Rathore | 55CHAPTER 3 A STUDY OF NAYIKA BHEDA Rathore | 56 “The embodiment of beauty, young, intelligent, graceful, lovely, brilliant- thus is the Nayika described by all” (Gupta 42) And whether it is the Natyashastra or the Kavyasastras. mainly of Bharat Muni. but for passionate and devoted lover in Indian art who represents various shades of love. author of the Natyashastra dating almost to the 1st century B. Kalidasa in his Meghadoot describes the beauty of nayika in following manner: “Behold before you the beautiful slender young lady Appearing as first creation of god with red lips like ripe blimb Shining sharp teeth glance like a doe Slender waist and a deep navel walking slowly her hips being heavy Slightly bent with the weight of her full grown breast” (Bhatnagar 81) The nayika was the creation of Sanskrit literature. In fact the later texts identified surprisingly many more.C. and the renowned exponent dealing primarily with dance – drama or natya. Rathore | 57 CHAPTER 3 A STUDY OF NAYIKA BHEDA A HISTORICAL STUDY OF NAYIKA The term Nayika is used not in the literal sense meaning heroine. The foundation of the literary tradition of analyzing and classifying the emotional states of men and women in love with zest and precision.. who are referred as nayaka and nayika were laid down by Bharata Muni and was continued by his descendants in a well-defined approach. one can clearly perceive an interesting fact that . “Natyashastra is acclaimed as a first authorized treatise for Indian poetics” (Upadhyay 99). love in union and love in separation. “Rasamanjari of Bhanu Misra. Stratton. “Total 144 types of nayaka and 384 types of nayikas have been stated in the Natyashastra” (Dwivedi 322-330). also came up with a 384 possible kinds of nayikas” (Hawley. who wrote the Rasamanjari and Keshavadasa. a work which attempted to harmonize all the prevalent typologies of nayika. “It goes without saying that all these shastras were written by males” (Phadke). Krishna is the nayaka while Radha is the nayika. in Jayadeva’s Gita Govinda. These two literatures considered as ageless standard texts arose plentiful romantic situations to be imagined by the artists and thus provided immense number of paintings containing the theme of love. and both are well-known for the passion and love. The large body of canonical literatures talking upon nayika provided numerous classifications of her. Bharata also gave “a subtle classification of women according to their mood. Poets of later medieval literature such as Bhanudatta. and Wulff 91). Bhanudatta followed the tradition of romantic as well as erotic . nayika-bheda came to 128 types of heroines” (Mehta 105). Rathore | 58 nayika was a purely male point of view discussed only by the men. Each psychological states of nayika can be identified in the text by Jayadeva that elaborates the eight moods of Heroine with reference to its technical name or its characteristic sign or symbol. The same classification continued to be followed by his successors such as Vatsyayana in his Kamasutra (Datta 1203). Later on the number of nayikas reduced to eight and this figure occupied considerably more space than the hero or nayaka in dramaturgical and erotic literature. who wrote Rasikapriya elaborated on the ashtanayika theme giving a new direction to the literatures talking about nayika-bheda. sentiment and situation called as Nayika -bheda” (Randhawa and Bhambri vii). Similarly. But “with permutations and combinations. “Bihari borrowed the matter of nayika-bheda from the secular traditions of Dasarupaka and Sahitya Darpana and above all Kamasutra of Vatsayana” (Sarma 30). And thus Bihari’s Satsai contains a large numbers of couplets that had love theme which offered a visual picture of a nayaka and nayika in many ways at various situations whether the separation or the union with a lover. Rathore | 59 poetry on the nayaka flattering the nayika.Love Paintings). “And thus most of nayaka-nayika-bheda paintings of Rajasthan are based on the poetry of Keshavadasa” (Misra 18). Works like Bhanudatta’s Rasamanjari and Keshavadasa’s Rasikapriya