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CHAPTER 3

A STUDY OF NAYIKA BHEDA

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“The embodiment of beauty,

young, intelligent, graceful, lovely, brilliant-

thus is the Nayika described by all” (Gupta 42)

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CHAPTER 3

A STUDY OF NAYIKA BHEDA

A HISTORICAL STUDY OF NAYIKA

The term Nayika is used not in the literal sense meaning heroine, but for

passionate and devoted lover in Indian art who represents various shades of love, love

in union and love in separation. 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, mainly of Bharat Muni,

author of the Natyashastra dating almost to the 1st century B.C., and the renowned

exponent dealing primarily with dance – drama or natya. “Natyashastra is acclaimed

as a first authorized treatise for Indian poetics” (Upadhyay 99). 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. In

fact the later texts identified surprisingly many more. And whether it is the

Natyashastra or the Kavyasastras, one can clearly perceive an interesting fact that
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nayika was a purely male point of view discussed only by the men. “It goes without

saying that all these shastras were written by males” (Phadke).

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, sentiment and situation called as Nayika -bheda” (Randhawa

and Bhambri vii). “Total 144 types of nayaka and 384 types of nayikas have been

stated in the Natyashastra” (Dwivedi 322-330). “Rasamanjari of Bhanu Misra, a

work which attempted to harmonize all the prevalent typologies of nayika, also came

up with a 384 possible kinds of nayikas” (Hawley, Stratton, and Wulff 91). But “with

permutations and combinations, nayika-bheda came to 128 types of heroines” (Mehta

105). 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. The same classification continued to be followed by his successors such as

Vatsyayana in his Kamasutra (Datta 1203).

Similarly, in Jayadeva’s Gita Govinda, Krishna is the nayaka while Radha is

the nayika, and both are well-known for the passion and love. 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. Poets of later medieval literature such as Bhanudatta, who wrote the

Rasamanjari and Keshavadasa, who wrote Rasikapriya elaborated on the ashtanayika

theme giving a new direction to the literatures talking about nayika-bheda. 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. Bhanudatta followed the tradition of romantic as well as erotic
 Rathore | 59

poetry on the nayaka flattering the nayika, and the couple was imagined as Radha and

Krishna. 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. "In Rasamanjari, 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, Bashohli Paintings vii).

Similarly Keshavadasa’s Rasikapriya is the most important work in dialect literature

having poetic quality, as a number of Rajasthani and Pahari miniatures are illustrative

of its verses. “And thus most of nayaka-nayika-bheda paintings of Rajasthan are

based on the poetry of Keshavadasa” (Misra 18). “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.

The different feelings of the young woman marked on the one hand by over

powering passion and on the other by shyness, have awestruck several Indian poets

and painters. 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- Love Paintings). 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 paintings are thus illustrated with
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lyrical compassion, delicate and graceful draughtsman ship and colours of

extraordinary richness.

“Nayaka-nayika theme were composed by known and unknown poets and

illustrated by the painters of Rajasthan such as Hitatarangini by Kriparama,

Bharava-nayika-bheda by Rahim” (H. P. Dwivedi 497) and the works of “poets

such as Deva, Surti Misra, Sripati, Tosha and Raghunatha” (A. Banerji 67). They

brought alive the concept of rasa and allowed others to feel the same divine

spirituality. 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- shringara that deals with rasa, shringara and rhetoric.

Also “The Ras Raj which is considered to be very excellent work is another treatise

on lovers containing a nayika-bheda” (Keay 41-42).

NAYIKA BHEDA

The theme of love treated and discussed in Indian art reflects the

synchronization of the philosophy of life. 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. The literatures analyzed the real feelings of love and organized the central

character nayika on basis of her relation to the lover, her passion and power and depth

of love, expression and experience into various types. These typologies or categories

were given appropriate names and thus a categorization of nayikas emerged through

the literatures on the basis of their birth, physical and sexual characteristics, behaviour

and their response to love, age, nature and jealousy.

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“The categories of nayikas by Birth according to Natyashastra” (Janardan):

Divya are of divine origin (E.g. Indrani)

Maanava are of human origin (E.g. Kannagi)

Mishra are a mix of both categories, Divya and Maanava (E.g. Sita)

Nrpatni are of royal lineage, i.e. king’s wives (E.g. Mandodhari)

Kulastri are of respectable families (E.g. Damyanti)

Ganika are courtesans (E.g. 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).

Almost 10 centuries later Pandit Koka in his text, Kokashastra and

Keshavadasa in his Rasikapriya has classified four types of nayikas such as Padmini,

Chitrini, Shankhini, and Hastini on the basis of physical and sexual characteristics.

