Classification of Ashtanayikas: Rathore
Classification of Ashtanayikas: Rathore
Classification of Ashtanayikas: Rathore
CHAPTER 4
CLASSIFICATION OF ASHTANAYIKAS
Figure IX
Eight Heroines (Ashtanayikas) dressed in blue and led by Champaklata, Folio from
Rasikapriya of Keshavadasa, Amber, c. 1700, 32 x 19 cm, Private Collection
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(Coomaraswamy 8)
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CHAPTER 4
CLASSIFICATION OF ASHTANAYIKAS
significance. The poet Keshavdasa mentions just four types, viz: the agreeable, the
And thus diverse are her manifestations and names that every scripture, every
art and artist felt and created in their own imaginary manner. While sometimes she is
desirable yet at others she is intolerable. Nayikas are illustrated with veneration in the
Indian arts of paintings rendered with beautiful sharp facial features, almond shaped
eyes, transparent bulging out veil, warm sensuous face, slim deer like waist, sensuous
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elegance is the noteworthy feature of nayika in all the schools of painting. The painter
situations for the portrayal of expressing different feelings, sentiments and reactions
provided miscellaneous themes for the poets and artists to work upon. These nayika’s
have never been isolated; in fact they are favourite of contemporary artists and
scholars too. And nayikas representing all the shades and moods of a woman will
their various Situations, expressing different feelings and reactions (Bahadur xxiii-
xxiv).
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467)
The same classification is found in later works like the “Dasarupaka (10th
century), Sahityadarpana (14th century) and various other treatises on poetics as well
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eight nayikas are same but the order is different like Keshavadasa in his Rasikapriya
described nayikas according to their personality, character and mood in this order:
Ananda Coomaraswamy:
way to his home, and Agatapatika whose beloved has just returned (Coomaraswamy,
The nayikas are further classified in two varieties of shringara rasa, related to
Svadhinabhartruka and Abhisarika are associated with Sambhoga; the others with
Vasakasajjika
Virahotkanthita
Svadhinapatika
Kalahantarita
Ashtanayikas
Khandita
Vipralabdha
Proshitapathika
Abhisarika
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Figure XI
Vasakasajja Nayika, Illustration to Keshavadasa’s Rasikapriya,
Bundi, Rajasthan, 17th century A.D., Paper- 38.5 x 25 cm, Miniature
Painting Gallery, Collection-National Museum of India
Dhanamjaya also describes her as “muda Vasakasajja svam mandayaty seyati priye”
(Dhanamjaya 55).
Vasakasajja nayika is the one who adorns herself with joy to receive her lover
who is about to come. She foresees her hero’s appearance as she knows his arrival
time and waits impatiently for him. “She is assumed deity Rati, a personification of
love” (Sodhi, Bundi school 109). She joyfully adorns herself with ornaments and
makeup and decorates the place where she is going to meet her nayaka and keeps
those things which are liked by the nayaka in the room. She is represented as
embellishing herself delightfully, admiring her beauty looking into the mirror,
beautifying the bed with flowers, lost in looking at certain point waiting for her lover
alone with him. And when he arrives, she gives him affectionate and adoring
welcome. The wait rouses her desires and passion glows on her cheeks. She is also
“O Sakhi, the Nayika, resembling the flame of a lamp, ran to hide herself in
the grove of sandal trees entwined by lovely clove creepers of undimmed leaves where
she conceals the luster of her limbs in her blue garment. Startled on hearing the
sound of wind, water, birds and animals, she looks around with eagerness for union
with her beloved. Waiting for Krishna in the bower she looks like a caged bird”
(Pande 22).
It seems that this painting is illustrated on these lines, where nayika is shown
elegantly seated on a well prepared bed in a bower or kunj decorated by her. Nayika
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here is typical Bundi in character having distinctive figure with large lustrous eyes
meticulously with delicate line drawing and fine brush work. She is adorned with all
It is an embedded narrative
scenes on such themes, artists concentrated on the mental and geographical realms of
the nayika who dreams of the reunion in the world imagined or created by her. Painter
of this picture divided adjacent spaces using variety of internal frames and unifies
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them within a single page. Indian poets described the places of wild hideaways for the
meeting of lovers but the artists of Rajput tradition showed their lovers meeting or
waiting in forest bowers. Bower is actually an internal frame that divides Rajput
Here world outside the bower seems abundant with the detailing of nature, it is
nature is suspended
artificial symmetry of arch straddled by both union as well as separation. One more
her.