and Kavipriya “were gold mines for painters who appreciated graphic descriptions of Krishna and Radha whose endearing divine qualities were fashioned after familiar human likenesses” (Women in Love. Bashohli Paintings vii). as a number of Rajasthani and Pahari miniatures are illustrative of its verses. Similarly Keshavadasa’s Rasikapriya is the most important work in dialect literature having poetic quality. the subject of Nayika-bheda is treated for its own sake for the first time in Indian literature which has a unique place in Sanskrit love poetry” (Randhawa and Bhambri. "In Rasamanjari. The paintings are thus illustrated with . The emotions that the varying seasons bring to the minds of lovers are described with great warmth and tenderness of feeling in the poetry and painting as well. The different feelings of the young woman marked on the one hand by over powering passion and on the other by shyness. and the couple was imagined as Radha and Krishna. have awestruck several Indian poets and painters. Also the introduction of Rasamanjari of Bhanudatta proceeded and acted in many ways as a significant turning point in the classification of nayakas and nayikas because no author before him exclusively wrote a treatise dealing with only the classification of nayakas and nayikas. behaviour and their response to love.shringara that deals with rasa. NAYIKA BHEDA The theme of love treated and discussed in Indian art reflects the synchronization of the philosophy of life. Banerji 67). age. physical and sexual characteristics. Rathore | 60 lyrical compassion. Also “The Ras Raj which is considered to be very excellent work is another treatise on lovers containing a nayika-bheda” (Keay 41-42). Matiram is the first poet since Keshavadasa to treat the subject matter of nayika-bheda extensively is credited for the small collections of verses entitled Sahitya-sar and Lakshan. P. Dwivedi 497) and the works of “poets such as Deva. They brought alive the concept of rasa and allowed others to feel the same divine spirituality. expression and experience into various types. shringara and rhetoric. delicate and graceful draughtsman ship and colours of extraordinary richness. her passion and power and depth of love. Tosha and Raghunatha” (A. Bharava-nayika-bheda by Rahim” (H. These typologies or categories were given appropriate names and thus a categorization of nayikas emerged through the literatures on the basis of their birth. Sripati. The literatures analyzed the real feelings of love and organized the central character nayika on basis of her relation to the lover. Moreover one can hear and feel the echoes of nayika’s heart in pain sadly in his own self as ultimately she is an example of the constant search of a human for a divine and inspirational love throughout the Indian tradition. Surti Misra. . nature and jealousy. “Nayaka-nayika theme were composed by known and unknown poets and illustrated by the painters of Rajasthan such as Hitatarangini by Kriparama. Kokashastra and Keshavadasa in his Rasikapriya has classified four types of nayikas such as Padmini. Shankhini. Indrani) Maanava are of human origin (E. Mandodhari) Kulastri are of respectable families (E. Then they are further divided into three kinds. the Deer-woman. Conch (Shankhini) and Elephant woman (Hastini)” (Coomaraswamy 2). Mare-woman. So Nayika up to sixteen is called Bala. Sita) Nrpatni are of royal lineage. . between thirty and fifty is called as Praudha and above fifty is called as Briddha. Almost 10 centuries later Pandit Koka in his text. the Vadava or Ashvini.g. These four categories are subdivided according to their age.g. A fourfold division: “The Lotus (Padmini) Variegated (Chitrini). and the Karini. These are “the Mrigi.g. Rathore | 61 “The categories of nayikas by Birth according to Natyashastra” (Janardan): Divya are of divine origin (E.g. and Hastini on the basis of physical and sexual characteristics. according to the depth and extent of the Yoni. king’s wives (E.g. or Elephant-woman” (Malla 23). Chandramukhi in Sarat Chandra Chattopadhyay’s highly acclaimed Bengali novel