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460.02a Enlightening Flavors: Bharata
- 1. ENLIGHTENING FLAVOR Classical IndianConcepts in Art and Rasa
- 2. BHARATA MUNI Savoring theIneffable
- 3. Preparing for the Dance, Parsvanatha Temple Outof the determinants (vibhava), consequents (anubhava), and transitory mental states (vyabhicharin) the birth of rasa takes place. –Bharata Natyasastra VI.31
- 4. From Emotions toRasas STABLE EMOTIONS DETERMINANT S CONSEQUENT S TRANSITORY EMOTIONS RASA Love/rati flirting, dates, jewelry and makeup, gardens glances, sweet words not fear, laziness, cruelty Erotic (pathetic when separated) Cheer/hasa unseemly dress, misuse of words, impudence wide eyes, throbbing lips, facial coloring laziness, dreaming, lying, envy Comic (laughing with and being laughed at) Sorrow/shoka curses, separation anxiety, loss of wealth, death, captivity crying, lamentation, loss of breath languor, anxiety, yearning, fatigue, delusion, dejection Pathetic Anger/krodha rape, abuse, insult, lying, cheating red eyes, knit eyebrows, defiance determination, indignation, restlessness Furious Energy/utsaha presence of mind, perseverance, diplomacy, assertiveness firmness,patience, charity, diplomacy contentment, pride, energy, ferocity Heroic Fear/bhaya hideous noise, panic, ghost, wild animals, death trembling, loss of voice, horripilation trembling, paralysis, seizures Terrible Disgust/jugupsa unpleasant, offensive things vomiting, spitting, seizure, delusion, sickness, covering the mouth Vile Astonishment/visma ya Heavenly beings, rich architecture wide eyes, staring, exclamations weeping, agitation, hurry Marvelous ve is mimicked by Laughter, Fury results in Sorrow, Heroism results in Marvel, Repulsion results from Terr
- 5. Bharata’s Transitory States ecollection,contentment, shame, inconstancy, joy, agitation, stup Bharata Natyasastra VI 18-21 include fear, indolence, cruelty and disgust.— in separation should be represe Bharata Natyasastra VI 44-45
- 6. BHARATA—RASA AT A GLANCE TheGlances to express the Sentiments I shall now explain the characteristics of these glances in connexion with the various Rasas and Emotional States, and shall describe their functions. Kanta : When with a feeling of love a person contracts his eyebrows and castes a sidelong look, he is said to have a pleasing glance which has its origin in joy and pleasure. It is used in the Erotic Rasa. Bhayanaka : The glance in which the eyelids are drawn up and fixed, and the eyeballs are gleaming and turning up is called terrible. It indicates a great fear and is used in the Terrible Rasa. Hasya : In the smiling glance the two eyelids are by turns contracted, and they open with the eyeballs moving and slightly visible ; it should be used in representing jugglery (Comic). Karuna : The glance in which the upper eyelid has descended, the eyeball is at rest due to mental agony, and the gaze is fixed at the tip of the nose, and there is tear (Pathetic). Adbhuta : The glance in which eyelashes are slightly curved at the end, eyebrows are raised, and the eyes are charmingly widened till the end (Wonder). Raudri : The pitiless glance in which the eyeballs are rough, red, raised, and the eyelids are still and the eyebrows knitted, is called cruel, and it is used in the Furious Rasa. Vira : The glance which is bright, fully open, agitated, serious, and in which eyeballs are level is used in the Heroic Rasa. Blbhatsii : The glance in which the corners of the eyes are nearly covered by eyelids, the eyeballs are disturbed in disgust and the eyelashes are still and close to each other (Vile).