A fourfold division: “The Lotus (Padmini) Variegated (Chitrini), Conch (Shankhini)

and Elephant woman (Hastini)” (Coomaraswamy 2). These four categories are

subdivided according to their age. So Nayika up to sixteen is called Bala, the one who

is between sixteen and thirty is called as Taruni, between thirty and fifty is called as

Praudha and above fifty is called as Briddha. Then they are further divided into three

kinds, according to the depth and extent of the Yoni. These are “the Mrigi, also

called Harini, the Deer-woman; the Vadava or Ashvini, Mare-woman; and the Karini,

or Elephant-woman” (Malla 23).

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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.

She has less of arrogance,

anger and desire for love-

making.” (Bahadur xx). “Her

neck is beautifully shaped

with delicacy like a conch,

walks like a swan” (Dehejia

46). She is tall having slim

waist with defined bosoms

and a well shaped back, Figure I

Padmini Nayika, Artist Late Gopal Kumawat, Stone
elongated shell like neck, colour on paper, 12.6”x 18.0”

dreamy sensuous eyes, sharp features and long well crafted fingers all together.

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. He had blended the

representation of Padmini nayika into contemporary symbolism. In this water

colour painting, nayika is shown wearing white neat and clean garments, fine

jewels and wealthy attire which are the attributes of this nayika. This is a complete

identical imagery of Kishangarh style which was the actual requirement of

Padmini nayika.
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Chitrini (Variegated) - “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,

Celebration of Love 46). As her name

suggests she is an artistic woman, who

has a liking for dance, music and poetry.

Various texts described her as a lady

having cylindrical shaped well

proportioned full fleshy thighs and her Figure II

Chitrini Nayika, playing a musical instrument
walk as the swaying of an elephant. Guler, Himachal Pradesh, c. 1770-80

Here in the picture, nayika has similar qualities discussed by writers and poets. She

is playing instrument and giving impression of her affection towards art. She seems

gentle and attractive. Though fully clothed covering each body part, she appears

voluptuous.

Shankhini (Conch Woman) - She is

expert in showing displeasure and is

shameless, fearless, short tempered, clever,

hard hearted, rude and is much inclined for

love making (Bahadur, The Rasikapriya

Figure III
xx). Here artist portrayed her quite fleshy
Shankhini Nayika, Lady with a lotus,
Rajasthan, c. 18th century A.D., opaque
having ochre brown skin which seems water colour on paper, Collection-
Government Museum and Art Gallery,
striking and gorgeous. Chandigarh, India
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Hastini (Elephant woman)

– Texts like Ananga Ranga

and Rasikapriya says that

she is short and fleshy,

having crude face, white

coloured skin with thick

large lips, and ruthless

voice. She walks slow and

seems restless all time

(Bahadur, The Rasikapriya

xx). The brilliant use of

startling forms and colours

Figure IV
Hastini Nayika, Basohli, Pahari, 18th century
of Basohli principles can be

seen here. As texts says that she is slow in the art of love who gets pleased only by

lengthened intercourse, artist probably portrayed her in sexual activity

intentionally.

Nayikas are then classified into three types according to their behaviour and

their response to love. Scholars like Keshavadasa, Dhanamjaya, Vishvanatha,

Bhanudatta and many more discussed this type in detail. “Dhanamjaya in his

Dasarupa explains the heroine of further three kinds- Own wife (sva), another’s wife

(nya) and a common woman (sadharanastri): Sva nya sadharanastri ti tadguna

Nayika tridha” (Dhanamjaya 48-49). “Coomaraswamy classified them as Svakiya

(One’s own), Parakiya (Another’s) and Samanya (Anybody’s)” (Coomaraswamy, The

Eight Nayikas 3).

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The categories of nayikas on the basis of their Behaviour and Response to Love:

Svakiya – Married and faithful to her husband. She is of good character and

spends her time serving her hero passing through every circumstance

sincerely.

Parakiya - She belongs to one person but has feelings for another like Meera

who throbbed for Krishna’s love. As Keshava only categorized parakiya into

two: Udha or Praudha (Married and matured) and Anudha or Kanya

(Unmarried). So Meera can be kept in the Praudha category.

Samanya or Sadharana – She is a courtesan, who is free and attaches herself

to anybody for self betterment as well as for price with her charm.

 Svakiya Nayika (One’s own wife)

Figure V
Svakiya Nayika, Basohli, Pahari, c. 1660-70, 23.3 x 33 cm, Opaque
watercolor, silver, gold and beetle wing on paper, Collection-Museum of
Fine Arts, Boston, USA
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About Svakiya nayika, Dhanamjaya says that: “mugdha madhya pragalbheti sviya

silar javadiyuk”. And thus “Svakiya is categorized according to the age as Mugdha,

Madhya and Praglabdha” (Coomaraswamy, The Eight Nayikas 3).

