Śūnyatā, शून्यता (Sanskrit noun from the adj. śūnya: "zero, nothing"), Suññatā (Pāli; adj. suñña), stong-pa nyid (Tibetan སྟོང་པོ་ཉིད་), Kōng/Kū, 空 (Chinese/Japanese), Gong-seong, 공성(空性) (Korean), qoγusun (Mongolian) is frequently translated into English as emptiness or thusness.

The theme of emptiness (śūnyatā) emerged from the Buddhist doctrines of the nonexistence of the self (Pāli: anatta, Sanskrit: anātman) and dependent origination.

The exact definition and extent of emptiness varies from one Buddhist tradition to another.

"Śūnyatā" (Sanskrit) is usually translated as "emptiness". It is the noun form of the adjective "śūnya" (Sanskrit) which means "empty" or "void", hence "empti"-"ness" (-tā).

Sunya comes from the root svi, meaning swollen, plus -ta -ness, therefore hollow ( - ness). A common alternative term is "voidness".

Over time, many different philosophical schools or tenet-systems (Sanskrit: siddhānta) have developed within Buddhism in an effort to explain the exact philosophical meaning of emptiness.

Debabrata Biswas (Bengali: দেবব্রত বিশ্বাস) (22 August 1911 - 18 August 1980), also known as George Biswas (Bengali: জর্জ বিশ্বাস) or George-da (Bengali: জর্জদা), was an Indian Rabindra Sangeet singer.

He was born in 1911 in Barishal and then later came to Kishorgonj of Mymensing district of British colonial undivided Bengal province of India, when King George V was visiting India for the Delhi Durbar, so he was nicknamed George. He was popularly called George Biswas and George-da which means Brother George.

His music, though not always technically pristine, was notable for its exceptional depth of emotional expression verging on the dramatic. His early gramophone recordings of Tagore songs brought out in the early 1940s demonstrate soulful full-throated expression of melody with a strict adherence to the rules and norms of tradition, written and unwritten, which he felt obliged to break in the early 1960s - considered by most to be his heyday up to the year 1969. His renderings in this period show amazing power of voice and modulation, compounded with overt emotional expression of a kind hitherto unpractised by his contemporaries and even himself. His voice at this period ranged at ease within the three octaves and with varied tempos and rhythms and showed greater variety of emotional expression from the thunderous and rumbling to the soft and mellow. Somewhat audacious and overpowering in his personal feelings and mores, his enunciation of the words of over-used and hackneyed Tagore lyrics extracted new meanings and freshness from the compositions. Some of his numbers which surely goes deep into the heart of Bengalis are Akash bhora surjo tara, Je ratey mor duarguli, Pinakete lagey tonkar, Tomar kache ebor magi etc.