NAME : Mahida Bhumika Prakashbhai
M A Sem - 2
ROLL NUMBER : 4
ENROLLMENT NUMBER :3069206420200021
SUBJECT : Paper 109: Literary Theory & Criticism and Indian Aesthetics
ASSIGNMENT TOPIC : "The Theory of Rasa and Rasa Nishpatti"
Introduction:
The rasa theory is widely known as the major contribution of Indian aesthetics to the field of aesthetics in general.Indian art has a strong link with 'saundarya shastra ' or aesthetics.The concept of rasa is fundamental to many forms of Indian art including dance, music, painting, sculpture, poetry, and drama. The Indian theoretician Bharata Muni enunciated the eight Rasas in the Natyasastra. According to him each rasa has a presiding deity and a specific colour. These rasas are: Śringaram, Hasyam, Raudram, Karunam, Bibhatsam, Bhayanakam, Viram and Adbhutam.
ORIGIN AND DEVELOPMENT OF RASA THEORY:
Literary theory in India is quite old as much as ancient India.
Panini, an ancient Grammarian considered literary theory as the fourth category of discourse. Bharata is known as first pioneer of the literary theory in Indian literary tradition. Bharata belongs to second century BC,
he writes Natyashastra, in which is, the source text of many literary theories. It deals with the theory of rasa that has been interpreted in
various ways by different philosopher and literary scholars during next centuries. Indian thinking is not fragmentary but it is continuous, cumulative and inclusive. They write about different areas of human life and experience, the fact is that, much of the written text are either lost or perished. The some texts are available either in full or bits form deals with different areas of thinking as philosophy, grammar, medicine, literary theories, political thought, logic military science, sociology, agriculture etc. Bharata is a philosopher of kavyashastra , his Natyashastra is regarded as major text of Indian kavyashastra.
The Indian theoretician Bharata Muni enunciated the eight Rasas in the Natyasastra. According to him each rasa has a presiding deity and a specific colour. These rasas are: Sringaram, Hasyam, Raudram, Karunam, Bibhatsam, Bhayanakam, Viram and Adbhutam. At a later date the ninth rasa of ‘Shanta’ has been added. This rasa was suggested by Abhinavagupta. With this addition the expression Navarasa could come into vogue. In addition to the nine Rasas, two more appeared later especially in literature. They are Vatsalya and Bhakti. However, the presiding deities, the colours and the relationship between these additional rasas have not been specified. Shantha slowly attained a state of primacy. It appeared as the Rasa of Rasas. Bhakti also soon began to loom large. It is the Bhagavata that gave the great impetus to the study of Bhakti. The concept of rasa is fundamental to many forms of Indian art including dance, music, painting, sculpture, poetry, and drama. The fictionalized emotions which we experience through poetry and art are called rasa. Its literal meaning is taste or flavour. It is considered to be the essence of a work of art. It signifies the peculiar experience that poetry affords us. It is regarded as extraordinary or unworldly. Rasa, thus, is a realization of the impersonal contemplative aspect of the self. According to Bharat, “No composition can proceed without rasa.” Abhinavagupta is of the view that there is no poetry without rasa. It is an emotion inspired in an audience by a performer. In short, Rasa is the ultimate criterion of literariness. It is identical with the taste of one's own blissful self. The word rasa is well known to all and it is being used in the context of all forms of arts simply. The relation of rasa with the interaction between aesthetic and work of art is assumed when we call a work of art as an interesting/ or a receiver as interesting or boar. The meaning of the word rasa creates lots of confusion. The understanding of
the rasa is so hypothetical that nobody feels to make more enquiries, about that, one gets more confused while he or she explains about the good experience which they got after watching a good tragedy and feels that whether they belong selfish category that they feel happy in other grief. If it is not right then why they do like to watch the tragedy again?
Why do they feel to watch again the grief of the characters in the tragedy? It means that the roots of the experiences of a good play or drama are different from the emotion or feelings of pleasure. It is better to understand the word rasa and the theory of rasa from its deeper level to reach at the roots of these questions.
Bharata views that rasa is a kind of sentiment and theaudience gets the sentiment from a piece of creative object. The realization of rasa gets from a particular sthayibhav. According to him sthayibhav transforms into rasa or in other word rasa manifests through sthayibhav. Further Bharata argues that the proper combination of vibhav, anubhav and sancharibhav for the realization of rasa. A play with a good combination of these bhava becomes perfect, full of rasa and pleasurable. Bharata also focuses on the qualities of the audiences through the concept of sahardya. Rasa is an interaction between work of art and audience.
It is inborn desire of human kind to express the emotions and
feelings which they get from their day to day act and observation. When we see the beauty of rising sun and moon, the clouds and lightening while raining, colorful nature in spring season, the trees with no leaves standing like skeletons everywhere in autumn season, wish to relate, to express these charming and dreadful experiences of domestic life, they also wish that someone may share our pleasure by listening about all the household amenities and facilities, or reading their letters in which they narrate comforts and even discomforts of our daily life routine. The best example is always given of soldier coming to his sweet home after taking part in a dreadful and disastrous war, and quite enthusiastic to tell the horrors of battlefield to each and everyone he meets in the streets. So there are a few topics out of a huge lot, which we come across in the literary work of the whole world. The desire to express our emotion and feelings is of course our inborn nature.
