अभिसारिका (abhisArikA)
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Spoken Sanskrit
English अभिसारिका abhisArikA woman who goes to meet her lover or keeps an assignation
अभिसारिका abhisArikA woman who goes to meet her lover
Wilson
EnglishApte
Englishअभिसारिका [abhisārikā], A woman who either goes to meet her lover or keeps an appointment made by him
यत्रौषधिप्रकाशेन नक्तं दर्शितसंचराः । अनभिज्ञास्तमिस्राणां दुर्दिनेष्वभि- सारिकाः 6.43
16.12
अभिसारयते कान्तं या मन्मथवशंवदा । स्वयं वाभिसरत्येषा धीरैरुक्ता$भिसारिका S. D.* 115
कान्तार्थिनी तु या याति संकेतं साभिसारिका Ak. The directions as to dress to be observed by the different kinds of अभिसारिका are given in S. D.* 116. The S. D. further recommends the following 8 places as eligible spots for lovers to meet: (1) a field
(2) a garden
(3) a ruined temple
(4) the house of a female messenger
(5) forest
(6) caravansary (a place for pilgrims )
(7) a cemetery
and (8) the bank of a river
क्षेत्रं वाटी भग्नदेवालयो दूतीगृहं वनम् । मालयं च श्मशानं च नद्यादीनां तटी तथा ॥
Apte 1890
Englishअभिसारिका A woman who either goes to meet her lover or keeps an appointment made by him
Ku. 6. 43
R. 16. 12
अभिसारयते कांतं या मन्मथवशंवदा । स्वयं वाभिसरत्येषा धीरैरुक्ताऽभिसारिका S. D. 115
कांतार्थिनी तु या याति संकेतं साभिसारिका Ak. The directions as to dress &c. to be observed by the different kinds of अभिसारिका are given in S. D. 116. The S. D. further recommends the following {8} places as eligible spots for lovers to meet:
(1) a field
(2) a garden
(3) a ruined temple
(4) the house of a female messenger
(5) forest
(6) caravansary (a place for pilgrims &c.)
(7) a cemetery, and (8) the bank of a river
क्षेत्रं वाटी भग्नदेवालयो दूतीगृहं वनं । मालयं च श्मशानं च नद्यादीनां तटी तथा ॥
Monier Williams Cologne
EnglishMonier Williams 1872
EnglishGoldstucker
Englishअभिसारिका Tatpur. f. (-का) A woman who meets her lover
by assignation (Amarak.: कान्तार्थिनी तु या याति संकेतं
साभिसारिका
Hemach.: याति या प्रियं साभिसारिका
Śabda-
ratnāv.: कान्तमुद्दिश्य संकेतं याति या साभिसारिका)
Bharata
defines this character which is of frequent occurrence in
poetry and affords an insight into the amorous customs
of the ancient Hindus, as ‘a woman who, having lost all
modesty and fear, under the influence of love or passion
invites her paramour to come to her (as quoted by He-
mach.'s comm.: हित्वा लज्जाभये श्लिष्टा मदनेन मदेन वा--
by Vallabhagaṇi: मदेन च--। अभिसारयते--Vallabh.:
अभिसारयेद्या--कान्तं सा भवेदभिसारिका)
or as ‘one
who cannot even wait for the arrival of the messenger she
has sent out, but suffers unbearable pains of thirst after
the water of love, desirous as she is to drink the lips of her
absent friend’ (Vetalapanch.: या दूतिकागमनकालमपारयन्ती
सा दुःसहस्मरजलार्तिपिपासितेव । निर्यातवल्लभजनाधरपानलो-
भात्सा कथ्यते मुनिवरैरभिसारिकेति)
similarly the Rasi-
kasarvaswa which defines her as ‘one who having lost all
modesty, attracted by her lover's youth and by love invites
him to meet her’ (लज्जां हित्वा समाकृष्टा यौवनेन मदेन च ।
अभिसारयते कान्तं कीर्तिता साभिसारिका)
but if we follow
other works on Hindu rhetoric, this definition would only
apply to the second or the last of the three categories of the
अभिसारिका, as mentioned e. g. by the Sāhityadarpaṇa and the
Saṅgītadāmodara
the former of which works, after having
prefaced the definition that ‘wise men call abhisārikā a woman
who under the dominion of love either invites her lover to
come to her or goes herself to him’ (अभिसारयते कान्तं या
मन्मथवशंवदा । स्वयं वाभिसरत्येषा धीरैरुक्ताभिसारिका) dis-
tinguishes between gentle-women who go to meet their lovers,
courtesans and servant girls
‘the gentle-woman will make
herself on such occasions as small as possible, deafen the
noise of her ornaments and wrap herself up in a veil
the
courtesan will make a display of gay apparel, her ankle-
ornaments will merrily tinkle and her face smile with joy
if a servant girl goes to meet her lover, her speech will
stammer with delight, her eyes stare wide open with flurry,
and her gait will be awkwardly bewildered’ (Sāhityad.:
संलीना स्वेषु गात्रेषु मूकीकृतविभूषणा । अवगुण्ठनसंवीता कु-
लजाभिसरेद्यदि ॥ विचित्रोज्ज्वलवेशा तु वलन्नूपुरनिस्वना ।
प्रमोदस्मेरवदना स्याद्वेश्याभिसरेद्यदि ॥ मदस्खलितसंलापा वि-
भ्रमोत्फुल्ललोचना । आविद्धगतिसंचारा स्यात्प्रेष्याभिसरेद्यदि ॥).
