of ṇa, ṣaٰⲹ, ղśⲹ and Śū. Before distinction of these classes (such as Pancama), the society was not divided into distinct separate sections, but all were considered as different ways of life and utmost importance was attached to individual chartacter and mode of behaviour.
According to Dr. Vilas Adinath Sangava, �Jainism does not recognise castes (viz., Pancama) as such and at the same time the Jaina books do not specifically obstruct the observance of caste rules by the members of the Jaina community. The attitude of Jainism towards caste is that it is one of the social practices, unconnected with religion, observed by people; and it was none of its business to regulate the working of the caste system� ().
The legendary account of the origin of these 84 Jain castes (e.g., Pancama) relate that once a rich Jain invited members of the Jain community in order to establish a śⲹ- (i.e. Central Association of Traders). In response, 84 representatives came from different places (e.g., Pancama-nagara), and they were later seen as the progenitors of these castes. Various sources however mention differences in the list.

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
Pali-English dictionary
: Sutta: The Pali Text Society's Pali-English Dictionaryʲñ, (adj.) (compar. -superl. formation fr. 貹ñ, with °ma as in Lat. supremus, for the usual °to as in Gr. pέmptos, Lat. quintus, also Sk. 貹ñtha�) num. ord. the fifth D. I, 88; Sn. 84, 99, 101; VvA. 102; PvA. 52 (°e māse in the 5th month the Petī has to die); DhA. III, 195 (°e sattāhe in the 5th ɱ).. 貹ñ PvA. 78 (ito °āya jātiyā) and 貹ñī Sn. 437 (senā); PvA. 79 (jāti). (Page 389)
: Sutta: Pali Word Grammar from Pali Myanmar Dictionary貹ñ (ပဉ္စ�) [(ti) (တ�)]�
[貹ñ+ma.thī-nitea 貹ñç 貹ñī.貹ñna� pūraṇo 貹ñmo.ka�374.nīti,sutta�8va2.貹ñna� pūraṇ� 貹ñī,]]nadādito vā ī]] ti īpaccayo.rū�4va6.]
[ပဉ္�+မ။ ထ�-� ပဉ္စမ�,ပဉ္စမီ။ ပဉ္စန္န� ပူရဏေ� ပဉ္စမော။ ကစ္စည်း။ ၃၇၄။နီတိ၊သုတ္တ။၈ဝ၂။ပဉ္စန္န� ပူရဏ� ပဉ္စမီ၊ "နဒါဒိတေ� ဝ� ဤ" တ� ဤပစ္စယော။ရူ။၄ဝ၆။]

Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.
Marathi-English dictionary
: DDSA: The Molesworth Marathi and English Dictionary貹ñ (पंचम).—m (S) or 貹ñsvara n The fifth note of the gamut. 2 A Rag or musical mode. 3 A covert term for tobacco (when wanted to be chewed). 4 One of two divisions (貹ñ & catura) of the ś屹첹-people. They are traders. 5 The name of the first chord of the īṇ� or lute. So called because it sounds the fifth note. The two following chords are called ōḍa, and the fourth or brass one, sounding the bass, ō. 6 fig. Notoriety. v kara g. of o. 7 or 貹ñsālī A distinction, or an individual of it, amongst the worshipers of the lingam. See the four distinctions under cilavanta.
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貹ñ (पंचम).—a (S) Fifth.
: DDSA: The Aryabhusan school dictionary, Marathi-English貹ñ (पंचम).�m 貹ñsvara n The fifth note of the gamut A Rag or musical mode. A covert term for tobacco (when wanted to be chewed).
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 dictionaryʲñ (पञ्च�).�a. (-ī f.) The fifth.
2) Forming a fifth part.
3) Dexterous, clever.
4) Beautiful, brilliant.
-� 1 The fifth (or in later times the seventh) note of the Indian gamut; it is said to be produced by the cuckoo (kokilo rauti 貹ñm Nārada), and is so called because it is produced from 5 parts of the body:-- वायु� समुद्गतो नाभेरुरोहृत्कण्ठमूर्धस� � विचरन् पञ्चमस्थानप्राप्त्या पञ्च� उच्यते (vāyu� samudgato nābherurohṛtkaṇṭhamūrdhasu | vicaran 貹ñsthānaprāptyā 貹ñ ucyate) ||.
2) Name of a Rāga or musical mode (sung in the above note); व्यथयत� वृथा मौनं तन्व� प्रपञ्चय पञ्चमम� (vyathayati vṛthā mauna� tanvi pra貹ñya 貹ñm) Gītagovinda 1; so उदञ्चितपञ्चमरागम� (udañcita貹ñrāgam) Gītagovinda 1.
