The Sanskrit terms Śṛṅgārarasa and Śṛṃgārarasa can be transliterated into English as Srngararasa or Shringararasa or Srmgararasa or Shrimgararasa, using the IAST transliteration scheme (?).

In Hinduism

Natyashastra (theatrics and dramaturgy)

Source: Wisdom Library: Nāṭya-śāstra

Śṛṅgārarasa (शृङ्गाररस) refers to the “erotic sentiment” used in dramatic performance (nāṭya). It is a Sanskrit compound composed of the words of śṛṅgāra (erotic) and rasa (‘sentiment’). This sentiment is produced from a combination of determinants, consequents and complementary psychological states.

Source: Shodhganga: Elements of Art and Architecture in the Trtiyakhanda of the Visnudharmottarapurana (natya)

Śṛṅgārarasa (शृङ्गाररस) (or simply Śṛṅgāra) refers to the “erotic sentiment” and represents one of the nine kinds of Rasa (“soul of Drama”), according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—Rasa or Sentiment is a very important component in poetry. The Viṣṇudharmottarapurāṇa accepts nine rasas or “sentiments in Drama”. Śṛṇgārarasa or the “sentiment of love” is very important in kāvya specially in dramas. Because, Sanskrit poetics advices to portray either śṛṇgāra or vīra as the predominant sentiment in a Sanskrit dram

context information

Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).

Kavyashastra (science of poetry)

Source: Shodhganga: The Kavyavilasa of Ciranjiva Bhattacarya (kavyashastra)

Śṛṅgārarasa (शृङ्गाररस) refers to the “erotic sentiment” or “sentiment of love” and is defined by Cirañjīva Bhaṭṭācārya (fl. 17th century). —The basic feeling of śṛṅgāra is love (rati). This sentiment of love is originated from or manifested by the excitants (vibhāva) like beloved etc., ensuants (anubhāva) like side long or oblique glances and variants like mental derangement etc.

This sentiment of love (śṛṅgāra-rasa) is divided into two varieties—

1. union (sambhoga-śṛṅgārarasa),
2. separation (vipralambha-śṛṅgārarasa).

context information

Kavyashastra (काव्यशास्त्र, kāvyaśāstra) refers to the ancient Indian tradition of poetry (kavya). Canonical literature (shastra) of the includes encyclopedic manuals dealing with prosody, rhetoric and various other guidelines serving to teach the poet how to compose literature.

Vaishnavism (Vaishava dharma)

Source: Pure Bhakti: Bhajana-rahasya - 2nd Edition

Śṛṅgārarasa (शृङ्गाररस) refers to:—Same as mādhurya-rasa, the amorous mellow. (cf. Glossary page from Bhajana-Rahasya).

context information

Vaishnava (वैष्णव, vaiṣṇava) or vaishnavism (vaiṣṇavism) represents a tradition of Hinduism worshipping Vishnu as the supreme Lord. Similar to the Shaktism and Shaivism traditions, Vaishnavism also developed as an individual movement, famous for its exposition of the dashavatara (‘ten avatars of Vishnu’).

Sports, Arts and Entertainment (wordly enjoyments)

Source: archive.org: Syainika Sastra of Rudradeva with English Translation (art)

Śṛṅgārarasa (शृङ्गाररस) refers to “the emotion of love”, according to the Śyainika-śāstra: a Sanskrit treatise dealing with the divisions and benefits of Hunting and Hawking, written by Rājā Rudradeva (or Candradeva) in possibly the 13th century.—Accordingly, [while discussing the outlines of hawking]: “[...] When two birds fly together and one is killed, the survivor mourns pitifully. This excites the emotion of sorrow. In the king, the lover’s emotion [e.g., śṛṅgārarasa] is discernible in two conditions, that of enjoyment when the quarry is caught, and that of separation when it escapes. [...]”.

context information

This section covers the skills and profiencies of the Kalas (“performing arts”) and Shastras (“sciences”) involving ancient Indian traditions of sports, games, arts, entertainment, love-making and other means of wordly enjoyments. Traditionally these topics were dealt with in Sanskrit treatises explaing the philosophy and the justification of enjoying the pleasures of the senses.

In Buddhism

Tibetan Buddhism (Vajrayana or tantric Buddhism)

Source: OSU Press: Cakrasamvara Samadhi

Śṛṃgārarasa (शृंगाररस) refers to the “erotic emotion”, according to the Cakrasaṃvara Samādhi [i.e., Cakrasamvara Meditation] ritual often performed in combination with the Cakrasaṃvara Samādhi, which refers to the primary pūjā and sādhanā practice of Newah Mahāyāna-Vajrayāna Buddhists in Nepal.—Accordingly, “Standing on top of Mahābhairava and Kālirātrī, embracing Vajravārāhī, With both arms holding a vajra and bell, adorned by a crest of dreadlocks, Decorated by a crown of skulls, holding a half moon on top of the head, Topped by the form of the Viśva Vajra, a fierce face, horrible gigantic fangs, Possessing the emotions beginning with the erotic (śṛṃgārarasa—śṛṃgārādi-rasānvitaṃ), putting on a tiger skin, Wearing a garland of half a hundred human heads together, Possessing the six seals, adorned with a necklace, bracelets, Ear-rings, girdle, a crest jewel, (and) covered in ashes”.

context information

Tibetan Buddhism includes schools such as Nyingma, Kadampa, Kagyu and Gelug. Their primary canon of literature is divided in two broad categories: The Kangyur, which consists of Buddha’s words, and the Tengyur, which includes commentaries from various sources. Esotericism and tantra techniques (vajrayāna) are collected indepently.