But the rhetorico-musical work Saṅgītadāmodara is appa-
rently more in keeping with the general division of amorous
ladies (see नायिका) into such as are their own mis-
tresses, or such as belong to another (as a married
woman and a maiden) and such as belong to every body
(comp. स्वस्त्री, अन्यस्त्री and साधारणस्त्री), when it sub-
stitutes for the servant girl the second category
for its
story runs thus: ‘the gentle-woman goes to the lover's
house wrapped up, afraid, bashful, concealing her emotions,
confused (?), with downcast looks
a married woman will
go to him her speech somewhat stammering, her eye glaring
wide open with flurry, her gait awkwardly bewildered,
with slow steps, and no one will see her
but a courtesan
walks up to her lover in the company of a friend, full
of passion, her eyes trembling, fearless, decorated with
all kind of ornaments, surrounded by people, with tinkling
anklets: (in short) just as she pleases’. This work tells
us besides that some of these ladies prefer assignations
during the light half of a month, i. e. from new to full
moon, --hence called शुक्लाभिसारिकाः or dames of the
light fortnight--and others during the dark half, when
the moon is in the wane--hence called कृष्णाभिसारिकाः
or dames of the dark fortnight
the former wear garlands
of Arabian jasmine, are anointed all over with Sandal
preparations and dressed in silk, but do not make their
appearance by moon-light
the latter are anointed with
black aloe unguents, are fond of dark colours, and are
also afraid of the moon-rise
(कुलजान्याङ्गना वेश्या त्रिधा
स्यादभिसारिका ॥ कुलजा संवृता त्रस्ता सव्रीडा तद्गृहं व्रजेत् ।
संलीना स्वेषु भावेषु स्रस्ता विक्षेपितानना ॥ मन्दस्खलितसंलापा
विभ्रमोत्फुल्ललोचना । आविद्धगतिसंचारा शनैर्गमनकारिणी ।
नायकं परनारी तु व्रजेन्नान्येन वीक्षिता ॥ सखीयुक्ता मदाविष्टा
स्फारिताक्षी त्वशङ्किता । नानाभरणचित्राढ्या तथा परिजनावृ-
ता । सनूपुरा यथाकामं वेश्या सरति नायकम् ॥ शुक्लपक्षे कृष्णपक्षे
द्विधा स्यादभिसारिका । मल्लिकामाल्यधारिण्यः सर्वाङ्गेनार्द्रच-
न्दनाः--Ms. E. I. H.
Ms. Paris. सर्वाङ्गीनार्द्रचन्दनाः--।
क्षौमवत्यो न लक्ष्यन्ते ज्योत्स्रायामभिसारिकाः । कालागुरुवि-
लिप्ताङ्गी नीलरागवदंवदा । चन्द्रोदयपरित्रस्ता कृष्णपक्षाभि-
सारिका).--[A specimen of the gentle-woman is doubt-
less Urvaśī--in the drama Vikramorv. act 2, scene 2--,
when she comes to meet Purūravas in a purple dress with
pearl ornaments (cf. Wilson's Hindu theatre I. p. 230 note:
अभिसारिकावेशा
Bollensen: कृताभिसरणवेशा
‘Urvaśi:
I feel my strength desert me
bring him quickly--or
quickly lead me to his royal palace’
or Rādhā in the
Gītagov.
comp. e. g. the words of her friend, ed. Lassen V. 19:
सभयचकितं विन्यस्यन्तीं दृशौ तिमिरे पथि । प्रतितरु मुहुः
स्थित्वा मन्दं पदानि वितन्वन्तीम् । कथमपि रहः प्राप्तामङ्गेर-
नङ्गतरङ्गिभिः । सुमुखि सुभगः पश्यन्स त्वामुपैतु कृतार्थताम्)
a specimen of the married woman may be found in the
daughter of alderman Samudradatta, in the third story of
the Vetālapañchavinśati. Instances of the courtesan are e. g.
