Ashta Nayikas and Dance Forms (study)
by V. Dwaritha | 2013 | 71,711 words
This page relates ‘Alankara—Embellishments of Heroines� of the study dealing with the Ashta-Nayikas—a classification of eight kinds of “Heroines� representing the eight emotional states (avastha) employed in the classical Indian dance and performing arts (otherwise known as Natya Shastra). These Ashtanayikas reflect the eight types of romantic relationships and have hence formed the expressive subject of many classical painting, poems and dramatic plays.
Go directly to: Footnotes.
Part 7 - Alaṅkāra—Embellishments of Heroines
ṅk� are the natural graces of a heroine. They enhance and beautify the character.
यौवन� सत्त्वजा� स्त्रीणामलङ्कारास्तु विंशति� �
yauvane sattvajā� strīṇāmalaṅkārāstu viṃśati� |[1]
These are twenty in number and are born involuntarily out of youth.
भावो हावश्च हेला � त्रयस्तत्र शरीरजाः �
शोभा कान्तिश्� दीप्तिश्� माधुर्यं � प्रगल्भत� �
औदार्य� धैर्यमित्येत� सप्त भावा अयत्नजाः �bhāvo 屹śca ca trayastatra śarīrajā� ||
śDz Գپśca īپśca ܰⲹ� ca pragalbhatā |
ܻⲹ� dhairyamityete sapta bhāvā ayatnajā� ||[2]लीला विलासो विच्छित्तिर्विभ्रम� किलिकिञ्चितम� �
मोट्टायितं कुट्टमित� बिम्बोको ललित� तथ� �
विहृतं चेति विज्ञेया दश स्त्रीणा� स्वभावजा� �ī vilāso vicchittirvibhrama� kilikiñcitam |
moṭṭāyita� ṭṭٲ� bimboko lalita� tathā ||
ṛt� ceti vijñeyā daśa strīṇāṃ sva屹jā� |[3]
They are�
- 屹,
- 屹,
- ,
- śDz,
- Գپ,
- īپ,
- ܰⲹ,
- ,&Բ;
- ܻⲹ,
- dhairya,
- ī,
- ,
- vicchitti,
- vibhrama,
- 쾱쾱ñٲ,
- ṭṭ⾱ٲ [ṭṭ⾱ٲ],
- ṭṭٲ [ṭṭٲm],
- bimboka,
- lalita and [lalitam]
- ṛt [ṛtm].
ٲⲹ岹貹ṇa adds a few more qualities to the already existing ones.
लीला विलासो विच्छित्तिर्विम्वोकः किलिकिञ्चितम� �
मोट्टायितं कुट्टमित� विभ्रम� ललित� मद� �
विहृतं तपनं मौग्ध्यं विक्षेपश्च कुतूहलम् �
हसित� चकित� केलिरित्यष्टादशसङ्ख्यकाः �ī vilāso vicchittirvimvoka� kilikiñcitam |
moṭṭāyita� ṭṭٲ� vibhramo lalita� mada� ||
ṛt� tapana� maugdhya� vikṣepaśca kutūhalam |
hasita� cakita� kelirityaṣṭādaśasaṅkhyakā� ||[4]
The ones that are added extra to the already present ones are�
Footnotes and references:
[1]:
ٲśū貹첹, II. xxx. 282.
[2]:
Ibid., II. xxx–xxxi. 282.
[3]:
[4]:
Sāhitya Darpaṇa, III. xci–xcii. 211.