Nadanta, Nadantā, Nādānta, Nada-anta: 2 definitions
Introduction:
Nadanta means something in Hinduism, Sanskrit, Buddhism, Pali. 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.
In Hinduism
Shaktism (Shakta philosophy)
Source: Google Books: Manthanabhairavatantram1) Nādānta (नादान्त) refers to the “end of sound”, according to Kṣemarāja in his commentaries on the Netratantra and the Svacchandabhairavatantra, which is well known to the Kubjikā Tantras.—The ‘End of Sound’ (nādānta) corresponds to the stage in which Sound dissolves into Energy, which is the following stage and the point of entry into the principle of Power (śaktitattva). It is said to be like the final resonance (anuraṇana) of a bell that can be faintly distinguished just before the sound of it ceases completely. It is also said to be like the sound of running water because, even though there is no physical sound, the ‘resonance’ of the energy of consciousness is rapid and indistinct. At this stage Śiva has a global consciousness of the universe that resides within Him, and is pervaded by the evanescent vibration of the End of Sound. Here the unity of the aggregate of phonemic energies, made manifest as the End of Sound, is full of the power of the supreme form of Speech from which it issues forth.
2) Nādānta (नादान्त) refers to the “end of sound” and represents one of the seventeen stages of the rise of kuṇḍalinī, according to Abhinavagupta as drawn from the Devyāyāmala.—Cf. The seventeen syllables [i.e., saptadaśākṣara] of Mantramātā.—[...] These seventeen units [are] to be arranged in as many locations along the axis of the subtle body, [as was] clearly known to Abhinava. Thus he presents an ascending series marking the stages of the rise of Kuṇḍalinī, the highest stage of which is that of the ‘Pure Self’ heralded by the Transmental just below it. In this set-up, drawn by Abhinavagupta from the Devyāyāmala, there are seventeen stages. These are [e.g., the End of Sound (nādānta), ...].
Jayaratha quotes this [Devyāyāmala] Tantra as a source of [Kālasaṃkarṣiṇī’s] Vidyā consisting of seventeen syllables. As the Devyāyāmala tells us that these places are related to the recitation of mantra, we may conclude that the seventeen syllables are contemplated in these seventeen places [e.g., End of Sound (nādānta)]. Accordingly, the Wheel of the Self can be said to be at the end of (i.e. after) the sixteen [i.e., ṣoḍaśānta].
3) Nādānta (नादान्त) refers to the “end of sound”, representing one of the “sixteen stations of the ascent of kuṇḍalinī”, according to the Manthānabhairavatantra, a vast sprawling work that belongs to a corpus of Tantric texts concerned with the worship of the goddess Kubjikā.—Accordingly, “[...] (11) And above that is the End of Sound [i.e., nādānta] that abides as tranquillity (nirācāra). It is barely a subtle measure (kiñcinmātramātra), and is (brilliant) like pure crystal. [...] (Perfect) contemplation (samādhi) is with (these) sixteen aspects and is (attained) within the form of the sixfold deposition (ṣoḍhānyāsa). He who knows this is (a veritable) Lord of Yogis, the others (who do not) are (just) quoting from books. Once attained the plane that is Void and Non-void, the yogi is freed from bondage”.
Shakta (शाक्त, śākta) or Shaktism (śāktism) represents a tradition of Hinduism where the Goddess (Devi) is revered and worshipped. Shakta literature includes a range of scriptures, including various Agamas and Tantras, although its roots may be traced back to the Vedas.
Languages of India and abroad
Pali-English dictionary
Source: BuddhaSasana: Concise Pali-English Dictionarynadantā : (pr.p. of nadati) roaring; making a noise.
Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.
See also (Relevant definitions)
Ends with: Accutavarnadanta, Bhagnadanta, Dalanadanta, Ghanadanta, Hinadanta, Krishnadanta, Rugnadanta, Sampannadanta, Shirnadanta, Vishirnabandhanadanta.
Full-text (+44): Natantam, Nada, Tisravva, Ghorataravva, Aghoranayika, Shridhara, Shushkangi, Kusumayudha, Duracara, Ghoraraktakshi, Shashankin, Kalavrishti, Candaksha, Vishveshvara, Shantika, Bhasuranana, Rohini, Vilamba, Kamari, Dhvankshi.
Relevant text
Search found 9 books and stories containing Nadanta, Nadantā, Nādānta, Nada-anta, Nāda-ānta; (plurals include: Nadantas, Nadantās, Nādāntas, antas, āntas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
Chapter 4.3 - (f) The transcendental and immanent Dance < [Volume 2 - Nampi Arurar and Mythology]
Chapter 4.3 - (c) Sculptures of Shiva and Dance < [Volume 2 - Nampi Arurar and Mythology]
Chapter 4.3 - (b) The seven Tandava Dances of Shiva < [Volume 2 - Nampi Arurar and Mythology]
Cidgaganacandrika (study) (by S. Mahalakshmi)
Verse 183 [Cidānandamayī Śakti enfolds the projection in one’s Self] < [Chapter 4 - Fourth Vimarśa]
Forms of Praṇava < [Chapter 4 - Fourth Vimarśa]
Verse 45 [Gocarī—the external body] < [Chapter 2 - Second Vimarśa]
The Skanda Purana (by G. V. Tagare)
Chapter 3 - Mārkaṇḍeya’s Further Query < [Section 3b - Arunācala-khaṇḍa (Uttarārdha)]
Shat-cakra-nirupana (the six bodily centres) (by Arthur Avalon)
Later Chola Temples (by S. R. Balasubrahmanyam)
Temples in Melaperumballam < [Chapter IV - Temples of Vikrama Chola’s Time]
Early Chola Temples (by S. R. Balasubrahmanyam)
Bronze, group 2: Age of Aditya I (a.d. 871-907) < [Chapter XI - Sculpture]