Rasa Theory: "Critical Perspective"
Many of the philosophers have tried to interpret his incomplete and distracted statements. They criticized the Natyashastra and tried to come at certain conclusion. Abhinavgupta, the
11th century Kashmiri Pandit wrote the text called Abhinavabharati which is also known as the commentary on Bharata’s Natyashastra.Bharata has put forth the rasa thought, in a relation to the play. He calls the rasa as natyarasa. the principles of riti, dhvani, vakrokti and alankara are introduced, which are basically related to the language as medium of literature and its role in the manifestation of the beauty of the literature. It is not limited only to play but in includes all forms of literature. Rasa theory includes the perfectness of a play as literary work of art and the pleasure or kavyanand produced through the play . the principles of rasa are related to the kalaswad or aesthetic pleasure. The brief precis of Bharata’s argument is as following. Rasa is an aesthetic pleasure which a spectator gets it from the aesthetic object . The source of aesthetic pleasure is the sthayibhav and it gets transferred into rasa realization through the proper combination of vibhav, anubhav and sancharibhav. A work of art becomes perfect pleasurable only after the proper combination of above elements. Bharata also insists on the ability and quality of the spectator without that realization of the rasa is impossible.
Rasa is produced by the proper combination is told by Bharata’s famous rasasutra. Bharata talks about the rasa of natya that is play. It is true that sthayibhav are expressed but they are not expressed by themselves, they expressed through other Bhava, these bhava are called as sancharibhav. Bharata tells about eight sthayibhav i.e. rati (sringara), hasya (laughter), soka (grief), krodh (anger), Utsaha (enthusiasm), bhaya
(fear), Bibhatsa (disgusting), Adbhuta (wonder). In the later period the rasa like shanta (Sama), sneha, and bhakti are included in the above list.But in fact Bharata tells about only eight rasa. The Marathi poet Anil adds a new rasa called kranti (prakshobha) and acaryas Jowdekar also
suggested the kranti rasa in relation to the poems of Keshavsuta. The present world is of a lot of pressure and tense creating on human mind,
in that reaction or in that situation a new rasa may be adds but, comparatively, the deep and common rasa told by Bharata is not
possible.
THE BHAV AND RASA NISHPATTIH:
Rasas are created by bhavas: the gestures and facial expressions of the actors. The Rasa is said to arise when the sthayibhava in the individual is awakened by his perception of the vibhavas, anubhavas, vyabhichari bhavas, and sattvic bhavas. The Rasa is said to arise when the sthayibhava in the individual is awakened by his perception of the vibhavas, anubhavas, vyabhichari bhavas, and sattvic bhavas. Vibhavas means Karana or cause. The vibhavas are of two kinds. The alambana vibhava is the basic stimulus capable of arousing the sentiment, whereas uddipana vibhava is the enhancing stimuli. However, it must be noted that vibhava is not the ‘cause’ of producing any emotion but only the ‘medium’. The Anubhava means the effects following the rise of the emotion. They are the deliberate manifestations of feelings on the part of the actor. They consist of the various gestures and glances of the actor which are intended to develop the basic stimulus or the vibhava. In the case of sringara rasa the presence of a beautiful young girl on the stage is a vibhava and her movements and glances are the anubhavas. The vyabhichari bhava are the transient emotions which arise in the course of maintaining and developing the basic mood. If the basic mood is love, joy in union and anguish in separation will be the accompanying ancillary emotions. Sattvic bhavas are the involuntary expressions such as blushing, perspiration. They arise as a result of experiencing and portrayal of the emotion. As a result of the joint operation of all these factors, the sthayibhava is aroused in the spectator and becomes Rasa. This is expressed in Bharata’s formula: vibhava anubhava vyabhichari samyogad rasa nishpattih.
Bharata defines rasa sutra as “Vibhav-Anubhav-Vyabhichari-Samyogat-Rasa nishpatti”. He observes eight Rasas namely, shringar, hasya, veer, adbhut, roudra, karuna, bhibhatsa, and bhayanak. Bhava brings about the inner idea of the poet. It then pervades the mind of the spectator. Emotional states and Rasa. Rasa is accomplished as a result of the conjunction of Vibhava, Anubhava and Vyabhicaribhava. Vibhava is the objective condition producing an emotion. ... Uddipana-Vibhava means the circumstances that have excited the emotion. Rasas are created by bhavas: the state of mind. The rasa theory has a dedicated section in the Sanskrit text Natya Shastra, an ancient scripture from the 1st millennium BCE attributed to Bharata Muni.
Aesthetics, also spelled esthetics, the philosophical study of beauty and taste. It is closely related to the philosophy of art, which is concerned with the nature of art and the concepts in terms of which individual works of art are interpreted and evaluated. Aesthetics is a core design principle that defines a design's pleasing qualities. In visual terms, aesthetics includes factors such as balance, color, movement, pattern, scale, shape and visual weight. Designers use aesthetics to complement their designs' usability, and so enhance functionality with attractive layouts.
Conclusion:
Thus, The study of aesthetics is important for the human well being (physiological and psychological). It is also required to understand how to resolve problems of aesthetics such as ugliness and visual clutter, so as to make places more beautiful and visually pleasing. Aesthetic design is influencing how people think and feel. It influences how much pleasure we feel from the product. Aesthetic design affects our long-term attitude about products and even people. Aesthetic design matters not only to make the first impression, but also to keep strengthening the bond with the user. People want to look and feel better longer. And a lot of literature exists to support that the way a person looks really affects how they feel.
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