- 7. Bharata’s Tempermental States useother States (Determinants, Consequents and Transitory Stat o is not sorry ? And how can happiness which has joy as its basis Bharata Natyasastra VII 93
- 8. Bharata’s Transitory States mbinationof various spices, vegetables and as six tastes (rasa) a st as connoisseur of cooked food (bhalcta) while eating food whic
- 9. The Birth ofa Rasa For example, one who is elegantly dressed is called a lovely person (irnyarin). Just as persons are named, after the custom of their father or mother or family in accordance with the traditional authority, so the Rasa, the States and other objects connected with drama are given names in pursuance of the custom and the traditional authority. Hence the Erotic Rasa has been so named on account of its usually being associated with a bright and elegant attire. –Bharata Natyasastra VI.44
- 11. EMOTIONAL STATE DETERMINANT S CONSEQUENT S TRANSITORY STATE RASA Laughter unseemly dress, misuse ofwords, impudence wide eyes, throbbing lips, facial coloring laziness, dreaming, lying, envy Comic
- 13. The Pathetic Rasaarises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants. –Bharata Natyasastra VI.62 EMOTIONAL STATE DETERMINANTS CONSEQUENTS TRANSITORY STATE RASA Sorrow curses, separation anxiety, loss of crying, lamentation, languor, anxiety, yearning, fatigue, Pathetic
- 14. The Pathetic Rasais of three kinds: that coming from obstruction to lawful deeds, from loss of wealth and from bereavement. –Bharata Natyasastra VI.78
- 15. EMOTIONAL STATE DETERMINANT S CONSEQUENT S TRANSITORY STATE RASA Anger anger, rape, abuse, insult,lying, cheating red eyes, knit eyebrows, defiance determination, indignation, restlessness Furious
- 16. Now the Furious(raudra) Rasa has as its basis the Dominant State of anger. It owes its origin to … haughty men, and is caused by fights. –Bharata Natyasastra VI.63
- 17. EMOTIONAL STATE Energetic DETERMINANTS presenceof mind, perseverance, diplomacy, assertiveness CONSEQUENTS firmness,patience, charity, diplomacy TRANSITORY STATES contentment, pride, energy, ferocity RASA Heroic Now the Heroic (vira) Rasa relates to the superior type of persons and has energy as its basis. –Bharata Natyasastra VI.66
- 18. The Heroic Rasais of three kinds, arising from making gifts, from doing one’s duty(dharma) and from fighting one's enemy.
- 19. EMOTIONAL STATE DETERMINANT S CONSEQUENT S TRANSITORY STATE RASA Astonishment Heavenly beings, rich architecture wideeyes, staring, exclamations weeping, agitation, hurry Marvelous The Marvelous Rasa is of two kinds, viz. celestial and joyous. Of these the celestial is due to seeing heavenly sights, and the joyous due to joyful happenings –Bharata Natyasastra VI.82
- 20. The Birth ofa Rasa The Marvelous Rasa is that which arises form words, character, deed and personal beauty. –Bharata Natyasastra VI.75
- 21. Siva as Bhairava EMOTIONALSTATE Fear DETERMINANTS hideous noise, panic, ghost, wild animals, death CONSEQUENTS trembling, loss of voice, horripilation TRANSITORY STATES trembling, paralysis, seizures RASA Terrible The Terrible Rasa is also of three kinds: feigned fear, fear from a wrong action, and fear from an apprehension of danger. –Bharata Natyasastra VI.80
- 22. The Goddess AsDeath (Camunda) EMOTIONAL STATE Disgust DETERMINANTS unpleasant, offensive things CONSEQUENTS vomiting, spitting, TRANSITORY STATES seizure, delusion, sickness, covering the mouth RASA Vile The Vile Rasa is of three kinds: nauseating, simple, and exciting. –Bharata Natyasastra VI.81
- 23. BHARATA—RASA Rasa is anemotional state cultivated through the media of human gestures, behaviors, and music and dance for conscious savoring.
- 24. REFLECTIONS What aesthetic termswould you use to describe Swades or the music in the film? Where would Bharata place Swades in his list of rasa? Where would you? What inflections (other rasas) might Bharata make on the primary rasa? You? Is Swades more heroic or marvelous, in Bharata’s senses of the terms?
