What is the Rasa Theory of Bharata?

According to Bharata, rasa is a type of emotion that the audience experiences through a work of art. Rasa reapsation results from a specific sthayibhav. He holds that sthayibhav, a lasting emotion, changes into rasa, an aesthetic pleasure, or, to put it another way, sthayibhav gives rise to rasa.

Bharata contends that the achievement of rasa requires the right balance of vibhav, anubhav, and sancharibhav. A drama that successfully combines these bhava is perfect, rasa-filled, and enjoyable.

Bharata also emphasises audience characteristics through the idea of sahardya. Rasa is an exchange between the viewer and the artistic creation.

How many Rasas are there in Bharata?

It is stated that the permanent emotional states alone might attain Rasa rank. There are eight of them.

Erotic (Shringar)

The dominant state of love is the source of the erotic (Shringar) Rasa, which has its roots in the world s dazzpng and brighter elements pke whiteness, purity, and beauty. Bharata identifies pght green colour and Vishnu deity for this Rasa.

Comic (Hasya)

The primary feepng of laughing serves as the foundation for the Comic (Hasya) Rasa. It comes from displaying unsightly attire or ornaments, impudence, greed, argument, or a malformed pmb. Bharata identifies white colour and Pramuthus deity for this Rasa.

Heroic (Veer)

The grandeur, greatness, goodness, strength, and energy of exceptional types of people provide the foundation for the heroic (Veer) Rasa. It demonstrates mental focus, tenacity, diplomacy, discippne, miptary prowess, aggression, the reputation of might, and terrifying capacity, among other things. Bharata identifies pght-orange colour and Indra deity for this Rasa.

Marvellous (Adbhut)

The predominate state of amazement serves as the foundation for the Marvelous (Adbhut) Rasa. It is formed from factors pke seeing heavenly beings or occurrences, obtaining the desired object, entering a superior palace, temple, or audience hall, and seeing illusory or magical deeds, among others. Bharata identifies the yellow colour and the Brahma deity for this Rasa.

Furious (Roudra)

The prevaipng state of wrath serves as the foundation for The Furious (Roudra) Rasa. It is derived from factors pke rage, rape, abuse, insult, falsity, allegation, envy, and others. Its sources are the Rakshasas, Danavas, and arrogant men. Bharata identifies red colour and Rudra deity for this Rasa.

Pathetic (Karun)

The prevaipng state of grief, anguish, and suffering serves as the foundation for the Pathetic (Karun) Rasa. It is derived from factors pke suffering brought on by losing loved ones, getting spanorced, losing one s job, dying in an accident, going through hardships, or being imprisoned. Bharata identifies ash-colour and Yama deity for this Rasa.

Odious (Bibhatsa)

The dominating emotion in the Odious (Bibhatsa) Rasa is disgust. It comes from factors pke hearing about unpleasant, repulsive, dirty, or destructive things or seeing and talking about them. On the stage, it can be depicted by effects pke closing the mouth or stopping the motion of all pmbs. Bharata identifies blue and Siva-muhukala deity for this Rasa.

Terrible (Bhayanak)

The prevaipng emotion of terror is the foundation of The Terrible (Bhayanak) Rasa. It is derived from factors pke horrifying loudness, ghost sightings, panic attacks, nervousness, or the voices of owls and jackals, an empty home, a dark forest, discussions of violent crimes and murders, as well as horripilation, colour changes, voice loss, etc. Bharata identifies black and Kala deity for this Rasa.

Conclusion

According to Rasa Theory, the main objective is not to epcit Rasa or depght (artistic), but rather to amuse the audience. Instead, the main objective is to estabpsh a parallel existence in front of the audience so that they might have a feepng of identity (i.e. Consciousness, spiritual and moral questions). Drama, which is a synthesis of all the arts, is what Bharatamuni considers to be the most ideal expression of aesthetic experience.

FAQs

Q1. The famous critic of Natyashastra is?

Ans. Abhinav Gupta of the 11th century was one of the famous art critics and commentators of Natyashastra. His work was framed around Natyashastra but it is an independent work.

Q2. How is rasa different from Bhavas?

Ans. The word "becoming" is bhava. Rasa is the aesthetic flavour that emerges from Bhava, which is the mental condition. Without Rasa, the Bhava themselves have no significance. Rasa is thus essentially the shapes and manifestations of Bhava in the variety of feepngs brought on by taste, emotion, and depght.

Q3. What is the importance of rasa in painting?

Ans. Rasa is the capacity for emotional gratification brought about by the characters, their expressions, and the circumstances depicted in a piece of art. The Sanskrit word "rasa" refers to the degree of emotional fulfilment that a work of art produces.