Sambhogashringara, Sambhogaśṛṅgāra, Sambhoga-shringara: 1 definition
Introduction:
Sambhogashringara means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
The Sanskrit term Sambhogaśṛṅgāra can be transliterated into English as Sambhogasrngara or Sambhogashringara, using the IAST transliteration scheme (?).
In Hinduism
Kavyashastra (science of poetry)
Source: Shodhganga: The Kavyavilasa of Ciranjiva Bhattacarya (kavyashastra)Sambhogaśṛṅgāra (सम्भोगशृङ्गार) or simply Sambhoga refers to “erotic sentiment in union” and represents one of the two types of Śṛṅgārarasa (“erotic sentiment”) according to Cirañjīva Bhaṭṭācārya (fl. 17th century).—The erotic sentiment (śṛṅgāra) in union (sambhoga) is of different types like mutual gazing, touching, kissing etc. It has been illustrated by Cirañjīva from his own work entitled Mādhavacampū. Sambhogaśṛṅgāra is also known as Sambhogarasa.
Example of the erotic sentiment (śṛṅgāra) in union (sambhoga):
sarasaṃ daracālitāṅgulī vadanācchādanacālanena sā |
śayitā dayitā”nanaṃ mudā kṣaṇamunmīlitalocanekṣate ||“When the fingers (of her beloved) are slightly in movement with joy, she is lying on the bed and covering and turning her face, looks at her beloved’s face merrily with her eyes opened for a moment”.
Notes: In this verse the substential excitants are the hero and the heroine. The ensuant is gazing and the variant is joy on the part of the heroine. So it is an example of the erotic sentiment of the union (sambhoga-śṛṅgāra) as in this verse the mutual gazing is present.
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.
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Search found 8 books and stories containing Sambhogashringara, Sambhogaśṛṅgāra, Sambhoga-shringara, Sambhoga-śṛṅgāra, Sambhoga-srngara, Sambhogasrngara; (plurals include: Sambhogashringaras, Sambhogaśṛṅgāras, shringaras, śṛṅgāras, srngaras, Sambhogasrngaras). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
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 1.4 - The Principal Sentiment of the Mālatīmādhava < [Chapter 2 - Literary Study of the Mālatīmādhava]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Sambhoga-Śṛṅgāra (Disunion) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]
Sahitya-kaumudi by Baladeva Vidyabhushana (by Gaurapada Dāsa)
Text 5.5 < [Chapter 5 - Second-rate Poetry]
Text 4.14 < [Chapter 4 - First-rate Poetry]
Text 7.146 < [Chapter 7 - Literary Faults]
Mudrarakshasa (literary study) (by Antara Chakravarty)
1. Guṇa: It’s classification and components < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
Hanuman Nataka (critical study) (by Nurima Yeasmin)
4. Various Rasas Delineated < [Chapter 4]
Gati in Theory and Practice (by Dr. Sujatha Mohan)
Gati used for the delineation of Bhāva and Rasa < [Chapter 3 - Application of gati in Dṛśya-kāvyas]