93-500: Namaste ( Sanskrit pronunciation: [nɐmɐste:] , Devanagari : नमस्ते), sometimes called namaskār and namaskāram , is a customary Hindu manner of respectfully greeting and honouring a person or group, used at any time of day. It is used worldwide among the Hindu, Buddist and Jain traditions. Namaste is usually spoken with a slight bow and hands pressed together, palms touching and fingers pointing upwards, thumbs close to
186-484: A comprehensive aid to the learning of virtue, proper behavior, ethical and moral fortitude, courage, love and adoration of the divine. — Susan L. Schwartz The contents of the Natyashastra , states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology". It is the oldest surviving encyclopedic treatise on dramaturgy from India, with sections on
279-777: A शिरोरेखा śirorekhā , that runs along the top of full letters. In a cursory look, the Devanāgarī script appears different from other Indic scripts , such as Bengali-Assamese or Gurmukhi , but a closer examination reveals they are very similar except for angles and structural emphasis. Among the languages using it as a primary or secondary script are Marathi , Pāḷi , Sanskrit , Hindi , Boro , Nepali , Sherpa , Prakrit , Apabhramsha , Awadhi , Bhojpuri , Braj Bhasha , Chhattisgarhi , Haryanvi , Magahi , Nagpuri , Rajasthani , Khandeshi , Bhili , Dogri , Kashmiri , Maithili , Konkani , Sindhi , Nepal Bhasa , Mundari , Angika , Bajjika and Santali . The Devanāgarī script
372-522: A classic Sanskrit bhasya ("reviews and commentaries") – written by Abhinavagupta . The title of the text is composed of two words, "Nāṭya" and "Shāstra". The root of the Sanskrit word Nāṭya is Nata (नट) which means "act, represent". The word Shāstra (शास्त्र) means "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the Indian literature context, for knowledge in
465-452: A defined area of practice. Performance arts and culture Let Nāṭya (drama and dance) be the fifth vedic scripture . Combined with an epic story, tending to virtue, wealth, joy and spiritual freedom, it must contain the significance of every scripture, and forward every art. — Nāṭyaśāstra 1.14–15 The composition date of Nāṭya Shāstra is unknown. Estimates vary between 500 BCE to 500 CE. The text may have started in
558-507: A drama can deploy to carry its message. The text describes four means of communication between the actors and the audience – words, gestures, dresses, representation of temperament and aharya (make ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama. The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist can use to express these states, in chapters 6 through 7. The Natyashastra describes
651-545: A form of Vedic ritual ceremony (yajna). The general approach of the text is treated entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The text allows, states Schwartz, the artists "enormous innovation" as they connect the playwright and the spectators, through their performance, to Rasa (the essence, juice). The "rasa theory" of Natyashastra , states Daniel Meyer-Dinkgräfe, presumes that bliss
744-420: A guest or anyone else. It expresses politeness, courtesy, honor, and hospitality from one person to the other. It is used in goodbyes as well. This is sometimes expressed, in ancient Hindu scriptures such as Taittiriya Upanishad , as Atithi Devo Bhava (literally, treat the guest like a god). Namaste is one of the six forms of pranama , and in parts of India these terms are used synonymously. Since namaste
837-589: A higher level of consciousness, suggests Natyashastra . Great songs do not instruct or lecture, they delight and liberate from within to a state of godlike ecstasy. According to Susan Schwartz, these sentiments and ideas of Natyashastra likely influenced the devotional songs and musical trends of the Bhakti movement that emerged in Hinduism during the second half of the 1st millennium CE. Indian dance ( nritta , नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in
930-586: A non-verbal gesture, while namaste can be said with or without any gesture. According to Bhaumik and Govil, the Anjali mudra and Namaskara mudra are very similar but have a subtle difference. The back of the thumbs in Anjali mudra face the chest and are perpendicular to other fingers, while the thumbs in Namaskara mudra are aligned with the other fingers. Anjali mudra is described in Sanskrit texts such as in verse 9.127–128 of
1023-525: A play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The Nāṭya Śāstra is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment
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#17328555915701116-426: A relative, guest or stranger. In some contexts, namaste is used by one person to express gratitude for assistance offered or given, and to thank the other person for his or her generous kindness. Namaskara is one of the 16 upacharas (veneration practices) used inside temples or any place of formal puja (worship). Namaste in the context of deity worship, scholars conclude, has the same function as in greeting
