Get ready to be captivated as we unveil the incredible story of Draupadi Cheerharan and Krishna's intervention, dating back to the 12th and 13th centuries. šš
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1/16
This will be a long #Thread, so make sure to bookmark it and retweet!
1/16
In the epic Mahabharata, specifically in the SabhÄparvan (61.35-38), there is a dramatic scene:
1. Draupadi is forcefully brought into the gaming hall.
2. Karį¹a instructs Duįø„ÅÄsana to strip both the PÄnįøavas and DraupadÄ« of their garments (61.38).
3. The PÄį¹įøavas respond by removing their upper garments.
4. Subsequently, Duįø„ÅÄsana attempts to remove DraupadÄ«'s single cloth in front of everyone present.
Interestingly, this attempted stripping is rarely mentioned thereafter. In this analysis, we will explore this contradiction in greater detail.
2/16
1. Draupadi is forcefully brought into the gaming hall.
2. Karį¹a instructs Duįø„ÅÄsana to strip both the PÄnįøavas and DraupadÄ« of their garments (61.38).
3. The PÄį¹įøavas respond by removing their upper garments.
4. Subsequently, Duįø„ÅÄsana attempts to remove DraupadÄ«'s single cloth in front of everyone present.
Interestingly, this attempted stripping is rarely mentioned thereafter. In this analysis, we will explore this contradiction in greater detail.
2/16
The Critical Edition (CE) of the MahÄbhÄrata, published by the Bhandarkar Oriental Institute (BORI) in Pune from 1933 to 1966, is widely considered as the definitive source for establishing the textual canon of the epic. However, after half a century, there are valid reasons to critically examine its claim of being the best available manuscript version.
The BORI's critical affirmation of disrob and rerob is challenging in view of the following
-BORI referred to Oldest manuscript a 12th century, Nepali palm-leaf manuscriptā yes a Nepali manuscript applied to Mbh of Bharat
-BORI didnt refer to older text by Abu Salehās Instruction of Princes (1026) (astonishing account of the Kurus and PÄį¹įøavas as viewed from Sindh with no mention of KrĢ„į¹£į¹a.)
-OįøÄ«ya and NandinÄgarÄ« manuscripts examined. Edgerton, editor of the SabhÄ Parva of the CE, refers to a complete manuscript, a continuous roll in Devanagari, in the Bharat Itihasa Sanshodhaka Mandal of Pune, which he could not obtain for study. 3 The National Mission for Manuscripts has to find and document it for the revised edition of the MahÄbhÄrata.
-Razmnama (1584), the Persian version of the epic (including Harivaį¹Åa) that Akbar commissioned, although it was contemporaneous with the manuscripts depended upon for the CE
3/16
The BORI's critical affirmation of disrob and rerob is challenging in view of the following
-BORI referred to Oldest manuscript a 12th century, Nepali palm-leaf manuscriptā yes a Nepali manuscript applied to Mbh of Bharat
-BORI didnt refer to older text by Abu Salehās Instruction of Princes (1026) (astonishing account of the Kurus and PÄį¹įøavas as viewed from Sindh with no mention of KrĢ„į¹£į¹a.)
-OįøÄ«ya and NandinÄgarÄ« manuscripts examined. Edgerton, editor of the SabhÄ Parva of the CE, refers to a complete manuscript, a continuous roll in Devanagari, in the Bharat Itihasa Sanshodhaka Mandal of Pune, which he could not obtain for study. 3 The National Mission for Manuscripts has to find and document it for the revised edition of the MahÄbhÄrata.
-Razmnama (1584), the Persian version of the epic (including Harivaį¹Åa) that Akbar commissioned, although it was contemporaneous with the manuscripts depended upon for the CE
3/16
Akbar embarked on an ambitious endeavor and formed an editorial board that laid the foundation for the CE's.
The board consisted of notable individuals like Debi Misra (author of BhÄrata artha dÄ«pikÄ?), Chaturbhuja Misra (author of BhÄrata upÄya prakÄsaka bhÄrata tÄtparya prakÄÅikÄ) from Bengal, Satavadana, Madhusudana Misra (editor of MahÄnÄtakam), Rudra Bhattacaraj, and Sheikh Bhawan (a Dakhini Brahmin convert).
Naqib Khan supervised the translation of the #Sanskrit epic Mahabharata into Persian for Mughal Emperor Akbar. Sadly, Naqib Khan passed away on Friday, 23 May 1614, and was laid to rest within the Dargah at Ajmer Sharif.
For more information, visit: [royalcollection.org.uk]
4/16
The board consisted of notable individuals like Debi Misra (author of BhÄrata artha dÄ«pikÄ?), Chaturbhuja Misra (author of BhÄrata upÄya prakÄsaka bhÄrata tÄtparya prakÄÅikÄ) from Bengal, Satavadana, Madhusudana Misra (editor of MahÄnÄtakam), Rudra Bhattacaraj, and Sheikh Bhawan (a Dakhini Brahmin convert).
Naqib Khan supervised the translation of the #Sanskrit epic Mahabharata into Persian for Mughal Emperor Akbar. Sadly, Naqib Khan passed away on Friday, 23 May 1614, and was laid to rest within the Dargah at Ajmer Sharif.
For more information, visit: [royalcollection.org.uk]
4/16
Hiltebeitel (2001) argues that Krishna's intervention to protect Draupadi's modesty, as described in the CE, is supported by two verses from the Udyogaparvan exhorting KeÅava (V.80.26), and KrĢ„į¹£į¹a speaking to Saį¹jaya (V.58.21). In these verses, Draupadi appeals to Krishna for rescue, using the phrase "O Govinda." However, it is worth noting that neither Draupadi nor Krishna explicitly mention the attempted stripping. This raises the question of why Krishna would intervene miraculously if Draupadi was not being stripped.
Furthermore, when Draupadi and Krishna meet for the first time after the dice-duel during their forest exile, Draupadi mentions being manhandled krĢ„į¹£yeta (III.13.60), dragged around the hall with her one piece of clothing while menstruating, and molested. She also refers to being held by her hair kacagrahamanuprÄptÄ (III.13.107, 109). However, she does not specifically mention any attempt to strip her.
Krishna responds by stating that had he been present, he would have prevented the fraudulent dice-game, but he was away battling Shalva DvÄrakÄ (III.14.1), who had attacked Dwaraka. He does not mention any knowledge of an attempt to strip Draupadi or any telepathic communication from her.
5/16
Furthermore, when Draupadi and Krishna meet for the first time after the dice-duel during their forest exile, Draupadi mentions being manhandled krĢ„į¹£yeta (III.13.60), dragged around the hall with her one piece of clothing while menstruating, and molested. She also refers to being held by her hair kacagrahamanuprÄptÄ (III.13.107, 109). However, she does not specifically mention any attempt to strip her.
Krishna responds by stating that had he been present, he would have prevented the fraudulent dice-game, but he was away battling Shalva DvÄrakÄ (III.14.1), who had attacked Dwaraka. He does not mention any knowledge of an attempt to strip Draupadi or any telepathic communication from her.
5/16
Collateral evidence:
In the prose passage preceding sloka 7, Duįø„ÅÄsana is depicted as seizing DraupadÄ«'s hair. KrĢ„į¹£į¹a exclaims, draupadÄ« keÅadharį¹£aį¹am, which translates to "DraupadÄ«'s hair being violated!" In 1916, Winternitz compared BhÄsa's DÅ«tavÄkyam with the MahÄbhÄrata and demonstrated that KrĢ„į¹£į¹a's act of reclothing DraupadÄ« was an interpolation added after the 4th century CE.
In the second play, Ghaį¹otkaca reproaches Duryodhana, stating,
Åirasi na tathÄ bhrÄtuįø„ patniį¹ sprĢ„ Åanti niÅÄcarÄįø„, meaning "nor do night-wanderers (RÄkį¹£asas) ever touch the brother's wife on the head" (sloka 47), referring to DraupadÄ« being dragged by her hair. This echoes what he says in the BhÄ«į¹£maparvan VI.87.26.
In the third play, Duryodhana mentions how DraupadÄ« was dragged by the hair during the dicing, expressed as yat krĢ„į¹£
krĢ„į¹£į¹Ä karanigrahÄƱcitakacÄ dyÅ«te tadÄ draupadÄ«, āHow DraupadÄ« was dragged by the hair in the dicingā (sloka 63)
6/16
In the prose passage preceding sloka 7, Duįø„ÅÄsana is depicted as seizing DraupadÄ«'s hair. KrĢ„į¹£į¹a exclaims, draupadÄ« keÅadharį¹£aį¹am, which translates to "DraupadÄ«'s hair being violated!" In 1916, Winternitz compared BhÄsa's DÅ«tavÄkyam with the MahÄbhÄrata and demonstrated that KrĢ„į¹£į¹a's act of reclothing DraupadÄ« was an interpolation added after the 4th century CE.
In the second play, Ghaį¹otkaca reproaches Duryodhana, stating,
Åirasi na tathÄ bhrÄtuįø„ patniį¹ sprĢ„ Åanti niÅÄcarÄįø„, meaning "nor do night-wanderers (RÄkį¹£asas) ever touch the brother's wife on the head" (sloka 47), referring to DraupadÄ« being dragged by her hair. This echoes what he says in the BhÄ«į¹£maparvan VI.87.26.
In the third play, Duryodhana mentions how DraupadÄ« was dragged by the hair during the dicing, expressed as yat krĢ„į¹£
krĢ„į¹£į¹Ä karanigrahÄƱcitakacÄ dyÅ«te tadÄ draupadÄ«, āHow DraupadÄ« was dragged by the hair in the dicingā (sloka 63)
6/16
RÄjaÅekharaās BÄlabhÄrata (c. 10th century CE) is unaware of the re-clothing of DraupadÄ« by KrĢ„į¹£į¹a.
RÄjaÅekhara's BÄlabhÄrata is a 10th-century Sanskrit play based on the MahÄbhÄrata. It is also known as PracandapÄį¹įøava. The play is incomplete and is considered a companion NÄį¹aka to the MahÄbhÄrata story.
Neither the Vaishnava Bhakti cultās BhÄgavata, nor the appendix to the epic, Harivaį¹į¹£a, mentions any attempted stripping, despite their focus on the miraculous deeds of KrĢ„į¹£į¹a. The former refers only to the heinous act of the Kuru lady being dragged by her hair (keÅabhimarÅam) in the assembly hall but not to KrĢ„į¹£į¹a rescuing her miraculously from being stripped (I. 86; I. 15.10; III.1.7; XI.1.2.)
In the Devi BhÄgavata PurÄį¹a Janamejaya refers twice only to DraupadÄ« being dragged by her hair (IV.1.36 and 17.38), using the word dharį¹£itÄ (IV.1.38), which also means āviolatedā, for what KÄ«caka did to her. Yudhiį¹£į¹hira uses the same word while giving Saį¹jaya his message, keÅeį¹£v adharį¹£ayat (MahÄbhÄrata, V.31.16).
7/16
RÄjaÅekhara's BÄlabhÄrata is a 10th-century Sanskrit play based on the MahÄbhÄrata. It is also known as PracandapÄį¹įøava. The play is incomplete and is considered a companion NÄį¹aka to the MahÄbhÄrata story.
Neither the Vaishnava Bhakti cultās BhÄgavata, nor the appendix to the epic, Harivaį¹į¹£a, mentions any attempted stripping, despite their focus on the miraculous deeds of KrĢ„į¹£į¹a. The former refers only to the heinous act of the Kuru lady being dragged by her hair (keÅabhimarÅam) in the assembly hall but not to KrĢ„į¹£į¹a rescuing her miraculously from being stripped (I. 86; I. 15.10; III.1.7; XI.1.2.)
In the Devi BhÄgavata PurÄį¹a Janamejaya refers twice only to DraupadÄ« being dragged by her hair (IV.1.36 and 17.38), using the word dharį¹£itÄ (IV.1.38), which also means āviolatedā, for what KÄ«caka did to her. Yudhiį¹£į¹hira uses the same word while giving Saį¹jaya his message, keÅeį¹£v adharį¹£ayat (MahÄbhÄrata, V.31.16).
7/16
Åiva PurÄį¹a (c. 11th century CE) that we find a reference to the incident (III.19.63-66). Here the stream of garments is the result of DurvÄsÄās boon to DraupadÄ« for having torn off part of her dress to protect the sageās modesty when his loincloth was swept away in the Ganga.43 KrĢ„į¹£į¹a plays no role in this. There is also the popular tale of DraupadÄ« binding up his bleeding finger with a strip of her garment because of which he provides her an endless stream of cloth in the dicing hall.
8/16
8/16
In the JaiminÄ«ya AÅvamedhaparvan, which is believed to be a late work from the 10th-12th century AD, there is a reference to the disrobing incident (2.62). In this text, Krishna pays the Pandavas an unexpected visit while they are contemplating how to proceed with the horse-sacrifice. Draupadi reminds them that they should not be surprised because Krishna had previously appeared to save them from Durvasa's wrath, and "Before that, Hari appeared in the form of clothes in the assembly (vastrarÅ«pÄ« sabhÄmadhye) to save me from shame."
9/16
9/16
Adluri and Hiltebeitel have attempted to support their argument in favor of the disrobing episode by referencing a painting, possibly by Nainsukh (c. 1760/65), depicting the incident. However, the much older sculpture in the Hoysaleshwar temple in Halebidu (c. 12th century) only shows Draupadī being held by her hair, with one person approaching her while another restrains the male tormentor.
The second picture, showing Dushashana holding Draupadi by her hair and seemingly attempting to remove her robe, also dates back to the 12th-13th century.
In both images, Draupadi is not depicted as submissive. Instead, she appears to resist with pride.
10/16
The second picture, showing Dushashana holding Draupadi by her hair and seemingly attempting to remove her robe, also dates back to the 12th-13th century.
In both images, Draupadi is not depicted as submissive. Instead, she appears to resist with pride.
10/16
The depiction of the dice game is absent in sculpture and painting until we reach Akbar's Razmnama (1598-99). It is in this work that the stripping of Draupadi is portrayed for the first time. This is why it is crucial to compare its text with the Sanskrit manuscripts.
Check out Pic 2 by Basawan and Dhanu: [link](commons.wikimedia.org)
11/16
Check out Pic 2 by Basawan and Dhanu: [link](commons.wikimedia.org)
11/16
In summary, there is limited intra-textual evidence to support the claim of DraupadÄ«'s attempted disrobing. The Åalyaparvan provides only two passages (IX.4.16-17 and IX.58.10), with the former having a more consistent variant reading. However, these passages do not mention her being re-clothed, whether by KrĢ„į¹£į¹a or otherwise. Hiltebeitel's argument relies on DraupadÄ« invoking Govinda in her distress, but does not address the act of disrobing and re-robing.
Throughout the text (mentioned at least 27 times), Draupadī is described as being dragged by her hair into the royal assembly-hall while menstruating, wearing a single bloodstained cloth, and enduring insults. She leaves for exile still wearing the same garment. Additionally, early Sanskrit literature does not mention the attempted disrobing; it is only mentioned in a couple of late texts, highlighting how the attempt was miraculously aborted.
12/16
Throughout the text (mentioned at least 27 times), Draupadī is described as being dragged by her hair into the royal assembly-hall while menstruating, wearing a single bloodstained cloth, and enduring insults. She leaves for exile still wearing the same garment. Additionally, early Sanskrit literature does not mention the attempted disrobing; it is only mentioned in a couple of late texts, highlighting how the attempt was miraculously aborted.
12/16
Questioning the CE is important. Rather than simply accepting it, the German philological approach took the lead by categorizing others as "Vulgate". The main challenge lies in mapping the inter-relationships among different manuscripts. Wendy Phillips-Rodriguez introduces a unique "uprooted trees" schema to address this issue. Interestingly, the Southern manuscripts demonstrate more dispersion, suggesting an independent evolution. These variations hold significant cultural value on their own. By delving into each interpretation, we can uncover the cultural origins of this epic in a profound manner.
13/16
13/16
"The Disrobing of Draupadi" plagiarism continued after Razmnama
This painting, attributed to Nainsukh (active ca. 1735ā78), is believed to have been created around 1760-65 in the Guler region of Himachal Pradesh, India.
For more information and to view the painting, visit: [jameelcentre.ashmolean.org]
14/16
This painting, attributed to Nainsukh (active ca. 1735ā78), is believed to have been created around 1760-65 in the Guler region of Himachal Pradesh, India.
For more information and to view the painting, visit: [jameelcentre.ashmolean.org]
14/16
In the Mahabharata, Draupadi, the wife of all five Pandava brothers, finds herself in a pachisi game. Yudhishthira, the king of Hastinapura, had gambled away all his material wealth and even offered Draupadi as a bet. In this tense moment, Draupadi prays to Krishna for protection while a court attendant tries to remove her sari. This event played a significant role in instigating the Mahabharata war.
Circa 1895
Source: [British Museum](britishmuseum.org)
Printed by Chore Bagan Art Studio
15/16
Circa 1895
Source: [British Museum](britishmuseum.org)
Printed by Chore Bagan Art Studio
15/16
For more details, check out this link where the information is gathered in neat way.
asiainstitutetorino.it
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asiainstitutetorino.it
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