Avahittha, 础惫补丑颈迟迟丑腻: 11 definitions
Introduction:
Avahittha 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.
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In Hinduism
Natyashastra (theatrics and dramaturgy)
Source: Wisdom Library: N膩峁瓂a-艣膩stra1) 础惫补丑颈迟迟丑腻 (啶呧さ啶灌た啶む啶ムぞ, 鈥渄issimulation鈥�).鈥擮ne of the thirty-three 鈥榯ransitory states鈥� (惫测补产丑颈肠腻谤颈产丑腻惫补), according to the N膩峁瓂a艣膩stra chapter 7. These 鈥榯ransitory states鈥� accompany the 鈥榩ermanent state鈥� in co-operation.
2) Avahittha (啶呧さ啶灌た啶む啶�) 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膩峁瓂a艣膩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).
3) Avahittha (啶呧さ啶灌た啶む啶�) also refers to a type of posture (蝉迟丑腻苍补) for women (蝉迟谤墨); defined in the N膩峁瓂a艣膩stra chapter 12. Accordingly, 鈥淭he 蝉迟丑腻苍补 will be maintained by a dancer till any movement begins. For during a dance the 蝉迟丑腻苍补 is at an end when the 肠腻谤墨 (鈥榙ance-steps鈥�) has begun. This is the rule of the 蝉迟丑腻苍补 for women and for men as well.鈥�
: archive.org: The mirror of gesture (abhinaya-darpana)1) One of the 蝉补峁儁耻迟迟补-丑补蝉迟腻苍颈 (Twenty-four combined Hands).鈥擜vahittha (dissimulation): two Alapadma hands are held on the chest. Usage: erotic dances (艣峁涐箙驳腻谤补-苍补峁璦苍补), holding a playball, the breasts.
2) One of the 蝉补峁儁耻迟迟补-丑补蝉迟腻苍颈 (Twenty-six combined Hands).鈥擜vahittha: 艢ukatu峁囜笉a hands held against the heart. The patron deity is M膩rka峁囜笉eya. Usage: debility, wasting of the body, eager interest, thinness.
: archive.org: Natya Shastra1) 础惫补丑颈迟迟丑腻 (啶呧さ啶灌た啶む啶ムぞ, 鈥渄issimulation鈥�) is the concealment of appearance. It is caused by determinants (惫颈产丑腻惫补) such as shame, fear, defeat, respect, deceit and the like. It is to be represented on the stage by consequents (补苍耻产丑腻惫补) such as speaking like another person, looking downwards, break in the speech, feigned patience and the like.
2) Avahittha (啶呧さ啶灌た啶む啶�).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): When the two 艢ukatu峁囜笉a hands meet each other on the breast and are bent and then slowly lowered, the Avahittha hands will be the result.
(Uses): It is to be used in indicating weakness, sigh, showing one鈥檚 body, thinness [or the body] and longing [for a beloved].
3) Avahittha (啶呧さ啶灌た啶む啶�).鈥擜 type of 蝉迟丑腻苍补 (posture) for women.鈥擨nstructions: The left foot will be Sama and the right (lit. the other at the side) foot Trya艣ra (obliquely placed) and the left waist raised up.
(Uses): This Sth膩na is known (lit. remembered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture. In representing anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sth膩na is to be used.
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)1) Avahittha (啶呧さ啶灌た啶む啶�) 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.鈥擜ccording 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 avahittha posture both hands are kept in 艣耻办补迟耻峁囜笉补 posture and placed on the chest. The head part of both hands should be bent gradually and downwards. This posture is used to denote weakness, fast breathing and showing the body parts.
2) Avahittha (啶呧さ啶灌た啶む啶�) also refers to one of the thirty 狈峁泃迟补丑补蝉迟补蝉 or 鈥渄ance hand gestures鈥�.鈥擨n the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺, thirty kinds of 苍峁泃迟补丑补蝉迟补蝉 (鈥渄ance-hand gestures鈥�) are mentioned. e.g., avahittha. The practice of these 苍峁泃迟补丑补蝉迟补蝉 is strictly prohibited in sickness of body, in old age, in fear, drunk and anxiety.
3) 膧vahittha (啶嗋さ啶灌た啶む啶�) also refers to 鈥渙ne of the three kinds of standing postures for Women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.鈥擲tanding postures are determined separately for male and female. In the 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 three kinds of standing postures are discussed for women. The 腻惫补丑颈迟迟丑补 posture is used to show erotic gestures.
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).
Languages of India and abroad
Sanskrit dictionary
: DDSA: The practical Sanskrit-English dictionary础惫补丑颈迟迟丑腻 (啶呧さ啶灌た啶む啶ムぞ) or Avahittha (啶呧さ啶灌た啶む啶�).鈥�
1) Dissimulation in general.