Languages of India and abroad

Sanskrit dictionary

Source: DDSA: The practical Sanskrit-English dictionary

Śṛṅgārarasa (शृङ्गाररस).—the sentiment of love.

Derivable forms: śṛṅgārarasaḥ (शृङ्गाररसः).

Śṛṅgārarasa is a Sanskrit compound consisting of the terms śṛṅgāra and rasa (रस).

Source: Cologne Digital Sanskrit Dictionaries: Aufrecht Catalogus Catalogorum

Śṛṅgārarasa (शृङ्गाररस) as mentioned in Aufrecht’s Catalogus Catalogorum:—alaṃk. ibid.

Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary

Śṛṅgārarasa (शृङ्गाररस):—[=śṛṅgāra-rasa] [from śṛṅgāra > śṛṅga] m. the erotic sentiment

context information

Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.

See also (Relevant definitions)

Partial matches: Shringara, Rasa, Raca.

Starts with: Shringararasamadhuri, Shringararasamandana, Shringararasashtaka, Shringararasavilasa.

Full-text: Sambhoga, Rati, Shringararasamandana, Madhuryarasa, Shringararasodaya, Shringararasashtaka, Viprayoga, Erotic, Hela, Shringara, Harishcandra, Vipralambha, Ayoga, Amatapararthata, Kanta, Sambhogashringara, Arapacana, Vajrananga, Upajati, Vipralambhashringara.

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Search found 30 books and stories containing Shringararasa, Shrimgara-rasa, Shrimgararasa, Shringara-rasa, Śṛṃgāra-rasa, Srmgara-rasa, Śṛṃgārarasa, Srmgararasa, Srngara-rasa, Śṛṅgāra-rasa, Śṛṅgārarasa, Srngararasa; (plurals include: Shringararasas, rasas, Shrimgararasas, Śṛṃgārarasas, Srmgararasas, Śṛṅgārarasas, Srngararasas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:

Jivanandana of Anandaraya Makhin (Study) (by G. D. Jayalakshmi)

Analysis of Śṛṅgāra-rasa < [Chapter 6 - Dramatic aspects of the Jīvanandana Nāṭaka]

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Sahitya-kaumudi by Baladeva Vidyabhushana (by Gaurapada Dāsa)

Text 7.121 < [Chapter 7 - Literary Faults]

Text 8.8 < [Chapter 8 - Literary Qualities]

Text 7.141 < [Chapter 7 - Literary Faults]

+ 51 more chapters / show preview

Bhajana-Rahasya (by Srila Bhaktivinoda Thakura Mahasaya)

Text 10 < [Chapter 5 - Pañcama-yāma-sādhana (Aparāhna-kālīya-bhajana–kṛṣṇa-āsakti)]

Text 23 < [Chapter 8 - Aṣṭama-yāma-sādhana (Rātri-līlā–prema-bhajana sambhoga)]

Text 9 < [Chapter 8 - Aṣṭama-yāma-sādhana (Rātri-līlā–prema-bhajana sambhoga)]

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Gati in Theory and Practice (by Dr. Sujatha Mohan)

Gati performed in Nṛtta < [Chapter 3 - Application of gati in Dṛśya-kāvyas]

Importance of Gati in Uparūpakas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]

Reference to Nāṭya, Nṛtta and Nṛtya Gati in Sanskrit dramas < [Chapter 3 - Application of gati in Dṛśya-kāvyas]

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Malatimadhava (study) (by Jintu Moni Dutta)

Part 4.3a - Mādhurya Guṇa (sweetness) < [Chapter 2 - Literary Study of the Mālatīmādhava]

Part 4.3c - Prasāda Guṇa (Lucidity) < [Chapter 2 - Literary Study of the Mālatīmādhava]

Part 1.3 - Delineation of Rasa in the Mālatīmādhava—Introduction < [Chapter 2 - Literary Study of the Mālatīmādhava]

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Mudrarakshasa (literary study) (by Antara Chakravarty)

4.1. Kaiśikī-vṛtti < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]

3.5. Use of Śṛṅgārarasa (erotic sentiment) < [Chapter 2 - Delineation of Rasa in Mudrārākṣasa]

4. Conclusion < [Chapter 2 - Delineation of Rasa in Mudrārākṣasa]

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