vṛtti technical_term

Dictionary: not in dictionary · Pages: 1 · Occurrences: 7 · Affirmations: 1 · Graph degree: 11 (in 10, out 1)

Variants (4): vṛtti (3), vṛttis (2), Vṛtti (1), vrtti (1)

Generative rules (1) ↗ filter all

R_1907_vrtti_enumeration enumeration · 1 att.
three vṛttis = {dakṣiṇā (song-dominant), vṛtti (both), citrā (instrument-dominant)}

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

RULE id: vṛtti (cluster 161)
SCOPE: technical_term family
STATUS: empirical
CONFIDENCE: empirical
PROTECT: false

Essence pseudocode — identity + RECORD. The page citations for each slot value are in the Grammar record table above (audit trail). The full DSL adds ASSERTIONS with verbatim quotes (see Affirmations below) and CITED_RULES (see Graph relations).

Graph relations

Outgoing (1)

--[enumeration]--> dakṣiṇa (1)

Incoming (10)

Bharata --[definition]--> (1)Bharata --[relation]--> (1)vārtika --[structural]--> (1)kaiśikī --[definition]--> (1)mārga --[enumeration]--> (1)ārabhaţī --[definition]--> (1)sāttvatī --[definition]--> (1)sāttvatī --[relation]--> (1)Nāṭyaśāstra --[structural]--> (1)mātrās --[structural]--> (1)

Affirmations (1)

enumeration

p.vol_I_p070

english

conf 0.95

[show source]

Three vrttis exist: dakṣiṇā vrtti, vitti vitti, and citrā vrtti, distinguished by predominance of song, both song and instrument, or instrument respectively

"Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the predominance of 'song' (melody, of both 'song' and instrument)29 and of instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, having the predominance of both is vitti vitti, (and) having the predominance of instrument is citrā vṛtti."

1 123 TRANSLATION Out24 of these, dhruvā is the sounded25 one, sarpiņī moves to the left (side of the performer), Kṛṣṇā is 'gone' (moved) to the right (side of the performer), and vartini is moved downwards, visarjitā is moved outwards (farther from the performer), vikşiptā is curved26 or bent, and patākā moves (179, 180) upwards, (and) patită reaches (touches) the ground. Dhruvakā and sarpiņī (are used) in citra (mārga), in vārtika (mārga) the next two viz. kṛṣṇā and padmini27 are also (used). In dakṣiṇa (mārga) (all the) eight mātrās are known (to be used). (181) (Anu. 108) Daksiņā, vrtti28 and citrā - these three vrttis are understood according to the predominance of 'song' (melody, of both 'song' and instrument)29 and of instrument, (respectively). Having the predominance of 'song' is dakṣiṇā vṛtti, having the predominance of both is vitti vitti, (and) having the predominance of instrument is citrā vṛtti. (Anu. 109) Now he (the author) explains the changing50 predominance (of different temporal components in vittis) brought about by pāņi.51 It has been said — The predominances of tāla,32 giti, laya,33 yati 34 (and) mārga become manifestors35 (rather manifest) according to their own (form) in these (vyttis). In citra (mārga) there is samā 36 yati, druta (fast) laya,57 uparipāņi,38 māgadhī giti and ogha 59 is the limb (avayava). In vārtika (mārga) there is srotogatā 40 yati, madhya laya,41 samapāṇi,42 sambhāvitā gīti and anugata45 is the limb. Similarly, in dakṣiṇa (mārga) is gopucchā yati,44 vilambita45 (lit. prolonged, here slow) laya, avapāņi,46 pṛthulā gīti and tattya is the limb. (Anu. 110) The vādya (presentation on instruments) should be done with sama, atīta and anagata grahas. Out of them, in citra (vytti) there is anagata graha. In vytti (vytti) there is sama graha, in daksiņā vytti there is atīta graha. The combination 110