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Ashta Nayikas and Dance Forms (study)

by V. Dwaritha | 2013 | 71,711 words

This page relates ‘Introduction and definition of Vasakasajjika� of the study dealing with the Ashta-Nayikas—a classification of eight kinds of “Heroines� representing the eight emotional states (avastha) employed in the classical Indian dance and performing arts (otherwise known as Natya Shastra). These Ashtanayikas reflect the eight types of romantic relationships and have hence formed the expressive subject of many classical painting, poems and dramatic plays.

Go directly to: Footnotes.

Part 1-2 - Introduction and definition of 첹ᾱ

첹ᾱ, also known as 첹ᾱ or , is the one who decorates herself and her surroundings eagerly in anticipation of the hero’s arrival. She arranges her special chamber for receiving him and decorates the couch and bed with flowers for dalliance. She has received a message from him confirming his arrival plans. She is sure of his arrival and does not doubt his confirmation. This is an indication of future union (Sambhoga), thus she would have a happy countenance. Her ⲹ첹 is a ٲṣiṇa ⲹ첹

The usage of the term as is indicative of turns thus establishing the ⲹ첹.

स्त्रीणा� वारस्त� वासक� �

strīṇāṃ stu 첹� |

Bharata defines her as thus:

उचित� वासकेय� तु रतिसंभोगलालस� �
मण्डनं कुरुते हृष्टा सा वै वासकसज्जित� �

ucite vāsakeyā tu ratisaṃbhogalālasā |
ṇḍԲ� kurute ṛṣṭ� sā vai 첹sajjitā ||[1]

On the appointed or out of eagerness for dalliance, she happily decorates herself and awaits her lover.

The six days called the (fit for conjunal union) prescribed for the kings for courting women

1) Scheduled order
2) Desire for progeny
3) Newness of relations
4) after the birth of the child
5) times of sorrow and
6) happiness.

परिपाट्यां फलार्थ� वा नव� प्रस� एव वा �

paripāṭyā� phalārthe vā nave prasava eva vā |
duḥkhe caiva pramode ca ṣaḍete � smṛtā� ||[2]

The one who decorates herself and the bedroom again and again eagerly around the expected arrival time of the lover is called a 첹ᾱ.

प्रियागमनवेलायां मण्डयन्ती मुहुर्मुहु� �

priyāgamanavelāyā� maṇḍayantī muhurmuhu� |
kelīgṛha� tathātmāna� sā syād첹sajjikā ||[3]

This example given below is from Rāghavānanda Nāṭakam depicts this heroine as getting ready for union.

विदूरे केयूरे कुरु, करयुगे रत्नवलयै -रल�, गुर्वी ग्रीवाभरणलतिकेयं किमनया �
नवामेकामेकावलिमय�! मय� त्वं विरचये र्� नेपथ्य� पथ्य� बहुतरमनङ्गोत्सवविध� �

vidūre keyūre kuru, karayuge ratnavalayai -rala�, gurvī grīvābharaṇalatikeya� kimanayā |
navāmekāmekāvalimayi! mayi tva� viracaye rna nepathya� pathya� bahutaramanaṅgotsavavidhau ||
[4]

O friend! Remove these armlets; I do not want the gemmed bangles in my hands. What is the use of these heavy necklaces? Make me a new single stringed necklace. It is not good to wear plenty of ornaments during dalliance (indicating that they would be hindering). Here she is expectant of dalliance. She is eager and dresses herself appropriately.

This is to be portrayed as a happy one as she has heard the news that her lover is coming and is seen adorning herself with ornaments.

प्रियस्यागमन� शृत्वा मुदा भूषणभूषिता �

priyasyāgamana� śṛtvā mudā bhūṣaṇabhūṣitā |
yā nārī sā stutā lokesatā� 첹sajjikā ||[5]

This is anxious and in haste.

इय� चिन्तात्वरावती{ग्ल्_नोते:३९०६६४:}

iya� cintātvarāvatī[6]

She is anticipating, but she should not be overly greedy with lust for making love. Such behaviour will lead to disgust. Her want for union should be genuine.

यह� नायिका प्रायः औत्सुक्य भा� का आलम्बन� बन्ती हैङ्, परन्तु यद� इस्की चेष्टाओङ� से अत्यधिक् कामातुरत� प्रकट् हो तो इस्क� प्रत� घृणा भी उद्बुद्ध हो सक्ती है ǀ तब� वहाङ� अनुभूत� रस� कि � होकर� रसभास् की होगी ǀ परकीया एवम् सामान्या वासकसज्ज रसभास् के ही विषय हैन्{ग्ल्_नोते:३९०६६५:}

yah ⾱ prāya� autsukya kā ālamban bantī hai�, parantu yadi iskī ceṣṭāo� se atyadhik kāmāturatā praka� ho to iske prati ghṛṇā bhī udbuddha ho ī hai ǀ tab vahā� anubhūti ras ki na hokar rasabhās kī hogī ǀ 貹ī evam 峾Բ 첹sajja rasabhās ke hī ṣaⲹ hain[7]

Bhoja combines all the above features of a 첹sajjā and gives a complete definition as:

सा तु वासकसज्ज� स्यात् सज्जित� वासवेश्मनि प्रियमास्तीर्णपर्यङ्काभूषित� या प्रतीक्षत� �

sā tu 첹sajjā syāt sajjite vāsaveśmani priyamāstīrṇaparyaṅkābhūṣitā yā pratīkṣate ||[8]

Footnotes and references:

[back to top]

[1]:

ṭyśٰ, XXIV. ccix. 674.

[2]:

Ibid., XXIV. ccv. 673.

[3]:

ʰ貹ܻīⲹ, xliv. 20.

[4]:

Sāhitya Darpaṇa, III. 205.

[5]:

Śṛṅṇa 䲹Ի, IV. lxxxix. 34.

[6]:

鲹첹, 22.

[7]:

Rasabhas Aur Bhavabhas, 138.

[8]:

Bhojaraja, Alaṅkāraśāstriyam Sarasvatīkaṇṭhābharaṇam, ed. Sundari Siddhartha, vol. 3 (New Delhi: Indira Gandhi National Centre for the Arts and Motilal Banarsidass Publishers, Delhi, 2009), V. cxvii. 930.

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