Pushpaputa, 笔耻峁补辫耻峁璦, Pushpa-puta: 11 definitions
Introduction:
Pushpaputa means something in 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 笔耻峁补辫耻峁璦 can be transliterated into English as Puspaputa or Pushpaputa, using the IAST transliteration scheme (?).
Images (photo gallery)
In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: N腻峁瓂a-艣腻stra笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮) refers to a gesture (腻峁単颈办补) made with 鈥榗ombined hands鈥� (蝉补峁儁耻迟补), according to the N腻峁瓂a艣腻stra chapter 8. The hands (hasta) form a part of the human body which represents one of the six major limbs (补峁単补) used in dramatic performance. With these limbs are made the various gestures (腻峁単颈办补), which form a part of the histrionic representation (abhinaya).
: archive.org: The mirror of gesture (abhinaya-darpana)One of the 蝉补峁儁耻迟迟补-丑补蝉迟腻苍颈 (Twenty-four combined Hands).鈥敱食茚梗p补辫耻峁璦 (flower-casket): Sarpa-艣墨r峁 hands are pressed together. Usage: offering lights (腻谤补迟颈), twilight water offering (蝉补苍诲丑测补-补谤驳丑补-诲腻苍补), flower-spells (尘补苍迟谤补-辫耻峁补), children receiving fruits, etc.
According to another book: one Sarpa-艣墨r峁 hand by the side of the other. The patron deity is Kinnare艣vara. Usage: offering and receiving flowers, corn, fruits, or water.
: archive.org: Natya Shastra笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮).鈥擜 type of gesture (腻峁単颈办补) made with combined hands (蝉补峁儁耻迟补-hasta);鈥�(Instructions): Two Sarpa艣ira岣� hands with their fingers close to one another meeting on one side very closely will give rise to the 笔耻峁补辫耻峁璦 hand.
(Uses): It is to be used to indicate the receiving or carrying of rice, fruits, flowers, foods and lawfully obtained money of various kinds and the carrying and removing of water.
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮) refers to one of the thirteen 厂补峁儁耻办迟补丑补蝉迟补蝉 or 鈥渃ombined hand gestures鈥� (in Indian Dramas), according to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.鈥擳he 丑补蝉迟补-尘耻诲谤腻蝉 (lit. 鈥渉and-gestures鈥�) are very essential to denote some particular action or state in dancing and these 尘耻诲谤腻蝉 are formed with the help of hands and fingers.鈥擳he word 辫耻峁补辫耻峁璦 is made with two words viz., 辫耻峁补 means flower and 辫耻峁璦 i.e., cavity. According to the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, in 辫耻峁补辫耻峁璦 posture, both hands are joined together by their sides and the fingers of both hands should be in 蝉补谤辫补艣墨谤峁 position. In the 础产丑颈苍补测补诲补谤辫补峁嘺, this posture is said to use in waving beams in front of the image of god, as an act of adoration, taking of water, fruit etc, giving offerings, evening and a flower invested with magical power.
Natyashastra (啶ㄠぞ啶熰啶ざ啶距じ啷嵿い啷嵿ぐ, 苍腻峁瓂补艣腻蝉迟谤补) refers to both the ancient Indian tradition (shastra) of performing arts, (natya鈥攖heatrics, 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).
Shilpashastra (iconography)
: Shodhganga: The significance of the m奴la-beras (艣颈濒辫补)笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮) or 笔耻峁补辫耻峁璦hasta refers to 鈥渨orship with flowers鈥� and represents one of the four gestures with both hands, as defined according to texts dealing with 艣颈濒辫补 (arts and crafs), known as 艣颈濒辫补艣腻stras.鈥擜肠肠辞谤诲颈苍驳濒测, 辫谤补迟颈尘腻-濒补办峁峁嘺 (body postures of the icons) is comprised of hand gestures (hasta, 尘耻诲谤腻 or kai-amaiti), stances/poses (腻蝉补苍补蝉) and inflexions of the body (bh补峁単补s). There are thirty-two types of hands [viz., 辫耻峁补辫耻峁璦-hasta] classified into two major groups known as tolirkai (functional and expressive gestures) and elirkai (graceful posture of the hand).
Shilpashastra (啶多た啶侧啶ざ啶距じ啷嵿い啷嵿ぐ, 艣颈濒辫补艣腻stra) 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.
Languages of India and abroad
Sanskrit dictionary
: DDSA: The practical Sanskrit-English dictionary笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮).鈥攖he calyx of a flower.
2) (in music) a particular position in dancing.
Derivable forms: 辫耻峁补辫耻峁璦岣� (啶啶粪啶お啷佮啶�).
笔耻峁补辫耻峁璦 is a Sanskrit compound consisting of the terms 辫耻峁补 and 辫耻峁璦 (啶啶�).
