THE STUDY OF 'HAAN' AND 'RASA' PHILOSOPHIES OF MODERN LITERATURE: FOCUSING ON 'CHINDALAE CHOT' BY KIM SO WOL AND 'TUMI KI KAEBOLI CHOBI' BY RABINDRANATH TAGORE (original) (raw)
Related papers
Rasa, The Indian Aesthetic Theory: An Overview Author 1: Bushra Khanam
INTERNAL JOURNAL OF CREATIVE RESEARCH THOUGHTS, 2024
Rasa is an essence of every work of art like dance, music and Literature that can only be suggested and not articulated. It is a type of thoughtful abstraction in which the world of physical forms is permeated by the interiority of the human feelings. However, the word may seem magical at first but it is not so in actual because to experience rasa one does not need any magical spell but has to be sensitive enough to connect with the emotions of the work. It is the concept of emotions, connections and feelings. This research paper aims to explore the meaning, history and scope of rasa theory in present scenario.
Understanding the universal meaning of Rasa
Indian Dance. Theory and practice. JNU, 2010
Why Indian thought has developed one of the most accurate explanations for the aesthetical experience? Which are the correspondences with the western tradition? And which are the lacks of the aesthetical theory in the West? Is the Rasa Theory universal? Or is only applicable to the Indian art? These are some of the questions that one must confront when approaches to comparative aesthetics between India and West.
Towards an Integral Appreciation of Abhinava’s aesthetics of Rasa
2005
Introduction Sanskrit theater as the total art-form based on the rasa-canon Aesthetic identification is the very life of rasa-dhvani Universalization of shared emotions in aesthetic relish Rasa is ultimately reflexive consciousness mediated by emotion Suggestion, the soul of poetry even before its late formulation Painting the world with musical colors: the ineffability of rasa Good taste, bad taste, ‘Hindu’ taste: the aesthetics of rasābhāsa Aesthetic rapture embodies a ‘descending’ spiritual realization Ambiguous status of art within the spectrum of the religious life Quiescence as the soul of rasa: liberation through emotion Rasa in the service of devotion or the aestheticization of bhakti? Religious art as propaganda: trans-sectarian aesthetics of rasa Sanskritize, popularize, and acculturate: the vernacular triumph Muslim allegories on the taste of Love: becoming God’s image Banarasipan as ‘intoxicated’ (mastī) state of spiritual autonomy Is Abhinavagupta still relevant to the ...
Encyclopedia of Hinduism
The word rasa within the Hindu context, specifically for certain devotional bhakti traditions, has come to refer to the ultimate experience of a tran-scendent and perfect love. This love engages pure emotions in any one of several eternal relationships with divinity, of greater or lesser levels of intensity of blissful intimacy that occur within the divine realm of → līlā within which the acts or play of god take place. The complexity of the word can be accounted for by viewing its meanings that have traversed a wide spectrum of applications. The word's meanings have been associated with a botanical substance, a sensory experience, an ontological significance, an aesthetic delight, a transcending otherworldly experience, and ultimately a theological vision within → bhakti. The religious meaning and significance of rasa and the development of a theory of an ultimate aesthetic principle called rasa, from the earliest usage in secular dramaturgy beginning around the 4th century CE up to its culmination in the bhakti tradition, especially of the → Caitanya school of → Gauḍ īya Vaiṣ ṇ avism in the 16th century CE, is reviewed here. The Sanskrit word rasa first appears in the hymns of the → Vedas. Its original meaning has to do with the botanical arena, its denotative meaning as simply the "sap" or "juice" from a plant, and by way of extension, the way in which sap or juice conduces to "taste, " a strong connotative sense of the word. These original meanings are usually associated with objects of this world. In the famed → Bhagavagītā, we find the word occurring in five instances, carrying this meaning of human "taste" (2.59 [2x]; 7.8; 15.13; 17.10). However, there is one instance among these in which the divinity of → Kṛ ṣ ṇ a identifies himself as rasa: "I am the taste (rasa) in water, " (BhG. 7.8). The divinity's assertion "I am rasa" in the Bhagavadgītā imbues the term with greater theological significance and, again, anticipates later developments of the self (→ ātman) in relation to Kṛ ṣ ṇ a who is eventually seen as the embodiment of all rasa. From "sap" or "juice, " the meaning of the word rasa extended to the best or most essential part of anything. Thus one can observe how this broad definition takes the word further into its theological application as it