Kamashastra Discourse (Life in Ancient India)
by Nidheesh Kannan B. | 2018 | 52,434 words
This page relates ‘Adornments and Caring of Body in Sahridayalila� of the study on Kamashastra representing the discipline of Kama (i.e., ‘sensual pleasure�). The Kamasutra of Vatsyayana from the 4th century is one of the most authoratitive Sanskrit texts belonging this genre. This study focusses on the vision of life of ancient India reflected in Kamashastra.
Go directly to: Footnotes.
8.2. Adornments and Caring of Body in ṛdⲹī
ṛdⲹī, the work on 峾śٰ, authored by Բ첹 Ruyyaka and is composed in four small chapters. A general outline about the text has already given in the second chapter of this thesis. Here it is aimed to analyze the content of ṛdⲹī, because the text entirely deals about the importance and caring of physical body. Through four ullekhas the author explores the subjects like qualities of the connoisseur, importance of ornaments, nature of youth and beauty etc.
The first chapter called Guṇollekha or on importance of developing personality. As an aesthetician, Ruyyaka uses the word sahṛdaya which means an appreciator of arts, music and literatures to address citizen or 岵첹. In this section, ten physical qualities or bodily factors of personality viz. figure or appearance of the body, colour of the body, lustre of the body, attractiveness, nobility, efficiency in coquettish gestures, grace, characteristic trait, magnanimous ability and fortune are discussed. Each of the qualities is also defined here separately[1].
The second chapter named Alaṅkārollekha deals about seven types of adornments to be applied in the body. They are diamonds, gold, diamond incorporated with gold, garlands, perfumed powders and creams made of different ingredients, eyebrow designers, massaging items etc. Thirteen types of diamonds, nine types of gold, four types of incorporated diamond gold, eight types of garlands, two ways of massaging etc are depicted. The chapter has concluded by proclaiming that the combination of above items is perfect costume ever and it should be applied according to the suitability of place, time and climatic conditions. Thus the beauty will be enriched by the application of such items as suitably[2].
The third chapter named Jīvitollekha briefly explains about the period of youth. Physical changes happened in the body as the symbol of adolescence after childhood stage, entertainments and major mental happenings in the youth are described here[3].
The fourth and final chapter called Parikarollekha, Parikara means the one which enumerates beauty with its nearby presence or simply, it is called the physical body. It has eight broad divisions derived from moveable and immovable or conscious and unconscious with relevant examples each.
Then the chapter concludes by interconnecting all the subjects depicted in the four chapters in a single stream of life as:
In short, quality generates, adornment cultivates, life revives and body implies the beauty[4]. So, the life span of a citizen or sahṛdaya is lays upon physical beauty to an extent. According to Ruyyaka, the aesthetical satisfaction of life is beauty and physical caring and man is living in the joyful world created by beauty. So that, the text like ṛdⲹī aims to propagate the value of adornments and caring of body in delightful material life.
Footnotes and references:
[1]:
śrīmatāmutkarṣaparijñānadvaidagdhyena sahṛdayatvānnāgarikatāsiddhi� | yuvatyadīnāmukarṣo dehe guṇālaṃkārajīvitaparikarebhya� | tatra śobhāvidhāyino ṇāḥ | ū貹� ṇa� 岵� ٲⲹ� | 屹ṇy� ṣaṇa� ܲ岵ⲹ� cetyamī ṇāḥ || avayavānā� rekhāspāṣṭya� rūpam | gaurādidharmaviśeṣo ṇa� | kācakācyarūpā ravikānti� | naisargikasmeratvamukhaprasādādi� sarveṣāmeva cakṣurbandhako dharmo 岵� | kusuma mārdavādirlālanādirūpa� sparśaviśeṣa� peśakhya ābhijātyam | aṃgopāṃgānā� yauvanodbhedī manmathavāsanāprayukta� kaṭākṣādivadvibhramākhyaśceṣṭāviśeṣo | taraṃgidravasvabhāvāpyāyinetrapeyavyāpisnigdhamadhura iva prītimotkarṣaikasāra iva pūrṇenduvadāhlādako � saṃsthanamugdhimavyaṃgyo lāvaṇyam | aṃgopāṃgānāmasādhāraṇaśobhāprāśastyaheturaucityatmāsmayī dharmo lakṣaṇam | tasya yuktapramāṇatādoṣasparśasnigdhavakraniyatalomāṃgasuśliṣṭasaṃdhānatānāha-pariṇāhaucityalokaprasiddhaviśiṣṭāṃgayogākhyā� krameṇa ṣaṭbhedā� | agrāmyatayā vakrimatvakhyāpinī tāmbūlaparidhānanṛttabhaṇitigamanādisthanakeṣu ūṣm bhaṃgiśc | sphurallakṣmyupabhogaparimalādigamyo'ntaḥsāro rañjakatayā vaśīkartā sahṛdayasaṃvedyadharmabhedaśca saubhāgyam | tatrādye smaramadapulakādayo bhedā� | antye tu bhaṇitarūpaparibhogādharāsvādasaurabhādibhiryugapadrasavattvātpañcendriyasukhalābha� || iti śrīrājānakaruyyakaviracitāyā� sahṛdayalīlāyā� guṇollekha� ٳ� |
[2]:
ٲԲ� ṃśu ⲹ� maṇḍanadravyayojane | īṇa� cetyalaṃkārā� saptaivete � || tatra vajramuktāpadmarāgamarakatendranīlavaidūryapuṣparāgakarketanapulakarudhirā kṣabhīṣmasphaṭikapravālarūpāṇi ٰǻ岹ś ٲԾ | hema Բ | jāmbūnadaśātakaumbhahāṭakavaiṇavaśrṛṃgīśuktijajātarūparasaviddhākarodgatabhedāt | tatra tāḍīkuṇḍalaśravaṇavālikādirāvedhya� | aṃgadaśroṇīsūtramūrdhamaṇiśikhādṛṣṭikādirnibandhanīya� | ūrmikākaṭakamañjīrasadṛśa� ṣeⲹ� | prālambamālikāhāranakṣatramālāprabhṛtirDZⲹ� | caturdhāṃśukamaya� | tvakphalakrimiromajatvātkrameṇa kṣaumakarpāsakauśeyarāṃkavādibhedāt | punastridhā | nibandhanīyaprakṣopyDZⲹvaicitryāt | tatra nibandhanīya� śiraḥśāṭakajaghanavasanādi� | ṣeⲹ� kañculikādi� | DZⲹ uttarīyapaṭādi� | sarvasyāsyānekavidhatva� varṇavicchittinānātvāt | grathitāgrathitavaśāddvividha� sannaṣṭadhā mālyamaya� | veṣṭitavitatasaṃghāṭyagranthimadavalaṃbamuktakañᲹīstabakalakṣaṇamālyabhedena | tatrodvartita� veṣṭitam | pārśvato ٲ� vitatam | bahubhi� puṣpai� samūhena ٲ� saṃghāṭyam | antarāntarā ṣa� granthimat | spaṣṭommitamavalambam | 𱹲� muktaka� | anekapuṣpamayī ñᲹī | kusumaguluccha� ٲ첹� | tasyāvedhyādayo'pi catvāro bhedā� | kastūrīkuṃkumacandanakarpūrāgu rukulakadantasamapaṭavāsasahakārataimbūlālaktakāñjanagorocanādinirvṛtto maṇḍanadravyamaya� | bhrūghaṭanālakaracanādhammillabandhādiryojanāmaya� | 屹 prakīrṇamaya� | janyaniveśyabhedena | śramajalamadhumadādirjanya� | dūrvāśokapallavayavāṃkurarajatatrapuśaṃkhatāladaladantapatrikāmṛṇālavalaya-karakrīḍanakādirniveśya� | etatsamavāyo ṣa� | sa ca deśakālaprakṛtyavasthasātmyena | eteṣāṃ vicchittyā yathāsthananiveśanaparabhāgalābhādrāmaṇīyakavṛddhi� | iti śrīrājānakaruyyakaviracitāyā� sahṛdayalīlāyāmalaṃkārollekho 屹īⲹ� |
[3]:
śobhāyā anuprāṇaka� yauvanākhya� jīvitam | bālyānantara� gātrāṇāṃ vaipulyasauṣṭhavavibhaktatāvidhāyī sphuṭitadāḍimopama� smaravasatiravasthabhedo yauvanam | tasya vayaḥsaṃdhirārambha� | ⲹ� tu prauḍhikāla� | prathame dhammillaracanālakabhaṃganīvīnahanadantaparikarmapariṣkaraṇa-darpaṇekṣaṇapuṣpoccayamālyombhanajalakrīḍādyūtāślīlacchekabhaṇityanimittalajjānubhāvaśṛṃgāraśikṣādaya āvartamānāśceṣṭā� | antye tu śṛṃgārānubhāvatāratamya� śreya� || iti śrīrājānakaruyyakaviracitāyā� sahṛdayalīlāyā� jīvitollekhastṛtīya� |
[4]:
śobhāyā ārādupakārakatvādvyañjaka� 貹첹� | tasya cetanācetanayo� sthaṇucalayo� ٲ첹� śliṣṭasaṃnihitamātrarūpatvenāṣṭavidhatvam | utsaṃgopāsīnakāntahayaparivāravātāyanavitānanauchatrādīni darśanāni | tāni 屹 | vyastasamastabhedāt | eva� śobhāsamutpādakasamuddīpakānuprāṇakavyañjakā� kramādguṇālaṃkārajīvitaparikarā� | eva� parasparopakārakatvāditaretarānugrāhakatva� siddham || iti śrīrājānakaruyyakaviracitāyā� sahṛdayalīlāyā� parikarollekhaścaturtha� |