Ashta Nayika - Revision history

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2026-03-19T16:32:01Z

minor fixed references per sources for accuracy

← Older revision		Revision as of 22:02, 19 March 2026
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	{{Short description\|Eight types of heroines in Indian performing arts}}		{{Short description\|Eight types of heroines in Indian performing arts}}
			{{redirect\|Nayika\|the personal name\|Naika}}
	[[File:Abhisarika-nayika-mola-ram.jpg\|thumb\|A painting by [[Mola Ram]]: ''Abhisarika nayika'', "the heroine going to meet her lover". She turns back to look at a golden anklet, which has just fallen off. There are also snakes below and lightning above.]]		[[File:Abhisarika-nayika-mola-ram.jpg\|thumb\|A painting by [[Mola Ram]]: ''Abhisarika nayika'', "the heroine going to meet her lover". She turns back to look at a golden anklet, which has just fallen off. There are also snakes below and lightning above.]]

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	\|-		\|-
	\| 7		\| 7
	\| ~~Proshitabhartruka~~ Nayika		\| Proshitabhartrika Nayika
	\| प्रोषितभर्तृका नायिका		\| प्रोषितभर्तृका नायिका
	\| One with a sojourning husband		\| One with a sojourning husband
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	==History and cultural depictions==		==History and cultural depictions==
	[[File:~~Deceived Heroine (~~Vipralabdha), Nayika ~~Painting Appended to a Ragamala (Garland of Melodies) LACMA M.73.2.5~~.jpg\|thumb\|Vipralabdha throwing away her jewellery.]]		[[File:Vipralabdha Nayika.jpg\|thumb\|Vipralabdha throwing away her jewellery. [[Chamba State\|Chamba]], 18th-century. [[Salar Jung Museum]]]]
	The Ashta-Nayika classification (''nayika-bheda'') first appears in ''[[Natya Shastra]]'' (24.210-11), a key [[Sanskrit]] treatise on Indian [[performing arts]], authored by [[Bharata Muni\|Bharata]] (dated between 2nd century BC and 2nd century AD).<ref name="sahitya"/><ref name="music">{{cite book\|last=Luiz Martinez\|first= José \|title=Semiosis in Hindustani music\|year=2001\|publisher=Motilal Banarsidas Publishers\|isbn=81-208-1801-6\|pages=288–95}}</ref> The classification is detailed in later works like the ''Dasarupaka'' (10th century), ''[[Sahityadarpana]]'' (14th century) and various other treatises on poetics as well as erotic ''[[Kamashastra]]'' texts like Kuttanimata (8th-9th century) based on courtesans, ''Panchasayaka'', ''Anangaranga'' and ''Smaradipika''. [[Keshavdas\|Keshavadasa]]'s ''Rasikapriya'' (16th century) in [[Hindi]], also elaborates on the Ashta-nayika.<ref name="sodhi">{{cite book\|last=Sodhi\|first=Jiwan\|title=A study of Bundi school of painting\|year=1999\|publisher=Abinav Publishers\|isbn=81-7017-347-7\|pages=52–3}}</ref>		The Ashta-Nayika classification (''nayika-bheda'') first appears in ''[[Natya Shastra]]'' (24.210-11), a key [[Sanskrit]] treatise on Indian [[performing arts]], authored by [[Bharata Muni\|Bharata]] (dated between 2nd century BC and 2nd century AD).<ref name="sahitya"/><ref name="music">{{cite book\|last=Luiz Martinez\|first= José \|title=Semiosis in Hindustani music\|year=2001\|publisher=Motilal Banarsidas Publishers\|isbn=81-208-1801-6\|pages=288–95}}</ref> The classification is detailed in later works like the ''Dasarupaka'' (10th century), ''[[Sahityadarpana]]'' (14th century) and various other treatises on poetics as well as erotic ''[[Kamashastra]]'' texts like Kuttanimata (8th-9th century) based on courtesans, ''Panchasayaka'', ''Anangaranga'' and ''Smaradipika''. [[Keshavdas\|Keshavadasa]]'s ''Rasikapriya'' (16th century) in [[Hindi]], also elaborates on the Ashta-nayika.<ref name="sodhi">{{cite book\|last=Sodhi\|first=Jiwan\|title=A study of Bundi school of painting\|year=1999\|publisher=Abinav Publishers\|isbn=81-7017-347-7\|pages=52–3}}</ref>

