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)
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.
See also (Relevant definitions)
Relevant text
Search found 21 books and stories containing Sambhogashringara, Sambhoga-shringara, Sambhoga-śṛṅgāra, Sambhoga-srngara, Sambhogaśṛṅgāra, Sambhogasrngara; (plurals include: Sambhogashringaras, shringaras, śṛṅgāras, srngaras, Sambhogaśṛṅgāras, Sambhogasrngaras). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Shringara-manjari Katha (translation and notes) (by Kumari Kalpalata K. Munshi)
Part 5 - The purpose of the Srngaramanjari-katha < [Introduction to the Shringaramanjari-katha of Shri Bhojadeva]
Sankalpa Suryodaya of Venkatanatha (Critical Study) (by R. Laxmi)
Delineation of the Srngararasa or Erotic sentiment < [Chapter 4b - Rasa delineation of the play]
Varadambika-parinaya Campu (Study) (by Bhagavant. L. Nadoni)
The depiction of Shringara Rasa < [Chapter 7 - Rasa delineation in Varadambika-parinaya Campu]
Description of the Noon and the Evening < [Chapter 4 - Descriptions in the Varadambika-parinaya Campu]
Gita-govinda of Jayadeva (comparative study) (by Manisha Misra)
1. The Sentiment (rasa) < [Chapter 3 - A Critical and Musical study of the Gita-Govinda]
2. The Rasas of Kishore-chandrananda-champu < [Chapter 5 - A Critical and Musical estimate of Kisora-chandrananda-champu]
10. Comparison of Rasa < [Chapter 6 - A comparative analysis of literary merits of both the works]
The Ratnavali-natika and the Chandrakala-natika (study) (by Jewti Boruah)
Part 1.2 - Characteristics of Śṛṅgārarasa (the erotic) < [Chapter 4 - Literary aspects of the Ratnāvalīnāṭikā and the Candrakalānāṭikā]
Dramaturgy in the Venisamhara (by Debi Prasad Namasudra)
Sambhoga-Śṛṅgāra (Disunion) < [Chapter 4 - Dramaturgy in Veṇīsaṃhāra]