1) Sound, echo, noise in general; मृदङ्गधीरध्वनिमन्वगच्छत् (mṛdaṅgadhīradhvanimanvagacchat) R.16.13;2.72;4.72; U.6.17. शब्दो ध्वनिश्च वर्णश्च मृदङ्गादिभवो ध्वनिः (śabdo dhvaniśca varṇaśca mṛdaṅgādibhavo dhvaniḥ) Bhāṣa. P.; स्फोटस्य ग्रहणे हेतुः प्राकृतो ध्वनिरिष्यते (sphoṭasya grahaṇe hetuḥ prākṛto dhvaniriṣyate) Vāk. P.
2) Tune, note, tone; Śi.6.48.
3) The sound of a musical instrument; R.9.71.
4) The roar or thunder of a cloud.
5) A mere empty sound.
6) A word.
7) Hint, implied meaning.
8) (In Rhet.) The first and best of the three main divisions of काव्य (kāvya) or poetry, in which the implied or suggested sense of a passage is more striking than the expressed sense; or where the expressed sense is made subordinate to the suggested sense; इदमुत्तममतिशयिनि व्यङ्ग्ये वाच्याद् ध्वनिर्बुधैः कथितः (idamuttamamatiśayini vyaṅgye vācyād dhvanirbudhaiḥ kathitaḥ) K. P.1. (R. G. gives 5 kinds of dhvani; see under dhvani).
Derivable forms: dhvaniḥ (ध्वनिः).
Source: DDSA: The practical Sanskrit-English dictionary
(-niḥ) 1. Sound. 2. Figurative or poetical style. 3. The sound of a drum. E. dhvan to sound, in aff.
Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family. Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Discover the meaning of dhvani in the context of Sanskrit from relevant books on Exotic India
Starts with: Dhvanigraha, Dhvaninala, Dhvanita, Dhvanivikara.
Ends with (+8): Adhvani, Anudhvani, Anuhatadhvani, Artadhvani, Brihaddhvani, Dharadhvani, Gabhiradhvani, Gadgadadhvani, Ghanadhvani, Jatakadhvani, Jayadhvani, Kaladhvani, Karunadhvani, Kroshadhvani, Madhuradhvani, Mandakaladhvani, Mangaladhvani, Nanadhvani, Pavanadhvani, Prakritadhvani.
Full-text (+25): Pavanadhvani, Dhvanigraha, Kroshadhvani, Nanadhvani, Dhvanivikara, Pratidhvani, Kaladhvani, Jayadhvani, Jatakadhvani, Shankoddhara, Dhuni, Ramathadhvani, Gabhiradhvani, Shrama, Karunadhvani, Gadgadadhvani, Vaitanda, Artadhvani, Mangaladhvani, Dhvaninala.
Search found 18 books and stories containing Dhvani, Dhvanī; (plurals include: Dhvanis, Dhvanīs). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Brihad Bhagavatamrita (by Śrīla Sanātana Gosvāmī)
Verse 2.1.90 < [Chapter 1 - Vairāgya: Renunciation]
The Tattvasangraha [with commentary] (by Ganganatha Jha)
Verse 867-868 < [Chapter 16 - Examination of the Import of Words]
Verse 2494 < [Chapter 24b - Arguments against the reliability of the Veda (the Revealed Word)]
Maha Prajnaparamita Sastra (by Gelongma Karma Migme Chödrön)
III. Although non-existent, the Bodhisattva merits special praises < [Part 1 - Winning the praises of the Buddhas]
Jātaka of the deer who sacrificed himself < [Part 1 - Mahāyānist list of the eighteen special attributes of the Buddha]
Jātaka of the red fish < [Part 2 - Hearing the twelve-membered speech of the Buddha]
+ 4 more chapters / show preview
Sri Bhakti-rasamrta-sindhu (by Śrīla Rūpa Gosvāmī)
Verse 2.4.233 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
Verse 3.3.83 < [Part 3 - Fraternal Devotion (sakhya-rasa)]
Verse 2.4.66 < [Part 4 - Transient Ecstatic Disturbances (vyābhicāri-bhāva)]
The backdrop of the Srikanthacarita and the Mankhakosa (by Dhrubajit Sarma)
Part 1 - Sanskrit kāvya and its definitions < [Chapter I - Introduction]
Part 2 - Rasa or the sentiment < [Chapter III - Literary Assessment Of The Śrīkaṇṭhacarita]
Chapter VI - Conclusion
The Padma Purana (by N.A. Deshpande)
One hundred and eight (108) names of Sāvitrī < [Section 1 - Sṛṣṭi-khaṇḍa (section on creation)]
Click here for all 18 books
Item last updated: 25 February, 2020
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The Cosmic Leela
The theme of cosmic lila is presented through categories such as Brahman - the origin of the cosmos, and its evolution through the concepts of shabda - the word, dhvani - the sound, nama - the name and rupa - the form.
Tulsidas uses the image of Manas or Mind Lake to expound his text. It has four ghats from which you can dive deep into this Mind Lake. The act of diving produces vibrations and ripples. Radiations are then sent up these ghats. Building up on this image, the exhibition “Leela” builds itself around two inseparable aspects – the non-manifest and undifferentiated Supreme Consciousness and its manifest form, the lila.
The first ripple in the Lake gives rise to shabda, the word; the word acquires vibration and manifests as dhvani– sound − oral and aural. Sound then translates itself into form and akara appears; combines with the nama and rupa, and lila becomes manifest in its full glory. Through this lila the supreme consciousness makes itself knowable as grace; beholding this grace the seeker transcends the known and the knowable. The universe of names and forms ceases and once again the lila dissolves into the Supreme Void, the Unfathomable Brahman.