A rasa in Indian performing arts is a feeling or emotion that the art elicits in every spectator. In the Natyasastra, an ancient Sanskrit book on theatrical theory and other performance arts, Bharata Muni defined the eight Rasas. Later on, another rasa called the Shanta rasa was added to make Nauras. The elements of an aesthetic experience are contained in these rasas. Although the idea of rasa is vital to many forms of Indian art, including dance, music, theatre, painting, sculpture, and literature, some various styles and schools have varied interpretations and applications of a given rasa.
The origins of Rasa Theory can be found in Atharvaveda's late Vedic time (200 BC- 100 BC). However, Bharata Muni is recognised as the originator of Indian Rasa Theory since he made important claims in his work Natyashastra, an Indian treatise on performing arts that includes music, dance, and theatre, which was published in the first century AD approximately. He mentions 8 rasas and later 9th rasa was added to make Nauras.
Each rasa evokes a mood.
A rasa in Indian aesthetics translates as “nectar, essence, or taste.” In Indian arts, it refers to a notion regarding the aesthetic flavour of any written, visual, or musical work that stirs up an emotion or feeling in the audience or reader yet cannot be put into words.
It refers to the emotional undertones or essence that the author has infused into the work and that is savoured by the “sensitive spectator” or sahidaya, literally one who “has heart,” who can relate to the work emotionally and without being detached from it.
Rasa can best be understood as aesthetic pleasure.
Rasa is the essence of music, dance, painting, and theatre in addition to poetry and drama.
According to Natyasastra, each rasa has a presiding deity and a particular colour.
Rasa is an elusive realisation and strong emotions experienced with detachment.
Man only becomes identified with the divine spirit, which is a single, unbroken whole, via spiritual experience.
It is free from any other perception. This means that to enjoy it, we must give it our full attention.
Indian Dancer
Description-Dancer showing anger.
According to Bharata's Natyashastra, there are eight basic emotions or mental states known as Sthayibhavas that people might feel. Later 9th rasa was added to make Nauras.
| Types of Rasa | Mood Evokes | Deity | Colour |
|---|---|---|---|
| Shringara | Love | Vishnu | Light green |
| Hasya | Humour | Shiva | White |
| Karuna | Pathos | Yama | Grey |
| Raudra | Anger | Shiva | Red |
| Bhayanak | Horror | Yama | Black |
| Veer | Bravery | Indra | Saffron |
| Adbhuta | Wonder | Brahma | Yellow |
| Bibhatsy | Disgust | Shiva | Blue |
| Shanta | Peace | Vishnu | White |
Classical Dancer
Description-Facial expression of a classical dancer.
The union of the three interconnected elements Vibhava, Anubhava, and Vyabicaribhava as well as the Sthayibhava is what leads to Rasa's realisation.
Vibhava − The vibhavas, also known as determinants, aid in the development of emotion.
Anubhava (consequences) − The Anubhavas are the external manifestations that the Vibhavas cause to arise.
Vyabhichari bhava (complementary states) − The major emotion known as the Sthayibhava, often known as the “permanent mood,” is composed of several subordinate emotions known as the Vyabicaribhavas. They jolt the psyche and give rise to a persistent state of mood.
The Natyastra, the earliest surviving compendium of performing arts knowledge in India, is regarded as a fifth Veda composed by Bharat muni which talks about rasa theory. He talks about 8 rasas.
According to Bharata, the main human emotions are joy, laughter, sorrow, rage, energy, fear, disgust, heroism, and awe.
All of these emotions can be recast as different rasas in contemplative form, including erotic, comedic, pathetic, furious, heroic, awful, odious, magnificent, and quietistic.
He mentions the number of rasa but rules out any additional rasa. He further emphasises that the above eight rasa can contain all new emotions or the sthayibhava condition as described by modern philosophers.
The idea of rasa is distinctive to Indian aesthetics. Its development over time has been closely linked to the moral, ethical, and spiritual ideals of life rather than occurring in isolation. Rasa theory has made one of the most incredible contributions to the subject of art aesthetics that an Indian intellect has ever made. Bharatmuni's Natyashastra has an important position in the realm of aesthetic studies, alongside the ancient Greek theories on theatre and poetry provided by Aristotle and Plato.
Q1. How rasa has influenced cinematic art?
Ans. India's cinema has been significantly influenced by Rasa. The Rasa technique of traditional Sanskrit play has been adapted by Satyajit Ray for the screen, as shown in The Apu Trilogy. It is the subject of the Hindi film Naya Din Nayi Raat, in which Sanjeev Kumar performed nine roles that match nine Rasa.
Q2. What are the major contributions of Abhinavgupta to rasa theory?
Ans. Abhinavbharati, a commentary on the Bharata Natyasastra, was written by Abhinavagupta. He offered a technical definition of rasa for the first time. According to him, Rasa is the atman's unending happiness, coloured by the dramatic emotional overtones of a play. The ninth rasa, known as shantam by Abhivangupta, stands for tranquilly or calm.
Q3. What do you understand by bhavas?
Ans. In artistic contexts, the term “bhava”—which also denotes a mental state—is variously translated as “feelings,” psychological states,” and “emotions.” The emotions portrayed on stage in a drama are referred to as bhavas.
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