is applied in the → Upaniṣ ads. Though the word appears many times in several Rasa Theory of the earliest Upaniṣ ads, the specific instance within which the word appears in the Taittirīyopaniṣ ad had taken on significance for later bhakti schools. The passage reads: Because truly that existence is auspiciously formed, rasa truly is that existence; for once one here reaches that rasa, this person becomes completely blissful. (TaiU. 2.7.1) In this instance, the word rasa takes on a strong ontological dimension. The word's meaning as "essence" as applied to botanicals in the Vedas is now applied to existence itself. Moreover, the state of blissfulness attained from having known or grasped this essence or rasa of existence has important soteriological implications. This shift of meaning for the word from a more worldly referent in the Vedas to a more transcen-dent ontological referent in the Upaniṣ ads anticipated , perhaps even inspired, later bhakti theologians and theorists of rasa to engage the word theologically. Such a shift can be characterized as a move from the realm of the ordinary (laukika) arena of taste in this world and even beyond the extraordinary (alaukika) arena of the aesthetic that is yet still of this world, extending the extraordinary to the furthest reaches of the otherworldly realm of spiritual transcendence that also engages the extraordinary power of the aesthetic. Now let us turn to the Indian schools of dramaturgy and poetics in order to see how elements there have contributed to the religious understanding of rasa (see also → drama). The earliest-known developed theory of rasa as an aesthetic concept is found in Nāṭ yaśāstra, attributed to Bharatamuni, a Sanskrit dramaturgi-cal text which probably attained its final form between the 4th and 6th centuries CE (although likely a composite text with many contributors; on the date and authorship of Nāṭ yaśāstra, see Gerow, 1977, 227, 245; Haberman, 2003, xxxvi; see also → dance; → drama). The term is used there to describe the cumulative aesthetic effect of a dramatic performance. The text lists eight rasas:
Probing the Stint of Rasa: Natyasastra and Forms of Arts
EPRA International Journal of Research & Development (IJRD), 2022
The theory of Rasa has been a fascinating term both in performing and visual arts. Though the origin of the term date back historically enveloping millenniums; the application of the theory is so very axiomatic till date. While defining drama, the Sanskrit legend Bharata Muni says, “Nātya is trailokyānukaraṇa”, which means, “Drama is an imitation of the three worlds”. The major text dealing with Rasa is Nātyaṡāstra, penned by Bharat Muni. The paper tries to heave light on the concept of Rasa and how Rasa finds its application in each and every form of art, evoking emotion in the reader or audience and helping them to transcend the mortal world to a world of spiritual and moral consciousness. KEYWORDS: Aesthetics, Bharata Muni, Nātyaṡāstra, Rasa, Rasa in Arts
From rasa-s to Rasa An Understanding of Aesthetic Principles from Bharata to Hemchandra
Of all the performing and plastic arts in India, the study of aesthetics has its origin in the most pragmatic aspect of one of life’s major emotional needs - entertainment. The most ancient text, Natyashastra (NS) which has codified the principles of arts mainly concerned with the theatrical production, natya, is ascribed to the legendary sage Bharata. Natya, a drama, has a three-fold quality – drshya, shravya and kavya; as a result, it appeals to the visual and auditory senses and also to the mind. The spectator relishes the spectacle in a manner comparable to juice or flavor called rasa and this aesthetic experience is termed rasasvada. . The aesthetic understanding and attitude to art evolved against the background of the political, socio-cultural, religious and philosophical milieu for almost 1500 years between Bharata and Hemachandra has concretized the Rasa theory.
The Indian Aesthetics of Emotions ("rasa"): Non-duality, Aesthetic Experience and the Body
Terceira Margem, 2021
As a spiritual discipline leading one towards the universal, Indian performing arts involve a pedagogy of disclosure, showing things as they really are: art in not a matter of unpredictable inspiration, but an effortful exploration into the extraordinary residing in the ordinary. As such, while embracing the ever-present essence of things, art is defined by Tagore as a means of disclosure of the essentiality of life, rather than a representation of it. In other words, art is a means of bringing transparency to life, getting one rid of the dust, the fantasies and the distractions that dominate one's quotidian dealings. It is, finally, a kind of meditative performance, a radical exercise of paying attention to one's immediate reality.