immediately following the bath or before it. Several gold vessels, lamps, ornaments
and garlands are scattered on and near the bed. Her garments are placed in a tub at
bottom right which elaborate and compliment the composition. Here Vasakasajjika
nayika is portrayed different from the earlier one in the sense that she is about to get
ready for the meeting with her lover where as Vasakasajjika from Bundi is adorned
with all usual apparels to amuse her partner. The two paintings of same theme are
and desire of union, in the atmosphere. The sumptuous body of the nayika and her
posture are submerged with soft and rich white light. It is unclear whether this
miraculous radiance is due to natural day light or the shining body of the nayika
generally seen in the Pahari style of paintings. Use of pure white enhances the picture
whole surrounding
including background
transformed into a
hilly region. The architecture at the back and uneven ground is creating perspective.
Each and every component is crisply executed in the scene to enhance the mood and
charge the spectator’s mind. Use of red at the foreground in the form of floor is
actually a carpet
having pattern on it
which is dominating
Figure XIII
Utka Nayika, Folio from Keshavadasa’s Rasikapriya, Uniara, Rajasthan,
circa 1760 or later, Opaque watercolor, gold, and ink on paper- 25.71 x
16.82 cm, Purchased with funds provided by Dorothy and Richard
Sherwood, Collection-The Los Angeles County Museum of Art
(Dhanamjaya, The Dasarupa 55). Also Keshavadasa enhancing the lover’s keen
desire to meet has been beautifully mentioned which fits into the picture of this
Virahotkanthita nayika:
The peacocks with their shrill cries announce the mating of the earth and sky.
absence and suffers the pangs of separation as she is apart from her lover yearning for
the reunion. She is sad by his absence and gets disturbed when her lover tarries
without being at fault. And due to the non-arrival of her lover or hero, she openly
demonstrates her distress, exhaustion and discontent. She is usually described as lady
expressing her anxiety to her servants, weeping, disheartened, restless, and exhausted,
showing no interest in her. However, she does not doubt her hero and usually thinks
of various reasons he may have been unduly delayed, such as being detained by duty
or business.
And here in the picture, nayika is seated on a bed placed at some exterior
garland placed at her side is for the welcome of nayaka. The artists generally used
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motifs and metaphors of birds and trees, clouds and blinking lightning, the stream etc
and other elements existing in the environment to convey the emotions and feelings of
nayika. As two lotuses are placed at the distance in the picture, they seem like nayaka
Very interestingly painter rendered the nayika waiting for her beloved
longingly at the trysting place in dark illumined centre of the grove, under threatening
whirling clouds
of the evening
hours in which
nature seems
sweeping and
birds returning
back to their
homes. In the
same manner
formations of clouds are representing state of nayika’s heart which is churning into
the opposite emotions of doubts and believes about the arrival of her nayaka. Ochre
coloured lightning is also looking like a pair of snake moving to the same direction.
appears as if the lightning is embracing the dark clouds which are also bursting to
hold her tight. Peacock flying in the sky is also making noises and trying to announce
Two pair of birds, one on the tree and another near the stream is illustrated by
the artist to represent nayika’s desire to be with her partner. But in contrast he set the
scene very brilliantly by painting the lonely nayika in viraha watching curiously at the
peacock flying above in speed moving towards the peahen placed on the tree waiting
of turning behind
of viraha can be
counterparts. And
then arranged a
beautiful intense
picture possessing
The peacock is a symbol of the lover and nayika is thus imagining her lover to be on
the way as peacock is flying to meet the peahen. Two white birds are also painted
flying at the back set apart but trying to meet. The nature is adjusted by sensitive and
syncopated arrangements of the elements in singles or twos, as the tree’s trunks are
One more element have been observed at the close view i.e. a bud of lotus
The metaphors of beauty and eroticism used by the artists in their art are taken
Nayika in this
Virahotkanthita nayika
depicted sitting or
standing on a bed or
by some unknown
circumstances, hence
in figure XIII, nayika here is actually not seated but lying on the bed which indicates
that after waiting for so long she is now distraught at her lover’s absence and thus her
are absolutely different here. It is an interior scene and thus artist had very limited
props to be used expressing desolation in the room. And whatever he could have
managed, he assembled the non living objects like curtain, vessels, bed etc., which are
somehow incapable of playing any role in creating the mood of grief here. And thus
whole stress is on the nayika only. But with very few suggestions of lady’s posture
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and gesture and no other expression which can indicate her category, one can feel the
essence of the painting, her condition and the reason behind it. In this picture, she
appears lonesome and is suffering pangs of love in his absence. Her tearful,
disheartened, depressed, exhausted and body full of sorrow can be sensed by a viewer.
