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Rasa, originally propounded by Bharata and which is multifaceted, is the most important concept in Sanskrit criticism and has influenced the theories of dance and the visual arts; this term means – aesthetic relish, and comprehends two ideas – that it denotes the relishable quality inherent in an artistic work and that it refers to the ...
In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste". [1] [2] It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. [2]
Rasa theory blossoms beginning with the Sanskrit text Nātyashāstra (nātya meaning "drama" and shāstra meaning "science of"), a work attributed to Bharata Muni 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 ...
Within Hinduism, Jainism, Buddhism, and other philosophical strands, the concept has multiple meanings depending on its doctrinal context. It is either an ontological feature of reality, a meditative state, or a phenomenological analysis of experience. Sutra Refers to an aphorism or a collection of such aphorisms in the form of a book or text ...
According to Sheldon Pollock, a new category in aesthetic flavors was created even though most of the religious poetry was based on the passion and desire of God and not about dispassion. Further, he quotes Mammaṭa , where he observes: "When the desire is directed toward a deity, we have 'emotion' rather than rasa."
Flow is of particular interest to positive psychology because its experience is pleasurable. [113] Aesthetic experience is a central concept in the psychology of art and experimental aesthetics. [114] It refers to the experience of aesthetic objects, in particular, concerning beauty and art. [115]
Abhinaya (Sanskrit abhi-'towards' + nii-'leading/guide') is the art of expression in Indian aesthetics. More accurately it means "leading an audience towards" the experience (bhava) of a sentiment (rasa). The concept, derived from Bharata Muni's Natya Shastra, is used as an integral part of all Indian classical dance styles. [1]
The final import is intellectual, but the occurrence is emotional as well. Aesthetic experience cannot be sharply marked off from other experiences, but in an aesthetic experience, structure may be immediately felt and recognized, there is completeness and unity and necessarily emotion. Emotion is the moving and cementing force.