Rasa, Dhwani and Auchitya—Criticism & Theory YADAV MUNNI DEVI
the cardinal concepts of Indian Aesthetics by many Indian aestheticians like C.D. Narasimhaiah (East West Poetics at Work) and V. Raghavan (Some Concepts of Alankarasastra). Rasa is produced from a combination of determinants (vibhavas), consequents (anubhavas) and transitory states. Is there any dristanta for it? Tastes results from a combination of spices, vegetables and other articles. Six tastes are produced by articles such as raw sugar or spices or vegetables. So the stayibhava in combination with other bhavas become rasa. What is the meaning of rasa—it is capable of being tasted-(asvadyate). How is rasa tasted? It is said that just as well-disposed persons while eating food cooked with many kinds of spices enjoy its tastes and attain pleasure and satisfaction, so the cultured people taste the dominant states (stayibhava) while they see them represented by an expression of the various states with works, gestures and the temperament and derive pleasure and satisfaction. ―The rasa theory has been accepted as the core literary theory by all major poeticians both before and after Abhinavagupta‖—Kapil Kapoor. Kapil Kapoor adds that the ―…rasa theory is more than a theory of aesthetics—it is a structural analysis of the totality of human experience and behaviour, and it is based in particular conceptions of experience ,being, knowledge and cognitive mechanism‖. In Vedas, rasa means sap or essence—experience of the supreme reality. Seers of the Vedas knew about the need for Sahridayatwa to understand poetry. The primary rasa of Ramayana is the karunarasa as the great poet curses the hunter for shooting down one of the kraunca birds. Bharata, who lived during the first or second part of the first century B.C. deals with various aspects of dramaturgy in his Natyashastra as drama was a much developed art during his times. Bharata gives a proper definition to rasa in his Natyashastra. Rasa is defined thus: vibhava anubhava vyabhichari samyogat rasa. Much has been talked about the relationship between Natyasastra and rasa, so much so that one may form an impression that Natyasastra discusses only the rasa theory. But in fact, the book devotes only one chapter of its thirty-six chapters for the discussion of rasa. It is only in the context of plays that Bharata talks of rasa. In an offhand manner, Bharata states that without rasa there can be no drama, that is the soul of any play. Bharat assumes that we know about this theory from earlier works which are devoted to it. The causes or mainsprings of emotion are called vibhava. Characters, setting, season, background etc. can be called vibhava or the main springs of action. The effects of emotions that
Rasa: Indian Aesthetic Theory Revisited
Asian Resonance, 2017
Music and poetry, which are the essentials of Drama, form a multidimensional phenomenon which cuts across many levels of human experience. A correct understanding of Indian Aesthetics and the theory of rasa enables us to keep all these dimensions and levels simultaneously in view. In this essay the different theories of Rasa and Dhvani have been analysed, heavily borrowing from various critics in order to develop an understanding in the minds of the readers. The concepts of rasa and dhvani are rooted in Indian linguistics and embedded in language.
The Rasa Theory: A Challenge for Intercultural Aesthetics
Intercultural Aesthetics: A Worldview Perspective, 2008
The rasa theory is widely known as the major contribution of Indian aesthetics to the field of aesthetics in general. During the twentieth century, first under the scope of the colonial approach of comparativist enterprises undertaken by Westerners as well as by Indians, and more recently from various post-colonial perspectives, the reflection on rasa or 'aesthetic pleasure'-the expression by which it has been popularized in Western languages-has been considered as one of the deepest legacies of Indian aesthetic tradition. However, the change of emphasis has been considerable and should not be underestimated: It ranges from the semi-idealized interpretations of the first scholars of the last century until the eighties to the more sociological readings from post-colonial perspectives, considering it as a typical product of the Sanskritized elite of the Brahmin caste. 1 Trying to remain in the middle ground between these two extreme positions, I shall be content with suggesting some possible contributions made by this aesthetic theory to our modern aesthetic debate. I shall focus my reflection entirely on the first authors of the Kashmiri tradition, particularly on Abhinavagupta, and not on the subsequent reflections that were made from devotional perspectives, although, to a certain degree, I shall take the latter into account on the final part of my essay. In my view, one of the points that make this theory attractive to our modern eyes is the construal of aesthetic experience as a supra-individual state of expanded consciousness (ekaghanata-). The theory postulates the existence of a human 'sensible reservoir', a depository (as it were) for the lived emotions of individuals (vasana-, lit. 'latent impression'), nourishing a few emotional archetypes (sthayibhava, lit. 'basic or permanent emotion'). These archetypes emerge into consciousness in a pleasurable form as universalized emotions (rasas), on the occasion of artistic performances. Towards the end of my paper, I shall also suggest, albeit in a tentative manner, some criticism of the excessively intellectualistic reading of the most conspicuous rasa theoreticians, questioning the fully-fledged distinction they are said to establish between life and representation, between ordinary and aesthetic experience on the basis of the notion of 'disinterest' and 'aesthetic distance'; this is a reading that can be welcomed by Westernized audiences on the premises of Kantian and post-Kantian aesthetics, but which in my view, can reasonably be questioned on the premises of the metaphysical background of the Kashmiri rasa theoreticians (that is Kashmir Shaivism's metaphysics). 2 A. Van den Braembussche et al. (eds.