Whereas figure XIII had whole lot of living beings as well as inanimated things which
Other supporting elements used here is the typical Nepalese bed at a full
which is placed in
series of Ragamala
are illustrated. It is
know that each nayika is painted like this one with a fan at top and lotus plinth, scarlet
red filled all over and nayika centralized dominating the whole composition playing
the vital role. But each possess her own characteristic which is clearly visible at first
sight. Artist with few elements and limited colour palette managed successfully in
Figure XV
Svadhinapatika Nayika, Leaf from an illustrated Rasamanjari,
Deccan- Rajasthan, c. AD 1650
and loyalty. Her lover is overpowered by her devotional love and she is pleased of
nayaka’s dedication and commitment for her. She feels proud on thinking that her
nayaka has fulfilled her expectations in love; he is loyal and always takes her favour.
Of the eight nayikas, Svadhinabhatrika is the only one whose hero clings to her like a
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shadow and she is the fortunate one who’s lover remains with her all the time. Under
the other categories, nayaka is separated from the nayika, either by circumstance or
will; only she is indulged by her lover and is confident of his love for her.
Svadhinabhatrika nayika and her beloved are generally depicted sitting together and
gazing each other (Dehejia 151). She is so dominant and commanding that her lover
Jodhpur style, the principal style of Marwar, Rajasthan (Neeraj 23). But his typical
attire with the ankle length jama and a waist sash is Deccani. He is seated in front of
Each of the figure had great detailing involved immensely appealing to the
who is inexpert and bashful in expressing her desire and unable to give expressions to
emphatic. Also the colour palette used here is very Detail of Figure XV
The female maid standing behind the nayika is an example of the proportions used
outdoor place.
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border of ‘Svadhinapatika’
“Svadhinabhatrika is generally
raised right knee to apply mahawar on her feet. Such representations are masterpiece
the title suggested to it and description given by eminent writers about her.
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bright but tranquil work of art. Blue bodied nayaka and the graceful charm in
here, the nayika’s physical charisma of slim and elegant body is enhanced more of the
radiating immeasurable pride and assurance of having her lover serving at his best.
Many more paintings of this type of nayika are done within various compositional
Figure XVIII
separated from her lover by a quarrel. She is the one who suffers remorse after she
repulses her lover in indignation. The name Kalahantarita itself expresses the
character of the heroine in this category, i.e. “Kala is anger while anta means end, and
Kalahantarita nayika is the woman who fights with her lover for a little cause.
She first insults him and then regret after he goes away. In paintings, she is usually
depicted as one who leaves the nayika disheartened after the quarrel. She is described
in texts as of abusing her lover in front of her sakhis and then lamenting for her
actions and reactions. She turns her hero away in anger either because of his
relationship with
another woman or
because he fails to
a dejected mood.
becomes despondent
for her misdeed and is filled with remorse. She exhale noisily deeply, restlessly,
Here artist chose the scene after the quarrel. This painting is unrivalled
Nayaka appears full of pride and anger because she had refused to greet him. The
The nayaka outside the pavilion suggests that he was insulted and hurt by her
Flat ochre colour is used at the background behind nayaka and dark black is
filled behind the nayika which suggests that she before this prospect had already
created a big scene of squabbling with her lover, which has resulted in their separation
and that dark colour is suggesting her solitude. Even the nayika has not been
portrayed here appearing aesthetically sensuous, though she is adorned with all the
necessary jewels and dressed in stylized transparent full sleeved upper garment,
churidaar payzami and elegantly carried beautiful contrasting odhni. But painter has
not illustrated her according to the need of the scene. In fact she should have given
unattractive and dreadful look because of her mood and behavior. This could have
other phase also if a viewer wants to see that she is aware of nayaka’s nature that he
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will not go away in any circumstance, whether she abuse him or hurt his sentiment or
ego, he will come back to her. She knows that he cannot live without her and that is
Picture could have multiple meanings, that is why it is interesting yet difficult
to give it a language. As nayika is seated in front of the maid, it is also possible that
she is trying to behave as if nothing happened as such between the two or to get rid of
Chiranjeeva:
thambi baithaye.