	The Ashta-Nayika have been illustrated in [[Indian painting]], literature, sculpture as well as [[Indian classical dance]], such as [[Kathak]].<ref name="Pratishtha)2014">{{cite book\|last=Pratishtha)\|first=Pratishtha saraswat (Acharya\|title=Essential Elements of Kathak\|url=https://books.google.com/books?id=sacHBAAAQBAJ&pg=PA43\|year=2014\|publisher=Acharya Pratishtha\|page=43\|id=GGKEY:3KKQDB5P3C5}}</ref><ref>{{cite book\|last=Banerji\|first=Projesh \|title=Dance in thumri\|url=https://books.google.com/books?id=lsuhSiITjU8C&dq=Ashta+Nayika&pg=RA1-PA13\|year=1986\|publisher=Abhinav Publications\|isbn=81-7017-212-8\|page=13}}</ref><ref name="sculpture">{{cite book\|last=Varadpande\|first=Manohar Laxman \|title=Woman in Indian sculpture\|year=2006\|publisher=Abhinav Publications\|isbn=81-7017-474-0\|pages=93–106\|chapter=Shringara nayika}}</ref> Notable medieval paintings that depict the Ashta nayika are the [[Ragamala paintings]], as those from the [[Bundi]] school of painting.<ref name="sodhi"/>		The Ashta-Nayika have been illustrated in [[Indian painting]], literature, sculpture as well as [[Indian classical dance]], such as [[Kathak]].<ref name="Pratishtha)2014">{{cite book\|last=Pratishtha)\|first=Pratishtha saraswat (Acharya\|title=Essential Elements of Kathak\|url=https://books.google.com/books?id=sacHBAAAQBAJ&pg=PA43\|year=2014\|publisher=[[Acharya Pratishtha]]\|page=43\|id=GGKEY:3KKQDB5P3C5}}</ref><ref>{{cite book\|last=Banerji\|first=Projesh \|title=Dance in thumri\|url=https://books.google.com/books?id=lsuhSiITjU8C&dq=Ashta+Nayika&pg=RA1-PA13\|year=1986\|publisher=Abhinav Publications\|isbn=81-7017-212-8\|page=13}}</ref><ref name="sculpture">{{cite book\|last=Varadpande\|first=Manohar Laxman \|title=Woman in Indian sculpture\|year=2006\|publisher=Abhinav Publications\|isbn=81-7017-474-0\|pages=93–106\|chapter=Shringara nayika}}</ref> Notable medieval paintings that depict the Ashta nayika are the [[Ragamala paintings]], as those from the [[Bundi]] school of painting.<ref name="sodhi"/>

	A famous example in Indian literature is [[Jayadeva]]'s ''[[Gita Govinda]]'' (12th century) 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]].<ref>{{cite news \|url=http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm \|archive-url=https://web.archive.org/web/20080212034900/http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm \|url-status=dead \|archive-date=February 12, 2008 \|title=Learn the lingo \|date=Sep 14, 2007 \|work=[[The Hindu]]}}</ref>		A famous example in Indian literature is [[Jayadeva]]'s ''[[Gita Govinda]]'' (12th century) 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]].<ref>{{cite news \|url=http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm \|archive-url=https://web.archive.org/web/20080212034900/http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm \|url-status=dead \|archive-date=February 12, 2008 \|title=Learn the lingo \|date=Sep 14, 2007 \|work=[[The Hindu]]}}</ref>
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	==The classification==		==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 (aesthetics)\|rasa]]'' related to love: Sambhoga (love in meeting) and Vipralambha (love in separation). Vasakasajja, Svadhinabhartruka and Abhisarika are associated with Sambhoga; the others with ~~Vipralambha~~.<ref name="music"/>		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 (aesthetics)\|rasa]]'' related to love: Sambhoga (love in meeting) and Vipralambha (love in separation). Vasakasajja, Svadhinabhartruka and Abhisarika are associated with Sambhoga; the others with Vipralabdha.<ref name="music"/>