- 25. ABHINAVA GUPTA The Flavorsof Poetic Suggestion
- 26. Abhinavagupta on Rasa umscribedby either time or space. In this delight, just because he possesses th
- 27. Abhinavagupta’s Obstacles toRasa OBSTACLES TO RASA 1 incredible—unimaginable or too far fetched 2 too engaging—too absorbing or personally affecting 3 preoccupied—too self absorbed 4 insensate—too unperceptive or oblivious 5 too abstract—relying on inference or tradition over representation 6 no predominant state—founded on consequents or fleeting states 7 doubtful—confused presentation of consequents or fleeting states
- 28. Abhinavagupta on SantiRasa active participation of the thoughts of others, which is proper to th
- 29. Abhinavagupta on SantiRasa we ask you to tell us why the state of mind which is appropriate t
- 30. Abhinavagupta on SantiRasa me especially a color or god…It stands to reason that it leads to a es of sparsely threaded jewels. It assumes all the various feelings
Editor's Notes
- #4 Why are the bhava (States) so called ? Is it because they bhavayanti (pervade) and are hence called bhavas (States)?" It is said in reply that bhavas (States) are so called because through Words, Gestures and the Representation of the Temperament, they bhavayanti (infuse) the meaning of the play into the spectators. Bhava is 'cause' or ‘instrument’… –Bharata Natyasastra VII.0
- #5 Other relational permutations are possible—We determine what a person’s stable emotional state is by way of determinants, and those give rise to feelings in ourselves, called ‘consequents’. In some ways this is parallel to Plato’s theory of Inspiration. Dominant States become masters because on them Determinants (vibhava), and Consequents (anubhava) and Transitory States (tyabhicariv) depend. Add ‘temperament’—a worked up mental state
- #7 Gestures of eyes, eyebrows, nose, cheeks, lower lip, chin, blushing, neck, hands, breasts, belly, thighs, fighting stances, gaits (including half women and intersexuals), music, speech (including grammar, meter, diction, recitation, modes of address, intonation), and so on
- #9 Mar 10 2015
- #10 460.01 9/11/14 The Nayika Mudita, 1160, Himachal Pradesh Nurpur, watercolor on paper, scene from Rasamanjari, attended by a blind and a deaf relative, hero lover appears in the form of Krishna Wonders of the Age, Master Paintings of India, John Guy et al 2011) p 118
- #11 Raga Madhava from a Ragamala series, Jammu Bahu, 1720, watercolor and ink on paper, evokes the sentiment of sweetness, as bees drawn to a lotus, lotus blossoms (Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #12 Gopis Plead with Krishna, unk (Isarda Bhagavata Purana), 1560, watercolor on paper (Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #13 Gopis Plead with Krishna, Himachal Pradesh Mandi (Bhagavata Purana) series, 1635, watercolor on paper (Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #14 Shirin dies on Khusarau’s Grave, unk, 1700’s (Masterpieces of Indian Painting, Heeramaneck, Alice p 162 & 221) Brother of Krisha catches demon
- #15 Fallen Youth, Mughal Court at Agra, 1610, painted by Aqa Riza, watercolor ink & gold on paper,
- #16 Elephant Combat, Rajasthan Bundi, 1660, watercolor and ink on paper, Hada Master style The Nayika Mudita, 1160, Himachal Pradesh Nurpur, scene from Rasamanjari, attended by a blind and a deaf relative, hero lover appears in the form of Krishna (Wonders of the Age, Master Paintings of India, John Guy et al 2011) p 105
- #17 Ram Singh I of Kota Hunting Rhinoceros, Rajasthan Kota, 1700, two hunters united “pitiless” Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #18 Female Warrior from Ragamala Series, Rajasthan Rajput, 1760 (Masterpieces of Indian Painting, Heeramaneck, Alice p 166 &60) Brother of Krisha catches demon
- #19 Rama’s Armies storming a Mountain Cave, from Ramayana series, 1700 (Masterpieces of Indian Painting, Heeramaneck, Alice p 97 &113) Brother of Krisha catches demon
- #20 Hanuman Paying Homage to Rama, Dasavatara (Descent of Vishnu) series, Jammu Mankot 1700, watercolor on paper Lack of Movement = Majesty (Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #21 Prince Salim Enthroned, Manohar at Allahabad Court, 1600, watercolor ink and gold on paper Magnificent throne (Wonders of the Age, Master Paintings of India, John Guy et al 2011)
- #22 Siva as Bhairava, Dhenuka, 900 Shahdol district Madhya Pradesh Sandstone (The Sculpture of India, Chandra, Pramod p 120) Bhairava cuts off head of Brahma the Creator, sin of slaying of brahmin condemned to roam the earth in rage terrifying and terror stricken
- #23 Tenth Century, Hinglajgarh, Madhya Pradesh— Goddess as Death, Sandstone (The Sculpture of India, Chandra, Pramod p 115)Cobra by the navel, necklace and bracelet, scorpion, ribcage showing
- #26 Commentary on Ãndandavardhana’s Dhvanyāloka