Depiction of Ahstanayikas - Eight forms of women in love - through paintings

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By Zeel Sundhani

  • History
  • India
  • Storytelling

    • Table of Content

    The depiction of women has always been a popular theme in Indian arts, be it fine arts, literary arts or performing arts. Bharatmuni, in his treatise Natya Sastra, describes 8 forms of women in love, given the term “Ashtanayikas”, where “Ashta” means “eight” and “Nayika” refers to “heroine”.  These Ashtanayikas can be seen in various Sanskrit dramas, in works of great writers like Kalidasa’s Abhijnanashakuntalam, Bhasa’s Mrcchakatikam, etc. Similarly, this concept also applies to paintings. Following are the eight types of heroines as written by Bharatmuni -

    “तत्र वासकसज्जा वा विरहोत्कण्ठितापि वा I

    स्वाधीनपतिका वापि कलहान्तरितापि वा II१९७II

    खण्डिता विप्रलब्धा वा तथा प्रोषितभर्तुका I

    तथाभिसारिका चैव इत्यष्टौ नायिका: स्मृता: II१९८II”

    Vasakasajja

    Vasakasajja is also known as Vasakaśayya, Sajjika or . She is the one who dresses up and waits for her beloved by the bed. Bhanudutta in Rasamanjari describes such a nayika:

    ‘She put on all her jewellery,

    Perfumed her thick head of hair,

    And at her bedside had them place areca nut and betel leaf.

    And the bedroom, when the woman

    entered, her body all aglow,

    was a darkened overcast day

    set ablaze by golden ketaki flowers’

    In paintings, she is shown as dressing up in her finest clothes, putting on accessories, like golden ornaments, flowers, combing or braiding her hair, either by herself or assisted by other women, and eagerly awaiting her lover’s arrival. 

    In the below Kangra painting, we can see Radha dressing up, decorating her hair with a hairpin and wearing fine clothes, while the gopis around her assist her by bringing her clothes, accessories, holding up a mirror for her to see her reflection in, etc. She is thus dressing up and awaiting the arrival of her lover, Krishna. 

    Radha Rani with the Gopis in Kangra by Poonam Katoch

    In the below Kalighat painting, we can see the heroine wearing an elegant saree, decked up in ornaments, and using a comb to braid her hair, while admiring her own reflection in the mirror. She is eagerly awaiting her lover, being seated on the bed and having decorated the room with flowers. 

    Reflections of Elegance: A Serene Portrait A Khalighat Painting by Sonali Chitrakar

    In the below Kalighat painting, we can see a woman decked up in a red garment, symbolising love and passion, along with many accessories. She is decorating her hair using flowers, while admiring herself in the mirror as she dresses up, eagerly awaiting union with her lover. 

    Woman admiring her beauty In Kalighat by Anwar Chitrakar

    Similarly, in the below Kalighat painting, the woman, dressed up in a beautiful saree and ornaments, is braiding her hair, eagerly awaiting her lover. 

    A Woman Twirling her hair: Kalighat painting by Uttam Chitrakar

    Virahotkaṇṭhita 

    Virahotkaṇṭhita is also known as Utkala, Utka, Utkaṇṭhita. She is the one who is alone and expectant or yearning. She is a nayika who is expectant and is pining for her lover who has failed to meet her or come home due to preoccupation. She is utterly disappointed. Her thoughts as envisaged by Keshavadasa in Rasikpriya –

    kaidhon gṛha kāja kai na chūṭata sakhā samāja kaidhon

    kachu āja brata vāsara bibhā bhāta tain

    ‘Is it because of some work at home? Or is it because he does not leave a company of friends or is today some fast-day of his?’

    Following are two Kishangarh paintings which show the women sitting alone in a forest, all dressed up, yearning for their partner’s presence, passing time by playing music and indulging with nature around them. 

    Deepak Raag Ki Ragini- Kamodi, Kishangarh Art by Shehzaad Ali Sherani

     

    Symphony of Serenity: Music and Nature in Harmony, Kishangarh art by Shehzaad Ali Sherani

    The below Kangra painting shows Radha waiting for Krishna in the porch, all dressed up for him and picking flowers, eager for a sight of him coming towards her house, wondering about the reason for his delay. 

    Radha Heart: Awaiting Krishna in Kangra by Poonam Katoch

    The below Kangra painting shows a heroine eagerly waiting for her beloved under a tree, tired and leaning on the branches for support,upset because he hasn’t arrived yet, but looking forward to their union.

    The Season of Waiting In Kangra by Poonam Katoch

    Swadhinapatika

    Swadhinapatika or Swadhinabhartrika is the one who is a dominating wife or partner.  She is one who has subjugated her lover. He listens to her, applies mahawar, a lac dye on her feet, vermillion on her forehead. Radha has been portrayed as such in illustrations of ‘Geeta Govinda’. Such a nayika is happy and proud.

    Bharatmuni says –

    surataatirasair baddho yasyaa parshve tu nayakah

    saandraa moda guna prapta bhavet swadheena bhartrukaa

    ‘Through her love and other characters, she who has attracted her beloved to

    be by her side at all times is known as swadheena bhartruka nayika.’

    In the below Kalighat painting, we can see a woman dressing up and combing her hair, while her lover gets her a flower to help decorate her hair. 

    Loving Deeds in Kalighat painting by Uttam Chitrakar

    In the below Kalighat painting, we can see a beautiful woman dressed up, sitting peacefully at rest, while her lover fans her. 