Devdas) “Amrapali’s earlier life in terms of a sin is associated with ganika” (Verma 109). Damyanti) Ganika are courtesans (E. the one who is between sixteen and thirty is called as Taruni. Chitrini. i.e. Kannagi) Mishra are a mix of both categories. Divya and Maanava (E. also called Harini.g. Rathore | 62 The categories of nayikas on the basis of Physical and Sexual Characteristics: Padmini (The Lotus) – “Padmini is a woman beautiful in appearance and complexion of golden hue. The artist transformed all the words into colours while portraying her radiant face as of moon and body as soft as lotus with gentle skin. sharp features and long well crafted fingers all together. colour on paper.” (Bahadur xx). He had blended the representation of Padmini nayika into contemporary symbolism. She has less of arrogance. Artist Late Gopal Kumawat. Stone elongated shell like neck. “Her neck is beautifully shaped with delicacy like a conch. Figure I Padmini Nayika. fine jewels and wealthy attire which are the attributes of this nayika. She is tall having slim waist with defined bosoms and a well shaped back. This is a complete identical imagery of Kishangarh style which was the actual requirement of Padmini nayika. nayika is shown wearing white neat and clean garments. 12. In this water colour painting. . walks like a swan” (Dehejia 46).0” dreamy sensuous eyes. anger and desire for love- making.6”x 18. opaque having ochre brown skin which seems water colour on paper. Lady with a lotus. c. 1770-80 Here in the picture.D. Here artist portrayed her quite fleshy Shankhini Nayika. Various texts described her as a lady having cylindrical shaped well proportioned full fleshy thighs and her Figure II Chitrini Nayika.“She has a slender shell like neck and a tender body with lean and slim waist like a lion and hard and full breast” (Dehejia. who has a liking for dance. The Rasikapriya Figure III xx). Chandigarh. fearless. playing a musical instrument walk as the swaying of an elephant.She is expert in showing displeasure and is shameless. Rathore | 63 Chitrini (Variegated) . Himachal Pradesh. she appears voluptuous. striking and gorgeous. Though fully clothed covering each body part. music and poetry. 18th century A.. nayika has similar qualities discussed by writers and poets. clever. Rajasthan. Collection- Government Museum and Art Gallery. Shankhini (Conch Woman) . short tempered. c. She seems gentle and attractive. As her name suggests she is an artistic woman. Guler. India . Celebration of Love 46). She is playing instrument and giving impression of her affection towards art. hard hearted. rude and is much inclined for love making (Bahadur. The Rasikapriya xx).Own wife (sva). 18th century of Basohli principles can be seen here. Pahari. “Coomaraswamy classified them as Svakiya (One’s own). another’s wife (nya) and a common woman (sadharanastri): Sva nya sadharanastri ti tadguna Nayika tridha” (Dhanamjaya 48-49). and ruthless voice. white coloured skin with thick large lips. Rathore | 64 Hastini (Elephant woman) – Texts like Ananga Ranga and Rasikapriya says that she is short and fleshy. The brilliant use of startling forms and colours Figure IV Hastini Nayika. Nayikas are then classified into three types according to their behaviour and their response to love. Vishvanatha. . She walks slow and seems restless all time (Bahadur. artist probably portrayed her in sexual activity intentionally. Parakiya (Another’s) and Samanya (Anybody’s)” (Coomaraswamy. As texts says that she is slow in the art of love who gets pleased only by lengthened intercourse. Basohli. having crude face. Scholars like Keshavadasa. “Dhanamjaya in his Dasarupa explains the heroine of further three kinds. Dhanamjaya. The Eight Nayikas 3). Bhanudatta and many more discussed this type in detail. She is of good character and spends her time serving her hero passing through every circumstance sincerely. Boston. Collection-Museum of Fine Arts. Rathore | 65 The categories of nayikas on the basis of their Behaviour and Response to Love: Svakiya – Married and faithful to her husband. As Keshava only categorized parakiya into two: Udha or Praudha (Married and matured) and Anudha or Kanya (Unmarried).3 x 33 cm. silver. 