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Accordingly, “Dardara, paṇava and mṛdaṅga are played with various karaṇas, and this playing combined with tāla, limbs and flutes is called Sama”.Ģa) Samā (समा, “natural”) refers to a specific gesture ( āṅgika) made with the neck ( grīvā), according to the Nāṭyaśāstra chapter 8. They are attached to the songs of seven forms, although not generally used in the dhruvās.Īccording to the Nāṭyaśāstra, “ sama is that in which a note repeats itself in the same pitch and is equal in all parts”.ġj) Sama refers to one of the twenty prakāras: rules used in the playing of drums ( puṣkara) according to the Nāṭyaśāstra chapter 33. These alaṃkāras, or, ‘embellishments of song’, depend upon the four types of varṇas, which refers to a specific order of musical notes ( svara). It is the posture in deep sleep”.ġh) Sama (“even”) refers to a class syllabic metres ( vṛtta), of which all the pādas (‘feet’) are similair according to the Nāṭyaśāstra chapter 15.ġi) Sama refers to one of the thirty-three alaṃkāras (embellishments), according to the Nāṭyaśāstra chapter 29.
#The sama veda free
Instructions: “lying down with the face upwards and the hands free and turning downwards is called the sama posture. Uses: “it should be kept still in representing the natural position of the body in connexion with the various Karaṇas, but in the Recaka movement of the feet it should be moved”.ġg) Sama.-A type of lying-down posture ( śayana) it is a Sanskrit technical term defined in the Nāṭyaśāstra chapter 12. It relates to representing a natural posture”. Instructions: “feet naturally placed on an even ground. The feet are one of the six major limbs ( aṅga) used to perform certain gestures ( āṅgika). Instructions: “all the limbs being in the Caturasra and with Sauṣṭhuva the breast will be called sama (natural)”.ġf) Sama (“natural”).-A specific ‘movement of the feet’ ( pāda), according to the Nāṭyaśāstra chapter 10. The breast is one of the six major limbs ( aṅga) used to perform certain gestures ( āṅgika). Uses: “in a natural position”.ġe) Sama (“natural”).-A specific gesture ( āṅgika) made with the breast ( uras), according to the Nāṭyaśāstra chapter 10. Instructions: “when (the two lips) slightly parted from each other”. Uses: “in the remaining conditions”.ġd) Sama.-A specific gesture ( āṅgika) made with the chin ( cibuka), according to the Nāṭyaśāstra chapter 8. Instructions: “as (cheeks are) by nature”. Accordingly, the instructions for this glance are: “the eyeballs are in a level position and at rest”.ġc) Sama.-A specific gesture ( āṅgika) made with the cheeks ( kapola or gaṇḍa), according to the Nāṭyaśāstra chapter 8. Gestures form a part of the histrionic representation ( abhinaya).ġb) Sama.-A type of glance ( dṛṣṭi), defined in the Nāṭyaśāstra chapter 8. Instructions: “eyelids in a natural position”. These gestures ( āṅgika) of the eyelids ( puṭa) are supposed to follow the corresponding movements of the eyeballs ( tārā). Source: Wisdom Library: Nāṭya-śāstraġa) Sama (सम, “level”) refers to a specific gesture ( āṅgika) made with the eyelids ( puṭa), according to the Nāṭyaśāstra chapter 8. Accordingly, “even ( sama) means that there is no unevenness in the melodic lines ( varṇa), the registers ( sthāna) and in the speeds ( laya)”. The Saṅgītaśiromaṇi (“crest-jewel of music”) is a 15th-century Sanskrit work on Indian musicology ( gāndharvaśāstra).
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Sama (सम, “even”) refers to one of the ten good qualities ( guṇa) of a song ( gīta), according to the Saṅgītaśiromaṇi 14.75-76, where they are commonly known as the gītaguṇa. Sama in Natyashastra glossary Source: Wisdom Library: Saṅgītaśiromaṇi