Vipralambhashringara, Vipralambhaśṛṅgāra, Vipralambha-shringara, Vipralambhashrimgara: 3 definitions
Introduction:
Vipralambhashringara 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 Vipralambhaśṛṅgāra can be transliterated into English as Vipralambhasrngara or Vipralambhashringara, using the IAST transliteration scheme (?).
In Hinduism
Shilpashastra (iconography)
Source: Archaeological Survey of India: Śaiva monuments at Paṭṭadakal (śilpa)Vipralambhaśṛṅgāra (विप्रलम्भशृङ्गार) is depicted as a sculpture on the tenth pillar of the southern half of the maṇḍapa of the temple of Lokeśvara.—This is one of the best examples of vipralambhaśṛṅgāra-rasa “sentiment of love in separation” in this temple. A lovelorn lady is taken care of by her companions. In this decor a beautiful lady is lying on a stone slab. Her right leg is stretched straight, reposing on a cushion, while the left one is folded in an acute angle dividing the panel into two parts in such a way that two of her mates are grouped together in each portion. Her right hand is supporting her head which must be on cushion while she is touching her right breast with her left hand which has gone very tender due to the separation from her lover. It signifies her suffering from the pangs of love.
Shilpashastra (शिल्पशास्त्र, śilpaśāstra) represents the ancient Indian science (shastra) of creative arts (shilpa) such as sculpture, iconography and painting. Closely related to Vastushastra (architecture), they often share the same literature.
Kavyashastra (science of poetry)
Source: Shodhganga: The Kavyavilasa of Ciranjiva Bhattacarya (kavyashastra)Vipralambhaśṛṅgāra (विप्रलम्भशृङ्गार) or simply Vipralambha refers to “erotic sentiment in separation” and represents one of the two types of Śṛṅgārarasa (“erotic sentiment”) according to Cirañjīva Bhaṭṭācārya (fl. 17th century).—The sentiment of love (śṛṅgāra) in separation (vipralambha) is of two types—The first type is originated from the apprehension of future separation and the second type arises from the actual separation. Vipralambhaśṛṅgāra is also known as Vipralambharasa.
Example of the first type of the erotic sentiment (śṛṅgāra) in separation (vipralambha):
yāmītyukte kathamapi sakṛtprāṇanāthe niśīthe bālā mlānā sragiva kalitā bhānubhirbhānavīyaiḥ |
ānamrāsyaṃ karakisalayanyastatāmbūlagucchaṃ citrārūḍā”kṛtiriva paraṃ bhittimālambya tasthau ||“When in the night the beloved once uttered—I am going, then the maiden like a garland turned pale scorched by the rays of the sun, with his face down cast and her hands in the form of new sprouts containing a bunch of betel leaves, stayed holding a wall like a figure painted in a picture” (Mādhavacampū)
Notes: In this verse the face of the lady becomes pale by the apprehension of future separation, so here we have the first type of vipralambha śṛṅgāra.
Example of the first type of the erotic sentiment (śṛṅgāra) in separation (vipralambha):
ālīcālitapadminīdalacalatsarvāṅgamaṅgīkṛta-svāṅgāliṅganarmamarīkṛtanavāmbhojāliśayyā cirāt |
caitanyaṃ kathamapyupetya śanakairunmīlya netrāñcalaṃ bālā kevalameva śūnyahṛdayā śūnyaṃ jagat paśyati ||“The maiden whose whole part of the body is quivering like the lotus leaf caused to move by the bees, living the bed which is made of lotus leaf and which is rustling on account of embracing the maiden’s own body for a long time, attaining any how consciousness, opening slowly the eyes, being disheartened realizes (sees) the world as vacant only”.
Notes: In this verse the maiden being separated from her beloved realizes the world as totally vacant. As the condition of the maiden is described after her separation from the beloved, this verse is an example of second type of love in separation.
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.
Languages of India and abroad
Kannada-English dictionary
Source: Alar: Kannada-English corpusVipralaṃbhaśṛṃgāra (ವಿಪ್ರಲಂಭಶೃಂಗಾರ):—[noun] = ವಿಪ್ರಲಂಭ - [vipralambha -] 6.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
See also (Relevant definitions)
Partial matches: Shringara, Vipralambha.
Full-text: Shringara, Vyabhicaribhava.
Relevant text
Search found 12 books and stories containing Vipralambhashringara, Vipralambhaśṛṅgāra, Vipralambha-shringara, Vipralambha-śṛṅgāra, Vipralambha-srngara, Vipralambhasrngara, Vipralambhashrimgara, Vipralaṃbhaśṛṃgāra, Vipralambhasringara, Vipralambhasṛngāra, Vipralambha-sringara, Vipralambha-sṛngāra, Vipralambhasrmgara; (plurals include: Vipralambhashringaras, Vipralambhaśṛṅgāras, shringaras, śṛṅgāras, srngaras, Vipralambhasrngaras, Vipralambhashrimgaras, Vipralaṃbhaśṛṃgāras, Vipralambhasringaras, Vipralambhasṛngāras, sringaras, sṛngāras, Vipralambhasrmgaras). 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 1.3a - Śṛṅgāra Rasa (Erotic Sentiment) < [Chapter 2 - Literary Study of the Mālatīmādhava]
Part 4.3a - Mādhurya Guṇa (sweetness) < [Chapter 2 - Literary Study of the Mālatīmādhava]
Part 1.4 - The Principal Sentiment of the Mālatīmādhava < [Chapter 2 - Literary Study of the Mālatīmādhava]
Sahitya-kaumudi by Baladeva Vidyabhushana (by Gaurapada Dāsa)
Text 4.48 < [Chapter 4 - First-rate Poetry]
Text 4.84 < [Chapter 4 - First-rate Poetry]
Text 4.27 < [Chapter 4 - First-rate Poetry]
Sanskrit sources of Kerala history (by Suma Parappattoli)
8. The Catakasandesa (composed in Thirumandhamkunnu) < [Chapter 4 - Traces of Historical Facts from Sandesha Kavyas and Short poems]
Mudrarakshasa (literary study) (by Antara Chakravarty)
2.13. Use of Mandākrāntā metre < [Chapter 4 - Employment of Chandas in Mudrārākṣasa]
1. Guṇa: It’s classification and components < [Chapter 5 - Adoption of Style and Language in Mudrārākṣasa]
Forster on 'Meghasamdesa' < [January 1957]
Forster on 'Meghasamdesa' < [January 1957]
Edwin Arnold – Bridge Builder < [April – June, 2004]
Dasarupaka (critical study) (by Anuru Ranjan Mishra)
Part 3-6 - Vīthī rules < [Chapter 7 - Vīthī (critical study)]