1660-70. So Meera can be kept in the Praudha category. Pahari. gold and beetle wing on paper. 23. Parakiya . Basohli. Samanya or Sadharana – She is a courtesan. c. USA . who is free and attaches herself to anybody for self betterment as well as for price with her charm. Opaque watercolor. Svakiya Nayika (One’s own wife) Figure V Svakiya Nayika.She belongs to one person but has feelings for another like Meera who throbbed for Krishna’s love. The Rasikapriya xxi). Navavadhu is one whose beauty increases day by day. Here the above painting suggests that nayika is svakiya and the manner in which nayaka is trying to convince her or speaking to her with the audacity to sit in the posture of touching her and keeping his hands around nayika’s thighs also suggest the nayika’s category of being sviya. . is coy in love and gentle in anger. The Eight Nayikas 3). Navalananga is the one who speak and behave like a child but knows the art of showing anxiety tenderly. She is unable to express her feelings and yearning. She is youthful. Svakiya nayika is discussed on the basis of nayika’s Age: Mugdha (Inexperienced in love or the artless) Dhanamjaya says that: “mugdha navavayahakama ratau vama mrduh krudhi” The inexperienced kind of wife (mugdha) has the desire of new youth. partly experienced (madhya) or experienced (pragabdha). Thus she is not aware of how she is to react to love. Navayauvanabhusita is one who has entered into youth and left her girlhood behind. The hero’s own wife (sviya). may be inexperienced (mugdha). Navayauvanabhusita. inexpert and bashful in expressing her desire and making love. Rathore | 66 About Svakiya nayika. She never shows arrogance. uprightness and the like. “Vishvanatha has given five classifications of Mugdha and Bhupala six types but commonly known are four sub-divisions given by Keshavadasa: Navavadhu. who is possessed of good character. Navalananga and Lajjaprayarati (Bahadur. Dhanamjaya says that: “mugdha madhya pragalbheti sviya silar javadiyuk”. Madhya and Praglabdha” (Coomaraswamy. And thus “Svakiya is categorized according to the age as Mugdha. Banerji 10-11). She is skilled in art of love to a certain extent and possesses shyness as well as craving for the union together. Rathore | 67 Lajjaprayarati feels shy while making love. These are also named as “Ajnata- Yauvana-Mugdha (Nayika who is very young. unaware and unconscious of her youth (13-14 years old). Madhya (Partly experienced in love or adolescent) About Madhya nayika Dhanamjaya says that: “madhyodyadyauvanananga mohantasurataksama” The partly experienced kind of wife (madhya) has the love of rising youth and permits its indulgence even to fainting. Bashohli Paintings 9). Jnata-Yauvana-Mugdha (Nayika who is a young heroine with awareness and who is conscious of her youth (18-19 years old). Pradurbhutamanobhava and Vichitrasurata” (Bahadur. Vishrabdha-Navodha (Nayika who has just begun to love and trust) and Ativishrabdha Navodha Nayika (Nayika with full trust and love)” (Randhawa and Bhambri. Madhyarudha-yauvana is one who is full of affluence and good fate and is loved by her beloved. Vishvanatha has categorized Madhya into five types as Madhyas. Rati Vama. Manmrudu and Samadhik” (P.Vichitra sutra. Later on. . Praruda Yauvana.Anukrit Yauvana. Prathama Vatirna Madana Vihara. Praruda Ismara. Pragalbhavacana. The Rasikapriya xxii). Navorha and Vipralabdha navorha. Ista Praglabdha Vachana. Pragalbhavacana usually does objections and makes complaints. Bhanudatta divided Mugdha into three types. Vishvanatha classified Mugdha Nayika as- “Prathama Vatirna Yanyoma. Mugdha-Navodha (Nayika newly married). Madhyama Vradita. Later on Keshavadasa sub-divided her into four: “Madhyarudha-yauvana. Dheeradheera Madhya– She is likely to use irony and will breakdown in expression of her restlessness or unhappiness as is having patience but looses it by the time in few situations. Adheera and Dheeradheera” (Bahadur. Vichitrasurata seeks for various methods of love making