Tag Archives: Wuthering Heights

The Ashta Nayika in Indian painting, some Krishna and Radha thoughts, Linus and Hinduism, and Byz Amb on “safe” sex

30 Dec

“The Ashta-Nayika is a collective name for eight types of nayikas or heroines as classified by Bharata in his Sanskrit treatise on performing artsNatya Shastra. The eight nayikas represent eight different states (avastha) in relationship to her hero or nayaka.[1] As archetypal states of the romantic heroine, it has been used as theme in Indian painting, literature, sculpture as well as Indian classical dance and music.”

Abhisharika-nayika takes an arduous journey on a starry night, in the dark to meet her lover. Mandi Himachal, ca 1815
Abhisarika nayika, “the heroine going to meet her lover”. She turns back to look at a golden anklet, which has just fallen off. There are also snakes below and lightning above
Khandita rebuking her lover
Proshita-patika mourning

The full taxonomy below. Assuming that Krishna and Radha come up very often as models for each of these erotic-psychic states, since their love manifests itself in almost every conceivable amorous form, from the most divine and exalted states of theosis, to the most delightfully petty states of betrayal, jealousy, spite, vengeance, longing and depressed insomnia, especially in the Gita Govinda. See also: Radha-Krishna.

1Vasakasajja Nayikaवासकसज्जा नायिकाOne dressed up for union
2Virahotkanthita Nayikaविरहोत्कंठिता नायिकाOne distressed by separation
3Svadhinabhartruka Nayikaस्वाधीनभर्तृका नायिकाOne having her husband in subjection
4Kalahantarita Nayikaकलहांतरिता नायिकाOne separated by quarrel
5Khandita Nayikaखंडिता नायिकाOne enraged with her lover
6Vipralabdha Nayikaविप्रलब्धा नायिकाOne deceived by her lover
7Proshitabhartruka Nayikaप्रोषितभर्तृका नायिकाOne with a sojourning husband
8Abhisarika Nayikaअभिसारिका नायिकाOne going to meet her lover

One of the most fun moment in the Gita Govinda is when Radha, suffering from Krishna’s sleep-around indiscretions with the gopis, the cow girls of Vrindavan, finds the strength to blow off Krishna, and immediately gets “hand” in the relationship, as we used to say, leaving the young prince-god stressed out, depressed and insomnia-plagued. Who hasn’t known the sweet pleasure of successfully turning the tables on somebody you’re involved with like that? I care nothing for your sufferings. as Heathcliff (or is it Catherine?) says in Wuthering Heights; or at least I’ll pretend that I don’t care. Then they reconcile and engage in some raunch-lite love, complete with bloody scratch marks on backs and bights and sloppy kisses… Great stuff, especially when we remember that this handsome young lover with a lover in his arms who’s salivating on his already sweaty, saffron-smeared chest is a manifestation of God himself, or, as the other …Gita tells us, the Very Principle of Existence Itself: “I am the taste of water.”

“And that, Charlie Brown, is what [Hindusim] is all about.”

‘Krishna and the Gopis on the Bank of the Yamuna River’; miniature painting from the ‘Tehri Garwhal’ Gita Govinda, circa 1775–1780
Krishna, Sleepless in Vrindavan. Manaku, 1730.
Henry Hopwood Phillips, @byzantinepower

*********************************************************************************************************

Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list — at nikobakos@gmail.com.

Heathcliff (I’m assuming): “I care nothing for your sufferings.”

13 Dec

*********************************************************************************************************

Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list, contact us at nikobakos@gmail.com.

New header image: Paradzhanov’s “Shadows of Our Forgotten Ancestors”

25 Nov

The new header image is a production still from the filming of Sergei Paradzhanov‘s Shadows of Our Forgotten Ancestors / Тіні забутих предків), 1965. This is one of my ten — or maybe even five — all-time favorite films. It’s a half Romeo and Juliet, half Wuthering Heights, full of eternal love, and cool stuff like frustrated desire, obsession and death.

The other pleasures this film offers is entirely ethnographic; Paradzhanov, a Soviet Armenian filmmaker from Tbilisi, Georgia, was completely enthralled with the material culture, music, languages, and human (especially male) beauty of the Caucasus and Anatolia. Elsewhere — probably when I’ve used pictures from his films as header images before — I’ve referred to him as an “our parts” pornographer. He really had a fetish for his cinematic object, and though we use “fetish”, usually, to describe something unhealthy, it might be better to just accept it as a point on the broader spectrum of object relations.

In Shadows… Paradzhanov moves from his home territory to the Ukrainian sub-ethnic group of the Hutsuls (Гуцулы/Гуцули), that live on the Ukrainian side of the Carpathian mountains in the far west of the country. (I’m sure his appreciation of male beauty was sated there as swell.) The Hutsuls have one of the most richest High Folk Civilizations of Europe: clothes, dance, music, handicrafts — they’re also the people that make those famous Ukrainian Easter eggs you might have heard tell of. In fact, Paradzhanov was kind of a prick when the film was being filmed: he would borrow heirloom items for the shoot from the local inhabitants and then never return them.

Shadows… may be my favorite Paradzhanov film. It’s his most cinematic film, meaning it has the most conventional visual and cinematic narrative — cinema comes from Greek kinema (κίνημα), which means movement. After Shadows…, which put him on the map cinematically, he turned to extreme long shots and extreme long takes of static tableaux; they’re beautiful, but sometimes they try even my patience.

For example, from Color of Pomegranates / Նռան գույնը / ბროწეულის ფერი / Цвет граната (1969):

…and The Legend of the Suram Fortress / ამბავი სურამის ციხისა (1985):

…and Aşık Kerib / აშიკ-ქერიბი (1988):

Color of Pomegranates in 1969 and The Legend of Suram Fortress in 1985What was he doing for twenty plus years? you ask. Well, he was arrested several times between 1973 and 1982, a period during which his previous films were prohibited, for “sexual crimes”, i.e. homosexuality, along with “rape and bribery” — probably trumped up charges. Only when censorship in the Soviet Union started to ease up during the Gorbachev years was Paradzhanov allowed to make films again.

The header photo is not a scene from Shadows… though. It’s a production still, a lovely photo of two Hutsul children watching the filming.

Here are the famous Easter eggs:

I’ll post a collection of cool Hutsul photos I came across in separate post.

************************************************************************

Write us: with comments or observations, or to be put on our mailing list or to be taken off our mailing list, contact us at nikobakos@gmail.com.

<span>%d</span> bloggers like this: