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Search manuscript block (Newari) for >> bha-va as a complete word
 
The Lexicon contains 97 instances of bha-va as a complete word
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manuscript
(tradition / date)
phrase NewariEnglish
A1_333
(A1 / 501 NS)
164 lr*- bha-va sentiment of 64 gesture of leg
A1_335
(A1 / 501 NS)
188 la- bha-va 88 sentiment of hands
A1_339
(A1 / 501 NS)
1thute tha-yi- bha-va these are permanent feeling
A1_372
(A1 / 501 NS)
1thvate tri-sa bha-va vises*a these are sentiment of female
A2_415
(A2 / 506 NS)
1sari-rana bha-varape bha-va dva-ko a-n^gika dha-ye sentiment expressed by body is called an^gika
A2_416
(A2 / 506 NS)
1thvate khuta- manana bha-varapa- bha-va a-m*gika-bhinaya dha-ye these six sentiment felt in the mind is called a-m*gika-bhinaya
A2_451
(A2 / 506 NS)
2purus*asa yeya- yeya- pada-rtha birasano mayeya- thyam* ana-dara ya-m*n^a- stri-ya- bha-va vivvoka dha-ye; the sentiment of a woman doing dishonour as of not liked even when the material is given what is liked by the man is called vivoka
7thvatai a-dipam* s'ari-rana ja-yarapo no cittana ja-yarapo no stri-ya- sr*m*ga-ra bha-va dva-ko ha-vabha-va {5} dha-ye jurom* all amorous sentiment of these and others of a woman produced from the body or by the mind is called ha-vabha-va
6ja-ya- purus*aya- sola sa-m*n~e bha-va li-la- dha-ye the sentiment of moving with the imitation of the beloved person is called li-la-
5purus*am*n^a lum*gvarhana ga-ya- ka-rajana garava chusyam* {4} sam*n^a- bha-va hela- dha-ye; the sentiment of moving feeling proud of the work that intended by the heart of the lover is called hela-
4sukomala ya-n^a sa-m*n^a- bha-va lalita dha-ye; the sentiment of moving having tenderness is called lalita
3purus*avo daura {3} vam*n~e coram*n^a-na a-bharanana ti-yesa dom*jakam* sa-m*n^a- bha-va vibhrama dha-ye; the sentiment of moving mistaking in putting ornaments having confused whether to go or stay when there is the lover (man) is called vibhrama
1{2} stri-sana ja-ya-pau purus*a kham*nan^a-sa sa-m*n^a- bha-va vila-sa dha-ye; moving sentiment on seeing a man born by a woman is called vila-sa
A2_1335
(A2 / 506 NS)
1gotaya- bha-va feeling of kinship
A2_1753
(A2 / 506 NS)
1veda {5} parhaparam*n^a-sa svaraya- ma-na ji-yaka- la- bha-va gesture of hand made standard to the voice while reading the Veda
A2_2958
(A2 / 506 NS)
1khva-la bha-va sentiment of face
A2_3868
(A2 / 506 NS)
1anyonya bha-va mutual sentiment
A2_3968
(A2 / 506 NS)
1{157a.1} thvataiya-vum* bha-va a-di arthasa barttarapam*ram*n^a-na stri-lim*ga juram* it becomes feminine when remains in the meaning of these content etc.
A2_3971
(A2 / 506 NS)
2thva su-trana bha-va ghan~anta ya-kenam* kri-d*a- arthasa n~a pratyaya bisyam* ta- dva-kovum* stri-lin^ga all that kept given n~a termination with these formula are feminine gender when they used in the sense of playing with ghan~ ending
1kri-d*a-ya-m* bha-va ghan~o n~ah* "Sanskrit portion"
A2b_287
(A2 / n.d. NS)
1{9} thvate pada-rthaya-kena nam* juka-le va-cyalim*ga bha-va juyu these will be the sense of adjectival when it will be the fragrance produced from the material
A2b_447
(A2 / n.d. NS)
2s'astras'a kiya la-ha-ta bha-va semtiment of hands as indicated in scripture
A2b_449
(A2 / n.d. NS)
3s'ari-ran*a bha-varape bha-va dva-ko a-n^gika dha-ye all sentiment indicated by the body is called a-n^gika
A2b_489
(A2 / n.d. NS)
4sukomala ya-n^a {4} sam*n^a- bha-va lalita- dha-ye; the sentiment of moving having tenderness is called lalita
6{5} sajanasavo na-pam* la-tan^a-syam* sam*n^a- bha-va li-la- dha-ye; the sentiment of moving when the lover is met is called li-la-
3sajanasavo d*ora s*am*ne dha-ran^a-na a-bharan*ana tiyasa donakem* san^a- bha-va vibhrama dha-ye; the sentiment of moving mistaking in putting ornaments having heeling of seeing when there is the lover is called vibhrama
2{2} thava purus*asana yaya- yaya- pada-rtha birasanom* maya-po thyam* ana-dara ya-n^a sam*go bharipanisa bha-va virvvoka {3} dha-ye; the sentiment of women moved doing dishonour is if not liked even when the intended material is given by her lover is called vivoka
1bharipanisa yaya-mham* purus*a kham*nan^a-va sam*n^a- bha-va vila-sa dha-ye; the sentiment of moving on seeing a person loved by women is called vila-sa
7thvate a-dina s'ari-ran*a ja-yarapo nom* cettana {6} ja-yarapo nom* bharipanisa s'r*m*ga-ra bha-va dva-koya- ha-vabha-va dha-ye the amorous sentiment of these and others of women produced from the body or by the mind is called ha-vabha-va
5thava purus*a kham*n^anam* lum*gvad*asa yaya- ka-rya garuva chulyam* sam*n^a- bha-va hela- dha-ya; the sentiment of moving feeling proud of the work intended by the heart when one's lover is seen is called hela-
A2b_490
(A2 / n.d. NS)
1stri-purus*a thethe n^hela sam*n^a- bha-va sentiment of smiling and moving of husband and wife
A2b_1853
(A2 / n.d. NS)
1vedaya- pad*aparan^a-syam* svaraya- ma-na ji-yaka- la-ha-tha bha-va From A2_1753: gesture of hand made standard to the voice while reading the Veda
A2b_3071
(A2 / n.d. NS)
1khva-la bha-va sentiment of face
A2b_4123
(A2 / n.d. NS)
1thvateya-vum* bha-va a-di arthasa bartaraperan^a-na stri-lim*ga {5} juram* From A2_3968: it becomes feminine when remains in the meaning of these content etc.
A2b_4126
(A2 / n.d. NS)
2thva su-tran*a bha-va ghan~anta ya-kenam* kri-d*a- arthasa n~a pratyaya bisyam* taya- dva-kovum* stri-lim*ga, all that kept given n~a termination with these formula are feminine gender when they used in the sense of playing with ghan~ ending
1{7} kri-d*a-ya-m* bha-va ghan~e n~ah* "Sanskrit portion"
A3_357
(A1 / 550 NS)
2misa- bvan^aya- bha-va manner of calling woman
A3_358
(A1 / 550 NS)
1mham*ya- {3} bha-va From A1_334: sentiment of gesture of body
A3_359
(A1 / 550 NS)
18 la-ya- bha-va eight sentiment of hands
A3_362
(A1 / 550 NS)
1thvate nava rasaya- {5} bha-va these are nine sentiment
A3_367
(A1 / 550 NS)
1vi-bhatsa bha-va feeling of disgusting
A3_397
(A1 / 550 NS)
1thvate trisa bha-va vises*a these are sentiment of women
A3_1592
(A1 / 550 NS)
1sam*dhi, thithivu avina- bha-va; sandhi, sentiment of acting (abhinaya) ? or not destructive (avina-s'i-) ? each other
A4_205
(no trad. / 591 NS)
1laila-ya- bha-va pya-khana hulem* to dance with gesticulation of legs and hands
A4_220
(no trad. / 591 NS)
1bha-va seyakaram*gva a-bhi-na feeling or knowing of sentiment is a-bhi-na
A4_248
(no trad. / 591 NS)
7lalita, la- lr*- mimalasam*t*om*ya- bha-va; lalita, sentiment of hands, legs and eyebrows
A4_1944
(no trad. / 591 NS)
1abhipra-ya kem*nam*gva s'ari-raya- bha-va sentiment of body showing purpose
A4_2138
(no trad. / 591 NS)
1cita caka-ralopam* tholu pratyaya thute chad*arapam* bha-va ci the termination ci(t) become abstract leaving these possession of termination loosing ca from cit ?
A5_416
(A2 / 662 NS)
1satvaya- s'ari-ra manana bha-rape thvateta- sa-tvikah* udakars*an*a svam*ta- lin^gasavum* siddha barttarapu madisyam*, s'ari-ran*a bha-varape bha-va {19a.1} dva-ko a-n^gika dha-ye to express mind naturally with body is called satvika, it is used in three genders, sentiment expressed by body is called a-n^gika
A5_417
(A2 / 662 NS)
1thva {2} s*uta- manana, bha-varapa- bha-va, a-n^gika-bhinaya dha-ye From A2_416: these six sentiment felt in the mind is called a-m*gika-bhinaya
A5_457
(A2 / 662 NS)
5thvate a-di-pam* s'ari-ran*a {9} ja-yarapu nom* citran*a ja-yarapu no stri-ya- sr*n^ga-ra bha-va dva-ko ha-vabha-va dha-ye all amorous sentiment of these and others of a woman produced from the body or by the mind is called ha-vabha-va
4sukomala ya-n^a sam*n^a- bha-va lalita dha-ye the sentiment of moving having tenderness is called lalita
3purus*avo d*ora vane coran^a-va {8} a-bharan*ana ti-yasa d*onakam* sam*n^a- bha-va vibhrama dha-ye, the sentiment of moving mistaking in putting ornaments having confused whether to go or stay when there is the lover is called vibhrama
2{7} purus*asana yeya- yeya- para-tha birasanom* maya-pu them* ana-dara ya-n^a sam*gva stri-ya- bha-va vivvoka dha-ye, the sentiment of a woman moved showing dishonour as if not liked even when intended materials are given by the lover is called vivoka
A5_458
(A2 / 662 NS)
1stri-purus*a thethe n^hela sam*n^a- bha-(va) dha-ye From A2b_487:
A5_2957
(A2 / 662 NS)
1khva-la bha-va sentiment of face
A5_3865
(A2 / 662 NS)
1anyonya bha-va mutual sentiment
A5_3964
(A2 / 662 NS)
1thvateya-vum* bha-va a-di arthasa barttaraparam*n^a-na stri-lim*ga juram* From A2_3968: it becomes feminine when remains in the meaning of these content etc.
A5_3967
(A2 / 662 NS)
2thva su-tran*a bha-va ghan~anta ya-kenanam* kri-d*a- arthasa n~a pratyaya bisyam* ta- {9} dva-kovum* stri-lim*ga all that kept given n~a termination with these formula are feminine gender when they used in the sense of playing with ghan~ ending
1kri-d*a-ya-m* bha-va ghan~o n~ah* "Sanskrit portion"
A6_407
(no trad. / 718 NS)
1ta-lavo pya-khanavo la- bha-vo lr* bha-vo mikha- bha-va bhim*n^a pya-kham* moya- pya-khana beating time, dancing, hand guesture, foot guesture, eye guesture, dancing of a good dancer
A6_428
(no trad. / 718 NS)
1am*gaha-ra la- bha-va mi bha-va am*gaha-ra is sentiment of hand and sentiment of eyes
A6_430
(no trad. / 718 NS)
1thvate sa-tvika bha-va these are sa-tvika sentiment
A6_444
(no trad. / 718 NS)
1bha-va seya dayake to be known of sentiment
A6_473
(no trad. / 718 NS)
1stri-ya- mikha- bha-va sentiment of eye of female
A6_2220
(no trad. / 718 NS)
1baniya-ya- bha-va; sense of trader
A6_4071
(no trad. / 718 NS)
1kartta- nis*edha ya-n^a sam*jn~a- bha-va vidha-na ya-n^a- ghan~a sam*jn~a- ya-ca jurom* the termination ghan~ is to be done noun denominative doing prohibition of agent and done ruled by abstract noun
A6_4217
(no trad. / 718 NS)
1strinapum*sakaya- bha-va karmma sena-di itara diga-dis'a n^hava lha-kona seya juro all words told before sena- (soldeir) etc., itara (other), dik (direction) are to be known abstract or passive being of feminine and neuter gender
A7_292
(A2 / 803 NS)
1thvate pada-rthaya-ken nam* jukvaya- va-cyalin^gaya- bha-va juyu sehune these to be known the sense of adjectival all the fragrance produced from the material
A7_432
(A2 / 803 NS)
1pya-khana ta-la bha-va ji-va, {25b.1} ta-la la-kva la- bha-vatvam* it is guesture of right dancing, right hand guesture
A7_461
(A2 / 803 NS)
1s'ari-ran*a bha-lape bha-va dako a-n^gika {2} dha-ya svanta- lin^gasavum* sirddha all sentiment expressed by the body is called a-n^gika. It is used in three genders
A7_477
(A2 / 803 NS)
2bha-va seyakaram*gva thathyam* n^u dha-va feeling of sentiment is also called
A7_506
(A2 / 803 NS)
11stri-purus*a binuyana kad*akaca {4} khoya-, lum*gvad*a mhosya* ken^a- kham*chinam* n^hela-va purus*a khva-la soya- bha-va; the sentiment of weeping with quarrelling the wife and husband seeing face of husband, showing the heart tearing and sometime laughing
9vichitya, thava purus*an^a myam*va mis'a-va {2} jova seya-va lva-n^a- bha-va; vichitya, the sentiment of quarrelling on knowing one's husband went with other woman