: Cologne Digital Sanskrit Dictionaries: Edgerton Buddhist Hybrid Sanskrit Dictionary笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮).鈥�nt., 掳p奴峁璦, m., 掳p奴峁�, f., flower-sheath, calyx: so Tibetan me tog gi phur ma (according to [Tibetan-English Dictionary]) on 惭补丑腻惫测耻迟辫补迟迟颈 6112 掳辫耻峁璦m, n. sg., in list of 鈥榓rticles of worship鈥� (p奴j腻- pari峁腻r腻岣�), between c奴r峁嘺 and gandha; 厂耻办丑腻惫补迟墨惫测奴丑补 shows how they were used, viz., thrown upon a Buddha, or up in [Page350-a+ 71] the air where they remain magically fixed and form um- brellas; in 厂耻办丑腻惫补迟墨惫测奴丑补 the forms are 辫耻峁补-p奴峁� 49.5 and 50.9, or gandha-p奴峁�, fragrant calyx (of a flower), 50.1, but 辫耻峁补-p奴峁璦, masc., in 50.13 (all these are in verses) and, in prose, 57.11 ff., repeatedly, always with 腻; M眉ller renders the second member handfull, [Boehtlingk and Roth] 顿眉迟别, but the use in 厂耻办丑腻惫补迟墨惫测奴丑补 confirms Tibetan on 惭补丑腻惫测耻迟辫补迟迟颈. It is, to be sure, doubt- less connected with Sanskrit 辫耻峁璦, pu峁�, pock茅t, cavity, con tainer, etc.
: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) 笔耻峁补辫耻峁璦 (啶啶粪啶お啷佮):鈥擺=辫耻峁补-辫耻峁璦] [from 辫耻峁补 > pu峁�] m. a cup or bag filled with f掳, [cf. Lexicographers, esp. such as amarasi峁僪a, hal腻yudha, hemacandra, etc.]
2) [v.s. ...] the hands arranged in the shape of the calyx of a f掳, [Catalogue(s)]
3) [v.s. ...] (in music) a [particular] position in dancing.
[Sanskrit to German]
Sanskrit, also spelled 啶膏啶膏啶曕啶むぎ啷� (蝉补峁僺办峁泃补尘), 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
: Alar: Kannada-English corpus笔耻峁补辫耻峁璦 (嗖硜嗖粪硩嗖勃喑佮矡):鈥�
1) [noun] (bot.) the outer whorl of protective leaves (sepals) of a flower, which is usu. green; the calyx.
2) [noun] (dance.) a joining of both the palms, slightly hollowed and curved vertically and fingers straightened and facing upwards, resembling a calyx.
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)
Partial matches: Pushpa, Puta.
Starts with: Pushpaputahasta.
Full-text: Talapushpaputa, Pushpaputahasta, Puta, Putpaputam, Cavity, Samyuta, Flower, Giving, Evening, Waving, Samyuktahasta, Samyutta-hastani.
Relevant text
Search found 7 books and stories containing Pushpaputa, 笔耻峁补辫耻峁璦, Pushpa-puta, Pu峁a-辫耻峁璦, Puspaputa, Puspa-puta; (plurals include: Pushpaputas, 笔耻峁补辫耻峁璦s, putas, 辫耻峁璦s, Puspaputas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati performed as Lokadharm墨 and N腻峁瓂adharm墨 < [Chapter 3 - Application of gati in D峁浥泍a-k腻vyas]
Observations based on N腻峁瓂a艣腻stra < [Chapter 5 - Conclusion]
Pallava period (Social and Cultural History) (by S. Krishnamurthy)
Household Articles (d): Flower-basket (Pushpa-puta) < [Chapter 4 - Material Culture of the People]
Dancing girls in temples < [Chapter 3 - Socio-Religious Life]
The priestly class < [Chapter 3 - Socio-Religious Life]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2.2. Hand Postures (b): Sa峁儁ukta-hasta < [Chapter 3 - Drama and Dance]
2. The Vi峁ａ箛udharmottara-pur腻峁嘺 and the Indian Classical Dances < [Chapter 6 - Modern Relevance of Different Art Forms and Architecture]
Arts in the Puranas (study) (by Meena Devadatta Jeste)
5. Hasta-mudras (gestures of the hands) < [Chapter 2 - Dance in the Puranas]
Abhinaya-darpana (English) (by Ananda Coomaraswamy)
Hastalaksanadipika a critical edition and study (by E. K. Sudha)
3. Relevance of the Abhinaya-darpana < [Chapter 3 - Later developments of dramatic techniques]
5. study of Balaramabharata < [Chapter 3 - Later developments of dramatic techniques]