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The Illustrated Encyclopedia of Hindusim vol 2

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Vyas<br />

Vyakarana<br />

(“analysis”) One <strong>of</strong> the six Vedangas.<br />

<strong>The</strong>se were the auxiliary branches <strong>of</strong><br />

knowledge connected with the Vedas,<br />

the oldest Hindu religious texts, and all<br />

the Vedangas were associated with the<br />

use <strong>of</strong> the Vedas. In its essence,<br />

vyakarana is the study <strong>of</strong> Sanskrit grammar,<br />

which was obviously essential to<br />

understanding the Vedic texts (which<br />

were written in Sanskrit). Vyakarana’s<br />

role as the gatekeeper to the Sanskrit<br />

language made grammar the queen<br />

<strong>of</strong> the traditional learned sciences,<br />

and in many contexts it is what is<br />

meant by the term vidya (“knowledge”).<br />

Aside from vyakarana, the other<br />

Vedangas are shiksha (correct pronunciation),<br />

chandas (Sanskrit prosody),<br />

kalpa (ritual instructions), nirukta<br />

(etymology), and jyotisha (auspicious<br />

times for sacrifices).<br />

Vyakhyana (“teaching”) Mudra<br />

In Indian dance, sculpture, and ritual, a<br />

particular symbolic hand gesture<br />

(mudra), in which the tips <strong>of</strong> the thumb<br />

and index finger are touching, with the<br />

rest <strong>of</strong> the fingers extended, and the<br />

palm facing the viewer. This is the hand<br />

gesture used to signify explanation or<br />

exposition; for this reason, it is also<br />

known as the sandarshana (“expositing”)<br />

mudra. Since the teaching gesture<br />

indicates a person <strong>of</strong> higher spiritual<br />

attainment, it is also known as the chin<br />

(“consciousness”) mudra.<br />

Vyana<br />

In traditional Indian physiology, one <strong>of</strong><br />

the five bodily “winds” considered to be<br />

responsible for basic bodily functions,<br />

the others being prana, apana, udana,<br />

and samana. Unlike all the others,<br />

which are given specific locations in the<br />

body, the vyana wind is believed to pervade<br />

throughout the body, to keep<br />

things moving and mixed together.<br />

A vyas, or stage director, at a performance<br />

<strong>of</strong> the Ram Lila, Bombay.<br />

Vyapti<br />

(“pervasion”) In classical Indian philosophy,<br />

vyapti is the key condition determining<br />

the validity <strong>of</strong> an inference<br />

(anumana). <strong>The</strong> accepted form <strong>of</strong> an<br />

inference has three terms: An assertion<br />

(pratijna) containing the thing to be<br />

proved, a reason (hetu) containing<br />

evidence to support the assertion, and<br />

supporting examples (drshtanta). In<br />

the stock example “there is fire on<br />

the mountain, because there is smoke<br />

on the mountain,” the assertion is<br />

that there is fire, and the reason is that<br />

there is smoke—with the underlying<br />

assumption that smoke invariably<br />

accompanies fire. In a valid inference,<br />

the reason accounts for every case <strong>of</strong><br />

the thing to be proven; vyapti, or pervasion,<br />

is the term for this invariable<br />

association between cause and effect.<br />

For further information see Karl H.<br />

Potter (ed.), Presuppositions <strong>of</strong> India’s<br />

Philosophies, 1972.<br />

Vyas<br />

In the traditional Ram Lila (name given<br />

to any public dramatic presentation <strong>of</strong><br />

the Ramayana, the earlier <strong>of</strong> the two<br />

great Hindu epics), vyas is the name<br />

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