	In the ''Shringara Prakasha'', Bhoja relates the various nayakas and nayikas with musical ''[[raga]]''s and ''ragini''s (a female raga). Somanatha's ''Ragavibodha'' (1609) and Damodara's ''Sangitadarpana'' (c. 1625) continue this trend.<ref name="music"/>		In the ''Shringara Prakasha'', Bhoja relates the various nayakas and nayikas with musical ''[[raga]]''s and ''ragini''s (a female raga). Somanatha's ''Ragavibodha'' (1609) and Damodara's ''Sangitadarpana'' (c. 1625) continue this trend.<ref name="music"/>
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	The ''Sangitadarpana'' associates Vipralabdha with the ragini Bhupali. However, the ''Ragavibodha'' presents the raginis Varati and Velavati as Vipralabdhas.<ref name="music"/>		The ''Sangitadarpana'' associates Vipralabdha with the ragini Bhupali. However, the ''Ragavibodha'' presents the raginis Varati and Velavati as Vipralabdhas.<ref name="music"/>

	===~~Proshitabhartruka~~===		===Proshitabhartrika===
	[[File:Proshita-patika Nayika.jpg\|left\|thumb\|upright\|Proshita-patika mourning.]]		[[File:Proshita-patika Nayika.jpg\|left\|thumb\|upright\|Proshita-patika mourning.]]

	~~Proshitabhartruka~~ ("one with a sojourning husband")<ref name="music"/> or Proshitapatika (as named by Keshavadasa) 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.<ref name="sodhi"/>		Proshitabhartrika ("one with a sojourning husband")<ref name="music"/> or Proshitapatika (as named by Keshavadasa) 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.<ref name="sodhi"/>

	The ''Ragavibodha'' describes the raginis Dhanashri and Kamodi as Proshitabhartrukas.<ref name="music"/>		The ''Ragavibodha'' describes the raginis Dhanashri and Kamodi as Proshitabhartrukas.<ref name="music"/>
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	The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.<ref name="music"/>		The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.<ref name="music"/>

			== In popular culture ==
			[[File:"Chitralekha" by Vijay Kumar Singh Book Cover.jpg\|alt="Chitralekha" Hindi Poetry Collection authored by Vijay Kumar Singh\|thumb\|Book Cover for "Chitralekha" authored by Vijay Kumar Singh]]
			The Ashta-Nayika have been relevant in contemporary works of art, literature, and poetry in India as well.

			=== Poetry ===
			* Vijay Kumar Singh's 2022 [[Hindi]] poetry collection "Chitralekha" has an entire section of 8 poems dedicated to the Ashta-Nayika. The 8 poems each have different Ashta-Nayikas as their protagonist and the individual poems are named after the different Ashta-Nayikas they are about.

			== See also ==
			* [[Nayak (disambiguation)]]

	{{clear}}		{{clear}}
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	[[Category:Indian painting]]		[[Category:Indian painting]]
	[[Category:Performing arts in India]]		[[Category:Performing arts in India]]
	[[Category:~~Aesthetics~~]]		[[Category:Concepts in Indian aesthetics]]

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{{Short description|Eight types of heroines in Indian performing arts}}
[[File:Abhisarika-nayika-mola-ram.jpg|thumb|A painting by [[Mola Ram]]: ''Abhisarika nayika'', "the heroine going to meet her lover". She turns back to look at a golden anklet, which has just fallen off. There are also snakes below and lightning above.]]