1209-399: A sentence or half-verse may be marked with the " । " symbol (called a daṇḍa , meaning "bar", or called a pūrṇa virām , meaning "full stop/pause"). The end of a full verse may be marked with a double- daṇḍa , a " ॥ " symbol. A comma (called an alpa virām , meaning "short stop/pause") is used to denote a natural pause in speech. Punctuation marks of Western origin, such as
1302-411: A spiritual import reflecting the belief that "the divine and self ( atman , Self) is same in you and me", and connotes "I bow to the divine in you". According to sociologist Holly Oxhandler, it is a Hindu term which means "the sacred in me recognizes the sacred in you". A less common variant is used in the case of three or more people being addressed namely Namo vaḥ which is a combination of namaḥ and
1395-477: A super sensual inner state of being. The Natya connects through abhinaya , that is applying body-speech-mind and scene, wherein asserts Natyashastra , the actors use two practices of dharmi (performance), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to achieve siddhi (success in production). The verse details the eleven essential components of drama and dramatic production: The text discusses
1488-773: A supersensual state of discovery and understanding. The stories and plots were provided by the Itihasas (epics), the Puranas and the Kathas genre of Hindu literature. The text also states that the god Brahma combined the elements of acting from the four Vedas: "recitation from the Rigveda , music from the Samaveda , mimetic art from the Yajurveda , and sentiments from the Atharvaveda ." The text states that
1581-464: A temple, the Anjali mudra should be placed near one's head or above, while meeting someone venerable it is placed in front of one's face or chin, and for friends near one's chest. The gesture is widely used throughout the Indian subcontinent, parts of Asia and beyond where people of South and Southeast Asian origins have migrated. Namaste is used as a respectful form of greeting, acknowledging and welcoming
1674-407: A variety of performance arts as well as the design of the stage. The text details three architectural styles for the playhouse: Drama, in this ancient Sanskrit text, is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to
1767-424: Is a Sanskrit treatise on the performing arts . The text is attributed to sage Bharata , and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6,000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of
1860-412: Is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions. The text further inspired secondary literature such as the 10th century commentary Abhinavabharati – an example of
1953-405: Is a non-contact form of greeting, some world leaders adopted the gesture as an alternative to hand shaking during the 2020 Coronavirus pandemic as a means to prevent the spread of the virus. Devanagari Devanagari ( / ˌ d eɪ v ə ˈ n ɑː ɡ ə r i / DAY -və- NAH -gə-ree ; देवनागरी , IAST : Devanāgarī , Sanskrit pronunciation: [deːʋɐˈnaːɡɐriː] )
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#17328555915702046-462: Is a table for Hindi, one for Sanskrit and Prakrit, etc. WX is a Roman transliteration scheme for Indian languages, widely used among the natural language processing community in India. It originated at IIT Kanpur for computational processing of Indian languages. The salient features of this transliteration scheme are as follows. ISCII is an 8-bit encoding. The lower 128 codepoints are plain ASCII ,
2139-563: Is an Indic script used in the Indian subcontinent . Also simply called Nāgari ( Sanskrit : नागरि , Nāgari ), it is a left-to-right abugida (a type of segmental writing system ), based on the ancient Brāhmi script. It is one of the official scripts of the Republic of India and Nepal . It was developed and in regular use by the 8th century CE and achieved its modern form by 1000 CE. The Devanāgari script, composed of 48 primary characters, including 14 vowels and 34 consonants,
2232-642: Is associated with an application of the same name that enables typesetting in Indic scripts . The user inputs in Roman letters and the ITRANS pre-processor translates the Roman letters into Devanāgarī (or other Indic languages). The latest version of ITRANS is version 5.30 released in July 2001. It is similar to Velthuis system and was created by Avinash Chopde to help print various Indic scripts with personal computers. The disadvantage of
2325-566: Is closely related to the Nandināgarī script commonly found in numerous ancient manuscripts of South India , and it is distantly related to a number of southeast Asian scripts. Devanāgarī is formed by the addition of the word deva ( देव ) to the word nāgarī ( नागरी ). Nāgarī is an adjective derived from nagara ( नगर ), a Sanskrit word meaning "town" or "city," and literally means "urban" or "urbane". The word Nāgarī (implicitly modifying lipi , "script")