just to keep the nayaka busy in her. She according to Vishvanatha is a lustful woman whose aroused passion showed unusual creativity and skill. Dheera Madhya – She is youthful nayika who indirectly expresses her ill- feelings and anger sarcastically. Three other types of Madhya nayika from the point of view of Behavior are: “Dheera. Adheera Madhya– She is the one who expresses anger irritably as is impatient speaks sharply and openly rebukes her hero and blames him in public. Later on each of these three nayikas is again divided into Decha (older) and Kanicha (younger) by few scholars. Keshavadasa must have followed Vishvanatha because his Vichitrasurata is alike Vishvanath's Vichitra sutra as both described her in a same vein. . Rathore | 68 Pradurbhutamanobhava is fully devoted in making love to her nayaka. who behaves ironically but remains firm in front of her lover. She has patience and does not give any reactions in anger and instead respects her husband. The Rasikapriya xxii). The Rasikapriya xxii). She has an exquisite charm as her way of walking is so bewitching and tender that nayaka forgetting him thinks that her playful eyes are passion’s darts. Rathore | 69 Praglabdha or Praudha (Mature in the art of love) Dhanamjaya about praudha says that: “yauvanandha smaronmatta pragalbha dayitangake viliyamanevanandad ratarambhe py acetana” The experienced kind of wife (praglabdha) is blinded by youth. Bhavonnata. Thus she can express herself very boldly. Bashohli Paintings 9). . Vichitravibhrama. Akratta” (Nayaka and Nayikas).“Vishvanatha has given six classifications of Praglabdha. She is divided into four types: “Samastarasakovida. Samasta Rata Kovidha. gestures and postures. She is very experienced and understands the character of her nayaka. Labdhapati has commanding qualities and displays authority over her nayaka. as it were to the body of her husband for joy even at the beginning of love’s pleasures.Tarunya. Samastarasakovida is an expert in erotica and Vichitravibhrama is the one who with her soft speech and movement of eyes controls and dominates her beloved. Akramati wins her beloved’s heart by all means of her sweet words. Garha. Darvrida. crazed with love. Akramati and Labdhapati” (Bahadur. infatuated and clinging.Ismarandha. “Others have divided Praglabdha into two: Rati-priya-praglabdha (Mature nayika who delight in love and gives pleasure) and Ananda-sammohavati-praudha (Mature nayika excessively delighting in love)” (Randhawa and Bhambri. She is cool minded with an exaggerated sense of prosperity. turns its back” (Exotic India). “Bhanudatta describes her gesture of turning her eyes away from the nayaka as a fish. but occasionally articulates angrily and becomes impolite to her lover. . She can’t hide her anger or frustration. Dheeraadheera Praglabdha– She speaks ruthlessly to her beloved even though loves him deeply and openly blames him for default. Adheera Praglabdha– One who is short tempered and does not know the art of showing affection in the mood of frustration. This nayika is portrayed in the gesture of refusing to engage with the nayaka but gives the impression of being eager to look at his expressions. She waits impatiently for her love. Rathore | 70 Three other types of Praglabdha or Praudha nayika (as for the Madhya) from the point of view of behavior are: Dheera Praglabdha– She is the mature one who expresses her anger sarcastically but remains constant in love. Besides this she is respectful. all red as dipped in molten lac. She pretends to be lovable and knows the trick to hide her anger very cleverly by using striking words. but when the nayaka comes she turns her face away and acts as if she is ashamed and is very innocent. Praudha Dheeradheera nayika is a matured heroine who is always eager to unite in love but pretends self-controlled in front of her lover. in connection with the principal or the subordinate sentiments. Basohli.9 x 33. Pahari. Rathore | 71 Parakiya nayika (Another’s wife) Figure VI Parakiya Nayika. anyastri are also found. The man behind with cows and cattles is probably her husband went out for his job. silver. 