Emotion: 2 definitions
Introduction:
Emotion means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
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In Hinduism
Natyashastra (theatrics and dramaturgy)
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)1) Emotions, Feelings, and Expressions (in Sanskrit drama) are conveyed through S膩tvik膩bhinaya, which represents one of the four divisions of Abhinaya or 鈥渨ays to convey or represent one鈥檚 emotion to others鈥� (in Sanskrit Drama), according to the Vi峁ａ箛udharmottarapur膩峁嘺, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.鈥擲膩tvik膩bhinaya that deals with the feelings, emotions and expressions, conveyed by the actors. Flow of tears, horripilation, sweating, throbbing of heart and faultering speech come under the 蝉腻迟惫颈办腻产丑颈苍补测补. It is important to note here that in the N膩峁瓂a艣膩stra the word 产丑腻惫补产测补帽箩补办补 is used for the 蝉腻迟惫颈办腻产丑颈苍补测补. When the inner ideas of a dramatist are expressed by means of words, gestures, facial expressions and the representation of sattva, those are called 产丑腻惫补蝉. [...]
2) Emotion is associated with Dol膩-hasta: one of the thirteen Combined-hand Gestures (in Indian Dramas) (known as 蝉补峁儁耻办迟补丑补蝉迟补蝉).鈥擜ccording to the 艢abdakalpadruma, 诲辞濒腻 means a kind of swing playing stuff, generally stays in gardens and made with wood. When both of the hands are hanging downward in 辫补迟腻办补 posture it is called 诲辞濒腻. [...] In the N膩峁瓂a艣膩stra, the 诲辞濒腻hasta posture is said to indicate rush, grief, faint, fit of intoxication, emotion, illness and hit by weapon.
Natyashastra (啶ㄠぞ啶熰啶ざ啶距じ啷嵿い啷嵿ぐ, 苍腻峁瓂补艣腻蝉迟谤补) refers to both the ancient Indian tradition (shastra) of performing arts, (natya鈥攖heatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
Shilpashastra (iconography)
: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (shilpa)Emotions (i.e., Emotional expressions) are an important part of a Painting, as conveyed through the term known as Bh膩va, which represents one of the six limbs of Painting (citra), according to the K膩mas奴tra and Vi峁ａ箛udharmottarapur膩峁嘺, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.鈥擳he third kind of limbs called 产丑腻惫补 is associated with the emotional disposition of a Painting. Bh膩va i.e., emotional expression is very important to enhance the beauty of a portrait. In the Vi峁ａ箛udharmottarapur膩峁嘺, the necessity of emotional expression through the delineation of sentiments in a Painting is taken into consideration and it is elaborately discussed in the 43rd chapter of the third part of the book.
Shilpashastra (啶多た啶侧啶ざ啶距じ啷嵿い啷嵿ぐ, 艣ilpa艣膩stra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
See also (Relevant definitions)
Starts with: Emotional disposition, Emotional experience.
Full-text (+1188): Bhavodaya, Bhava, Bhavabhasa, Bhavasandhi, Manovikara, Rasa, Kshobha, Vikara, Anubhava, Cittavritti, Avesha, Bhavapradhana, Bhavashunya, Bhavashanti, Bhavanatmaka, Vibhava, Sphurita, Samavesha, Bhavapurna, Raga.
Relevant text
Search found 360 books and stories containing Emotion, Emotions; (plurals include: Emotions, Emotionses). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
A Simple Guide to Life (by Robert Bogoda)
Bhakti-rasayana by Madhusudana Sarasvati (by Lance Edward Nelson)
Part 2 - The Theory of Rasa < [Chapter 6 - Bhakti and Sanskrit aesthetics]
Part 19 - The Explanation According to Samkhya < [Chapter 7 - First chapter of Bhakti-rasayana鈥擡nglish translation]
Part 3 - Religious Application of the Rasa Theory < [Chapter 6 - Bhakti and Sanskrit aesthetics]
Shurangama Sutra (with commentary) (English) (by Hsuan Hua)
The internal aspect belongs to emotion and so causes one to fall < [Chapter 4 - The Seven Destinies]
The Tathagata reveals the confusion and teaches Ananda to be on guard < [Chapter 5 - Hearing is Not Sound]
The Seven Destinies (introduction) < [Chapter 4 - The Seven Destinies]
Agni Purana (by N. Gangadharan)
Chapter 339 - Description of the sentiments, emotions, hero etc. (rasa)
Chapter 342 - Definition of dramatic representation (abhinaya)
Chapter 341 - Description of the actions and movements of the limbs
International Ayurvedic Medical Journal
Conceptual study of pranayama as alteration process of marma < [2016, Issue I January]
An analysis on mental wellbeing and dance practice w.s.r to indian classical dance forms < [2021, Issue 1, January]
Physiological understanding of krodha (anger) - a review article < [2019, Issue 8, August]
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