2418-409: Is indicated by diacritics . The vowel अ ( a ) combines with the consonant क् ( k ) to form क ( ka ) with halant removed. But the diacritic series of क , ख , ग , घ ( ka, kha, ga, gha , respectively) is without any added vowel sign, as the vowel अ ( a ) is inherent . The combinations of all Sanskrit consonants and vowels, each in alphabetical order, are laid out in
2511-487: Is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means. Performance arts aim to empower man to experience this rasa , or re-experience it. Actors aim to journey the spectator to this aesthetic experience within him. Rasa is prepared, states Natya Shastra , through a creative synthesis and expression of vibhava (determinants), anubhava (consequents) and vyabhicharibhava (transitory states). In
2604-474: Is mentioned in other late Vedic texts, as are two scholars names Shilalin ( IAST : Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. The Natyashastra refers to drama performers as Śhailālinas, likely because they were so known at the time the text was written, a name derived from the legacy of the vedic sage Śilālin credited with Natasutras . Richmond et al. estimate
2697-546: Is part of the Brahmic family of scripts of India , Nepal , Tibet , and Southeast Asia . It is a descendant of the 3rd century BCE Brāhmī script , which evolved into the Nagari script which in turn gave birth to Devanāgarī and Nandināgarī . Devanāgarī has been widely adopted across India and Nepal to write Sanskrit , Marathi , Hindi , Central Indo-Aryan languages , Konkani , Boro , and various Nepalese languages. Some of
2790-459: Is presented in chapters 26 and 35 of the text. The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of the importance of performance arts on culture. Dramatic arts Natyashastra praises dramatic arts as
2883-764: Is similar to the Krutidev typing method, popular in Rajasthan. The 'itrans' method is useful for those who know English (and the English keyboard) well but are not familiar with typing in Devanāgarī. Thousands of manuscripts of ancient and medieval era Sanskrit texts in Devanāgarī have been discovered since the 19th century. Major catalogues and census include: Natya Shastra Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas Traditional The Nāṭya Shāstra ( Sanskrit : नाट्य शास्त्र , Nāṭyaśāstra )
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2976-450: Is the best in terms of ligatures but, because it is designed for Vedic as well, requires so much vertical space that it is not well suited for the "user interface font" (though an excellent choice for the "original field" font). Santipur OT is a beautiful font reflecting a very early [medieval era] typesetting style for Devanagari. Sanskrit 2003 is a good all-around font and has more ligatures than most fonts, though students will probably find
3069-467: Is the fourth most widely adopted writing system in the world, being used for over 120 languages. The orthography of this script reflects the pronunciation of the language. Unlike the Latin alphabet, the script has no concept of letter case . It is written from left to right, has a strong preference for symmetrical rounded shapes within squared outlines, and is recognisable by a horizontal line, known as
3162-671: Is the standard keyboard layout for Devanāgarī as standardized by the Government of India. It is inbuilt in all modern major operating systems . Microsoft Windows supports the InScript layout, which can be used to input unicode Devanāgarī characters. InScript is also available in some touchscreen mobile phones. This layout was used on manual typewriters when computers were not available or were uncommon. For backward compatibility some typing tools like Indic IME still provide this layout. Such tools work on phonetic transliteration. The user writes in
3255-615: Is typically not used for unfamiliar adults. It is reserved for someone familiar, intimate, divine or a child. By using the dative form of tvam in the greeting Namas-te , there is an embedded secondary, metaphorical sense in the word. This is the basis of the pragmatic meaning of Namas-te , that is "salutations to the (divine) child (in your heart)", states Phillips. In the contemporary era, namaḥ means 'bow', 'obeisance', 'reverential salutation' or 'adoration' and te means 'to you' (singular dative case of 'tvam'). Therefore, namaste literally means "bowing to you". In Hinduism , it also has
3348-460: Is used for writing languages other than Sanskrit, conjuncts are used mostly with Sanskrit words and loan words. Native words typically use the basic consonant and native speakers know to suppress the vowel when it is conventional to do so. For example, the native Hindi word karnā is written करना ( ka-ra-nā ). The government of these clusters ranges from widely to narrowly applicable rules, with special exceptions within. While standardised for