1665. Here in the painting. Museum of Art For Parakiya or Anya Nayika Dhanmjaya says that: “anyastri kanyakodha ca nanyodha ngirase kva cit kanyanuragam icchatah kuryad angangisamsrayam” Parakiya is the woman who is married to another and should never figure in the principal sentiment. who is nayaka here as he is holding a flower of love to present the lady. nayika who is clad in red odhni is shown conversing with blue bodied man.5 cm. Collection-San Diego. anyadiya. Watercolor. But love for a maiden one can employ her at will. 23. gold and beetle wing on paper. Artist portrayed him like an ordinary man in beard and normal clothing while the lover of . The commonly used designation for her is parakiya but anya. Vada-Vidagdha: very smart in speech. Anya Sambhoga Dukhita: who is cheated by her messenger friend. Anushayana Prathama: her meeting place has been disturbed and shattered. Tritiyanushayana: she feels depressing at being unable to reach the reunion place. Bhanudatta categorized Parakiya according to her intelligence and skill of getting involved in with another man (Randhawa and Bhambri. Mudita: nayika who is pleased at the scene of completion of love. Kulata: who has large number of lovers and do not feel ashamed of it. Kriya-Vidagdha: very clever in actions. . Dvitiyanushayana: one who feels worried and heartbreaking on ruin of her meeting. Lakshita: the nayika whose matter of love has been revealed. Kanyaka: an unmarried nayika who is in love with a man. Bashohli Paintings 28): Parodha: one who is a married nayika but is caught up in love with another man too. Gupta: as her name suggests she is the one who knows how to hide proofs of her meeting with her lover and pretend in front of others as if she is innocent and is well-organized not involved in wrong doings. Lover’s more pleasant appearance and charisma suggests the reason of nayika getting involved into extra marital affair which is the characteristic of parakiya nayika. Samanya Vanita: nayika who loves for the sake of money. Rathore | 72 nayika is an attractive and adoring figure that makes a clear difference amongst them. Collection-Dogra Art Gallery. Here in the painting. Basohli.D. A. She is very audacious and clear with her perceptive. She expresses love only for some wealthy assets to fulfill her needs and hardheartedly moves away from the nayaka after fleecing money or gifts from him. well laid bed and magnificently hung curtains in front. nayika is seated well dressed adorned with all unususal jewelleries as if waiting for her lover. One important point to note is that the door is completely opened for nayaka’s access and the lady is . The pavilion is decorated with garlands of white flowers. 1695. Jammu About Samanya Nayika Dhanamjaya says that: “Sadharanastri ganika kalapragalbhyadhaurtyayuk” Nayika which is generally described as courtesan and who is smart in the play of love and other arts. Rasamanjari. Rathore | 73 Samanya nayika (Anybody’s) Figure VII Samanya Nayika. Pahari. She is the best among the three as she is well balanced and well behaved. which is clearly suggested through her confident seated posture at the floor and not bed. Uttama. She is samanya nayika. Banerji. Keshavadasa omits this category of Samanya nayika or courtesan giving his own reasons saying that: “And for the third type of Nayika. why should I describe her here? The best poets have said that one should not ruin good poetry by including tasteless (birasa) subjects. Here I have described all the Nayikas according to my own understanding of them” (Busch 111) The categories of nayikas on the basis of their Nature: “Bharatamuni in his Natyashastra mentioned the three types of women by nature: Superior (Uttama). Swatantra (independent) and Niyama (regular)” (P. The nayika is not shying or pretending to be because she knows that she is not supposed to attract the nayaka forever. Rathore | 74 gazing towards the same direction. She is devoted to her husband or lover and can’t be swayed by others. Samanya nayika has been categorized into three: “Janani Adhina (under the