The '''Ashta-Nayika''' is a collective name for eight types of ''nayika''s or heroines as classified by [[Bharata Muni|Bharata]] in his [[Sanskrit]] treatise on [[performing arts]] - ''[[Natya Shastra]]''. The eight nayikas represent eight different states (''avastha'') in relationship to her hero or ''nayaka''.<ref name="sahitya">{{cite book|title=The Encyclopaedia Of Indian Literature |volume=2|year=2005|publisher=[[Sahitya Akademi]]|isbn=81-260-1194-7|chapter=Erotic Literature (Sanskrit)}}</ref> As [[archetypal]] states of the [[Romance (love)|romantic]] heroine, it has been used as theme in [[Indian painting]], [[Indian literature|literature]], [[Indian sculpture|sculpture]] as well as [[Indian classical dance]] and [[Indian classical music|music]].

==Nayikas ==
As per Ashta Nayika, there are eight nayikas.

{| class="wikitable"
|-
! #
! Name
! [[Sanskrit]] name
! Meaning
|-
| 1
| Vasakasajja Nayika
| वासकसज्जा नायिका
| One dressed up for union
|-
| 2
| Virahotkanthita Nayika
| विरहोत्कंठिता नायिका
| One distressed by separation
|-
| 3
| Svadhinabhartruka Nayika
| स्वाधीनभर्तृका नायिका
| One having her husband in subjection
|-
| 4
| Kalahantarita Nayika
| कलहांतरिता नायिका
| One separated by quarrel
|-
| 5
| Khandita Nayika
| खंडिता नायिका
| One enraged with her lover
|-
| 6
| Vipralabdha Nayika
| विप्रलब्धा नायिका
| One deceived by her lover
|-
| 7
| Proshitabhartruka Nayika
| प्रोषितभर्तृका नायिका
| One with a sojourning husband
|-
| 8
| Abhisarika Nayika
| अभिसारिका नायिका
| One going to meet her lover
|}

==History and cultural depictions==
[[File:Deceived Heroine (Vipralabdha), Nayika Painting Appended to a Ragamala (Garland of Melodies) LACMA M.73.2.5.jpg|thumb|Vipralabdha throwing away her jewellery.]]
The Ashta-Nayika classification (''nayika-bheda'') first appears in ''[[Natya Shastra]]'' (24.210-11), a key [[Sanskrit]] treatise on Indian [[performing arts]], authored by [[Bharata Muni|Bharata]] (dated between 2nd century BC and 2nd century AD).<ref name="sahitya"/><ref name="music">{{cite book|last=Luiz Martinez|first= José |title=Semiosis in Hindustani music|year=2001|publisher=Motilal Banarsidas Publishers|isbn=81-208-1801-6|pages=288–95}}</ref> The classification is detailed in later works like the ''Dasarupaka'' (10th century), ''[[Sahityadarpana]]'' (14th century) and various other treatises on poetics as well as erotic ''[[Kamashastra]]'' texts like Kuttanimata (8th-9th century) based on courtesans, ''Panchasayaka'', ''Anangaranga'' and ''Smaradipika''. [[Keshavdas|Keshavadasa]]'s ''Rasikapriya'' (16th century) in [[Hindi]], also elaborates on the Ashta-nayika.<ref name="sodhi">{{cite book|last=Sodhi|first=Jiwan|title=A study of Bundi school of painting|year=1999|publisher=Abinav Publishers|isbn=81-7017-347-7|pages=52–3}}</ref>