3441-485: Is visible in the Kutila inscription of Bareilly dated to VS 1049 (992 CE), which demonstrates the emergence of the horizontal bar to group letters belonging to a word. One of the oldest surviving Sanskrit texts from the early post- Maurya period consists of 1,413 Nāgarī pages of a commentary by Patanjali , with a composition date of about 150 BCE, the surviving copy transcribed about 14th century CE. In
3534-749: The Siddhaṃ matrika script (considered as the closest precursor to Nāgarī) was in use by Buddhists . Nāgarī has been the primus inter pares of the Indic scripts. It has long been used traditionally by religiously educated people in South Asia to record and transmit information, existing throughout the land in parallel with a wide variety of local scripts (such as Moḍī , Kaithi , and Mahajani ) used for administration, commerce, and other daily uses. Sharada remained in parallel use in Kashmir . An early version of Devanāgarī
3627-483: The bārākhaḍī ( बाराखडी ) or bārahkhaṛī ( बारहखड़ी ) table. In the following barakhadi table, the IAST transliteration of each combination will appear on mouseover: The following letter variants are also in use, particularly in older texts and in specific regions: As mentioned, successive consonants lacking a vowel in between them may physically join as a conjunct consonant or ligature . When Devanāgarī
3720-667: The Natya Shastra (200 BCE – 200 CE), in temple architecture texts dated after the sixth-century CE such as in verse 5.67 of the Devata murti prakarana and those on painting called the Citrasutras . The Natya Shastra , a classical Indian dance text, describes it to be a posture where the two hands are folded together in a reverential state and that this is used to pray before a deity, receive any person one reveres and also to greet friends. The Natya Shastra further states that for prayers inside
3813-428: The "Rasa" theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting. Stage instruments such as methods for holding accessories, weapons, relative movement of actors and actresses, scene formulation, stage zones, conventions and customs are included in chapters 10 to 13 of the Natyashastra . The chapters 14 to 20 are dedicated to plot and structure of underlying text behind
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3906-564: The Gana was free form art and included singing. The Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries". The art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and
3999-498: The Government of India . A standard transliteration convention was codified in the ISO 15919 standard of 2001. It uses diacritics to map the much larger set of Brāhmic graphemes to the Latin script. The Devanāgarī-specific portion is nearly identical to the academic standard for Sanskrit, IAST . The International Alphabet of Sanskrit Transliteration (IAST) is the academic standard for
4092-591: The Kalpasutras and Srautasutras , may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values. The Vedanga texts such as verse 1.4.29 of Panini Sutras mention these as well. The roots of the Natyashastra thus likely trace to the more ancient vedic traditions of integrating ritual recitation, dialogue and song in a dramatic representation of spiritual themes. The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (~800–700 BCE), for example, are written in
4185-623: The Mahabharata . The phrase Namas-te appears with this meaning in Rigveda 8.75.10, Atharvaveda verse 6.13.2, Taittirya Samhita 2.6.11.2 and in numerous other instances in many early Hindu texts. It is also found in numerous ancient and medieval era sculpture and mandapa relief artwork in Hindu temples . According to the Indologist Stephen Phillips, the terms " te and tvam " are an informal, familiar form of "you" in Sanskrit, and it
4278-600: The Mature Harappan . The gesture of folding hands during a namaste is called the Añjali Mudrā . In addition to namaste , this mudra is one of the postures found in Indian classical dance such as Bharatanatyam , and in yoga practice. It is widely found in Indian temple reliefs and sculpture in mandapam, at entrances and iconography such as the Lingobhavamurti of Shaivism . The Anjali mudra differs from namaste by being
4371-532: The Natasutras to have been composed around 600 BCE. According to Lewis Rowell, a professor of Music specializing on classical Indian music, the earliest Indian artistic thought included three arts, syllabic recital ( vadya ), melos ( gita ) and dance ( nrtta ), as well as two musical genre, Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music). The Gandharva subgenre also implied celestial, divine associations, while
4464-683: The colon , semicolon , exclamation mark , dash , and question mark have been in use in Devanāgarī script since at least the 1900s, matching their use in European languages. A variety of Unicode fonts are in use for Devanāgarī. These include Akshar, Annapurna, Arial , CDAC-Gist Surekh, CDAC-Gist Yogesh, Chandas, Gargi, Gurumaa, Jaipur, Jana, Kalimati, Kanjirowa, Lohit Devanagari, Mangal, Kokila, ,Preeti, Raghu, Sanskrit2003, Santipur OT, Siddhanta, and Thyaka. The form of Devanāgarī fonts vary with function. According to Harvard College for Sanskrit studies: Uttara [companion to Chandas ]