guidance of mother). Middling (Madhyama) and Inferior (Adhama)” (Ghosh 487). Uttama– She is moderate and tolerant. Parakiya and Samanya”. Madhyama and Adhama is said to be “similar in spirit to the classification into Svakiya. . Dance in Thumri 12). This is the meeting just for some self-interested reasons only and not for the sake of love. Bashohli Paintings 42). to express the pleasure or annoyance.She is the one who embellishes herself for the union and her surroundings for her lover’s arrival to create an enjoyable environment around him. who gives and provides that she obtains or gets. The other classification of nayika on account of Pride has been done by various intellectuals and writers: A Nayika who is proud is known as Garvita Nayika. “The one who is proud of her lover’s love for her is Prema Garvita and the one who is proud of her beauty is Rupa Garvita” (Randhawa and Bhambri. Madhyam mana Nayika. “Sanskrit scholars like Bharata. Rathore | 75 Madhyama– Literally Madhyama means the middle one. She responds via actions that are adequate with the treatment she has received from her lover. She is not faithful to one man. Dhanamjaya and many more have classified nayikas finally according to Situations as being of eight types” (Bahadur. and is neutral and Guru mana Nayika is the one who is highly proud of her beloved. . Adhama– Literally Adhama is the lowest category among the three and thus is the woman who does not behave well. Laghu mana Nayika is the one who is less proud of her love. The Rasikapriya xxiii-xxiv): Vasakasajjika . Keshavadasa. who is neither too much nor too less proud of her lover. even if her lover is well behaved or kind. Rathore | 76 Virahotkanthita – She is the one who being alone desires for reunion as she is separated from her lover and thus distressed. Abhisarika . c. Amber. Kalahantarita – She is the one who is regretful for the impulsiveness in conflict with her lover. which has resulted in their separation. . Private Collection whose lover had disappointed and saddened her which made her upset and offend. 1700. Vipralabdha – She is the one who is frustrated that her lover has not turned up at the meeting place as he assured her for the reunion. Proshitapathika – She is the one who is missing her beloved as he is far away on a long journey which is the reason behind her anguish and grief. Folio from Rasikapriya of Keshavadasa. Figure VIII Eight Heroines (Ashtanayikas) dressed in red and led by Sudevi.She is the one who courageously goes out for the meeting with her lover. Svadhinapatika – She is the one who is swollen with pride of her beloved’s love and devotion. Khandita – She is the one 32 x 19 cm. Samastara Anushayana yauvana sakovida Kalahantarita Navayauvana Prathama bhusita Pragalbhavacana Vichitravib Dvitiyanushayana Pradurbhutamano hrama Khandita Navalananga Tritiyanushayana bhava Akramati Mudita Lajjaprayarati Vichitrasura Vipralabdha Labdhapati Kanyaka Samanya Vanita Proshitapathika Anya Sambhoga Dheera Dheera Dukhita Abhisarika Adheera Adheera Dheeradheer Dheeradheer . Rathore | 77 This is a chart based on the study of nayika categorization given by various scholars and is completely based on my analysis: Nayika Bheda Birth Physical & Sexual Behaviour Nature Pride Situation Characteristics Divya Uttama Laghu Mana Manava Madhyama Madhyama Mana Padmini Mishra Adhama Guru Mana Chitrini Nrpatni Garvita Shankhini Kulastri Ganika Hastini Prem Garvita Rupa Garvita Svakiya Parakiya Samanya Age Parodha Gupta Vasakasajjika Vada-Vidagdha Mugdha Madhya Praglabdha Kriya-Vidagdha Virahotkanthita Lakshita Kulata Svadhinapatika Navavadhu Madhyarudha. Print.. Oxford: Oxford University Press. Ist. 3 Datta. 67 Banerji. 1st. Vol. 1956-57. 1st. Allison. 3-4. Print. Print. Dance in Thumri. New Delhi: Motilal Banarsidass. 2000.Kotah.Print Banerji. 1986. New Delhi: Munshiram Manoharlal Publishers Pvt. The Rasikapriya of Keshavadasa. 12 Bhatnagar. 1203 . 111 Coomaraswamy. English. Encyclopaedia of Indian Literature. Ist. The Rasikapriya of Keshavadasa. xx. ed. Ved. 2011. 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