The Ashta-Nayika have been illustrated in [[Indian painting]], literature, sculpture as well as [[Indian classical dance]], such as [[Kathak]].<ref name="Pratishtha)2014">{{cite book|last=Pratishtha)|first=Pratishtha saraswat (Acharya|title=Essential Elements of Kathak|url=https://books.google.com/books?id=sacHBAAAQBAJ&pg=PA43|year=2014|publisher=Acharya Pratishtha|page=43|id=GGKEY:3KKQDB5P3C5}}</ref><ref>{{cite book|last=Banerji|first=Projesh |title=Dance in thumri|url=https://books.google.com/books?id=lsuhSiITjU8C&dq=Ashta+Nayika&pg=RA1-PA13|year=1986|publisher=Abhinav Publications|isbn=81-7017-212-8|page=13}}</ref><ref name="sculpture">{{cite book|last=Varadpande|first=Manohar Laxman |title=Woman in Indian sculpture|year=2006|publisher=Abhinav Publications|isbn=81-7017-474-0|pages=93–106|chapter=Shringara nayika}}</ref> Notable medieval paintings that depict the Ashta nayika are the [[Ragamala paintings]], as those from the [[Bundi]] school of painting.<ref name="sodhi"/>

A famous example in Indian literature is [[Jayadeva]]'s ''[[Gita Govinda]]'' (12th century) 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]].<ref>{{cite news |url=http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm |archive-url=https://web.archive.org/web/20080212034900/http://www.hindu.com/fr/2007/09/14/stories/2007091450100200.htm |url-status=dead |archive-date=February 12, 2008 |title=Learn the lingo |date=Sep 14, 2007 |work=[[The Hindu]]}}</ref>

The Ashta-Nayika is a central theme in ''Pahari embroidery'' used to decorate the ''Chamba [[Rumal]]'', especially produced in [[Chamba, Himachal Pradesh|Chamba]], [[Himachal Pradesh]]. The Ashta Nayika are usually portrayed in eight panels on the Rumal.<ref>{{cite book|last=Naik|first=Shailaja D. |title=Traditional embroideries of India|url=https://books.google.com/books?id=oNAwl-jS3gwC&dq=%22Ashta+Nayika%22&pg=PA40|year=1996|publisher=APH Publishing|isbn=81-7024-731-4|page=40}}</ref>

In Indian (Hindustani) 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 (aesthetics)|rasa]]'' related to love: Sambhoga (love in meeting) and Vipralambha (love in separation). Vasakasajja, Svadhinabhartruka and Abhisarika are associated with Sambhoga; the others with Vipralambha.<ref name="music"/>

In the ''Shringara Prakasha'', Bhoja relates the various nayakas and nayikas with musical ''[[raga]]''s and ''ragini''s (a female raga). Somanatha's ''Ragavibodha'' (1609) and Damodara's ''Sangitadarpana'' (c. 1625) continue this trend.<ref name="music"/>

===Vasakasajja===
{{multiple image
| width1 = 230
| image1 = Brooklyn Museum - Vasaka Sajja Nayika.jpg
| caption1 = Vasakasajja readying the bed for a night with her lover
| image2 =The Anxious or Expectant Heroine (Utka Nayika), Folio from a Rasikapriya (The Connoisseur's Delights) of Kesavadasa LACMA M.72.88.7.jpg
| caption2 = Virahotkanthita, waiting expecting her lover
| width2= 170
}}

Vasakasajja ("one dressed up for union")<ref name="music"/> 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.<ref name="sodhi"/> She is dressing herself for the union with her lover and "eager with expectation of love's pleasure".<ref name="sculpture"/> Her beauty is compared by Kesavadasa to [[Rati]] - the Hindu love goddess, waiting for her husband, the love god [[Kamadeva]].<ref name="sodhi"/> A Vasakasajja sculpture is found in the Lakshmana Temple in [[Khajuraho]] and the National Museum, Delhi.<ref name="sculpture"/>

The ''Ragavibodha'' associates the raginis [[Bhupali]] and [[Todi]] with Vasakasajja.<ref name="music"/>

===Virahotkanthita===

Virahotkanthita ("One distressed by separation")<ref name="music"/> or Utka (as described by Keshavadasa) 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.<ref name="sodhi"/>