2) Dissimulation or concealment of an internal feeling, regarded as one of the 33 subordinate feelings (惫测补产丑颈肠腻谤颈产丑腻惫补); 啶く啶椸啶班さ啶侧啷嵿啶距う啷囙ぐ啷嵿す啶班啶粪ぞ啶︵啶ぞ啶曕ぞ啶班啷佮お啷嵿い啶苦ぐ啶掂す啶苦い啷嵿ぅ啶� (产丑补测补驳补耻谤补惫补濒补箩箩腻诲别谤丑补谤峁Ｄ乨测腻办腻谤补驳耻辫迟颈谤补惫补丑颈迟迟丑腻) S. D.; or according to R. G. 啶掂啶班啶∴ぞ啶︵た啶ㄠぞ 啶ㄠた啶た啶む啶む啶� 啶灌ぐ啷嵿し啶距う啷嵿く啶ㄠ啶ぞ啶掂ぞ啶ㄠぞ啶� 啶椸啶え啶距く 啶溹え啶苦い啷� 啶ぞ啶掂さ啶苦ざ啷囙し啷嬥そ啶掂す啶苦い啷嵿ぅ啶 (vr墨岣嵞乨in膩 nimittena har峁Ｄ乨yanubh膩v膩n膩峁� gopan膩ya janito bh膩vavi艣e峁'vahittham); for ex. see Kum膩rasambhava 6.84, or Bv.2.8.
Derivable forms: , avahittham (啶呧さ啶灌た啶む啶ムぎ啷�).
See also (synonyms): 补产补丑颈迟迟丑腻.
: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English DictionaryAvahittha (啶呧さ啶灌た啶む啶�).鈥攏f.
(-迟迟丑补峁�-迟迟丑腻) Dissimulation. E. a neg. vahir outer, 蝉迟丑腻 to stand; an irregular form: what does not shew outwardly.
: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary1) Avahittha (啶呧さ啶灌た啶む啶�):鈥�n. (corrupted [from] 补产补丑颈岣�-蝉迟丑补?) dissimulation
2) 础惫补丑颈迟迟丑腻 (啶呧さ啶灌た啶む啶ムぞ):鈥擺from avahittha] f. idem, [Da艣ar奴pa; S膩hitya-darpa峁嘺 etc.]
: Cologne Digital Sanskrit Dictionaries: Yates Sanskrit-English DictionaryAvahittha (啶呧さ啶灌た啶む啶�):鈥擺ava-hittha] (迟迟丑腻-迟迟丑补峁�) 1. f. n. Dissimulation.
[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 corpusAvahittha (嗖呧驳嗖灌部嗖む硩嗖�):鈥�
1) [noun] the act of concealing one鈥檚 feelings, passion or emotion (often, as in or sentiment in poetic works, dancing etc.).
2) [noun] (dance) a hand gesture, holding both the in front of the breast, palms facing down, with fingers bent, but the central one being bent less than others.
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: Ava.
Starts with: Avahitthahasta, Avahitthaka.
Full-text: Avahitthaka, Ahittha, Vyabhicaribhava, Weakness, Apayavattam, Fast breathing, Vyabhicarin, Abahittha, Avahitthahasta, Samyutta-hastani, Showing, Samyuta, Nrittahasta, Pramada, Samyuktahasta, Vartana.
Relevant text
Search found 15 books and stories containing Avahittha, 础惫补丑颈迟迟丑腻, Ava-hittha; (plurals include: Avahitthas, 础惫补丑颈迟迟丑腻s, hitthas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Sahitya-kaumudi by Baladeva Vidyabhushana (by Gaurapada D膩sa)
Text 4.40 < [Chapter 4 - First-rate Poetry]
Text 4.98 < [Chapter 4 - First-rate Poetry]
Text 4.99 < [Chapter 4 - First-rate Poetry]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati performed in N峁泃ta < [Chapter 3 - Application of gati in D峁浥泍a-k膩vyas]
Relevant Sth膩nas and Ny膩yas related to perform the Gati < [Chapter 2 - Concept and technique of Gati]
Description of Gati as in 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 < [Chapter 2 - Concept and technique of Gati]
Bhakti-rasamrta-sindhu (by 艢r墨la R奴pa Gosv膩m墨)
Verse 2.4.118 < [Part 4 - Transient Ecstatic Disturbances (vy膩bhic膩ri-bh膩va)]
Verse 2.4.120 < [Part 4 - Transient Ecstatic Disturbances (vy膩bhic膩ri-bh膩va)]
Verse 2.4.122 < [Part 4 - Transient Ecstatic Disturbances (vy膩bhic膩ri-bh膩va)]
Arts in the Puranas (study) (by Meena Devadatta Jeste)
11. Postures (Sthana, Asana and Sayana) < [Chapter 2 - Dance in the Puranas]
5. Hasta-mudras (gestures of the hands) < [Chapter 2 - Dance in the Puranas]
4. General topics of Poetics < [Chapter 6 - Literature in the Puranas]
Vishnudharmottara Purana (Art and Architecture) (by Bhagyashree Sarma)
2.2. Hand Postures (b): Sa峁儁ukta-hasta < [Chapter 3 - Drama and Dance]
2.2. Hand Postures (c): N峁泃ta-hasta < [Chapter 3 - Drama and Dance]
Abhinaya-darpana (English) (by Ananda Coomaraswamy)