The hero’s own wife (sviya), who is possessed of good character, uprightness

and the like, may be inexperienced (mugdha), partly experienced (madhya) or

experienced (pragabdha). 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.

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, is coy in

love and gentle in anger. She is youthful, inexpert and bashful in expressing her desire

and making love. She is unable to express her feelings and yearning. Thus she is not

aware of how she is to react to love. She never shows arrogance.

“Vishvanatha has given five classifications of Mugdha and Bhupala six types

but commonly known are four sub-divisions given by Keshavadasa: Navavadhu,

Navayauvanabhusita, Navalananga and Lajjaprayarati (Bahadur, The Rasikapriya

xxi). Navavadhu is one whose beauty increases day by day. Navayauvanabhusita is

one who has entered into youth and left her girlhood behind. Navalananga is the one

who speak and behave like a child but knows the art of showing anxiety tenderly.
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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), Jnata-Yauvana-Mugdha (Nayika who is a young heroine with

awareness and who is conscious of her youth (18-19 years old), Mugdha-Navodha

(Nayika newly married), Vishrabdha-Navodha (Nayika who has just begun to love

and trust) and Ativishrabdha Navodha Nayika (Nayika with full trust and love)”

(Randhawa and Bhambri, Bashohli Paintings 9).

Later on, Bhanudatta divided Mugdha into three types- Anukrit Yauvana,

Navorha and Vipralabdha navorha. Vishvanatha classified Mugdha Nayika as-

“Prathama Vatirna Yanyoma, Prathama Vatirna Madana Vihara, Rati Vama,

Manmrudu and Samadhik” (P. Banerji 10-11).

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. She is skilled in art of love to a certain extent

and possesses shyness as well as craving for the union together. Vishvanatha has

categorized Madhya into five types as Madhyas- Vichitra sutra, Praruda Ismara,

Praruda Yauvana, Ista Praglabdha Vachana, Madhyama Vradita. Later on

Keshavadasa sub-divided her into four: “Madhyarudha-yauvana, Pragalbhavacana,

Pradurbhutamanobhava and Vichitrasurata” (Bahadur, The Rasikapriya xxii).

Madhyarudha-yauvana is one who is full of affluence and good fate and is loved by

her beloved. Pragalbhavacana usually does objections and makes complaints.

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Pradurbhutamanobhava is fully devoted in making love to her nayaka.

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. Keshavadasa must have followed Vishvanatha

because his Vichitrasurata is alike Vishvanath's Vichitra sutra as both described her

in a same vein.

Three other types of Madhya nayika from the point of view of Behavior are:

“Dheera, Adheera and Dheeradheera” (Bahadur, The Rasikapriya xxii).

Dheera Madhya – She is youthful nayika who indirectly expresses her ill-

feelings and anger sarcastically, 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.

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.

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.

Later on each of these three nayikas is again divided into Decha (older) and

Kanicha (younger) by few scholars.

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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, crazed with

love, infatuated and clinging, as it were to the body of her husband for joy even at the

beginning of love’s pleasures. She is very experienced and understands the character

of her nayaka. Thus she can express herself very boldly. She is divided into four

types: “Samastarasakovida, Vichitravibhrama, Akramati and Labdhapati”

(Bahadur, The Rasikapriya xxii). 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. 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. Akramati wins her beloved’s heart by all means of her sweet words,

gestures and postures. Labdhapati has commanding qualities and displays authority

over her nayaka.

“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, Bashohli

Paintings 9).“Vishvanatha has given six classifications of Praglabdha- Ismarandha,

Garha- Tarunya, Samasta Rata Kovidha, Bhavonnata, Darvrida, Akratta” (Nayaka

and Nayikas).
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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. She pretends to be lovable and knows

the trick to hide her anger very cleverly by using striking words. She is cool

minded with an exaggerated sense of prosperity.

Adheera Praglabdha– One who is short tempered and does not know the art of

showing affection in the mood of frustration. She can’t hide her anger or

frustration. Besides this she is respectful, but occasionally articulates angrily and

becomes impolite to her lover.

