Ashta Nayika


The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by Bharata in his Sanskrit treatise on performing arts - Natya Shastra. The eight nayikas represent eight different states in relationship to her hero or nayaka. As archetypal states of the romantic heroine, it has been used as theme in Indian painting, literature, sculpture as well as Indian classical dance and music.

Nayikas

As per Ashta Nayika, there are eight nayikas.
#NameSanskrit nameMeaning
1Vasakasajja Nayikaवासकसज्जा नायिकाOne dressed up for union
2Virahotkanthita Nayikaविरहोत्कंठिता नायिकाOne distressed by separation
3Svadhinabhartruka Nayikaस्वाधीनभर्तृका नायिकाOne having her husband in subjection
4Kalahantarita Nayikaकलहांतरिता नायिकाOne separated by quarrel
5Khandita Nayikaखंडिता नायिकाOne enraged with her lover
6Vipralabdha Nayikaविप्रलब्धा नायिकाOne deceived by her lover
7Proshitabhartruka Nayikaप्रोषितभर्तृका नायिकाOne with a sojourning husband
8Abhisarika Nayikaअभिसारिका नायिकाOne going to meet her lover

History and cultural depictions

The Ashta-Nayika classification first appears in Natya Shastra, a key Sanskrit treatise on Indian performing arts, authored by Bharata. The classification is detailed in later works like the Dasarupaka, Sahityadarpana and various other treatises on poetics as well as erotic Kamashastra texts like Kuttanimata based on courtesans, Panchasayaka, Anangaranga and Smaradipika. Keshavadasa's Rasikapriya in Hindi, also elaborates on the Ashta-nayika.
The Ashta-Nayika have been illustrated in Indian painting, literature, sculpture as well as Indian classical dance, such as Kathak. Notable medieval paintings that depict the Ashta nayika are the Ragamala paintings, as those from the Bundi school of painting.
A famous example in Indian literature is Jayadeva's Gita Govinda as well as in the Vaishnava poet Banamali's compositions, Radha dons the roles of the various nayikas while with her nayaka is the god Krishna.
The Ashta-Nayika is a central theme in Pahari embroidery used to decorate the Chamba Rumal, especially produced in Chamba, Himachal Pradesh. The Ashta Nayika are usually portrayed in eight panels on the Rumal.
In Indian classical music, the eternal love between Radha and Krishna is represented through the consciousness of Radha as the leitmotif that dominates the lyrics. Especially the semi-classical genre of Thumri imbibes the myriad moods of Radha as Ashta Nayika consumed by passionate love for Krishna.

The classification

The Natya Shastra describes the nayikas in the following order: Vasakasajja, Virahotkanthita, Svadhinabhartruka, Kalahantarita, Khandita, Vipralabdha, Proshitabhartruka and Abhisarika. The nayikas are further classified in two varieties of the shringara rasa, the rasa related to love: Sambhoga and Vipralambha. Vasakasajja, Svadhinabhartruka and Abhisarika are associated with Sambhoga; the others with Vipralambha.
In the Shringara Prakasha, Bhoja relates the various nayakas and nayikas with musical ragas and raginis. Somanatha's Ragavibodha and Damodara's Sangitadarpana continue this trend.

Vasakasajja

Vasakasajja or Vasakasajjika is waiting for her lover returning from a long journey. She is depicted in her bed-chamber filled with lotus leaves and garlands. She is dressing herself for the union with her lover and "eager with expectation of love's pleasure". Her beauty is compared by Kesavadasa to Rati - the Hindu love goddess, waiting for her husband, the love god Kamadeva. A Vasakasajja sculpture is found in the Lakshmana Temple in Khajuraho and the National Museum, Delhi.
The Ragavibodha associates the raginis Bhupali and Todi with Vasakasajja.

Virahotkanthita

Virahotkanthita or Utka is the distressed heroine pining for her lover, who, due to his preoccupation, fails to return home. She is depicted waiting for him, sitting or standing on a bed or out in the pavilion.
The Ragavibodha identifies the raginis Mukhari, Pauravi and Turushkatodi with the Virahotkanthita, while the Sangitadarpana names Patamanjari in this category.

Svadhinabhartruka

Svadhinabhartruka or Svadhinapatika is the woman who is loved by her husband and controls him. He is subjugated by her intense love and pleasing qualities. He is devoted and faithful to her
In paintings, this nayika is depicted with a nayaka, who applies mahawar on her feet or a vermilion tilak on her forehead. In Jayadeva's Gita Govinda as well as in the poem Kuru Yadunandana, Radha is portrayed as a Svadhinabhartruka. In the latter, Radha commands her lover, the god Krishna, to rearrange her makeup which is in disarray due to their fierce coitus.
Many raginis like Malashri, Travanika, Ramakriti, Jaitashri and Purvi are associated with Svadhinabhartruka.

Kalahantarita

Kalahantarita or Abhisandhita is a heroine separated from her lover due to a quarrel or jealousy or her own arrogance. Her lover is usually depicted leaving her apartment disheartened, while she too becomes heartsick and repentant without him. In other portrayals, she is depicted refusing the advances of her lover or refusing a wine cup from him. In Gita Govinda, Radha is also portrayed as Kalahantarita in an instance.

Khandita

Khandita is an enraged heroine, whose lover had promised her to spend the night with her, but instead comes to her house the next morning after spending the night with another woman. She is depicted offended, rebuking her lover for his infidelity.
In the Sangitadarpana, the ragini Varati represents the Khandita Nayika.

Vipralabdha

Vipralabdha,, is a deceived heroine, who waited for her lover the whole night. She is depicted throwing away her jewellery as her lover did not keep his promise. This happens when a lover meets a Khandita and promises a tryst and breaks his promise.
The Sangitadarpana associates Vipralabdha with the ragini Bhupali. However, the Ragavibodha presents the raginis Varati and Velavati as Vipralabdhas.

Proshitabhartruka

Proshitabhartruka or Proshitapatika is the woman whose husband has gone away from her for some business and does not return on the appointed day. She is depicted seated mourning, surrounded by her maids, but refusing to be consoled.
The Ragavibodha describes the raginis Dhanashri and Kamodi as Proshitabhartrukas.

Abhisarika

Abhisarika is a heroine, who sets aside her modesty and moves out of her home to secretly meet her lover. She is depicted at the door of her house and on her way to the tryst, defying all kinds of difficulties like the storm, snakes and dangers of the forest. In art, Abhisarika is portrayed often in hurry towards her destination.
The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.