Here nayika addressing her nayaka as Lala (Krishna) says that he came to
meet her in the room but she greeted him with terrible bitterness. Due to rage and
irritation he stood up and went away. But she didn’t try to hold his hand or convince
him to sit back. And she also realizes that because of her arrogant and offensive
Many situations fit into this scene and thus many interpretations can be there
but it is a painting that has few elements of Pahari but much of Deccan. Face structure
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with oval elongation, eyes nose and expressions are not Basohli in character. In fact
costumes, turban,
much Mughal or
Deccani in character.
The door inside the female compartment is half opened that also helps in
suggesting that the hero must have just gone out of the room. Sakhi standing in front
is clad in lehenga, choli and odhni covering her head and clearly appears engaged in
visuals.
Details of Figure XVIII
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In this
painting of Basohli,
nayaka’s confident
his blamelessness is
irrepressible untamed behavior he couldn’t bear her cruelty more and left the place.
Both situations can be interpreted here in the scene. And one more thing, unlike the
she has been painted filled with perfect Detail of Figure XIX
expressions that was the requirement of this dramatic scene. Alarming situation that
just happened in the scene can be felt by the viewer at very first glance.
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Khandita Nayika
Figure XX
Khandita Nayika, Painting Appended to a Ragamala (Garland of
Melodies), Bhaktapur (?), Nepal, circa 1650, Opaque
watercolor, metallic paint, and ink on paper, 18 x 14.28 cm,
Collection-Los Angeles County Museum of Art
Khandita Nayika is the one who is angry with her lover for causing her
through his relations with another woman. Her hero is generally mentioned in the
poetries and texts coming to her with the revealing marks of having spent time with
some other lady. She is angry upon seeing him and has suspicion, jealousy as well as
anger for being unfaithful to her. “She is offended and is usually seen reproaching her
lover for his lack of faithfulness” (Sodhi, Bundi school 347). She is slighted, hurt,
angry and distressed and thus looks as if heartbroken, impatient, and agitated, takes
responding indifferent
to her or speak
grammatical meaning
itself is to be cut or
case also, nayika is shattered by anger and uses hatred and strangeness as her
weapons. “Both Kalahantarita and Khandita nayika are enraged at their lovers,
Khandita however has her lover close by, but she rejects him for his fault” (Jose,
Semiosis 294). Here in the painting done in Nepal Bhaktapur style prominence of red
and orange colour can be noticed filled all over. A beautiful composition of nayika
quarrelling with her nayaka has been illustrated by the artist. Interestingly portrayed
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standing stance of the nayaka with his folded hands in front suggests the dominance
different to others represented in miniature paintings because most of them are shown
with the nayika in rage removing her ornaments which she adorned for her nayaka
only but here in the painting she is completely jeweled and instead of aggressive she
arguments when she is keeping her thought and expressions in front of the hero and
the quarrel here has not reached to the climax. He is just silent or probably gave fake
This painting of Khandita nayika is from the other seven types representing
eight nayikas and “at the top of each painting is a Sanskrit verse describing her
sentimental situation in which a woman commonly finds herself” (Pal 218-19). The
artists of the region had depicted the lyricism of the poems and her dramatic situation
through the visual expressions but not in the way literatures talks upon her. Possibly
these painters were not just the imitator, in fact ingenious and straightforward in
Detail of Figure XX
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(Pal, Art of Nepal 218-19). The artist would have familiar with the pictures of deities
significant, lotus is
dark red (Pal, Art of Nepal 220). Behind the nayika are splashes of silver speckles
which are giving a glittery effect to the background. This kind of sprays of silver
colour is done in all the eight nayikas. When nayika is given the position of a deity,
probably artist would have added this innovative and exceptional element to the
nayika paintings intentionally to shower a light behind the divinity reflecting a divine
aura. And this is not disconcerting the composition, infact a sprinkle of folkish
Chota Khayal in Rag Deshkar, Tintal has explained Khandita Nayika’s condition as:
This verse is appropriate to the above painting as these are the lines in which
nayika addressing to the nayaka is telling about how she waited for him frittering
away her last night. Here nayika also says that ‘I awake all night for you my love and
you are coming now in the morning. It seems that you spent night somewhere else as
your silence speaking out loudly and her kaajal mark is left on your lips’.
