dhātus - concept

attribution

p.vol_I_p096

english

conf 0.94

Suśruta and Bhāva Prakāśa VII, 27 mention tvak (skin) as the first dhātu instead of rasa (chyle)

"Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, instead of rasa (chyle) of our text"

VIMARŚA 175 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, instead of rasa (chyle) of our text. Monier Williams also enumerates seven dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak with rasa. 62. The seven minerals are not clear. 63. The number of cakras (psychophysical centres in the human body visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere ( in the confused reading in the section on Varṇālankāra towards the end of Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it is the location of the sahasrāra cakra. These seven names do form part of the ten cakras spoken of in SR in the following locations - Name of Cakra Location 1. Ādhāra In-between the anus and the genitals 2. Svādhişthāna Root of the genitals 3. Manipūra Around the navel 4. Anāhata Heart 5. Visuddhi Throat 6. Ājāā In-between the two eye-brows 7. Sahasrāra Cerebral aperture It is notable that SR associates the production of musical notes with the anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone and not with all the seven listed above. The treatment of cakras in BrD could not be assessed from this stray reference. It is only the number seven that corresponds with the connection of seven cakras with the svaras that the author is trying to establish here. In note 59 above, we have said that the connection of dhaivata with the forehead is not clear. If the seven svaras are connected with the seven sthanas listed above, one by one, then dhaivata being the sixth one could be connected with the viśuddhi cakra located in-between the eye brows. But the location of seven svaras in the seven cakras is not corroborated by any other known text. 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as follows- Name of Svara Name of Duipa Sadja Jambū Šāka Rsabha Gändhära Kuśa Madhyama Krauñca Pañcama Sālmalī Dhaivata Sveta Nisāda Puşkara

definition

p.vol_II_p122

english

conf 0.91

[show source]

dhātu refers to tonal-and-rhythmic structure in music

"endowed with dhātu58 (tonal-cum-rhymthic structure)"

definition

p.vol_I_p087

english

conf 0.93

[show source]

Vāta, pitta and kapha are known in Ayurveda as the three dhātus that hold the body

"Vāta, pitta and kapha are known in Ayurveda as the three dhātus (humours) that 'hold' the body"

VIMARŚA 157 upavāda and daņļa and due to utkarşa (augmentation) or apakarşa (diminution ) of tone in the string (vide Abhi Bhā). Under indriya Abhinavagupta includes vāgindriya ( the human organ of speech ) in the primary sense, but says that secondarily the fingers as well as frets ( on the viņā) could also be said to be the seat of vaigunya or discrepancy. It is notable that while NS speaks of the 'excess' or 'loss' occurring in svaras, our text speaks of the threefold division of sruti (object of hearing) on account of indriya-vaigunya, which itself is threefold viz. inborn, born of some imbalance in the three humours and born of accident. This seems to apply to the human voice alone. Kallinātha (SRI, p. 71) says that indriya in this passage of BrD means manas (mind), the sahaja mind being composed of sattvaguna, the dosaja being full of rajas and tamas and the abhighātaja being attacked by the rasas (tastes) known as amla (sour) etc. He seems to imply that the state of mind affects the voice and thus sruti (the object of hearing) could be threefold according to the three states of mind. Thus while NS speaks of the vaigunya (discrepancy) both in the stringed instrument and voice and Kallinatha places the discrepancy in the mind leading by implication, to discrepancy in the voice, our text does not throw any light on the meaning of indriya. It appears, however, that Matanga is referring to the vāgindriya (organ of speech). 9. Here again the author is referring to the fourfold śruti (object of hearing) on the basis of the fourfold division of voice according to the predominance of vata (lit. air), pitta (lit. bile) and kapha (lit. phlegm), the three humours of the human body according to Ayurveda and sannipāta ( admixture of the three ). This division of voice has been expanded in great detail in SR (III, 39-67) under the heading sabdabheda. It is interesting to note that our text has mentioned this classification of voices under the types of śruti. 10, 11, 12. Vāta, pitta and kapha are known in Ayurveda as the three dhātus (humours) that 'hold' the body, the three 'doşas' that represent an imbalance or disorder in the three and the three males or dirt arising out of them. The gross manifestation of these three is wind or gas, bile and phlegm, but they are also subtle like the bhūtas. Vāta represents all movement or dynamism, pitta represents all heat and energy and phlegm represents the static aspect; the three could also be equated with sattva, rajas and tamas guņas respectively. The classification of human voice according to these three is based on the predominance of each of these. The voice being a part of the human body, is affected by the constitution of the body dependant on the predominance of one or the other of the three dhātus in different bodies. (cf. Car Sam Sūtrasthāna and Cikitsāsthāna) 13. Snigdha is very difficult to translate; it is the antonym of rūkṣa which in English could be translated only as 'dry', but dryness could be related to water when it is called śuṣkatā and it could also be related to oil or butter or any other similar substance, the common name for which is 'sneha' i.e. the absence of 'sneha' is also a form of dryness called rūksatā. Incidentally, sneha also means

enumeration

p.vol_I_p031

sanskrit

conf 0.94

[show source]

The seven dhātus are: skin/serum, blood, flesh, fat, bone, marrow, and semen

"त्वगसृङ्मांसमेदोऽस्थिमज्ज?ाशुक्राणि धातवः"

