Rasas is the plural form of rasa (Sanskrit: रस), a foundational concept in Indian aesthetics that literally means "juice," "essence," or "taste." In classical Indian arts, rasas refer to the aesthetic flavors or emotional essences that are evoked in an audience by a work of visual, literary, or performing art.
The theory of rasas is most comprehensively expounded in the Natya Shastra, an ancient Sanskrit text on the arts attributed to Bharata Muni (circa 1st millennium BCE). According to this text, a rasa is produced from a combination of determinants (vibhava), consequents (anubhava), and transitory emotional states (vyabhicaribhava). The goal of performance arts, per this theory, is not merely entertainment but to transport the audience into a state of aesthetic bliss and spiritual reflection.
The Eight (Later Nine) Primary Rasas
Bharata Muni originally enumerated eight rasas, each associated with a presiding deity and a color:
- Śṛṅgāra – Romance, love, attractiveness (deity: Vishnu; color: dark brown-black)
- Hāsya – Laughter, mirth, comedy (deity: Shiva; color: white)
- Raudra – Fury (deity: Rudra; color: red)
- Kāruṇya – Compassion, mercy (deity: Yama; color: grey)
- Bībhatsa – Disgust, aversion (deity: Mahakala; color: blue)
- Bhayānaka – Horror, terror (deity: Kāla; color: black)
- Vīra – Heroism (deity: Indra; color: bright white)
- Adbhuta – Wonder, amazement (deity: Brahma; color: yellow)
A ninth rasa, Śānta (peace or tranquility), was added later and became widely accepted between the 6th and 10th centuries CE. The set of nine is commonly referred to as the navarasa.
Key Elements of Rasa Theory
- Sthayi Bhava (stable emotions): The permanent emotional states that form the basis of each rasa, such as rati (love), hasya (mirth), śoka (sorrow), krodha (anger), utsāha (energy), bhaya (terror), jugupsā (disgust), and vismaya (astonishment).
- Vibhava: The determinants or causes that evoke an emotion.
- Anubhava: The consequents or physical expressions of emotion.
- Vyabhicaribhava (sanchari bhava): Transitory, fleeting emotional states that accompany the stable emotion.
Historical Development
The concept of rasa appears in early Vedic literature (e.g., the Rigveda), where it connotes a liquid, extract, or flavor. The philosophical elaboration of rasa theory reached its fullest expression in the works of the Kashmiri Shaivite philosopher Abhinavagupta (circa 950–1020 CE), whose commentary Abhinavabhāratī on the Natya Shastra remains the most studied analysis of the subject.
Scope and Influence
Rasa theory underpins all major forms of Indian classical dance and theatre, including Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, and Manipuri. It also informs Indian classical music (both Hindustani and Carnatic traditions), poetry, sculpture, and architecture. The concept has influenced Indian cinema, notably in the works of director Satyajit Ray. Beyond India, the rasa theory has also been adapted in the Hindu arts and Ramayana musical productions of Bali and Java, Indonesia.
