Indian Poetics : Rasa Theory

 

        Indian Poetics : RASA Theory 

  

          

         In this blog is brife information of Indian poetics & aesthetics in Rasa Theory.

 

Introduction : 

   

     Indian poetics is a rich and ancient tradition that encompasses various theories and practices concerning the creation, interpretation, and appreciation of literature. It includes several foundational texts such as the "Natya Shastra" by Bharata Muni, which discusses dramatic theory, and the "Kavya Shastra" texts like "Kavyaprakasha" and "Kavyalankara" which delve into poetic composition and aesthetics. These texts outline principles such as rasa (aesthetic flavor), alankara (ornamentation), and dhvani (suggestion), providing a framework for understanding and analyzing Indian literature across genres like poetry, drama, and narrative. Indian poetics also emphasizes the interconnectedness of literature, philosophy, and spirituality, reflecting the diverse cultural and philosophical traditions of the Indian subcontinent.

 Various school of Indian poetics & aesthetics : 

Rasa Theory by Bharata

Dhavani Theory by Anandvardhan 

Vakrokti Theory by Kuntaka 

Alankara Theory by Bhamaha

Riti Theory by vaman 

Auchitya Theory by Kshemendra 

    

   

About some detail information by Rasa Theory 

 • RASA Theory by Bharata 

      Bharata's Rasa theory is a foundational concept in Indian aesthetics, particularly in classical Indian literature and performing arts like theater and dance. Rasa translates to "essence" or "flavor." In the context of art, it refers to the emotional flavor or sentiment evoked in the audience through a creative work.Bhavas are the emotional states portrayed by the actors, while Vibhavas are the determinants or causes of these emotions. Vibhavas include factors like situations, gestures, expressions, and actions. Sthayi Bhava refers to the dominant emotional state. It is the permanent or prevailing emotion that underlies the entire artistic creation.

 

     Bharata Muni, an ancient Indian sage and author of the Natya Shastra, described eight "rasas" or emotional flavors in performing arts:

 

    श्रृंगार करुण वीर रौद्र हास्या  भयानका।                       बिभतसादूत शानतश्व नव नाट्य रसास्मृता :।।

       

 

 Shringara (Love/Beauty): Represents the emotion of love, attraction, and beauty.

Hasya (Laughter): Represents the emotion of joy, humor, and comedy.

Karuna (Sorrow): Represents the emotion of sadness, compassion, and empathy.

Raudra (Anger): Represents the emotion of anger, fury, and violence.

Veera (Heroism): Represents the emotion of courage, bravery, and heroism.

Bhayanaka (Fear): Represents the emotion of fear, terror, and dread.

Bibhatsa (Disgust): Represents the emotion of disgust, revulsion, and aversion.

Adbhuta (Wonder): Represents the emotion of wonder, amazement, and astonishment.

Shanta Rasa":  or the emotion of peace, serenity, and tranquility as the ninth rasa.

    


Here rasa is equated with color and god.
           

Three types of bhava

1. Satya bhava : The rasa aesthetic in Indian classical arts, including literature, dance, and drama. In rasa theory, each artistic expression aims to evoke specific emotions or sentiments in the audience, and satya bhav represents the authenticity or truthfulness of these emotions.

2. Snchasari bhav : "Sanchārī bhāva" is a term used in Indian classical music and dance to describe the expression or mood conveyed through movement or gestures. It refers to the emotional content or feeling that is portrayed through the performance. It's an essential aspect of traditional Indian arts, helping convey the essence of the music or dance piece to the audience.

3. Satvik bhav :  "Satvik bhav" refers to the aesthetic experience characterized by purity, serenity, and tranquility. In the context of rasa theory, Satvik bhav represents emotions or sentiments that evoke a sense of peace, harmony, and spiritual upliftment, such as love, compassion, and devotion. These emotions are considered conducive to inner transformation and spiritual growth.

Bharat muni give about rasa take bhav in center and give  formula. 

   विभानुभव्यभिचारीसंयोगादरस निष्पत्ति :।

1. વિભાવ :

2. અનુભવ :

3. વ્યભિચારી :

4. સંયોગ : 

   રસ નિષ્પતી અને આનંદ બને પર્યાય છે .

  Art for life shake & Art for art shake 

 That's all bhavas explained in kalidas work Abhignan shankuntlam.

1. Vibhav : "Vibhav" is one of the components of rasa and refers to the determinants or stimulants that contribute to the emotional experience, such as the setting, characters, actions, or objects depicted in the art form.

Vibhav there are two parts

આલંબન વિભાવ : નાયક- નાયિકા , સ્ત્રી - પુરુષ 

ઉદ્વીપન વિભાવ : વસંત, ઉઘાન , સૌરભ વગેરે

2. Anubhav  : Abubhav" is a Sanskrit word that can be broken down into "ab" meaning "away" or "off" and "bhav" meaning "being" or "existence."

3. Vybhichari : Vyabhichari bhava" refers to the transient emotional states or psychological conditions experienced by characters in classical Indian aesthetics, particularly in the context of Natya Shastra, an ancient treatise on performing arts. These emotional states are also known as "transitory mental states" or "transitory emotional states."

       शंका, असूया , मद , श्रम , आलरय , चिन्ता , मोह , स्मृति, धृति , चपमता, हर्ष , आवेग , जड़ता , गर्व , विषाद, औत्सुकय , अग्रता , व्याधि , उन्माद , मरण, त्रास और वितर्क ।

4. Syojan : The concept of "rasa anubhuti," where the emotions evoked by each poem combine to create a singular emotional experience.

   

We will consider other acharya of the time in sanskrit lagaguge.

1.  Bhatt Lollata: 

         Metamorphism is discussed in his mimansa argument. 

2. Shri shankuk :

          Takhts and Natantis are the real source of interest. By seeing the experiences on Nati's face the examiner can infer what is born in her heart.

3. Bhatt Nayak : 

        Bhutiism has been discussed in sankhyashastra by shankuk and Abhinav criticized Gupta view. He has envisioned important businesses for interest bearing businesses.

   રસ ઉતપન્ન થતો નથી કે અભિવ્યક્ત પણ થતો નથી.

4. Abhinav Gupta: 

    રસ એ સ્થાયીભાવ થી વિલક્ષણ છે.

     Abhinavgupta says in ' Abhinavabharti' Grantha that rasa is kavyartha.That rasa is the interruption from the rasanurupa pratithi.

Thank you .