4557-439: The 1st millennium BCE, expanded over time, and most scholars suggest, based on mention of this text in other Indian literature, that the first complete version of the text was likely finished between 200 BCE to 200 CE. The Nāṭyaśāstra is traditionally alleged to be linked to a 36,000 verse Vedic composition called Adibharata , however there is no corroborating evidence that such a text ever existed. The text has survived into
4650-699: The 7th century, under the rule of Songtsen Gampo of the Tibetan Empire , Thonmi Sambhota was sent to Nepal to open marriage negotiations with a Nepali princess and to find a writing system suitable for the Tibetan language. He then invented the Tibetan script based on the Nāgarī used in Kashmir. He added 6 new characters for sounds that did not exist in Sanskrit. Other scripts closely related to Nāgarī (such as Siddhaṃ ) were introduced throughout East and Southeast Asia from
4743-603: The 7th to the 10th centuries CE: notably in Indonesia, Vietnam, and Japan. Most of the Southeast Asian scripts have roots in Dravidian scripts, but a few found in south-central regions of Java and isolated parts of southeast Asia resemble Devanāgarī or its prototypes. The Kawi script in particular is similar to the Devanāgarī in many respects, though the morphology of the script has local changes. The earliest inscriptions in
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#17328555915704836-516: The 9th century copper plate inscription of Devapaladeva (Bengal) which is also in early Devanāgarī script. The term kawi in Kawi script is a loan word from kāvya (poetry). According to anthropologists and Asian studies scholars John Norman Miksic and Goh Geok Yian, the 8th century version of early Nāgarī or Devanāgarī script was adopted in Java, Bali , and Khmer around the 8th–9th centuries, as evidenced by
4929-617: The Devanāgarī-like scripts are from around the 10th century CE, with many more between the 11th and 14th centuries. Some of the old-Devanāgarī inscriptions are found in Hindu temples of Java, such as the Prambanan temple. The Ligor and the Kalasan inscriptions of central Java, dated to the 8th century, are also in the Nāgarī script of north India. According to the epigraphist and Asian Studies scholar Lawrence Briggs, these may be related to
5022-709: The Hindu scripture Rigveda such as in the Vivaha Sukta , verse 10.85.22 in the sense of "worship, adore", while Namaskara appears in the sense of "exclamatory adoration, homage, salutation and worship" in the Atharvaveda , the Taittiriya Samhita , and the Aitareya Brahmana . It is an expression of veneration, worship, reverence, an "offering of homage" and "adoration" in the Vedic literature and post-Vedic texts such as
5115-944: The Indic language Misplaced Pages and other wikiprojects, including Hindi, Bhojpuri, Marathi, and Nepali Misplaced Pages. While some people use InScript , the majority uses either Google phonetic transliteration or the input facility Universal Language Selector provided on Misplaced Pages. On Indic language wikiprojects, the phonetic facility provided initially was java-based, and was later supported by Narayam extension for phonetic input facility. Currently Indic language Wiki projects are supported by Universal Language Selector (ULS) , that offers both phonetic keyboard (Aksharantaran, Marathi: अक्षरांतरण , Hindi: लिप्यंतरण, बोलनागरी ) and InScript keyboard (Marathi: मराठी लिपी ). The Ubuntu Linux operating system supports several keyboard layouts for Devanāgarī, including Harvard-Kyoto, WX notation , Bolanagari and phonetic. The 'remington' typing method in Ubuntu IBUS
5208-561: The Latin alphabet and the IME automatically converts it into Devanāgarī. Some popular phonetic typing tools are Akruti, Baraha IME and Google IME . The Mac OS X operating system includes two different keyboard layouts for Devanāgarī: one resembles the INSCRIPT/KDE Linux, while the other is a phonetic layout called "Devanāgarī QWERTY". Any one of the Unicode fonts input systems is fine for
5301-651: The above ASCII schemes is case-sensitivity, implying that transliterated names may not be capitalised. This difficulty is avoided with the system developed in 1996 by Frans Velthuis for TeX , loosely based on IAST, in which case is irrelevant. ALA-LC romanisation is a transliteration scheme approved by the Library of Congress and the American Library Association, and widely used in North American libraries. Transliteration tables are based on languages, so there
