Abstract

All the arts uniquely intercommunicate with each other. Indian literature and visual arts are no exception to this, as they share many fascinating themes. The concept of Nayaka and Nayika, originating in the Natyashastra, enticed writers, actors, dancers, painters, and even musicians. Literary texts and treatises, such as Natyashastra by Bharata, Rasikapriya by Keshavadasa, and Sringaratilaka by Rudrabha, have detailed expositions of the various sorts of Nayaka-s and Nayika-s. Among these, the eight heroines, known as Ashtanayika-s, became the most popular. These texts inspired the Indian miniature painters of almost all schools like Pahari, Kangra, Mughal, etc., and it can be seen that most of the palaces in pre-independent India had paintings of these Nayika-s. At the same time, it must have inspired the classical musicians and music composers, who assimilated them beautifully in the Khayal Bandish-es.

            A painting is a visual medium, and Khayal or music is an audible medium. It is fascinating to see what happens when the same theme is expressed by a painter in the form of an image and by a Vaggeyakara in the form of a Bandish. The present paper is a comparative study of the depiction of these eight types of Nayika-s in the compositions of Khayal and select Indian miniature paintings. This analysis explores how the interpretation of the exact theme matches or differs with the change of the medium. While exploring the interdisciplinary arena of music and miniature paintings, the present research paper draws substantial conclusions about the interrelationship of both these mediums.

Keywords: Nayika, Ashtanayika, Bandish, Hindustani music, Raga, painting

Introduction:

            Indian literature and art have a special place for Nayika-s in them. The concept of Ashtanayika-s, which originated in the Natyashastra, attracted writers, actors, dancers, painters, and even musicians. It inspired the miniature painters, and it is also reflected in the texts of Khayal Bandish-es, which vocalists could present with musical expression. A painting is a visual medium, and Khayal or music is an audible medium. The present paper is a comparative study of the depiction of these eight types of Nayika-s in Khayal compositions and select Indian miniature paintings. This analysis explores how the interpretation of the exact theme matches or differs with the change of the medium. Thus, the research paper explores the interdisciplinary arena of music and painting, concluding the interrelationship of both of these mediums.

Discussion:

            The concept of Ashtanayika has been used as a theme in Indian paintings, literature, sculpture, and classical music as archetypal states of the romantic heroine. Legendary vocalist and Vaggeyakar Pt. Ramakrishnabua Vaze mention in his book ‘Sangeet Kala Prakash’ that to compose a Bandish, we must have one of the eight Nayika-s in it. It triggers a researcher’s mind, who starts to search for the inclusion of this Ashtanayika theme in the compositions of Hindustani music. At the same time, these Nayika-s are depicted in various schools of Indian miniature paintings as a major theme. A researcher is thus inspired to find the connection between them.

            Natyashastra by Bharata is the first text that mentions the eight Nayika-s and gives their description. Many poets and writers in the medieval period and later followed the theme and used it in their creations with slight variations. Let us see how the Ashtanayika-s are portrayed in the Bandish-es as well as paintings. It can be noted that there is no particular sequence for them and various texts have used their names with slight variations. Here are the eight Nayika-s:

1. Swadhinapatika or Swadhinabhartrika:

            Swadhinapatika is a heroine who enjoys that her hero is close to her and she has full control over him. In a Kangra painting, Krishna is combing Radha’s hair, which is a perfect depiction of this Nayika.¹ This reminds of the famous Bandish ‘Lat Urajhi Surajha Ja Baalam’ (Raga Bihag, Teentaal, Madhyalaya), in which the Nayika asks the Nayak to help her unite her tangled hair since her hands are covered with Mehendi.

            Another Kangra painting shows a Nayaka at the feet of a Nayika.² He is subject to her will. Since the painting is very faint, it is difficult to confirm, but he appears to clean or massage her feet, apply Mehendi / Mahavar on them, or help her to wear anklets. This is also seen reflected in Bandihs-es. A Bandish ‘Aiso Sughar Chaturava’ (Raga Kalyan, Teentaal, Madhyalaya)³ orders her beloved to give her various ornaments including the anklets.

            Some other Bandish-es describing this Nayika are, ‘Man Harvaa Re Maikaa’ (Shuddha Sarang, Teentaal, Drut), ‘Surang Chunariya Deho Mangaa’ (Gaud Malhar, Teentaal, Madhyalaya)⁴ ‘Radhe Kiyo Kaun Tap’ (Gauri, Rupak, Vilambit)⁵, etc.

2. Vasakasajja:

            Vasakasajja is the heroine who beautifies herself and prepares to welcome the hero as he is about to arrive or has already arrived at her home. A Kangara painting shows Vasakasajja grooming herself, preparing the flower garlands, and making the bed. Interestingly, this painting is assigned to Ragini Kamodini.⁶ A contemporary Raga Kamod is romantic in nature, which is relatable to this. Such paintings include peacocks, incense sticks, betel leaves holder and a spittoon, perfume bottles, etc. to add to the preparations. This kind of description is found in the traditional Bandish by Sadarang, ‘Fulavana Sej Savaarun’ (Raga Bhoopali, Teentaal, Madhyalaya), where the Nayika is making a bed with flowers.