12viks*epa, misa- ati prod*ha- {5} julan^a-va yakva kataka datasanom* me ha-la- thyam* ha-kva lr* la- kham*jakam* sam*gva, se phesyam* sam*n^a- bha-va; viks*epa, talking by a very aged woman as singing song even when there are many other people, moving showing hands and legs, the sentiment of moving unfastening of hairs
13vikr*ti; thama {6} yaya- purus*aya- vastu, serasanom* maseya- thyem* n^anakam* ka-syam* taya- bha-va;va-la soya- bha-va viks*epa; vikr*ti, the sentiment of keeping taking pretending as if not known even when one's beloved lover's material is known
14mada, ca-kakam* n^hela-, kham* lha-ya- {7} mikha- s'ri-s'ri-na kam*n^a-va ghasapun^a-va purus*a cum*barapa-ya- bha-va; mada, the sentiment of kissing the husband smiling sweetly ? speaking matter, lifting eyes as intoxicated ? and embracing
15mos*ayitam*, {29b.1} thama ya- purus*aya-tam*, kham* lha-lan^a-sa roma-n~ca ya-n^a sam*n^a- bha-va; mos*ayita, the sentiment of moving with horripilation when talked with one's beloved lover
16kut*t*amit*a, s'r*m*ga-rasa purus*an*a casam* ka-lan^a-sa {2} dudu ka-ran^a-sa sanakhalyam* duh*kha seherape mapha-t*agare ga-tasa- kham*chi tvad*ata n^une dhakam* sam*n^a- bha-va; kut*t*amit*a, the sentiment of moving to take rest for sometime having sastisfied when unabling to bear the pain when the lover pull out the hair or takes breast in amourous play
17{3} sukhabha-va, s'r*ga-rasa a-bharan*a thva ratna suna-na haya- ge haya- dha-sya sam*n^a- bha-va; sukhabha-va, the sentiment of moving in amourous play asking who brought this ornament jewel and how it is brought
19ja-laya-tvam* mavalan^a-va {5} a-bharan*a a-din*a tvadata-va sam*sa-rasa je upra abha-gi madu donoyo dhakam* sam*n^a- bha-va the sentiment of moving saying that I made mistake, I am deprived, nobody is there for me in this world, taking out ornaments etc. when the lover does not come
20thvate a-dipam* {6} s'ari-ran*a ja-yarapu nom* cittana ja-yarapu nom* stri-ya s'r*m*ga-ra bha-va dva-kva ha-vabha-va dha-ya all amorous sentiment of these and others of a woman produced from the body or by the mind is called ha-vabha-va
6hela-, lum*gvad*a ga-ya- ka-rjana maga-ya- bha-va; hela-, the sentiment of not satisfied with the work intended by the heart
4lalita, rasakara bha-va; lalita, the sentiment of pleasure
7li-la-, sajanasavo na-pam* la-tan^a-syam* sam*n^a- bha-va s'r*m*ga-ra bha-va; li-la-, the sentiment of moving while meeting with the lover
3vibhrama, ja-ravo do(ra?) vam*nese conan^a-na a-bharan*a tiyasa donakam* sam*n^a- bha-va vibhrama, the sentiment of moving in putting ornaments having confused whether to go or stay when there is the lover
1kavutakan*a-m* vila-s'a, thama yaya- {4} purukha khanan^a-sa sam*n^a- bha-va vila-sa, the sentiment of moving on seeing one's beloved lover
2vivoka, yaya- the mayaya- thyam* purus*an*a biya- pada-rtha ka-yasa sam*n^a- {5} bha-va vivoka, the sentiment of moving to take the material given by her lover as if she does like or dislike
A7_507
(A2 / 803 NS)
2thethe n^hela sam*n^a- bha-va sentiment of mutual smiling and moving
A7_1303
(A2 / 803 NS)
1s'r*ga-la bha-va thvala misa- a woman possessing the sentiment of adornment
A7_1433
(A2 / 803 NS)
1lya-camoya- bha-va a sentiment of a young man
A7_3651
(A2 / 803 NS)
1thvateya-vum* bha-va a-di arthasa barttaraparam*n^a- stri-lim*ga {7} juram* it becomes feminine when remains in the meaning of these content etc.
A7_3655
(A2 / 803 NS)
2thva su-tren*a bha-va ghan~anta ya-kena kri-d*a- arthasa n~a pratyaya bisyam* ta- {4} dva-kovum* stri-lim*ga tailam*pa-ta- is a game played pouring oil in the festival of pha-lguna
1kri-d*a-ya-m* bha-va ghan~o n~ah* all that kept given n~a termination with these formula are feminine gender when they used in the sense of playing with ghan~ ending
A7_3724
(A2 / 803 NS)
1bha-va majuva imanica pum*lim*ga From A2_3980: imanic termination that is in abstract is masculine
A7_3725
(A2 / 803 NS)
1bha-va majuva {7} ka gha pratyaya pum*lim*ga ka gha termination that is not abstract is masculine gender
A8_571
(no trad. / 831 NS)
1sim*ga-l bha-va thulamha misa-jana a woman who possesses the sentiment of adornment
 
 
Search manuscript block (Newari) for >> bha-va as a complete word
 
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