5394-573: The adoption of Nāgarī scripts. For example, the mid 8th-century Pattadakal pillar in Karnataka has text in both Siddha Matrika script, and an early Telugu-Kannada script; while, the Kangra Jawalamukhi inscription in Himachal Pradesh is written in both Sharada and Devanāgarī scripts. The Nāgarī script was in regular use by the 7th century CE, and it was fully developed by about
5487-506: The aesthetics of Natyashastra . The text defines the basic dance unit to be a karana , which is a specific combination of the hands and feet integrated with specific body posture and gait ( sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. The Natyashastra is, states Emmie te Nijenhuis ,
5580-496: The arts by the time Agni Purana was composed. The Natyashastra is the oldest surviving ancient Indian work on performance arts. The roots of the text extend at least as far back as the Naṭasūtras , dated to around the mid 1st millennium BCE. The Natasutras are mentioned in the text of Panini , the sage who wrote the classic on Sanskrit grammar , and who is dated to about 500 BCE. This performance arts related Sutra text
5673-437: The audience tastes dominant states of a drama through expression of words, gestures and temperaments. These dominant states are love, mirth, sorrow, anger, energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience. There are eight temperamental states that
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#17328555915705766-430: The chest. This gesture is called añjali mudrā ; the standing posture incorporating it is pranāmāsana . Namaste ( Namas + te ) is derived from Sanskrit and is a combination of the word namas and the second person dative pronoun in its enclitic form, te . The word namaḥ takes the sandhi form namas before the sound te . It is found in the Vedic literature. Namas-krita and related terms appear in
5859-606: The earliest epigraphic evidence attesting to the developing Sanskrit Nāgarī script in ancient India is from the 1st to 4th century CE inscriptions discovered in Gujarat . Variants of script called nāgarī , recognisably close to Devanāgarī, are first attested from the 1st century CE Rudradaman inscriptions in Sanskrit, while the modern standardised form of Devanāgarī was in use by about 1000 CE. Medieval inscriptions suggest widespread diffusion of Nāgarī-related scripts, with biscripts presenting local script along with
5952-476: The enclitic second person plural pronoun vaḥ . The word namaḥ takes the sandhi form namo before the sound v . An even less common variant is used in the case of two people being addressed, namely, Namo vām , which is a combination of namaḥ and the enclitic second person dual pronoun vām . Excavations at various Indus Valley Civilisation have revealed some male and female terracotta figures in namaste posture. These archaeological findings are dated to
6045-684: The end of first millennium. The use of Sanskrit in Nāgarī script in medieval India is attested by numerous pillar and cave-temple inscriptions, including the 11th-century Udayagiri inscriptions in Madhya Pradesh , and an inscribed brick found in Uttar Pradesh , dated to be from 1217 CE, which is now held at the British Museum . The script's prototypes and related versions have been discovered with ancient relics outside India, in places such as Sri Lanka , Myanmar and Indonesia . In East Asia,
6138-424: The form of a riddle play between two actors. The Vedic sacrifice ( yajna ) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes. The most studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters. The tradition believes that the text originally had 12,000 verses. Somewhat different versions of
6231-625: The good and the bad, actions and feelings, of each character, whether God or man. According to Natyashastra , state Sally Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, then through the art performed, it provides enjoyment to those wanting pleasure, solace to those in grief, calmness to those who are worried, energy to those who are brave, courage to those who are cowards, eroticism to those who want company, enjoyment to those who are rich, knowledge to those who are uneducated, wisdom to those who are educated. Drama represents
6324-518: The keyboard. This makes typing in Harvard-Kyoto much easier than IAST. Harvard-Kyoto uses capital letters that can be difficult to read in the middle of words. ITRANS is a lossless transliteration scheme of Devanāgarī into ASCII that is widely used on Usenet . It is an extension of the Harvard-Kyoto scheme. In ITRANS, the word devanāgarī is written "devanaagarii" or "devanAgarI". ITRANS
6417-495: The manuscripts exist, and these contain 37 or 38 chapters. Predominant number of its verses are in precise Anustubh meter (4x8, or exactly 32 syllables in every shloka ), some verses are in Arya meter (a morae-based Sanskrit meter), and the text has some text that is in prose particularly in chapters 6, 7 and 28. The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters. The text opens with
