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359:, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including
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In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for
Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling,
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where the Gods declare that drama is the 'Fifth Veda' because it is suitable for the degenerate age as the best form of religious instruction. The Nātyashāstra presents the aesthetic concepts of rasas and their associated bhāvas in
Chapters Six and Seven respectively, which appear to be independent
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Shānta-rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to
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of the work as a whole. Eight rasas and associated bhāvas are named and their enjoyment is likened to savoring a meal: rasa is the enjoyment of flavors that arise from the proper preparation of ingredients and the quality of ingredients.
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A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the
Alankarikas, and the expression
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the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by
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brought rasa theory to its pinnacle in his separate commentaries on the Dhvanyāloka, the Dhvanyāloka-locana (translated by
Ingalls, Masson and Patwardhan, 1992) and the Abhinavabharati, his commentary on the
338:, portions of which are translated by Gnoli and Masson and Patwardhan. Abhinavagupta offers for the first time a technical definition of rasa which is the universal bliss of the Self or
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The theory of the rasas develops significantly with the
Kashmiri aesthetician Ãndandavardhana's classic on poetics, the Dhvanyāloka which introduces the ninth rasa,
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Matthew Jones (January 2010). "Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and
Millionaire". Visual Anthropology 23 (1): 33–43.
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310:) which arises from its bhāva, weariness of the pleasures of the world. The primary purpose of this text is to refine the literary concept
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The expressions used in
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were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in contemporary India the term
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Art, Reality and the
Reality of the Arts: Ontology, Representation and The Sister Arts Theory in Indian Aesthetics
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Artifactuality of Art and Nature: A Plea for Environmental Aesthetics in Ancient India
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The 9th - 10th century master of the religious system known as "the nondual
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denoting "flavor" or "essence" is used colloquially to describe the aesthetic experiences in films.
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that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
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artist expressing emotions on stage. Vaachikabhinaya is an important part of Yakshagana"
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A Brief Introduction to a Comparative Study of Greek and Indian Aesthetics and Poetics
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Rasa, Sringara and Sringara Rasa: Aesthetics as Mass Culture in Indian Antiquity
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is a sentiment or emotion evoked in each member of the audience by the art. The
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Aesthetics Beyond/ Within Aesthetics: The Scope and Limits of Indian Aesthetics
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of abhinaya remains extremely rich in variations of the emotions, while the
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Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".
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condemned Rukmini Devi's puritanistic interpretations and applications of
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of a frightened person is black, and the aura of an angry person is red.
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Representation in Painting and Drama: Arguments from Indian Aesthetics
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and other performance arts, written between 200 BC and 200 AD. In the
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mentions six rasa in one section, but in the dedicated section on
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underpinning of all Indian classical dance and theatre, such as
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Aesthetic Enjoyment: Its Background in Philosophy and Medicine
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683:– An ancient Sanskrit text on performance arts and aesthetics
480:(शृङ्गारः): Romance, Love, attractiveness. Presiding deity:
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Nature of Aesthetic Enjoyment in Greek and Indian Analyses
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Emotion, Aesthetic Experience and the Contextualist Turn
966:, Journal of Comparative Literature and Aesthetics: 1996
952:, Journal of Comparative Literature and Aesthetics: 1995
945:, Journal of Comparative Literature and Aesthetics: 1992
931:, Journal of Comparative Literature and Aesthetics: 1978
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The Concept of Imitation in Greek and Indian Aesthetics
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or poetic suggestion, by arguing for the existence of
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The Work of Art in the Age of Mechanical Reproduction
496:(हास्यं): Laughter, mirth, comedy. Presiding deity:
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Understanding and Enjoyment in Aesthetic Experience
66:. Unsourced material may be challenged and removed.
987:, East and West in Aesthetics, Siena (Italy): 1997
985:Dhvani as a Pivot in Sanskrit Literary Aesthetics
973:, Indian Response to Literary Theory, Delhi: 1996
207:in classical Indian dance form is referred to as
526:(कारुण्यं): Compassion, mercy. Presiding deity:
410:Raudram rasa of the destructive fury of goddess
159:Raudram rasa of the destructive fury of goddess
992:Transculturality of Classical Indian Aesthetics
587:(अद्भुतं): Wonder, amazement. Presiding deity:
540:(बीभत्सं): Disgust, aversion. Presiding deity:
29:"Navarasa" redirects here. For other uses, see
1001:, Vishvanatha Kaviraja Institute (India): 1995
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306:as a specifically religious feeling of peace (
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1788:The Literary Mind and the Carving of Dragons
1016:. New York: The Metropolitan Museum of Art.
980:, International Yearbook of Aesthetics: 1996
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289:meaning "science of"), a work attributed to
605:" (the nine rasas), could come into vogue.
556:(भयानकं): Horror, terror. Presiding deity:
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819:A Rasa Reader: Classical Indian Aesthetics
342:colored by the emotional tone of a drama.
822:. Columbia University Press. p. 48.
738:. Bloomsbury Academic. pp. 102–103.
355:mentions Bhakti in his commentary on the
126:Learn how and when to remove this message
903:, Calcutta: University of Calcutta, 1966
273:Rasa theory blossoms beginning with the
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248:expressions are more limited in scope.
735:Approaches to Acting: Past and Present
447:it states and discusses eight primary
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64:adding citations to reliable sources
910:, Calcutta: Sen Ray & Co., 1954
938:, Milan (Italy): Rubberttino, 1995
816:Pollock, Sheldon (26 April 2016).
570:(वीरं): Heroism. Presiding deity:
421:enunciated the eight rasas in the
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1012:India: art and culture, 1300-1900
510:(रौद्रं): Fury. Presiding deity:
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924:, Calcutta: Rupa & Co., 1977
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732:Daniel Meyer-Dinkgräfe (2005).
618:: Peace or tranquility. deity:
51:needs additional citations for
999:Contemporary Indian Aesthetics
936:Contemporary Indian Aesthetics
886:10.1093/obo/9780195399318-0071
427:, an ancient Sanskrit text of
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1918:Aestheticization of politics
1042:Bhāva (psychological states)
145:Rasas in the performing arts
1008:Welch, Stuart Cary (1985).
880:. Oxford University Press.
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240:rasa. The abhinaya of the
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217:carefully delineates the
31:Navarasa (disambiguation)
2039:Movements in aesthetics
1938:Evolutionary aesthetics
1888:The Aesthetic Dimension
959:, Lahti (Finland): 1995
876:Natalia Lidova (2014).
661:question marks or boxes
203:and others. Expressing
1868:Avant-Garde and Kitsch
1818:Lectures on Aesthetics
1044:- in the Natya-shastra
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1958:Philosophy of design
1838:In Praise of Shadows
1828:The Critic as Artist
329:) and aesthetician,
285:meaning "drama" and
221:used to create each
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1968:Philosophy of music
1943:Mathematical beauty
761:, pp. 249–250.
721:Natalia Lidova 2014
697:Sanskrit Literature
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346:Inclusion of bhakti
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1963:Philosophy of film
1953:Patterns in nature
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