44 BRHADDESI प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः। स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।। स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥ वाचं गानात्मिका धत्त इति गान्धारसंज?्ञकः। स्वराणा मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥ स्वरान्तराणा विस्तारं यो मिमीते स पञ्चमः। पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।। धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः । यद्वा २१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥ पञ्चमेन 30•त्ततोऽसी ललाटे धैवत इत्यर्थः। निषीदन्ति स्वरा सर्वे निषादस्तेन कथ्यते।।६०॥ [ स्वराणा सप्तसंख्यानियमः ] [ अनु. २९ ] 31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते— यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो रसादयो ज?ेया । तथा चाह सुश्रुतः — 'त्वगसृङ्मांसमेदोऽस्थिमज्ज?ाशुक्राणि धातवः' । इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति। स्वरजातयः ] चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ। वैश्यौ द्विश्वतिकौ ज?्ञेयौ शूद्रौ चान्तरकौ स्वरौ 32।।६१।। [ आगमस्थः स्वरोद्धारः ] वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्। वर्णमात्रा अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥ স

enumeration

p.vol_I_p096

english

conf 0.93

[show source]

Seven dhātus are enumerated as chyle (rasa), blood, flush, fat, bone, marrow, semen

"Monier Williams also enumerates seven dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen"

VIMARŚA 175 61. Like Suśruta, Bh Prak VII, 27 also mentions tvak (skin) as the first dhātu, instead of rasa (chyle) of our text. Monier Williams also enumerates seven dhātus as chyle ( rasa ), blood, flush, fat, bone, marrow, semen; replacing tuak with rasa. 62. The seven minerals are not clear. 63. The number of cakras (psychophysical centres in the human body visualised as circles, cakras or lotuses, padmas) is generally accepted as six, eight or ten (as in SRI, 2. 120-145 ab). ByD has talked of seven sthanas elsewhere ( in the confused reading in the section on Varṇālankāra towards the end of Anu. 84, see textual note no. 20 in that section ); viz. ādhāra, svādhişṭhāna, anāhata, maņipūra, višuddhi, ājñā and brahmarandhra. Out of these, the last one viz. brahma-randhra (cerebral aperture) is not the name of a cakra, rather it is the location of the sahasrāra cakra. These seven names do form part of the ten cakras spoken of in SR in the following locations - Name of Cakra Location 1. Ādhāra In-between the anus and the genitals 2. Svādhişthāna Root of the genitals 3. Manipūra Around the navel 4. Anāhata Heart 5. Visuddhi Throat 6. Ājāā In-between the two eye-brows 7. Sahasrāra Cerebral aperture It is notable that SR associates the production of musical notes with the anāhata, višuddhi and lalanā-( situated in the back of the neck ) cakras alone and not with all the seven listed above. The treatment of cakras in BrD could not be assessed from this stray reference. It is only the number seven that corresponds with the connection of seven cakras with the svaras that the author is trying to establish here. In note 59 above, we have said that the connection of dhaivata with the forehead is not clear. If the seven svaras are connected with the seven sthanas listed above, one by one, then dhaivata being the sixth one could be connected with the viśuddhi cakra located in-between the eye brows. But the location of seven svaras in the seven cakras is not corroborated by any other known text. 64. S R I, 3.55 cd, 56 ab speaks of the origin of svaras in the seven islands as follows- Name of Svara Name of Duipa Sadja Jambū Šāka Rsabha Gändhära Kuśa Madhyama Krauñca Pañcama Sālmalī Dhaivata Sveta Nisāda Puşkara

relation

p.vol_I_p031

sanskrit

conf 0.92

[show source]

There are seven dhātus beginning with rasa that constitute the basis for seven svaras

"यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो रसादयो ज?्ञेया"

44 BRHADDESI प्राप्नोति हृदयं शीघ्रमन्यस्मादृषभः स्मृतः। स्त्रीगवीषु यथा तिष्ठन् विभाति ऋषभो महान्।। स्वरग्रामे समुत्पन्नः स्वरोऽयमृषभस्तथा ॥५६॥ वाचं गानात्मिका धत्त इति गान्धारसंज?्ञकः। स्वराणा मध्यमत्वाच्च मध्यमः स्वर इष्यते।।५७॥ स्वरान्तराणा विस्तारं यो मिमीते स पञ्चमः। पाठक्रमेण गणने संख्यया पञ्चमोऽथवा।।५८।। धीरस्यास्तीति धीमांस्तत्सम्बन्धी धैवतः स्मृतः । यद्वा २१षष्ठस्थाने धृतो यस्मात्तेनासौ धैवतो मतः॥५९॥ पञ्चमेन 30•त्ततोऽसी ललाटे धैवत इत्यर्थः। निषीदन्ति स्वरा सर्वे निषादस्तेन कथ्यते।।६०॥ [ स्वराणा सप्तसंख्यानियमः ] [ अनु. २९ ] 31 ननु कथं सप्त स्वरा इति नियमः ? उच्यते— यथा सप्तधात्वाश्रितत्वेन सप्तैव धातवो रसादयो ज?ेया । तथा चाह सुश्रुतः — 'त्वगसृङ्मांसमेदोऽस्थिमज्ज?ाशुक्राणि धातवः' । इति। तथा सप्तचक्राश्रितत्वेन सप्तद्वीपाश्रितत्वेन वा सप्तैव स्वरा इति। स्वरजातयः ] चतुःश्रुतिस्वरा विप्रास्त्रिश्रुती क्षत्रियौ मतौ। वैश्यौ द्विश्वतिकौ ज?्ञेयौ शूद्रौ चान्तरकौ स्वरौ 32।।६१।। [ आगमस्थः स्वरोद्धारः ] वर्गाष्टकं तु सम्प्राप्य अकारादियशान्तकम्। वर्णमात्रा अन्समायुक्तमुद्धरेत् स्वरसप्तकम् ॥६२॥ স

dhātus technical_term

Generative rules (2) ↗ filter all

Pseudocode (DSL v1.1) ↗ full DSL (raw text)

Graph relations

Outgoing (7)

Incoming (5)

Affirmations (6)