6510-399: The many contemporaneous inscriptions of this period. The letter order of Devanāgarī, like nearly all Brāhmic scripts, is based on phonetic principles that consider both the manner and place of articulation of the consonants and vowels they represent. This arrangement is usually referred to as the varṇamālā (" garland of letters"). The format of Devanāgarī for Sanskrit serves as
6603-411: The material they are made of). The Natyashastra accepts these four categories as given, and dedicates four separate chapters to them, one each on stringed instruments ('tat' or chordophones ), hollow instruments ('sushir' or aerophones ), solid instruments ('ghan' or idiophones ), and covered instruments ('avanaddha' or membranophones ). Chapters 15 and 16 of the text discuss Sanskrit prosody in
6696-494: The message and the meaning being communicated. After the 10th-century, Hindu temples were designed to include stages for performance arts (for example, kuttampalams ), or prayer halls (for example, namghar ) that seconded as dramatic arts stage, based on the square principle described in the Natyashastra , such as those in the peninsular and eastern states of India. The Natyashastra discusses Vedic songs, and also dedicates over 130 verses to non-Vedic songs. Chapter 17 of
6789-569: The mixture of poetic verses and prose in a few extant manuscripts of Natyashastra may be because of this. According to Pramod Kale, who received a doctorate on the text from the University of Wisconsin, the surviving version of Natya Shastra likely existed by the 8th-century. The author of the Natya Shastra is unknown, and the Hindu tradition attributes it to the Rishi (sage) Bharata . It may be
6882-462: The modern age in several manuscript versions, wherein the title of the chapters varies and in some cases the content of the few chapters differ. Some recensions show significant interpolations and corruption of the text, along with internal contradictions and sudden changes in style. Scholars such as PV Kane state that some text was likely changed as well as added to the original between the 3rd to 8th century CE, thus creating some variant editions, and
6975-473: The most part, there are certain variations in clustering, of which the Unicode used on this page is just one scheme. The following are a number of rules: The pitch accent of Vedic Sanskrit is written with various symbols depending on shakha . In the Rigveda , anudātta is written with a bar below the line ( ◌॒ ), svarita with a stroke above the line ( ◌॑ ) while udātta is unmarked. The end of
7068-430: The mythical genesis and history of drama, mentions the role of different Hindu deities in various aspects of the arts, and the recommended puja (consecration ceremony) of a stage for performance arts. The text, states Natalia Lidova, then describes the theory of Tāṇḍava dance ( Shiva ), the theory of rasa , of bhāva, expression, gestures, acting techniques, basic steps, standing postures. Chapters 6 and 7 present
7161-549: The oldest surviving text that systematically treats "the theory and instruments of Indian music". Music has been an integral part of performance arts in the Hindu tradition since its Vedic times, and the theories of music found in the Natyashastra are also found in many Puranas , such as the Markandeya Purana . Prior to the Natyashastra, the ancient Indian tradition classified musical instruments into four groups based on their acoustic principle (how they work, rather than
7254-504: The performance art. These sections include the theory of Sanskrit prosody , musical meters and the language of expression. Chapter 17 presents the attributes of poetry and figures of speech, while chapter 18 presents the art of speech and delivery in the performance arts. The text lists ten kinds of play, presents its theory of plot, costumes, and make-up. The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female theater. The training of actors
7347-512: The playwright should know the bhavas (inner state of being) of all characters in the story, and it is these bhavas that the audience of that drama connects with. The hero is shown to be similar to everyone in some ways, trying to achieve the four goals of human life in Hindu philosophy, then the vastu (plot) emerges through the "representation of three worlds – the divine, the human, the demonic". Drama has dharma, it has artha, it has kama, it has humor, fighting and killing. The best drama shows
7440-405: The process of emotionally engaging the individual in the audience, the text outlines the use of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous. The Natyashastra defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into
7533-619: The prototype for its application, with minor variations or additions, to other languages. The vowels and their arrangement are: The table below shows the consonant letters (in combination with inherent vowel a ) and their arrangement. To the right of the Devanāgarī letter it shows the Latin script transliteration using International Alphabet of Sanskrit Transliteration , and the phonetic value ( IPA ) in Hindi . The table below shows consonants with common vowel diacritics and their ISO 15919 transliteration. Vowels in their independent form on