Mithyādṛṣṭi (Heresy) in the drama Prabodhach. (comp.
e. g. act 2, scene 9: …नीलेन्दीवरदामदीर्घतरया दृष्ट्या
धयन्ती मनो दोलान्दोलनलोलकङ्कणरणत्कारोत्तरं सर्पति)
or Amaruśat. v. 28 and 69. A servant girl who makes love in
the manner described, is exhibited in the Sāhityadarpaṇa: her
betel-stained teeth she always displays
with horse laughter
she laughs, but no one knows why
from place to place
she sets, to please, her staggering steps, and dancing high
her hips, she slily stops before young men’.] The best
time for abhisārikās to meet their lovers is, according to
the Saṅgītad., ‘during a dense fog, a winter-night, com-
plete darkness, at noon of a summer-day, while a whirl-
wind rages, during an uproar, at moon-rise, during a re-
volution, when the king is ill, or the town is on fire, during
a great festival, and in the evening’, for it seems ‘that on
such occasions the cowkeeper girls as well as the dames of
the dark as those of the light fortnight had their amatory
sport with Kṛṣṇa’
(but their meeting at moon-rise is
apparently at variance with the preceding definition
स्फा-
रिकुज्झटिहेमन्तरजनीध्वान्तसंचयाः । ग्रीष्ममध्याह्गवाताली-
कोलाहलविधूदयाः । राष्ट्रभङ्गनृपातङ्कपुरदाहमहोत्सवाः ।
प्रदोषाश्चेति कथिता द्वादशानेहसः क्रमात् (Ms. E. I. H.
Ms.
Paris. द्वादशानेकशः क्रमात्) । गोकुलस्थाः पुरैतेषु कंसारा-
तिरिरंसया । सुवेशास्तरसा यान्ति कृष्णशुक्लाभिसारिकाः).
The Rasamañjarī (as quoted by Rādhākāntadeva) distin-
guishes in general between abhisārikās who meet their para-
mours in day-time, by moon-shine and in the dark (see
दिवाभिसारिका, ज्योत्स्नाभिसारिका, अन्धकाराभिसारिका)
comp. e. g. Ṛtusanhāra: सुतीक्ष्णमुच्चै रसतां पयोमुचां घना-
न्धकारावृतशर्वरीष्वपि । तडित्प्रभादर्शितमार्गभूमयः प्रयान्ति
रागादभिसारिकाः स्त्रियः
or Kumārasambh.: यत्रौषधिप्र-
काशेन नक्तं दर्शितसंचराः । अनभिज्ञास्तमिस्राणां दुर्दिनेष्व-
भिसारिकाः. For the places of assignation see अभिसार-
स्थान. E. सृ with अभि, kṛt aff. ण्वुल्, fem. aff. टाप्.