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portrayed in the
gesture of removing
strange is nayaka, who standing with head bowed down is holding one string of a
broken necklace which is placed around his neck. Here as well, many situations can
be seen; either the lady broke the necklace that was probably presented by him in rage
and returned him back or she must have started removing her jewels and nayaka
himself did it so as to make her bring to a halt. But aspect of khandan is present in the
Vipralabdha Nayika
Figure XXII
Vipralabdha Nayika, Guler, Pahari, circa 1800, Folio: 9 x 7 1/2 in. (23
x 19.5 cm), Provenance: George P. Bickford Collection, Private
collection, New York
Vipralabdha nayika is the one who is greatly offended that her lover has not
come to the rendezvous agreed upon. “Radha imagined as Vipralabdha Nayika, who
in an emotional soliloquy expresses her deep anguish as Krishna fails to appear at the
appointed place on time and starts feeling that her youth and beauty are of no use”
(Varadpande 38). Here in the painting also a lady is shown in pale yellow dress and
brown veil stands beside a bed of leaves throwing her jeweled armlet away in disgust,
as she is tired of waiting for her lover for whom she adorned herself. She is aware of
his betrayal but now is upset as he broke his promise, so she feels mislead, unhappy,
distraught, dejected, sobbing and inconsolable. “She waited for her lover for the
To her,
Pleasant bowers like fiery furnaces, Gardens are like the wild woods,
O Kesava, the moon rays burn her body as though with fever,
Love like a tiger holds her heart, no watch of the night brings any gladness,
Songs have the sound of abuse, pan has the taste of poison, every jewel burns like a
These are the excellent lines that describe Vipralabdha’s feelings when she
having completed her bath decorated herself with ornaments, reaches the meeting
place in moonlight to meet her nayaka, gets disappointed of waiting so long and
suffered the pangs of separation. Keshava says that the beautiful flowers become
odorless and garden looks like untamed forest to her. The moonlight started to burn
her like the sun as if she is having severe fever. She addressing Keshava asks that,
‘these jewelleries are torturous now burning my body parts and of what use are these
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ornaments when he had not come to see me. Any kind of song appears abusing and
A sense of inferiority arises in her, out of feeling that the other woman is more
deserving of her hero’s affection, than her. The neglected lady has waited all alone in
the forest the whole night for her nayaka. In fact the colour palette used over here is
so tedious and monotonous that the feel of grief and dullness can be felt. The
disappointed nayika
jewelry by pinching
exquisite form of
nayika is noteworthy
as it is a characteristic
to convey romantic love through the beautiful and idealized body of woman. She is
centralized which represents the feminism prominence among Guler artists portraying
their nayikas tall, slender elegant body, innocent face and tranquil character. She has
been portrayed sophisticated and calm despite of her intense feelings which are
unhappy and restless. The aesthetics of this painting use of delicate sweeping lines,
fresh lyricism, soft restraint and subtle tonality of pink, sap green, blue and grays are
of Guler painting.
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She has been portrayed standing in a clearing before a thick hedge of trees and
Typically Guler
beautifully painted
exhausted feeling of
of her mood.
The whole scene is oval framed by foliate arabesques in the spandrels. And this
“vertical oval border giving the appearance of ornamented frame, first appeared in
became widespread
valley by 1800”
Museum 72).