Dheeraadheera Praglabdha– She speaks ruthlessly to her beloved even though

loves him deeply and openly blames him for default. Praudha Dheeradheera

nayika is a matured heroine who is always eager to unite in love but pretends

self-controlled in front of her lover. She waits impatiently for her love, but when

the nayaka comes she turns her face away and acts as if she is ashamed and is

very innocent. “Bhanudatta describes her gesture of turning her eyes away from

the nayaka as a fish, all red as dipped in molten lac, turns its back” (Exotic

India). 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.
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 Parakiya nayika (Another’s wife)

Figure VI
Parakiya Nayika, Basohli, Pahari, 1665, 23.9 x 33.5 cm, Watercolor, silver,
gold and beetle wing on paper, Collection-San Diego, 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. But love for a maiden one can employ her at will, in

connection with the principal or the subordinate sentiments. The commonly used

designation for her is parakiya but anya, anyadiya, anyastri are also found. Here in

the painting, nayika who is clad in red odhni is shown conversing with blue bodied

man, who is nayaka here as he is holding a flower of love to present the lady. The

man behind with cows and cattles is probably her husband went out for his job. Artist

portrayed him like an ordinary man in beard and normal clothing while the lover of
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nayika is an attractive and adoring figure that makes a clear difference amongst them.

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.

Bhanudatta categorized Parakiya according to her intelligence and skill of

getting involved in with another man (Randhawa and Bhambri, 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.

Vada-Vidagdha: very smart in speech.

Kriya-Vidagdha: very clever in actions.

Lakshita: the nayika whose matter of love has been revealed.

Kulata: who has large number of lovers and do not feel ashamed of it.

Anushayana Prathama: her meeting place has been disturbed and shattered.

Dvitiyanushayana: one who feels worried and heartbreaking on ruin of her

meeting.

Tritiyanushayana: she feels depressing at being unable to reach the reunion

place.

Mudita: nayika who is pleased at the scene of completion of love.

Kanyaka: an unmarried nayika who is in love with a man.

Samanya Vanita: nayika who loves for the sake of money.

Anya Sambhoga Dukhita: who is cheated by her messenger friend.

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 Samanya nayika (Anybody’s)

Figure VII
Samanya Nayika, Rasamanjari, Basohli, Pahari,
A.D. 1695, Collection-Dogra Art Gallery, 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. 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.

Here in the painting, nayika is seated well dressed adorned with all unususal

jewelleries as if waiting for her lover. The pavilion is decorated with garlands of

white flowers, well laid bed and magnificently hung curtains in front. One important

point to note is that the door is completely opened for nayaka’s access and the lady is
 Rathore | 74

gazing towards the same direction. She is samanya nayika, which is clearly suggested

through her confident seated posture at the floor and not bed. The nayika is not shying

or pretending to be because she knows that she is not supposed to attract the nayaka

forever. This is the meeting just for some self-interested reasons only and not for the

sake of love.

Samanya nayika has been categorized into three: “Janani Adhina (under the

guidance of mother), Swatantra (independent) and Niyama (regular)” (P. Banerji,

Dance in Thumri 12). 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), Middling (Madhyama) and Inferior (Adhama)” (Ghosh

487). Uttama, Madhyama and Adhama is said to be “similar in spirit to the

classification into Svakiya, Parakiya and Samanya”.

Uttama– She is moderate and tolerant. She is the best among the three as she is

well balanced and well behaved. She is devoted to her husband or lover and

can’t be swayed by others.

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Madhyama– Literally Madhyama means the middle one, who gives and

provides that she obtains or gets. She responds via actions that are adequate with

the treatment she has received from her lover, to express the pleasure or

annoyance.

Adhama– Literally Adhama is the lowest category among the three and thus is

the woman who does not behave well, even if her lover is well behaved or kind.

She is not faithful to one man.

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, Bashohli Paintings 42). Laghu mana Nayika

is the one who is less proud of her love. Madhyam mana Nayika, who is neither too

much nor too less proud of her lover, and is neutral and Guru mana Nayika is the one

who is highly proud of her beloved.

“Sanskrit scholars like Bharata, Keshavadasa, Dhanamjaya and many more

have classified nayikas finally according to Situations as being of eight types”

(Bahadur, The Rasikapriya xxiii-xxiv):

Vasakasajjika - 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.
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Virahotkanthita – She is the one who being alone desires for reunion as she is

separated from her lover

and thus distressed.

Svadhinapatika – She is the

one who is swollen with

pride of her beloved’s love

and devotion.

Kalahantarita – She is the

one who is regretful for the

impulsiveness in conflict

with her lover, which has

resulted in their separation.

Figure VIII
Eight Heroines (Ashtanayikas) dressed in red and led by
Sudevi, Folio from Rasikapriya of Keshavadasa, Amber, c. 1700,
Khandita – She is the one 32 x 19 cm, Private Collection

whose lover had disappointed and saddened her which made her upset and offend.

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.

Abhisarika - She is the one who courageously goes out for the meeting with her lover.
 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- 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 | 78

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