Shringar is a cosmic order. The cycle of seasons set in the process of destruction and rejuvenation. After a deep slumber nature suddenly vibrates and there is a phenomenal change in the flora, mushrooming of flowers and leaves of various hues with multitudinous variety in size and pattern. There is joy and delight everywhere.
For the roop shringar there is a natural desire of a woman since the onset of the civilisation. The author traces the theory and conceptualisation of roopl avanya through the vast available literature and has'tried to compress the essential features.
In the realm of poetry shringar-the amorous feeling is regarded as rasraj among the rasas or poetic mQods by the Indian aestheticians. The author traces the genesis and evolution of theory of shringar and has given copious illustrations from Sanskrit classics.
There is a visible impact of our ancient literature on the subsequent art and literature, sculpture and painting related to shringar. We also find a unique blending of music and painting in ragmala and barahmasa folios of the painters of various schools. The author has put the impact of the ancient literature in proper perspective as this is not properly recognised or appreciated.
There is a popular belief that there is too much of body in Sanskrit poetry on shringar. While this impression is partially true the author argues that this is a lopsided view. The shringar poetry is not a flesh school of poetry but is in many respects comparable to the great English romantic poetry excelling in the delineation of nature and flight of imagination.
It is a unique effort of bringing under the umbrella of shringar ras the poetry, the music, sculpture and painting, a rare mix of scholarship and popular writing.
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Preface and Acknowledgements
General observations regarding the form or swaroop of Shringar --the cosmic order--the beautiful women--Shringar, the Rasraj--love the primary emotion--a pleasant and enjoyable mood, the devotional Shringar
Roop Shringar--the concept of beauty and form of the body--types of beauty aids, hairdo, use of flower garlands, application of fragrant pastes--use of colourful clothes--the use of ornaments--the concept
of solah shringaróthe wall paintings of Bundi and Shekhawati
The influence of the cycle of seasons on the lovers--nature as a stimulant intrinsically connected with human beings imitating their behaviour--Ragmala paintings of Bundi
The theory of shringar and its developmentóviews of aestheticians -- the meaning of a poetic mood and the ras kam as the soul of shringar--emphasis on the poetic expression of the mood rather than the depiction of the body--liberty by some poets and more emphasis on the body--the devotional shringar and its impact on
the Indian religions--the role of vibhav, anubhav and sanchari bhav in the release of ras--the mainstay or alamban of shringar--the nayika--two kinds of shringar sanjog and viyog (union and separation)
Nayak-nayika bhed--swakeeya, parkeeya, samanya--eight kinds of nayika due to change in the context of situation--vasaksajja, virahotkanthita, vipralabhada, khandita, kalahantarita, swadhinbhartika, proshitbhartika and abhisarika--eight opportune times for the meeting of lovers, four types of nayiks--phases of love of a nayika, Ragmala