Rasas
In Indian aesthetics, particularly in the context of classical Indian dance, music, theatre, and literature, rasas (Sanskrit: रस, "juice", "essence", or "taste") are the fundamental emotional flavors or sentiments evoked in an audience or reader by a work of art. The concept of rasa is central to the understanding and appreciation of these art forms. The rasa theory aims to describe how art can evoke emotions in a spectator.
The theory of rasa is attributed primarily to Bharata Muni, an ancient Indian theatrologist and musicologist, in his Natyashastra (circa 2nd century BCE to 2nd century CE). Bharata argues that aesthetic pleasure (rasa) arises from the harmonious blending of various emotional states, called bhavas. These bhavas can be understood as emotions, feelings, and sentiments.
The Natyashastra initially identifies eight primary rasas:
- Śṛngāra (शृङ्गार) - Love, Attraction, Beauty
- Hāsya (हास्य) - Laughter, Mirth, Humour
- Raudra (रौद्र) - Fury, Anger
- Karuna (करुण) - Sorrow, Compassion, Pathos
- Bibhatsa (बीभत्स) - Disgust, Repulsion
- Bhayanaka (भयानक) - Terror, Fear
- Vira (वीर) - Heroism, Courage
- Adbhuta (अद्भुत) - Wonder, Astonishment
Later, a ninth rasa, Śānta (शान्त) - Peace, Tranquility, was added. Some scholars have proposed further rasas beyond these nine.
Each rasa is associated with a specific color and presiding deity, further illustrating the interconnectedness of various elements within the aesthetic framework. The experience of rasa is not simply the experience of a particular emotion; rather, it is a refined and transformed state of feeling that transcends ordinary emotion, leading to a kind of aesthetic bliss. It is the audience's ability to savour and experience these rasas that determines the success of a performance or artistic creation. The artist's role is to skillfully evoke these rasas in the audience through various artistic techniques.