འཇོ་: Difference between revisions
Jump to navigation
Jump to search
mNo edit summary |
mNo edit summary |
||
| Line 1: | Line 1: | ||
{{Dictkey|འཇོ།}} ([[Wyl.]] '''jo '') {{Color|#808080|''Pron.:'' jo}} | {{Dictkey|འཇོ།}} ([[Wyl.]] '''jo '') {{Color|#808080|''Pron.:'' jo}} | ||
* ''Skt.'' लास्यम्, lāsya, {{Color|#006060|''Pron.:'' lasya}}. From {{Color|#006060|''Sanskrit:''}} dancing, a dance (•esp. accompanied with instrumental music and singing), a dance representing the emotions of love dramatically (this was at one time a principal part of the drama, and as such | to Bharata and the Daśa-rūpa consisted of 10 divisions or Añgas, viz. | or | or | and | including also a style of dramatic composition in which there is abrupt transition from Sanskṛit to Prākṛit and from Prākṛit to Sanskṛit | the term | is also applied to the Nāch [Nautch] dance of the Indian dancing girls, consisting chiefly of gesticulation with a shuffling movement of the feet forwards and backwards, as invented by Pārvati and opposed to the boisterous masculine dance called Tāṇḍava practised by Śiva and his followers | a dancer | N. of a king {{Context|[[:Category:Mahavyutpatti|Mahavyutpatti]]}} {{Context|[[:Category:Sanskrit|Sanskrit]]}} {{Dictref|[[MVP]]}} {{Dictref|[[MW]]}} | * ''Skt.'' लास्यम्, lāsya, {{Color|#006060|''Pron.:'' lasya}}. From {{Color|#006060|''Sanskrit:''}} dancing, a dance (•esp. accompanied with instrumental music and singing), a dance representing the emotions of love dramatically (this was at one time a principal part of the drama, and as such | to Bharata and the Daśa-rūpa consisted of 10 divisions or Añgas, viz. | or | or | and | including also a style of dramatic composition in which there is abrupt transition from Sanskṛit to Prākṛit and from Prākṛit to Sanskṛit | the term | is also applied to the Nāch [Nautch] dance of the Indian dancing girls, consisting chiefly of gesticulation with a shuffling movement of the feet forwards and backwards, as invented by Pārvati and opposed to the boisterous masculine dance called Tāṇḍava practised by Śiva and his followers | a dancer | N. of a king {{Context|[[:Category:Mahavyutpatti|Mahavyutpatti]]}} {{Context|[[:Category:Sanskrit|Sanskrit]]}} {{Dictref|[[MVP]]}} {{Dictref|[[MW]]}} | ||
[[Category:Mahavyutpatti]][[Category:Sanskrit]][[Category:Monier-Williams]] | [[Category:Tibetan-English Dictionary]][[Category:Mahavyutpatti]][[Category:Sanskrit]][[Category:Monier-Williams]] | ||
Revision as of 21:54, 13 March 2011
འཇོ། (Wyl. 'jo ) Pron.: jo
- Skt. लास्यम्, lāsya, Pron.: lasya. From Sanskrit: dancing, a dance (•esp. accompanied with instrumental music and singing), a dance representing the emotions of love dramatically (this was at one time a principal part of the drama, and as such | to Bharata and the Daśa-rūpa consisted of 10 divisions or Añgas, viz. | or | or | and | including also a style of dramatic composition in which there is abrupt transition from Sanskṛit to Prākṛit and from Prākṛit to Sanskṛit | the term | is also applied to the Nāch [Nautch] dance of the Indian dancing girls, consisting chiefly of gesticulation with a shuffling movement of the feet forwards and backwards, as invented by Pārvati and opposed to the boisterous masculine dance called Tāṇḍava practised by Śiva and his followers | a dancer | N. of a king [Mahavyutpatti] [Sanskrit] MVP MW