A Basohli Painting also shows the mother-in-law in another frame who is sleeping, but the Nayika is still awake, alone, dressed for the union. An opened window shows a pitch-dark night. A pair of love-making doves is suggestive.⁷ A Chamba Painting of Vasakasajja shows her seated on a bed of leaves covered with jasmines. Here, she is in the jungle or sylvan retreat.⁸ A Kangra painting shows such expectant Nayika right at the door.⁹ In the Bandish ‘Bhorahi Aaj’ (Raga Bairagi, Teentaal, Madhyalaya), this feeling is seen very well captured when it mentions, ‘Mandar Dwar Nikas Bhai Thaadi’.¹⁰

            Some more compositions depicting various shades of this Nayika are ‘More Gharava Aaye Ri Piyarava (Durga, Jhaptaal, Vilambit), ‘Aaye More Ghar Mandir Sajanava’ (Rageshree, Teentaal, Drut),¹¹ ‘Dhana Dhana Bhaag’ (Purvakalyan, Teentaal, Madhyalaya),¹² etc.

3. Khandita:

            Khandita is a heartbroken heroine whose pride in belonging to her lover is broken due to certain circumstances or events, mostly due to the feeling of betrayal. Khandita paintings include the hero or Nayaka along with the heroine. One of the Kangara paintings shows both of them in distress, seems like they have just had a quarrel and looking away from each other.¹³ In another painting, the Nayika is holding the Angavastram of the Nayak and in a gesture asking him many things.¹⁴ The Nayaka looks guilty and ashamed here. The Bandish ‘Kahiyo Brijaraj Maharaj, Rain Kahaa Te Gavaai’ (Raga Bhatiyar, Tilwada, Vilambit)¹⁵ captures the same mood of this Nayika, asking him about his absence of the entire night. The selection of Raga Bhatiyar, which is an early morning Raga is very thoughtful.

A central Indian Malwa painting shows Nayaka and a Sakhi trying to console the Khandita Nayika, but she is ignoring them, lying in the bed, as her deep pride is deeply wounded.¹⁶ Some more compositions like, ‘Laal Alasane Aaye’ by Adarang (Ahir Bhairav, Ektaal, Vilambit),¹⁷ ‘Ja Ri Ja Ri Ja Balama’ (Chandrakans, Teentaal, Drut),¹⁸ ‘Hamaari Kou Na Sune’ (Barava, Ektaal, Vilambit),¹⁹ etc. portray Khandita and give many reasons for being detached from the Nayaka.

4. Kalahantarita or Abhisandhita:

A heroine whose lover does not come to meet her due to jealousy or differences is Kalahantarita. Some treatises describe her as the one who is separated from her beloved due to a quarrel. The miniature paintings sometimes show the quarreling couple or just a Nayika who is feeling guilty after it. Famous Malkauns Bandish ‘Mai To Piya Sang Lar Pachhataani’ captures the same feeling. Though, there are various shades of this heroine. One, who is quarreling appears in ‘Hamse Naa Bolo’ (Ramkali, Teentaal, Drut)²⁰ and ‘Vahi Jao Jao Jao Baalam’ (Bilaskhani Todi, Teentaal, Madhyalaya)²¹ The regretful mood comes in ‘Man Hi Man Murajhaayi Ye Naari’ (Pooriya, Taantaal, Madhyalaya).²²

5. Virahotkanthita or Utka:

Virhotkanthita is the heroine who is not reunited with her lover (Viraha), longs for union (Utkanthita), and waits for her lover. She is also known as Utka. Utka is depicted in one of the Basohli paintings as Nayika waiting in the jungle at night time under a tree, holding one of its branches. She is keeping the index finger of another hand on her chin, thinking what might be the reason Nayaka has not turned up yet. She is draped in attractive, colorful clothes.²³ The composition ‘Beg Beg Aavo’ (Abhogi, Teentaal, Madhyalaya)²⁴ portrays this kind of Nayika.

            In one of the Guler paintings, the Nayika is shown sitting on the terrace, with a musical instrument, but not playing it. Her maid-servants are ministering to her needs, trying to console her, but she is plunged in grief and her body is burning with the fever of love in separation.²⁵ In a Pahari, Mandi painting, a Virahini Nayika is communing with her pet bird.²⁶ The compositions like ‘Chhip Ja Re Chandaa’ (Kalyan, Ektaal, Drut)²⁷ and ‘Kaise Sukh Sove’ (Bihag, Ektaal, Vilambit)²⁸ capture various Virahotkanthita moods.

6. Vipralabdha:

            Vipralabdha is the heroine who is upset when her lover doesn’t show up despite her reaching the meeting place as per her lover’s message. She is a disappointed heroine, who has waited in vain for her lover the whole night through. In Kangra paintings, Vipralabdha is shown standing under a tree at the edge of a bed of leaves, tearing off her ornaments in disgust and flinging them to the ground. The space in the background symbolizes loneliness, frustration, and deep distress.²⁹ The composition ‘Kadam Tare Thaadi Hun Mitawa Tore Darasan Ko Baat Nihaaru’ (Raga Mangalagujari, Ektaal, Madhyalaya)³⁰ is also similarly describing her. Most of the Vipralabdha paintings commonly have the depiction of tearing off the ornaments, which is missing in the Khayal Bandish-es. Overall, Bandish-es perfectly describing Vipralabdha are rare.

