pūrņasvaratā technical_term

Dictionary: not in dictionary · Pages: 2 · Occurrences: 2 · Affirmations: 2 · Graph degree: 2 (in 0, out 2)

Variants (2): pūrņasvaratā (1), pūrņasvarā (1)

Generative rules (2) ↗ filter all

R_721_sadjakaisiki_purnasvara definition · 1 att.
ṣaḍja-kaiśikī is pūrṇasvarā: contains all svaras with no omission
R_2189_001 relation · 1 att.
Nigraha associated with pūrṇasvaratā (complete use of svaras)

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

RULE id: pūrņasvaratā (cluster 2189)
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 (2)

--[relation]--> nigraha (1)--[relation]--> svaras (1)

Incoming (0)

none

Affirmations (2)

definition

p.vol_II_p021

english

conf 0.94

[show source]

ṣaḍja-kaiśikī is characterized as pūrņasvarā, meaning it contains all complete svaras with no omission

"And this (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. there is no omission)."

٠. 25 TRANSLATION Ārṣabhī has niṣāda, ṛṣabha and dhaivata as amsas. The ṣāḍava and auḍuvita (forms) come into being by the omission of sadja and (sadja) pañcama respectively. (213) In dhaivatī, ṛṣabha and dhaivata have been spoken of as amśas by the gurus. These two alongwith madhyama are apanyāsas and the two(ṣāḍava and auduvita) are, as spoken of before, (in ārṣabhī) through the respective omission of (ṣaḍja and ṣaḍja-pañcama). (214) In niṣādavatī (or naiṣādī), the svaras having two śrutis each (viz. gāndhāra, niṣāda) alongwith ṛṣabha are the amśas. The rest is as in dhaivatī, the nyāsa is the svara (niṣāda) from which this jāti derives its name. (215) In ṣaḍja-kaiśikī, ṣaḍja, gāndhāra and pañcama are aṁśas and they themselves are the apanyāsas, adding niṣāda and omitting gāndhāra. (216) Rṣabhais of sparse usage and gāndhārais desired to be the nyāsa. And this (jāti) is said by the ācāryas to be always pūrņasvarā (with complete svaras i.e. there is no omission). (217) Şadjodicyavatī is (formed) with şadja, madhyama, dhaivata and niṣāda as amśas, sadja and dhaivata should be known as two apanyāsas. (218) It is devoid of ṛṣabha and if two (svaras) have to be omitted then it is devoid also of pañcama. There is the abundance of mandra gandhara and madhyama is the nyāsa. (219) Şadja-madhyamā has all the svaras as aṁśa and its nyāsa is on the two svaras from which it derives its name (viz. şadja and madhyama). Nişāda and gāndhāra are the two svaras that bring about hīnatva (the state of being bereft i.e. the omission of niṣāda brings about its ṣāḍava form and that of niṣāda, gāndhāra, its audava form). (220) The sañcara (to and fro movement of svaras) is left to one's will, it has to be so as not to violate the grāma.41 These seven are in sadja-grāma, the remaining (eleven) are the jātis of madhyama (grāma). (221)

relation

p.vol_I_p099

english

conf 0.92

[show source]

Nigraha is associated with pūrņasvaratā, meaning complete use of svaras

"nigraha is associated with pūrņasvaratā (complete use of svaras)"

181 VIMARŚA is also used. This is how the distinction brought about by mandra and tara could be understood. Abhi Bhā on NŚ XXVII, p. 27 also seems to support this view. 48. 'Sukha' has been translated here as convenience or it could be rendered as facility. The facility of the performer and listener is said here to be the objective of the distinction between mūrchanā and tāna. NŠ and Abhi Bhā have the reading 'nānātva' which means variety of mūrchanā and tāna, but since our author has tried to distinguish between murchana and tana, we have accepted the reading anyatvam which means distinction (see note 78 under textual notes on the section ). In NS mūrchanā-tāna is also a compound name for the 84 tānas. BṛD does not use this compound and emphasises the distinction between the two; viz. mūrchanā and tāna. Brahaspati has commented on the reading 'variety' ( nānātvam ) of NŠ and said that the variety of murchana and tana accords facility to the performer by making possible the use of three sthanas (registers) and also the omission of svaras (according to a specific system as embodied in the 84 tanas). The distinction between murchana and tana brought out in the reading accepted by us could be construed to mean that mūrchanā as a complete scale in ascending and descending establishes the three sthanas and tana (involving omission) establishes a specific pattern in ascent. It is interesting to note that even today omission of one or two svaras is very effective in the ascent in all those ragas that involve omission in ascent and use the omitted svaras in descent. ( see glossary) 49. Since specific omissions are prescribed for the two grāmas, tāna the result of this specific omission could be said to be the distinguishing feature between the jātis and rāgas of one grāma and the other. 50. This applies to kūļa-tāna where permutation and combination is involved and definite numbering of each variety is effected. Retrieving the number of a given tana (arrangement of a given number of svaras) and retrieving the form of a tana whose number alone is given is known as uddista and nasta respectively. (see glossary) 51, 52. The word tāna-prayoga is being used here to convey two things—in the first instance the number of tanas (permutation of a given number of svaras ) is implied and in the second instance the number of svaras constituting the specific tāna (combination of svaras) is implied. 53, 54, 55 & 56. Krama is a combination of svaras where the original order remains intact and uthrama is a permutation where the original order is changed. The method of obtaining the number of kramas and utkramas of a given-number of svaras is like this—multiply the earlier numbers of a given number, without leaving any number in-between. For example if the number of svaras is six, 1 \times 2 \times 3 \times 4 \times 5 \times 6 = 720 would be the number of kramas and uthramas taken together; the last number of this series viz. 6 is the number of kramas and the remainder viz. 714 is the number of utkramas. 57. 'Māna' could stand here for the measure (length, breadth and the like) of the viņā concerned. For example, kinnarī, the viņā with frets has been described in SRVI,