vārtika technical_term

Dictionary: not in dictionary · Pages: 11 · Occurrences: 11 · Affirmations: 2 · Graph degree: 17 (in 5, out 12)

Variants (2): vārtika (8), Vārtika (3)

Generative rules (1) ↗ filter all

R_c28_vartika relation · 2 att.
vārtika (mārga) = associé à dvikala tāla et sambhāvitā gīti, 24 kalās, durée kalā = 4 mātrās

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

RULE id: vārtika (cluster 28)
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 (11)

--[relation]--> sambhāvitā gīti (2)--[relation]--> Kalā (1)--[structural]--> Kalā (1)--[relation]--> dvikala (1)--[relation]--> mārga (1)--[structural]--> mārga (1)--[structural]--> vṛtti (1)--[relation]--> vārtika mārga (1)--[relation]--> dvikala tāla (1)--[relation]--> tāla (1)--[structural]--> mātrās (1)

Incoming (5)

dvikala --[structural]--> (1)mārga --[enumeration]--> (1)vārtika mārga --[relation]--> (1)vārtika mārga --[structural]--> (1)samagraha --[structural]--> (1)

Affirmations (2)

relation

p.vol_II_p033

english

conf 0.96

[show source]

vārtika mārga is associated with dvikala tāla and sambhāvitā gīti, with 24 kalās

"Dvikala (tāla), vārtika (mārga) and sambhāvitā (gīti) (go together). ... twenty-four in the vārtika (mārga)"

1400 TRANSLATION 49 citra (mārga) there is māgadhī (gīti), with the dvikala (tāla) in the vārtika (mārga) there is sambhāvitā (gīti), with the catuṣkala (tāla) in the dakṣiṇa (mārga) there is pṛthulā (gīti). Vīra, raudra, adbhuta are the rasas. Its application (viniyoga) is (prescribed) in the singing of the naiskrāmiki65 (associated with exit) dhruvā in the first scene (or act). [3. Dhaivati] [Anu. 150] In dhaivati, dhaivata and ṛṣabha are the two grahas and aṁśas. In the śuddhā state, dhaivataitself is the apanyāsa and in the vikrtā state, dhaivata, ṛṣabha and madhyama are the apanyāsas, dhaivata is the nyāsa. The ṣāḍava formation is devoid of pañcama and the auduva formation is devoid of pañcama, șadja. The same two svaras, viz. şadja and pañcama should be made weak and should sometimes be leapt over. The tara is upto five svaras. The mandra is upto the nyāsa66 or upto the svara next to nyāsa. [Anu. 151] It (dhaivatī) is seven-fold. There are seven amśas. Śuddhā (is one), vikṛtās in the complete state are two and ṣāḍava-auḍuva are two each. The mūrchanā beginning with ṛṣabha obtains (in it). Pañcapāṇi is the tāla. Ekakala (tāla), citra mārga and māgadhī gīti (go together). Dvikala (tāla), vārtika (mārga) and sambhāvitā (gīti) (go together). Catuṣkala (tāla), dakṣiṇa (mārga) and pṛthulā (gīti) (go together). The kalās are twelve in the citra (mārga), twenty-four in the vārtika (mārga) and forty-eight in dakṣiṇa (mārga). Vīra, bībhatsa, bhayānaka are the rasas. Its application is (prescribed) in the singing of dhruvā in the first scene (or act). [4. Naisādī] [Anu. 152] In niṣādavatī,67 niṣāda, ṛṣabha and gāndhāra are the grahas and aniśas. Niṣāda, gāndhāra and ṛṣabha are apanyāsas. Niṣāda alone is nyāsa. The ṣāḍava formation is devoid of pañcama and the auduvita formation is devoid of

structural

p.vol_I_p103

english

conf 0.92

[show source]

Vārtika (or vṛtti) is a marga with kalā duration of 4 mātrās

"4 mātrās 2. Vārtika or vṛtti"

VIMARŚA 189 117. Conflict with varna is not easily comprehensible. Perhaps the idea is that whatever pattern is established in an alaṅkāra it should be followed all-through. If varna is taken to stand for syllabic unit, then the conflict and its prohibition become clear. 118. Using an alaṅkāra without a varņa ( melodic movement ) is a contradiction in itself; here also, as above (note 117) the idea seems to be that an alaṅkāra should not be used without establishing a definite pattern. Here varna as a syllabic unit does not seem to be relevant. 119. Abhi Bhā on this ( NŚ XXIX, 45 ) says that four functions of alaṅkāra in relation to varna (the syllabic unit) have been figuratively spoken of as—(i) the alaṅkāra makes the varņa bright or brilliant ( like the moon ), (ii) it 'threads' or connects the varņa (like a river), (iii) it makes the varņa blossom (like a flower on a creeper) and (iv) it makes the varna colourful or delightful (like an ornament on a woman). 120. It is notable that all illustrations begin with sadja and do not extend beyond the tāra şadja. 121-145. All these notes pertain to 'sa' that belongs to tāra-sthāna. Section VII ( Pada-giti ) 1,2,3. Giti literally means song or the act of singing, but here it stands for specific pattern of singing with reference to the text of the song as manifest in its syllabic units (akşara) and metre (chandas). NŠ mentions only these four gītis, but BrD speaks of gītis also in the context of grāma-rāgas. In order to distinguish between these two types of gitis, the first type being related to the rendering of text and the second type being related to the rendering of raga, we have qualified the gitis under reference with pada, and the gitis of raga classification will be qualified with svara or raga. 4. Nivitta lit. means retreated or returned to; in alankāras nivitti means descent (of svaras); here it means repetition. 5. Nivitta lit. means receded or held back as opposed to pravitta meaning proceeded or set forth. Here it means accomplished or completed. 6-11. Three mārgas (lit. paths) are accepted in the ancient tāla-system which represent three 'degrees' of length of a given tāla-cycle, depending on the duration of kalā or standard time-unit, as follows - Duration of kalā Name of marga 2 mātrās 1. Citra 4 mātrās 2. Vārtika or vṛtti 8 mātrās 3. Daksina 12,13,14. Ekakala, dvikala and catuşkala have been equated here with citra, vārtika and dakṣiṇa mārgas respectively. They lit. mean one 'kalā (2 mātrā )-unit, two-kalā (4 mātrā)-unit and four kalā (8 mātrā)-unit. Each of the five tālas of gāndharva have three T 1