Sairandhri Draupadi (Socio-Historic and Iconic Study of Sculpture)

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In an era where the nation is rekindling its connection with a glorious past and heritage, Prof. Dr. Deena Bandhu Pandey and Dr. Gyanendra Narayan Rai have delved into the treasures of literary and archaeological realms to illuminate the profound significance of the Sairandhri sculpture. Embarking on a captivating journey unveiling the enigma, "Sairandhri Draupadi," the scholarly work (monograph), intricately explores the intriguing facets of Draupadi's life, unravelling the tale of a queen who willingly embraced the role of a Sairandhri during the Pandavas' yearlong exile. The narrative skillfully weaves through ancient literary works, portraying the essence of a Sairandhri as depicted in words and immortalized in sculpture.

Within the antahpura, Sairandhri was not just an assistant but a free person. Draupadi as Sairandhri embodied the faithfulness, beauty, charm, and artistic prowess of a "Silpini parichärikä". With her knowledge of flowers and their uses, Draupadi dedicates herself to adorning Queen Sudeşņā with ornaments, costumes, and perfumes, showcasing her multifaceted persona while abstaining from Kamabhoga (as dictated in Nātyaśāstra for a Düti). Another Sairandhri figure with an Aśoka plant in the background hints at the Ayurvedic knowledge Sairandhri possessed about plant products. Aśoka flowers were associated with Kamadeva, the Hindu god of love. "Sairandhri Draupadi" is a profound exploration of the depths of her timeless character, offering insights into the cultural tapestry of ancient Bharatavarşa.

*Rekha Rao, a master's degree holder in Indology from the University of Mysore, is also an accomplished classical dancer. In 2000, she took up independent research work in Indology under the guidance of Dr. S.R. Rao, Former Deputy Director General of the Archaeological Survey of India, and since 2010, on her own. Her interest in the temple sculptures has made her visit and study various temples in India, focusing on the sculptures of Apsaras, Buddhist architecture, and Indus Seals.

It gives me great pleasure to introduce the present exceedingly interesting monograph entitled Sairandhri = Draupadi. Considering carefully and critically the writings of earlier scholars on the subject and collecting material most diligently on it from sources hitherto not noticed to be utilised and presenting the theme in a praiseworthy manner, Professor Dr. Deena Bandhu Pandey and the Co-Author Dr. Gyanendra Narayan Rai have produced the work which is bound to be received well not only by scholars but also by common people interested in our great epic the Mahābhārata.

It has been quite a long time now that we are engaged in a thorough study of an image, presently preserved in the Bharat Kala Bhavan, Banaras Hindu University, Varanasi. We have been devoting our attention particularly to identify it properly and apply a suitable name. Our efforts for collecting material from all the available literary and traditional sources on the terms Prasādhikā and Sairandhri' and also for making a critical analysis of the same have resulted in a form of the present monograph in which the suggestion is put forward that the image is to be called Sairandhrī who is identical with Draupadi, who served the queen Sudeşņā as her cosmetician (sairandhrī) with a nick-name as Mālinī. What especially interesting is that the particular posture in which the image under study is depicted is also described at least one time in the Mahābhārarata, relating with Draupadi (= sairandhrī) as has been shown in the work.