Eminent Alamkara school supporters Bhamaha and Dandin took note of Rasa and made passing references to it in their expositions, but Rasa was mostly unknown to Sanskrit poetics for a long time. 
Perhaps it required the equally compelling idea of "Dhvani" to do the honour of breaking the impasse and filling in certain gaps.
Abhinavagupta was the one who truly prepared the road for Rasa to enter the world of poetry with respect. To get Rasa access to the revered realm of philosophical reflections, Bhatta Lollata, Sri Sankuka, and Bhatta Nayaka, however, took various types of attempts long before all of this occurred.
Shivansh.ganjoo, Acharyaabhinavagupta, CC BY-SA 4.0
Bhatta Lollata, a philosopher from Kashmir who was considered to be a contemporary of Bhatta Kallata and a devout follower of Mimamsa, created a commentary of Bharata's Rasa theory and claimed to be the first to start a philosophical debate in the early ninth century A.D. and thoughts on it.
Everything we know about him and his opinions on Rasa comes from Abhinavagupta's writings because none of his works is still in existence. Raj Shekhar (Kavya Mimamsa), Dhvanyaloka Locana (and Abhinavabharati), and Mammatta (Kavyaprakasa) As you are probably aware, India had a strong oral tradition, with the majority of literature being passed down orally from one generation to the next.
The Rasa-sutra appeared to include quite a few ambiguous difficulties when the early Rasa-theorists attempted to interpret it. Being a Mimamsaka himself and without the concept of Dhvani (poetic suggestion), which dominated Anandavardhana's writings.
Later, he attempted to apply literalism to Bharata's Rasa theory and sought to clarify what Samyoga represents. What does nispatti mean? What role does Sthayibhava have in the realisation of Rasa? How are the two connected? And where is Rasa's locus?
Rasa is a result, according to Lollata, whereas Vibhavas are its primary cause. According to him, Rasa is merely an enhanced and intensified version of Sthayibhava as a result of the interplay between the actors, the play, and numerous theatrical elements. He continued by saying Rasa is nearby mainly within the characters.
His Rasa is actually Sthayibhava in its natural state, which Vibhavas, Anubhavas, and Vyabhicari Bhavas have enhanced, fostered, and heightened. In Lollata's reading of the Rasa-sutra, Rasa-nispatti (realisation of Rasa) becomes Rasa-utpatti (creation of Rasa), or upaciti (intensification of Sthayibhavas culminating to Rasa).
The players' impersonation of the characters, which they learn to do via their training, and the other theatrical techniques used in the play's production serves as a source of Rasa for the audience.
We have highlighted some of his most important claims and accomplishments below.
The first Rasa theorist, Bhatta Lollata, is also credited with starting philosophical musings on Rasa's theory. Along with identifying the ambiguous core phrases of the Rasa theory, he also brought up questions about their philosophical import. His constructive criticism was what attracted academics like Bhatta Nayaka and Sri Sankuka to advance the critical tradition.
Bharata's Rasa-sutra is conspicuously silent about Sthayibhava's part in the realisation of Rasa, which has been brought to light.
Even if we assume that Sthayibhava's contribution could not have been overlooked by Bharta.
He didn't say specifically how Rasa relates to Vibhava and Anubhavas. Lollata, on the other hand, was more direct in highlighting Sthayibhava and designating it as a possible Rasa.
Lollata brought up the subject of the locus of Rasa, claiming that Rasa is largely found in historical figures like Rama and Dusyanta as well as represented through diverse theatrical forms. Lollata is unable to clarify why these appeal to the actors, through representations.
The three-stage procedure Lollata describes for increasing sthayibhavas and lastly for intensifying it into a fully-fledged Rasa is made very apparent. His Rasa-nispatti developed into Rasa-utapatti (Rasa manufacturing).
Bhatta Lollata was the first person to provide philosophical comments on Rasa's theory.
Emphasises the importance of Rasarealization Sthayibhava.
Didn't support limiting the number of Rasas to only eight.
Brought up the challenges of explaining Rasa to viewers and the distinction between Rasa and Sthayibhava.
Bhatta Lollata stated that strengthened, sustained, and increased Rasas are created from Vibhavas, Anubhavas, and Vyabhicari Sthayibhavas.
The last statement made by Bhatta Nayaka was that Rasa is Sthayibhava, which is enjoyed as an extra-worldly pleasant experience by experiencing transpersonal sensation. Rasa is Sthayibhava experienced through abhida and bhavakatva.
Q1. Who has written the Spanda-vritti, and Spanda-karika ?
Ans. Bhatta Kallata, commonly known as Kallata, was a well-known Shaivite philosopher who is thought to have authored the Spanda-vritti and Spanda-karika.
Q2. Outline Bhatta Kallata's idea of rasa.
Ans. Strengthened, sustained, and increased by Rasas are created from Vibhavas, Anubhavas, and Vyabhicari Sthayibhavas.
Q3. Utpattivada or upaciti-vada idea of rasa belongs to?
Ans. It belongs to Bhatta Kallata also known as Kallata, a 9th century Shaivite thinker. This does not treat Rasa as a matter of the spectator's aesthetic.
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