7626-497: The romanisation of Sanskrit. IAST is the de facto standard used in printed publications, like books, magazines, and electronic texts with Unicode fonts. It is based on a standard established by the Congress of Orientalists at Athens in 1912. The ISO 15919 standard of 2001 codified the transliteration convention to include an expanded standard for sister scripts of Devanāgarī. The National Library at Kolkata romanisation , intended for
7719-400: The romanisation of all Indic scripts, is an extension of IAST. Compared to IAST, Harvard-Kyoto looks much simpler. It does not contain all the diacritic marks that IAST contains. It was designed to simplify the task of putting large amount of Sanskrit textual material into machine readable form, and the inventors stated that it reduces the effort needed in transliteration of Sanskrit texts on
7812-599: The spacing of the CDAC-Gist Surekh font makes for quicker comprehension and reading. The Google Fonts project has a number of Unicode fonts for Devanāgarī in a variety of typefaces in serif, sans-serif, display and handwriting categories. There are several methods of Romanisation or transliteration from Devanāgarī to the Roman script . The Hunterian system is the national system of romanisation in India , officially adopted by
7905-408: The stage for performance arts as the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on the stage, and such architectural features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand
7998-457: The text is entirely dedicated to poetry and the structure of a song, which it states is also the template for composing plays. Its chapter 31 asserts that there are seven types of songs, and these are Mandraka , Aparantaka , Rovindaka , Prakari , Ullopyaka , Ovedaka and Uttara . It also elaborates on 33 melodic alankaras in songs. These are melodic tools of art for any song, and they are essential. Without these melodic intonations, states
8091-474: The text, a song becomes like "a night without the moon, a river without water, a creeper without a flower and a woman without an ornament". A song also has four basic architectural varna to empower its meaning, and these tone patterns are ascending line, steady line, descending line and the unsteady line. The ideal poem produces bliss in the reader, or listener. It transports the audience into an imaginative world, transforms his inner state, and delivers him to
8184-573: The theory and practice of various performance arts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance. Natya topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu Devas and Devis . Performance arts, states Natyashastra , are
8277-449: The top and in their corresponding dependent form (vowel sign) combined with the consonant ' k ' on the bottom. ' ka ' is without any added vowel sign, where the vowel ' a ' is inherent . A vowel combines with a consonant in their diacritic form. For example, the vowel आ ( ā ) combines with the consonant क् ( k ) to form the syllabic letter का ( kā ), with halant (cancel sign) removed and added vowel sign which
8370-407: The truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness. The text goes into specifics to explain the means available within dramatic arts to achieve its goals. Just like the taste of food, states Natyashastra , is determined by combination of vegetables, spices and other articles such as sugar and salt,
8463-642: The upper 128 codepoints are ISCII-specific. It has been designed for representing not only Devanāgarī but also various other Indic scripts as well as a Latin-based script with diacritic marks used for transliteration of the Indic scripts. ISCII has largely been superseded by Unicode, which has, however, attempted to preserve the ISCII layout for its Indic language blocks. The Unicode Standard defines four blocks for Devanāgarī: Devanagari (U+0900–U+097F), Devanagari Extended (U+A8E0–U+A8FF), Devanagari Extended-A (U+11B00–11B5F), and Vedic Extensions (U+1CD0–U+1CFF). InScript
8556-461: The work of several authors, but scholars disagree. Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by Kapila Vatsyayan . The Agni Purana , a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the Natyashastra format, but enumerates more styles and types of performance arts, which states Winternitz, may reflect an expansion in studies of
8649-409: Was used on its own to refer to a North Indian script, or perhaps a number of such scripts, as Al-Biruni attests in the 11th century; the form Devanāgarī is attested later, at least by the 18th century. The name of the Nandināgarī script is also formed by adding a prefix to the generic script name nāgarī . The precise origin and significance of the prefix deva remains unclear. Devanāgarī
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