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This painting from Jaipur of Vipralabdha Nayika appears really “the jilted heroine, in
inconsolable” (Women in
background of grayish patches that evokes her loneliness and heart busted due to the
The top section of the painting has few contour lines which are executed so
She is depicted suffering the pangs of love separation but her posture suggests
approaching. Unlike
other Vipralabdha
nayikas, shown
this one is in so
her frustration, she just sat down folding her bodyparts all together and hair left
Figure XXIV
Proshitabhartruka Nayika, from an illustrated manuscript of the
Rasamanjari, Possibly Mankot, Punjab Hills, Northern India, Pahari,
about 1700–10, 16.3 x 27.5 cm , Opaque watercolor, gold and silver on
paper, Collection-Museum of Fine Arts Boston
the throbbing of separation and missing her lover who is gone on a journey and is
therefore sad. These pangs are unbearable and therefore she loses interest in dressing
and grooming herself. She is restless, shattered, and thus become careless towards her
appearance. She is described in desperate conditions like hair left messy and
uncombed, counting the days of his return and feeling discontented without him. The
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of the hero. Hence, the separation is justified but awful. Unlike the Vasakasajika, she
“In miniatures, she is generally depicted sitting and mourning the separation of
her lover surrounded by her maids and refuses to be consoled” (Sodhi, Bundi school
52-53). Here also situation is similar and in the painting, nayika is shown reclined in a
very awkward posture as is aware that her lover would not turn up soon. Her
expressions do not
appear composed,
mood. She is
surrounded by her
maids trying to
by offering her
favorite things, but she refuses to be console and cheer up. The most important in this
negligent of her appearance and deprived of energy. The colours used by painter are
suitable to the picture as grayish very grimy and dull background covering most of the
space of illustration reflects her state of depression and hopelessness. She is draped in
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a single cloth of white colour as if her life has become uninteresting after him. Her
favourite flower has failed to attract her and make her smiling.
The vessels decorated in the niches of wall, red coloured big pillow on white
reflecting her heart burning of separation are all suggesting the preparation that she
would have done with the help of her companions to welcome her beloved. But soon
the coming of her hero, till then she had shut his
Soordasa says that her eyes are thirsty for the view of Hari (Krishna, the
nayaka). She remains sorrowful all the time as her eyes want to see into his lotus eyes.
more interested in combing or making her hairstyle and thus had left her hair open.
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appears to be from
costumes, landscape
characteristics in them.
seems to be Vasakasajja
as Proshitapatika nayika.
Figure XXV
The mood of vasakasajja Proshitapatika Nayika, Folio from Rasikapriya of Keshavadasa,
Region-?, ca. 1800-1820, Opaque watercolor on paper, 24.4 x 14.8
nayika echoes only cm, Collection-Brooklyn Museum
Proshitapatika has been described in various texts and poetries as dull, restless and
negligent towards herself. But body condition of this particular nayika do not seems
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tedious, infact her seated posture and coy gesture suggests her being Vasakasajja
nayika.
Examining the image closely, grayish blue coloured garment worn by the
this particular nayika playing her role of encouraging and cheering her.
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Abhisarika Nayika
Figure XXVI
Abhisarika Nayika, Chamba, Himachal Pradesh, c. 1800, Watercolor,
Opaque watercolor on board, 25.3 x 19 cm, Collection-National
Gallery of Canada
meet the nayaka and goes out into a stormy night to meet him. She too spends very
much time adorning her and boldly makes special attempt to go out for the meeting.
Abhisarika terrifically
times. She could be married too who loves someone other than her husband and thus
shown going out of the household, ignoring the words and suggestions of their family
members, breaking all the associations and relations with them. Or very cleverly hides
her feelings towards another man and plans the meeting at the time when everybody
sleeps and returns back before they awake. “Reflecting this idea of reckless love are
In the song Shyama (Radha, the Nayika) wants to go out and play holi with
Krishna but couldn’t make because her duties at home stops her. Yet she tries to give
art and artists towards finding the bold and spiritual love in India at that time. She is
very commonly discussed in texts holding her lehenga with one hand to make
walking comfortable and faster, but here her hasten is depicted through her left leg
forward, cobra crushed under right feet, frontal body but face turning completely
behind suggesting some unexpected thing at her back. Even the left hand concerned
She is not portrayed here all alone in the dark thick forest. But lot of elements
has been intricated to the scene. The obstacles clearly visible here are
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witch entwined around tree trunk, a Himalayan bird very much alike francolin or rock
patridge, a musk deer like animal, peacock on the tree and cobra raising their heads
staring at nayika’s
trying to create
opposite, nayika is
absolutely calm
clasped by a red
garment filled
passion. A lady
charms the snake in forest of dark night. Jingle of her instrument tempts the snake to
come and pay court to her. “Asavari is a plaintive musical mode of Hindustani music
lady charming snakes” (Topsfield 43). She can be thus a representative of nayika
herself, who has same connection with her beloved, the manner melody of a snake
charmer and snake has. As nayika is hypnotized by the love of nayaka, she too has no
choice than going out to meet him. It is a beautiful illustration that provides a number
of props used by the artist to feel and then understand the essence of the nayika’s
fanaticism.
