citra technical_term

Dictionary: not in dictionary · Pages: 10 · Occurrences: 10 · Affirmations: 2 · Graph degree: 8 (in 4, out 4)

Variants (2): citra (8), Citra (2)

Generative rules (2) ↗ filter all

citra_marga_kala_duration assignment · 1 att.
The citra mārga has a kalā duration of 2 mātrās.
citra_purvaranga_with_dance definition · 1 att.
Citra is a variety of pūrvaraṅga which has dance as a component, distinguished from śuddha (which lacks dance).

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

RULE id: citra (cluster 37)
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 (4)

--[structural]--> Kalā (1)--[definition]--> pūrvaranga (1)--[structural]--> mārga (1)--[structural]--> mātrās (1)

Incoming (4)

citra mārga --[enumeration]--> (1)citra mārga --[relation]--> (1)Pañcapāṇi --[relation]--> (1)mārga --[enumeration]--> (1)

Affirmations (2)

definition

p.vol_II_p162

english

conf 0.94

[show source]

Citra is a variety of pūrvaranga which has dance as one of its components, distinguished from śuddha which lacks dance

"Citra (lit. variegated) is a variety of pūrvaranga which has dance also as one of its components; the one devoid of dance being called śuddha (lit. pure )"

VIMARŚA 307 52. The word gamaka seems to stand for shake here. 53. Dānavīra is one of the four varieties of vīra, the other three being dharmavīra, yuddhavīra and dayāvīra. 54. The import seems to be that śuddha-bhinna has an independent form and that it is not the modified form of a suddharaga. 55. Here the distinction of a bhinna raga is established only on the basis of giti or distinctive tonal rendering. 56. Syasthāna is a word used in SR III.140 and III.191-192 in the context of sthāya and ālapti respectively; it stands for the sections of rāgālapti formed on the basis of the units of tonal range within an octave, the first unit being formed in the range from the tonic and from below it upto the svara preceding the fourth, the second unit touching the fourth, the third reaching below the octave and the fourth touching the octave. 57. 'Leaving the svasthana' seems to imply that the lower register will be used in this rāga, as distinct from śuddhakaiśika which is performed with tāra svaras. Here svasthāna does not seem to signify the units of tonal range described in note 56 above, rather it appears to mean ' the own sthana or register' of a raga. 58. "Niṣāda taking up the two śrutis of pañcama" is a prima facie fallacious statement because pañcama is not adjacent to niṣāda. But there could be a hidden meaning, taking the two grāmas together, as follows - Şadjagrāma sa - ri- antaraga - ma - pa - dha - ni. Madhyamagrāma ma - pa - dha - ni - sa - ri - ga. Niṣāda of madhyamagrāma is adjacent to pañcama of ṣadjagrāma. The above statement could be valid in terms of the two grāmas taken together. 59. The 'omission' of pancama comprised of three śrutis in ṣaḍjagrāma actually means that this pañcama is not admissible in ṣaḍjagrāma. 60. 'Mature' karuṇa rasa is a notable expression. 61. Our text mentions ohāṭī for the second time here. SR (II.1.4,5) also mentions it while describing the gaudi gita and defines it as the "Sound combining 'ha' and 'o' produced b, placing the chin on the chest." 62. There is a striking contradiction between the viniyoga or application in terms of śringāra and the rasas mentioned separately, viz. bībhatsa and bhayānaka that are incompatible to śṛṅgāra. 63. Here again the viniyoga is given in terms of karuņa and the rasa is mentioned as vīra in accordance with the aṁśa that is ṣaḍja. 64. 'Rāga' is another name for vesarā gīti; this alternative name is also mentioned in later texts like SR II.1.6. The basis of this alternative name as cited in the name of Kasyapa seems to be that the ragas that are not

structural

p.vol_I_p103

english

conf 0.92

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Citra is a marga with kalā duration of 2 mātrās

"Duration of kalā Name of marga 2 mātrās 1. Citra"

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