7. Proshitapatika, Proshitpriya or Proshitabhartrika:

            Proshitapatika is a heroine whose lover has lived abroad or far away for a very long period. Many Proshitapriya paintings include the Sakhi-s or lady friends of the Nayika, who try to console her or please her.³¹ This description matches that of Virahotkanthita. The main difference between these two Nayika-s is the Nayaka of the Proshitapriya has gone abroad and the duration of the separation is too long. The Bandish literature gives many shades of this Nayika. Sometimes she is shown stopping him from going abroad, like in ‘Mano Ji More Saiyaa Naa Jaiyo Parades’ (Raga Komal Rishabh Asavari, Teentaal, Madhyalaya). Or the one whose Nayaka has already gone abroad, like in ‘Piya More Aanant Des Gailavaa’ (Raga Marava, Ektaal, Vilambit). Sometimes she complains that he is neglecting her, as in ‘Kahe Ho Hamso Pritam Aankhe Fer Daari’ (Raga Gaud Malhar). Sometimes she sends a messenger to him with her letter, like in ‘Le Ja Re Ja Pathakava’ (Raga Bihag), or asks a fortune teller when the Nayak will be back, as in ‘Din Gin De Re Bamanaa’ (Raga Devgiri Bilawal). In her restlessness, she pleads to the cuckoo, not to sing, ‘E Ri Kaahe Kookat Bairan’ (Shivaranjani, Ektaal, Vilambit).³² Thus, Khayal Bandish-es have a big collection of Proshitapriya and also depict various shades.

8. Abhisarika:

            Abhisarika is the heroine who, unable to bear the separation of her lover, sets out to meet him. Khayal compositions like ‘Kar Singaar Albeli Naar Chali’ (Shreetank, Teentaal, Madhyalaya)³³ depict this Nayika very well. One of the Kangara paintings shows a lady friend behind the Nayika, who seems to stop her from going to him at night time, considering the dangers on the road.³⁴ Another painting has a ghost frightening the Nayika.³⁵ One more Kangra painting shows that she has reached Nayaka’s place, who is still asleep.³⁶ This kind of detailed description is not found in the Khayal compositions. Mostly, Nayika is shown complaining about the noise her anklets make while she is going to meet her beloved. Another shade is shown in ‘Chalo Sakhi Sautan Ke Ghar Jaiye’ by Manarang, where she is ready to accept her insult, but determined to see her Nayaka. (Gujari Todi, Teentaal, Madhyalaya).³⁷ Just like the miniature paintings, the Bandish ‘Painjaniyaa Mori Baajan Laagi’ (Raga Hindol)³⁸ describes the night, rains, thundering, and lightning. No matter what comes in the way, she goes to her beloved.

Thus, all eight Nayika-s are depicted in Khayal compositions as well as Indian miniature paintings. The portrayal has many similarities and a few differences too. Both the art forms are perfect in them, but their comparison throws light on how the same theme is perceived by the artists and musicians.

Conclusion:

Each medium has its strengths and limitations. Indian miniature paintings can depict a particular mood of a Nayika just by the overall shade of the painting, just by the colors of her dress, gestures, postures, surrounding atmosphere, facial expressions and sometimes adding a verse in the painting itself. The literature in the Khayal Bandish-es may not be able to cover the minute details of what a painting can easily do. The Khayal Bandishes are short in nature, ranging from four to eight lines, usually having only two stanzas aka Sthayi and Antara. This limits the description of the surrounding ambiance. Even the colors of dresses are never mentioned in the Bandish-es. On the other hand, the poetry can include what Nayika is thinking or what is her dialogue with herself, which a painting can only suggest. The musical dimension of the Bandish-es helps to create the mood of the Nayika. Apt selection of Raga, Tala, and Laya helps to intensify what the poetry tries to convey and makes it more impactful.

            It can be seen that Khayal Bandish-es have shown many variations of a particular Nayika, which can be also taken as their sub-types. To take an example, the present paper contains many variations of Proshitapriya above. These many varieties are not seen depicted in miniature paintings. If compared across various schools of miniature paintings, a particular Nayika is depicted in the same way, except for her dressing style and color theme. Whereas, the Bandish-es in various Raga, Tala, Laya and Gharanas give a great variety for the same theme.

            The portrayal of Ashtanayika-s in Indian miniature paintings as well as in Khayal Bandish-es has many similarities, as both of them follow the conventional conceptualization of the Nayika-s. The differences appear mainly because of the medium. The visual medium gives a very detailed description to explain the state of a particular Nayika. On the other hand, Khayal Bandish-es give more clearer idea, though in a shorter description, but enhances its impact through the music used in the composition as well as improvisation.

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