Apte Hindi
Hindiअभिसारिका
- अभि+सृ+ण्वुल्+टाप्
"वह स्त्री जो अपने प्रिय से मिलने जाती है, या उसके द्वारा नियत संकेत का पालन करती है "
Shabdartha Kaustubha
Kannadaअभिसारिका
पदविभागः - > स्त्रीलिङ्गः
कन्नडार्थः - > ಸಂಭೋಗಕ್ಕಾಗ್ ಸಂಕೇತ ಸ್ಥಾನಕ್ಕೆ ಹೋಗುವ ಅಥವಾ ನಾಯಕನನ್ನು ಬರಮಾಡಿಕೊಳ್ಳುವ ಹೆಂಗಸು
निष्पत्तिः - > अभि + सृ (गतौ) + णिच् - "ण्वुल्" (३-१-१३३)
व्युत्पत्तिः - > अभिसरति अभिसारयते वा कान्तं सङ्केतस्थानम्
प्रयोगाः - > "निशासु भास्वत्कलनूपुराणां यः सञ्चरोऽभूदभिसारिकाणाम्"
उल्लेखाः - > रघु० १६-१२
L R Vaidya
EnglishE Bharati Sampat
Sanskrit(स्त्री) अभिसरति अभिसारयते वा कान्तं सङ्केतस्थानम् । अभि+सृ(गतौ)+णिच्+ण्वुल् । ‘ण्वुल्तृचौ’ ३.१.१३३। कान्तप्रार्थनया स्वयं सङ्केतस्थानगामिनी अथवा स्वस्थाने कान्तानयनकारिणी नायिका । ‘अभिसारयते कान्तं या मन्मथवशंवदा । स्वयं वाभिसरत्येषा धीरैरुक्ताभिसारिका’ सा०द०३.७६। ‘निशासु भास्वत्कलनूपुराणां यः सञ्चरोऽभूदभिसारिकाणाम्’ रघुः१६-१२।
Wordnet
Sanskrit अभिसारिका
नायिकायाः दशसु भेदेषु एकः।
"अभिसारिका वल्लभं सङ्केतस्थले आह्वयति स्वयं तेन मेलितुं वा गच्छति।"
अभिसारिका
वल्लभेन सह मेलितुं सङ्केतस्थलं गच्छन्ती स्त्री।
"सर्वेभ्यः आत्मानं गोपयित्वा अभिसारिका अगच्छत्।"
अभिधानचिन्तामणिः
Sanskritकृतसापत्निकाध्यूढाधिविन्नाथ पतिव्रता ॥ ५२७ ॥
एकपत्नी सुचरित्रा साध्वी सत्यसतीत्वरी ।
पुंश्चली चर्षणी बन्धक्यविनीता च पांसुला ॥ ५२८ ॥
स्वैरिणी कुलटा याति या प्रियं साभिसारिका ।
कृतसापत्निका (स्त्री), अध्यूढा (स्त्री), अधिविन्ना (स्त्री), पतिव्रता (स्त्री), एकपत्नी (स्त्री), सुचरित्रा (स्त्री), साध्वी (स्त्री), सती (स्त्री), असती (स्त्री), इत्वरी (स्त्री), पुंश्चली (स्त्री), चर्षणी (स्त्री), बन्धकी (स्त्री), अविनीता (स्त्री), पांसुला (स्त्री), स्वैरिणी (स्त्री), कुलटा (स्त्री), अभिसारिका (स्त्री)
अभिधानरत्नमाला
Sanskritअविनीता
अविनीता, अभिसारिका
पांशुला बन्धुकी स्वैरिण्यसती पुंश्चलीत्वरी ।
धर्षिणी कुलटा प्रोक्ता त्वविनीताभिसारिका ॥ ४९६ ॥
verse 2.1.1.496
page 0057
नाममाला
Sanskritस्पर्शा, अभिसारिका, दूती, स्वैरिणी, शम्फली
स्पर्शाऽभिसारिका दूती स्वैरिणी शम्फली तथा ॥ ३५ ॥
verse 0.1.1.35
page 0017
शब्दकल्पद्रुमः
Sanskritअभिसारिका, (अभिसरति कान्तनिर्द्दिष्ट-संकेतस्थानं गच्छति या, अभि + सृ + ण्वुल्, स्त्रियां टाप् ।) स्वीयादिषोडशनायिकामध्ये अष्टा-वस्थाविशिष्टाष्टनायिकान्तर्गतनायिकाभेदः अस्यालक्षनं । सङ्केतस्थले स्वयं गमनकर्त्री एवं प्रिय-गमनकारयित्री । अस्याश्चेष्टा । समयानुरूप-भूषनं । शङ्का । बुद्धिनैपुण्यं । कपटसाहसादिः ।सा त्रिविधा । दिवाभिसारिका १ ज्योत्स्नाभि-सारिका २ अन्धकाराभिसारिका ३ । इति रस-मञ्जरी ॥
(“कान्तार्थिनी तु या याति संकेतं साभिसारिका”इत्युक्तलक्षणा कान्तप्रार्थनया स्वयं संकेतस्थान-गामिनीस्वस्थाने वाकान्तानयनकारिणी नायिका ।यदुक्तं दर्पणकारैः ।“अभिसारयते कान्तं या मन्मथवशंवदा ।स्वयं वाभिसरत्येषा धीरैरुक्ताभिसारिका” ॥
)
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