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In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste".[1][2] It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described.[2] It refers to the emotional flavors/essence crafted into the work by the writer or a performer and relished by a 'sensitive spectator' or sahṛidaya, literally one who "has heart", and can connect to the work with emotion, without dryness.
Rasas are created by one's bhava: [3] one's state of mind.
The rasa theory has a dedicated section (Chapter 6) in the Sanskrit text Natya Shastra, an ancient text on the arts from the 1st millennium BCE, attributed to Bharata Muni.[4] However, its most complete exposition in drama, songs and other performance arts is found in the works of the Kashmiri Shaivite philosopher Abhinavagupta (c. 1000 CE), demonstrating the persistence of a long-standing aesthetic tradition of ancient India.[2][5][6] According to the Rasa theory of the Natya Shastra, entertainment is a desired effect of performance arts but not the primary goal. Instead, the primary goal is to transport the audience into another, parallel reality full of wonder and bliss, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions.[5][6][7]
Although the concept of rasa is fundamental to many forms of Indian arts including dance, music, theatre, painting, sculpture, and literature, the interpretation and implementation of a particular rasa differs between different styles and schools.[8][9][10] The Indian theory of rasa is also found in the Hindu arts and Ramayana musical productions of Bali and Java (Indonesia), but with regional creative evolution.[11]
- ^ Monier Monier-Williams (1899), Rasa, Sanskrit English Dictionary with Etymology, Motilal Banarsidass (Originally Published: Oxford)
- ^ a b c Rasa: Indian Aesthetic Theory, Encyclopedia Britannica (2013)
- ^ Farley Richmond. "India" in The Cambridge Guide to Asian Theatre. ed. James R. Brandon (Cambridge University Press, 1993), p. 69.
- ^ Natalia Lidova 2014
- ^ a b Susan L. Schwartz (2004). Rasa: Performing the Divine in India. Columbia University Press. pp. 12–17. ISBN 978-0-231-13144-5.
- ^ a b Daniel Meyer-Dinkgräfe (2005). Approaches to Acting: Past and Present. Bloomsbury Academic. pp. 73, 102–106, 120. ISBN 978-1-4411-0381-9.
- ^ Ketu H. Katrak; Anita Ratnam (2014). Voyages of Body and Soul: Selected Female Icons of India and Beyond. Cambridge Scholars Publishing. p. 45. ISBN 978-1-4438-6115-1.
- ^ Wallace Dace 1963, pp. 249–252.
- ^ Rowell 2015, pp. 327–333.
- ^ Cite error: The named reference
Tymieniecka2012p295was invoked but never defined (see the help page). - ^ Marc Benamou (2010). RASA: Affect and Intuition in Javanese Musical Aesthetics. Oxford University Press. pp. 122, 172–194. ISBN 978-0-19-971995-2.