Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to [Nātyasāstra]], has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following[1]:
Śṛngāram (शृन्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.
Karuṇam (करुणं) Compassion, Mercy. Presiding deity: Yama. Colour: grey.
Bībhatsam (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black
Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam (अद्भुतं) Wonder, Amazement. Presiding deity: Brahma. Colour: yellow Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to [Nātyasāstra]], has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following[1]:
Śṛngāram (शृन्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.
Karuṇam (करुणं) Compassion, Mercy. Presiding deity: Yama. Colour: grey.
Bībhatsam (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black
Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam (अद्भुतं) Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
Shanta, or tranquility, was suggested by Abhinavagupta and had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue. In addition to the nine Rasas, two more appeared later (esp. in literature):
Vātsalya (वात्सल्य) Parental Love
Bhakti (भक्ति) Spiritual Devotion
Shanta, or tranquility, was suggested by Abhinavagupta and had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue. In addition to the nine Rasas, two more appeared later (esp. in literature):
Vātsalya (वात्सल्य) Parental Love
Bhakti (भक्ति) Spiritual Devotion
However, the presiding deities, the colours and the relationship between these addional rasas have not been specified.
Raudram rasa of the destructive fury of Durga in Bharatanatyam
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling, and Aacharya Abhinavagupta mentions Bhakti in his commentary on the Natya Shastra, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including Tyagaraja. It is the Bhagavata that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
A Rasa is the developed relishable state of a permanent mood, which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood. Eight more emotional features are to be added, namely, the Saatvika Bhavas.[2]However, the presiding deities, the colours and the relationship between these addional rasas have not been specified.
Raudram rasa of the destructive fury of Durga in Bharatanatyam
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling, and Aacharya Abhinavagupta mentions Bhakti in his commentary on the Natya Shastra, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including Tyagaraja. It is the Bhagavata that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
A Rasa is the developed relishable state of a permanent mood, which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood. Eight more emotional features are to be added, namely, the Saatvika Bhavas.[2]
The Rasas in the Performing Arts
Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors.[3]Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa.
The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others.
The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the devadasis. There were serious public debates when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in variations of the emotions, while the Pandanallur style expressions are more limited in scope.
[edit] The Bhavas
The Natyasastra identifies eight rasas with eight corresponding bhava:
Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment) The Rasas in the Performing Arts
Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors.[3]Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa.
The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others.
The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the devadasis. There were serious public debates when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in variations of the emotions, while the Pandanallur style expressions are more limited in scope.
[edit] The Bhavas
The Natyasastra identifies eight rasas with eight corresponding bhava:
Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)
Śṛngāram (शृन्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.
Karuṇam (करुणं) Compassion, Mercy. Presiding deity: Yama. Colour: grey.
Bībhatsam (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black
Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam (अद्भुतं) Wonder, Amazement. Presiding deity: Brahma. Colour: yellow Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to [Nātyasāstra]], has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following[1]:
Śṛngāram (शृन्गारं) Love, Attractiveness. Presiding deity: Vishnu. Colour: light green.
Hāsyam (हास्यं) Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white.
Raudram (रौद्रं) Fury. Presiding deity: Rudra. Colour: red.
Karuṇam (करुणं) Compassion, Mercy. Presiding deity: Yama. Colour: grey.
Bībhatsam (बीभत्सं) Disgust, Aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam (भयानकं) Horror, Terror. Presiding deity: Kala. Colour: black
Vīram (वीरं) Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam (अद्भुतं) Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
Shanta, or tranquility, was suggested by Abhinavagupta and had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue. In addition to the nine Rasas, two more appeared later (esp. in literature):
Vātsalya (वात्सल्य) Parental Love
Bhakti (भक्ति) Spiritual Devotion
Shanta, or tranquility, was suggested by Abhinavagupta and had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue. In addition to the nine Rasas, two more appeared later (esp. in literature):
Vātsalya (वात्सल्य) Parental Love
Bhakti (भक्ति) Spiritual Devotion
However, the presiding deities, the colours and the relationship between these addional rasas have not been specified.
Raudram rasa of the destructive fury of Durga in Bharatanatyam
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling, and Aacharya Abhinavagupta mentions Bhakti in his commentary on the Natya Shastra, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including Tyagaraja. It is the Bhagavata that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
A Rasa is the developed relishable state of a permanent mood, which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood. Eight more emotional features are to be added, namely, the Saatvika Bhavas.[2]However, the presiding deities, the colours and the relationship between these addional rasas have not been specified.
Raudram rasa of the destructive fury of Durga in Bharatanatyam
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling, and Aacharya Abhinavagupta mentions Bhakti in his commentary on the Natya Shastra, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including Tyagaraja. It is the Bhagavata that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
A Rasa is the developed relishable state of a permanent mood, which is called Sthayi Bhava. This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are ancillary to a permanent mood. Eight more emotional features are to be added, namely, the Saatvika Bhavas.[2]
The Rasas in the Performing Arts
Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors.[3]Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa.
The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others.
The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the devadasis. There were serious public debates when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in variations of the emotions, while the Pandanallur style expressions are more limited in scope.
[edit] The Bhavas
The Natyasastra identifies eight rasas with eight corresponding bhava:
Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment) The Rasas in the Performing Arts
Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors.[3]Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa.
The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others.
The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and understated abhinaya of the devadasis. There were serious public debates when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in variations of the emotions, while the Pandanallur style expressions are more limited in scope.
[edit] The Bhavas
The Natyasastra identifies eight rasas with eight corresponding bhava:
Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)
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I like Indian classical music and your blog is too good....
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