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In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. [24] [13] Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There ...
Rasa is a Sanskrit word that denotes the quality of emotional fulfilment that a work of art brings about. Rasa Theory is a theory of aesthetic criticism that has been prevalent in appreciation of literary works in Sanskrit language for millenniums (see: Indian aesthetic).
In the Indian performing arts, a rasa is a sentiment or emotion evoked in each member of the audience by the art. The Natya Shastra mentions six rasa in one section, but in the dedicated section on rasa it states and discusses eight primary rasa. [2] [3] Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There ...
[3] [7] [2] The text, states Natalia Lidova, then describes the theory of Tāṇḍava dance , the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures. [3] [41] [42] Chapters 6 and 7 present the "Rasa" theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting.
Art, music, literature, as well as personalities that arouse rasas, are all eternally dear to people. That is the ultimate aesthetic. Mumbiram finds it unfortunate that contemporary art is floundering aimlessly without any theory of aesthetic criticism whatsoever. He envisions Rasa Renaissance as an inevitability.
Abhinavaguptas most important work on the philosophy of art is Abhinavabhāratī – a long and complex commentary on Natya Shastra of Bharata Muni. This work has been one of the most important factors contributing to Abhinavagupta's fame up until present day. His most important contribution was that to the theory of rasa (aesthetic savour).
Rasa is an essential aspect in any good art and the realization of the Rasa is a result of the integration of Stimulus (Vibhava), involuntary reaction (Anubhava), and transitory psychological states or voluntary reactions (Vyabhicaribhava).
Proponents of śāntarasa counterargue that śṛṅgāra rasa is not denied the stature of a rasa merely because it does not portray actual sexual intercourse (samproyoga) on the stage, just as is the case for raudra (रौद्र, transl. the rasa of fury or anger, derived via the morphological process of वृद्धि (vṛddhi) from ...