    Illicit Affair: A Tapestry of the Tharakeshwar Affair Khalighat Painting by Sonali Chitrakar

    In the below Kalighat painting, we can see a woman dressing up,  while her lover gets her a flower to help decorate her hair, and himself puts it into her hair. 

    Serenade of Devotion: Whispers of Adoration in Kalighat by Sonali Chitrakar

    Kalahantarita

    Kalahantarita(also known as Abhisandhita, Kupita) is the one who is separated from her beloved by a quarrel. Sometimes she is separated due to her arrogance. In this state her lover is usually shown pleading with her, or leaving her house dejected. She might also be shown refusing his advances. The nayika is however repentant without him. Bharatmuni describes her thus –

    irshya kalaha nishkraanto yasyaa naagachhati priyah

    saamarshavasha sampraaptaa kalahantaarita bhavet

    ‘She, whose lover is separated from her due to jealousy and quarrel, is known as kalahantarita nayika. She is sorrowful at her situation.’

    The below miniature painting shows the nayika upset because of a quarrel with her beloved, who had come to pacify her with a flower, but due to her arrogance, she turns him away, and is now feeling lonely and upset. 

    Kalahantrita Nayika Bheda in Kangra Miniature by Anshu Mohan

    Khanḍita 

    Khanḍita is she who is offended. Khandita is a nayika who is enraged with her lover because he has not come to her and probably spent his time with another woman and she is angry with him. In this state she is depicted as offended and rebuking her lover. Bharatmuni says –

    vyaasangaaduchite yasyaa vaasake naagatah priyah

    tadanaagama dukhaartaa khanditaa saa prakeertitaah

    ‘One whose beloved has not come to her and enjoys with another woman is

    known as a khandita. She is distressful and angry.’

    In the below Kalighat painting, we can see the wife being offended by her husband, angry at him and shouting, threatening to hit him with a broom, while he tries to pacify her by offering a flower. 

    The Rose and the Broom: Babu Bibi Kalighat Painting by Bhaskar Chitrakar

    Vipralabdha 

    Vipralabdha (also known as Labdhavipra) is the one who has made an appointment and is disappointed. Vipralabhda is a nayika who is a deceived heroine, one who has waited for her lover, she is usually depicted throwing away her jewellery. She is disappointed and her heart is full of discontent. 

    Bharatmuni says of her –

    yasyaa doorim priyah preshya dattaa sanketameva vaa

    naagata kaaraneneha vipralabdhaa tu saa bhavet

    ‘Even after sending messages, she whose beloved does not show up is known as vipralabdha. She feels sad and humiliated.’

    Proṣita-bhartṛka

    Proṣita-bhartṛka (also known as Proṣita-patika, Proṣita-preyasi) is she whose beloved has gone abroad. 

    Prositabhartirka, is the one whose lover would travel with and who does not come back on the expected day. She is depicted seated alone or surrounded by her maids and is inconsolable. She does not bother to dress up or apply any make-up or comb her hair. Bharatmuni says of her –

    gurukaaryaantara vashaad yasyaa vai proshita priyah

    praroodhaalakakeshaantaa bhavet proshita bhartrika

    ‘One whose lover has left to another place for an important business is

    known as proshita bhartrika. She is depicted as a lady who has abandoned her

    ornaments and left her hair loose.’

    In the below Kishangarh painting, the woman can be seen yearning for the lover, resting or sleeping awaiting his return. 

    Devotion's Canopy: Gopis' Serene Reverie, Kishangarh art by Shehzaad Ali Sherani

    The below Kalamkari painting shows Shakuntala, from Kalidasa’s Abhijananshakuntalam, missing her husband King Dushyant while he is away, and she is writing a letter to him conveying how much she misses him and is eagerly awaiting his return. 

    Shakuntla Devi : Kalamkari painting by Harinath.N

    Abhisarika

    Abhisarika  is she who goes out to meet her beloved. Abhisarika is the nayika who moves, to meet her lover secretly. She is shown facing dangers on her way like snakes and animals in the forest and thunder-storms. She is often shown as starting from the door of her house, in a hurry to reach her destination. She just wants to meet her lover who is waiting for her. Bharatmuni says of her –

    hitvaa lajjaantu yaa shlishtthaa madena madanena vaa

    abhisaarayate kaantam saa bhavedabhisarika

    ‘Overwhelmed with love, she who leaves behind her family and shame to go and meet her beloved is to be considered as an abhisarika.’

    In the below Basohli painting, we can see the nayika out in the forest all decked up for union, going to meet her lover. 

    Harmony of Hues: A Woman's Elegance Amidst Lush Green Landscapes Basohli Painting by Aastha Billowria & Shivakshi Sharma

    In the below Kerala mural painting, we can see a nayika venturing out into the forest, surrounded by all kinds of animals, going to meet her beloved. 

    Beauty, Kerala Mural Painting by Jijulal

    Thus, we can see how women in ancient India were given such varied characteristics and classified on the basis of how they are as a lover or a partner. These women love their partners, yet are all confident, bold, love and respect themselves and also have a bit of an ego, having their own distinct identity, and not being inferior to their male counterparts. This concept, though originating from literary and performing arts, has been widely used to depict different types of women in love, making these paintings very grounded in reality, timeless and relatable, with a good understanding of female psychology.  

    References 

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