3) The fifth consonant of a class; i. e. a nasal.
-mam 1 A fifth.
2) Sexual intercourse (maithuna), the fifth मकार () of the Tāntrikas.
-mam ind. For the fifth time, fifthly; Manusmṛti 8.125.
-ī 1 The fifth day of a lunar fortnight.
2) The ablative case (in gram.).
3) An epithet of Draupadī.
4) A chequered board for playing at draughts.
: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionaryʲñ (पञ्च�).—mfn.
(-�-ī-�) 1. Fifth. 2. Beautiful, pleasing. 3. Dexterous, clever. m.
(-�) 1. The fifth note of the Hindu musical scale. It is called Panchama, from being said to be formed by air drawn from five places; the navel, the breast, the heart, the throat, and forehead. 2. One of the Ragas or modes of music. f. (-ī) 1. A name of Draupadi, the wife of the five Pandus. 2. A chequered cloth for playing at draughts, &c. a chess board. 3. The fifth day of a half month. 4. The ablative case, (in gram.) n.
(-�) 1. The fifth. 2. Sexual intercourse. E. 貹ñ five, and ḍaṭi aff. with ṭa augment; or 貹ñpatīn minoti vadhnāti premṇ� . ī-vandhe .
: Cologne Digital Sanskrit Dictionaries: Benfey Sanskrit-English Dictionaryʲñ (पञ्च�).—i. e. 貹ñ + ma, I. ordinal number, f. ī, Fifth, [Բśٰ] 2, 37, Ii. acc. n. mam, adv. Fifthly, [Բśٰ] 8, 125. Iii. with ṃśa, A fifth part, [Բśٰ] 9, 164. Iv. m. 1. One of the seven musical notes, originally the fifth, afterwards the seventh, Ѳٲ 14, 1419. 2. One of the modes of music, [Gītagovinda. ed. Lassen.] 10, 13. V. f. ī. 1. The fifth day of the half month, [Harivṃśa, (ed. Calc.)] 10241. 2. The name of a river, Ѳٲ 6, 333.
: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionaryʲñ (पञ्च�).—[feminine] ī fifth or forming the fifth part, [with] ṃśa [masculine] a fifth. —[feminine] ī the fifth day of the half month, the fifth case & his endings ([grammar]); [neuter] a fifth, [adverb] for the fifth time, fifthly.
: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) ʲñ (पञ्च�):—[from 貹ñ] mf(ī)n. the fifth, [Vājasaneyi-saṃhitā; Atharva-veda] etc. etc. (cf. [Pāṇini 5-2, 49])
2) [v.s. ...] forming the 5th part (with or sc. ṃśa = 1/5), [Taittirīya-brāhmaṇa; Manu-smṛti] etc.
3) [v.s. ...] = rucira or 岹ṣa, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
4) [v.s. ...] m. (in music) the 5th (later 7th) note of the gamut (supposed to be produced by the air drawn from 5 parts of the body), [Ѳٲ; Sāhitya-darpaṇa]
5) [v.s. ...] = -岵, [Gīta-govinda]
6) [v.s. ...] the 21st Kalpa (called after the musical note), [Vāyu-purāṇa]
7) [v.s. ...] the 5th consonant of a Varga (id est. the nasal), [Vājasaneyi-saṃhitā-prātiśākhya; Pāṇini [Scholiast or Commentator]]
8) [v.s. ...] Name of a Muni, [Catalogue(s)]
9) [from 貹ñ] n. the fifth part, 1/5 (cf. above and, [Pāṇini 5-3, 49])
10) [v.s. ...] copulation (as the 5th of the Tattvas of the Tāntrikas; cf. 貹ñ-tattva)
: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English Dictionaryʲñ (पञ्च�):—[(ma�-ī-�) a.] Fifth; beautiful; clever. m. A musical note. f. (ī) ٰܱ貹ī; a chequered cloth for chess; the fifth day of the half month.
[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 dictionaryPaṃcama (पंचम) [Also spelled pancham]:�(a) fifth; (nm) the fifth note of Indian musical scale; one of the musical modes; ~[ṃg] fifth column; ~[ṃgī] a fifth columnist; ~[ṣa] the fifth and nasal letter of each pentad viz. [ṅa, ña, ṇa, na, ma].
...
Prakrit-English dictionary
: DDSA: Paia-sadda-mahannavo; a comprehensive Prakrit Hindi dictionaryPaṃcama (पंचम) in the Prakrit language is related to the Sanskrit word: ʲñṇa.