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This painting of Abhisarika Nayika is from the Ragamala series. Sanskrit verse at the
top describes her keen aspirational situation in which Abhisarika is expected to be in.
drama of her
visual expressions
central place and other elements illustrated just to give a hint of the situation. It can be
noticed in the series of Ashtanayikas from Nepal region that center of attention is
provided to the nayika surrounded by the useful or necessary but limited props. Only
few constituents are added to a scene to suggest the prospect of exterior or interior.
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regions and resembles the dragon’s body very common in those areas. So it seems
like a scary dragon floating in the air to stop the way of the nayika. As Indian artists
added swirly clouds and flashes of lightning in the form of cobras, here too Nepalese
artist would have tried to introduce some fearsome animated character like form to the
inscription on it regarding
incorrect to say that not only subject or themes travelled place to place, but the artist
grasped whatever he felt or realized astonishing and blend them with his own fleeting
This painting of nayika going out in the mid-day to meet her lover enchants the
warm expression of
This particular
has an influence of
probably wearing
is unclear as dupatta
contrasting churidar with jutis below are also commonly seen in Punjab. She appear
woman of some noble family with her posture, elegantly taking steps to walk, raised
hand, carrying and managing her garments and all usual ornaments worn by her.
Rathore | 138
The whole scene has a quality of captivating the viewer with its pale but
gleaming hues. To articulate the subtle changes of light, painter had acquired a certain
grassy ground.
The painter used no prop in the composition, yet with our nayika centrally
aligned and a sun at top, he endowed the picture with mood or sentiment filled to the
whole scene. This is very unusual kind of nayika depiction, where everything is
fading and vanishing, either the background or the foreground. At first look, our
nayika appears walking or almost floating over the surface because there is no as such
suggestion of ground in the visual. If painter would have added shadow to the lady, it
would be easy to feel her feet on a plane. The artist used an oval frame to enclose the
nayika’s picture which was popular in Kangra region, especially in the 18th-19th
century. Affluent but melodious soft palette has been used here that embraces our
Figure XXIX
Abhisarika Nayika (a), Kangra, Himachal Pradesh, c.
1775-1825, Drawing, Ink on paper, Collection-Harvard
Art Museums/Arthur M. Sackler Museum
Figure XXX
Abhisarika Nayika (b, Kangra or Guler, Pahari Hills,
ca. 1800, Ink, wash and translucent watercolor on
paper, 16.5 x 22.2 cm, Gift of Subhash Kapoor, in
memory of his parents, Smt Shashi Kanta and Shree
Parshotam Ram Kapoor, Collection- The Metropolitan
Museum of Art, New York, U.S.
Rathore | 140
Figure XXXI
Abhisarika Nayika (c), Kangra, Pahari, 1850,
Collection-Bhuri Singh Museum, Chamba
Few line drawings were also found while searching the Abhisarika paintings.
Here each illustration seems similar in appearance at first look but is actually different
from each other. All created in same Kangra style yet do not have that Kangra
elegance. As Guler-Kangra art acquire very precise, lyrical and naturalistic drawing,
figure (b) possess that flow of line and elegance in nayika depiction, whereas other
two (a) & (c) are having less graceful feminine charm in them. Apart from the
beautiful lady walking against the landscape, trees, flowers and rocky sloping ground
have been very carefully portrayed in these drawings. Graceful nayika is shown in
each illustration with her one feet in front to show the movement, left hand holding
odhni to fix to her head and turning back to see the witch stopping her trail. A witch is
also shown in conversation with Abhisarika nayika and is drawn naked with feet
Rathore | 141
turned behind. In figure (a), the witch is holding her child which is often seen in
Abhisarika paintings. Other elements in the three pictures are almost similar like
swirly clouds, raindrops, snakes around or nearby the nayika and creepers wrapped
around the tree branch etc. The only difference is the manner they are rendered. It can
be said that these drawings are actually the basic stage of painting which are left
incomplete for unknown reason. Because texts or other references do not suggest the
line drawings only were done purposefully during that period. Figure (b) too has a
patch of grayish colour at its top right corner for cloud representation which is also
left unfinished. Costume of nayika and slanting pitched land do have Kangra traits in
all the drawings equally but facial features of figure (b) are more sensitive and refine
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