The ''Ragavibodha'' identifies the raginis Mukhari, Pauravi and Turushkatodi with the Virahotkanthita, while the ''Sangitadarpana'' names Patamanjari in this category.<ref name="music"/>
{{clear}}

===Svadhinabhartruka===
{{multiple image
| width1 = 220
| image1 = Kalighat Krishna serving Radha.jpg
| caption1 = A [[Kalighat]] painting depicting Svadhinabhartruka with her lover applying ''mahawar'' to her feet
| image2 = Displeased Heroine (Kalahantarita), Nayika Painting Appended to a Ragamala (Garland of Melodies) LACMA M.73.2.3.jpg
| caption2 = Kalahantarita refusing advances of a lover
| width2= 200
}}

Svadhinabhartruka ("one having her husband in subjection")<ref name="music"/> or Svadhinapatika(as named by Keshavadasa) 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
<ref name="sodhi"/><ref name="sculpture"/> In paintings, this nayika is depicted with a nayaka, who applies ''[[Alta (dye)|mahawar]]'' on her feet or a vermilion [[tilak]] (mark) on her forehead.<ref name="sodhi"/> 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.<ref name="sculpture"/>

Many raginis like Malashri, Travanika, Ramakriti, Jaitashri and Purvi are associated with Svadhinabhartruka.<ref name="music"/>

===Kalahantarita===

Kalahantarita ("one separated by quarrel")<ref name="music"/> or Abhisandhita (as named by Keshavadasa)<ref name="sodhi"/> is a heroine separated from her lover due to a fight or jealousy<ref name="sculpture"/> or her own arrogance.<ref name="sodhi"/> Her lover is usually depicted leaving her apartment disheartened, while she too becomes heartsick and repentant without him.<ref name="sodhi"/><ref name="sculpture"/> 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.<ref name="sculpture"/>
{{clear}}

===Khandita===
[[File:Brooklyn Museum - Khandita Nayika.jpg|thumb|upright|Khandita rebuking her lover.]]

Khandita ("one enraged with her lover")<ref name="music"/> 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.<ref name="sodhi"/><ref name="sculpture"/>

In the ''Sangitadarpana'', the ragini Varati represents the Khandita Nayika.<ref name="music"/>

===Vipralabdha===

Vipralabdha ("one deceived by her lover"),<ref name="music"/> is a deceived heroine,<ref name="sculpture"/> who waited for her lover the whole night.<ref name="sodhi"/> She is depicted throwing away her jewellery as her lover did not keep his promise.<ref name="sodhi"/> This happens when a lover meets a Khandita and promises a tryst and breaks his promise.<ref name="sculpture"/>

The ''Sangitadarpana'' associates Vipralabdha with the ragini Bhupali. However, the ''Ragavibodha'' presents the raginis Varati and Velavati as Vipralabdhas.<ref name="music"/>

===Proshitabhartruka===
[[File:Proshita-patika Nayika.jpg|left|thumb|upright|Proshita-patika mourning.]]

Proshitabhartruka ("one with a sojourning husband")<ref name="music"/> or Proshitapatika (as named by Keshavadasa) 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.<ref name="sodhi"/>

The ''Ragavibodha'' describes the raginis Dhanashri and Kamodi as Proshitabhartrukas.<ref name="music"/>

===Abhisarika===

Abhisarika ("one who moves")<ref name="music"/> is a heroine, who sets aside her modesty and moves out of her home to secretly meet her lover.<ref name="sculpture"/> 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.<ref name="sodhi"/><ref name="sculpture"/> In art, Abhisarika is portrayed often in hurry towards her destination.<ref name="sculpture"/>

The raginis Bahuli and Saurashtri are described having the traits of the daring Abhisarika.<ref name="music"/>

{{clear}}

==References==

{{Reflist}}

[[Category:Literary concepts]]
[[Category:Dance in India]]
[[Category:Indian painting]]
[[Category:Performing arts in India]]
[[Category:Aesthetics]]