Prakrit is an ancient language closely associated with both Pali and Sanskrit. Jain literature is often composed in this language or sub-dialects, such as the Agamas and their commentaries which are written in Ardhamagadhi and Maharashtri Prakrit. The earliest extant texts can be dated to as early as the 4th century BCE although core portions might be older.
Kannada-English dictionary
: Alar: Kannada-English corpusPaṃcama (ಪಂಚಮ):�
1) [adjective] next after the fourth in a consecutive series; fifth.
2) [adjective] favourable; propitious; auspicious.
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Paṃcama (ಪಂಚಮ):�
1) [noun] the fifth one in a consecutive series.
2) [noun] the fifth letter in any of the five classified consonants (�, �, �, � [na, na, na, na] and �).
3) [noun] a member of Śudra class.
4) [noun] that which is beautiful, lovely.
5) [noun] a skilful man; an expert.
6) [noun] sexual intercourse.
7) [noun] a man belonging to the lowest caste, caṇḍāla.
8) [noun] (mus.) the fifth note in the ascending scale in the classical music systems of India (corresponding to "G" of C-Major of western system), which does not have a sharp or flat variations.
9) [noun] either of the two strings of a musical instrument that produce this note when played or plucked allowing it to be free.
10) [noun] (mus.) a mode in Karnāṭaka system derived from the mode Mālava Gauḷa (as per some classification).
11) [noun] (mus.) a mode in Hindūstāni system, derived from the main mode Śuddhabhairav.
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 Dictionaryʲñ (पञ्च�):—adj. fifth; n. one of the seven tunes in music;
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 (+13): Pamcamagamdhara, Pamcamagamdhari, Pamcamahabbhuia, Pamcamala, Pamcamashruti, Pamcamaveda, Pancaha, Pancamabhagiya, Pancamahabhutamaya, Pancamahabhutika, Pancamahakalpa, Pancamahapariccaga, Pancamahapatakin, Pancamahavilokana, Pancamahavrata, Pancamahayajnaprayoga, Pancamahayajnavidhi, Pancamahisha, Pancamahnika, Pancamaka.
Full-text (+225): Pancami, Pancamaka, Pancamakara, Pancamasya, Apancama, Pancaha, Pancamasvara, Ardhapancama, Pancahika, Pancamavat, Amrapancama, Pancamabhagiya, Pancamam, Runnapancama, Pancamavilasa, Atmanapancama, Viragapancama, Svara, Atmapancama, Kanthabandhanapancama.
Relevant text
Search found 148 books and stories containing Pancama, Pamcama, Paṃcama, Panca-ma, Pañca-ma, ʲñ, Pancamas; (plurals include: Pancamas, Pamcamas, Paṃcamas, mas, ʲñs, Pancamases). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Some Important Shiksha Vedangas (study) (by Mala Laha)
Part 1 - The relation between Nāradī Śikṣ� and Music < [Chapter 3 - Nāradī Śikṣā]
Part 2a - Characteristics of the accent according to Nāradī Śikṣ� < [Chapter 3 - Nāradī Śikṣā]
Part 1b - Symbolic Representation of the Accent < [Chapter 5 - Māṇḍūkī Śikṣā]
A Descriptive Catalogue of the Sanskrit Manuscripts, Madras (by M. Seshagiri Sastri)
Chandogya Upanishad (english Translation) (by Swami Lokeswarananda)
Yavanajataka by Sphujidhvaja [Sanskrit/English] (by Michael D Neely)
Verse 1.18 < [Chapter 1 - The Innate Nature of the Zodiac Signs and Planets]
Verse 1.51 < [Chapter 1 - The Innate Nature of the Zodiac Signs and Planets]
Verse 1.59 < [Chapter 1 - The Innate Nature of the Zodiac Signs and Planets]
Notices of Sanskrit Manuscripts (by Rajendralala Mitra)
Samkhya thoughts in the Mahabharata (by Shini M.V.)
Twenty-five Tattvas of Sāṃkhya philosophy < [Chapter 4 - Sāṃkhya thoughts in the Śānti-parva of Ѳٲ]
Thirty-eight Tattvas of Sāṃkhya philosophy < [Chapter 4 - Sāṃkhya thoughts in the Śānti-parva of Ѳٲ]
Twenty-four Tattvas of Sāṃkhya philosophy < [Chapter 4 - Sāṃkhya thoughts in the Śānti-parva of Ѳٲ]
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