Art let’s know how music and all art forms mediums evolved
''Geetham, Vadyam, tatha Nrithyam thrayam Sangeethamuchyathe.''
Combination of geetham (song), vadyam (instrument), nrithyam (dance) form sangeetham.
in this context, natya shahtra,and its details mudras, rasas, bhavas become significant,
basically spiritual pursuits lead us to capture the basics every aspect of life
when the basics are grasped, it is easy to comprehend the elaborations , and we get maximum joy in listening seeing the artistic expressions in the capacity of a connoisseur , a rasagna
thus i have developed interest in almost every branch of knowledge, internet sharing is a great help
as you said, there are opportunities to learn more
1 if you can deal ramayan, and mahabharath separately with 9 rasas applicability it will be good
we should not switch from one to other suddenly it causes some disturbance
2 visuals are distractions in the spiritual contemplation, blocks the mind in creating and enjoy its own created images
3 every scripture every episode has deeper meaning, what is the deeper meaning that you are getting out of this blog, and
4 what is the spiritual significance of navarasas in life in attaining mukthi, the prime goal?
5 do rasas require an external medium / stimuli for their manifestation
6 what are the fields in life which rasas have a major role
7 are rasas to be relished encouraged or to be despised and kept at a distance?
According to Bharata’s Natyashastra there are eight fundamental feelings or mental states referred to as Sthayibhavas which can be experienced by human beings. These are: Delight (Rati), Laughter (Hasya), sorrow (Soka), Anger (Krodha), Heroism (Utsaha), Fear (Bhaya), Disgust (Jugupsa), and wonder (Vismaya). Corresponding to these mental states are eight Rasas: the Erotic (srngara), the Comic (Hasya) the Pathetic (Karuna), the Furious (Raudra), the Heroic (Vira), the Terrible (Bhayanaka), the Odious (Bibhatasa), and the Marvelous (Adbhuta). A ninth Rasa, the Peaceful (Shanta) was later added.
The realisation of Rasa is said to result from the union of three interrelated elements – Vibhava, Anubhava and Vyabicaribhava and also the permanent mood called Sthayibhava.
For this question 7 are rasas to be relished encouraged or to be despised and kept at a distance?
in the light of your explanation, i tend to conclude,that rasas are inevitable effects and cannot be prevented from happening , so we to welcome them with the help of the permanent mood called Sthayibhava.
this is the correlation of feelings/mental states with rasas and more
“Our emotions are the gastric juices which transform this world of appearance into the more intimate world of sentiments. On the other hand, this outer world has its own juices, having their various qualities, which excite our emotional activities. This is called in our Sanskrit Rhetoric, Rasa, which signifies outer juices having their response in inner juices of our emotions. And a poem, according to it, is a sentence or sentences containing juices, which stimulate the juices of emotion. It brings to us ideas vitalized by feelings, ready to be made into the life-style of nature” Rabindranath Tagore
The fusion of Rasa theory and Bhakti is widely attributed to Rupa Gosvami, a disciple of Caitanya, who is credited with two key texts examining emotional devotion – the Bhaktirasamrtasindhu (“River of the Immortal Nectar of the Experience of Devotion”) and the Ujjvalanilamani (“The Effulgent Blazing Sapphire”). Emotional devotion begins with the ‘ordinary’ forms of love and desire felt by human beings, but the intention is to transform the ordinary into the sublime. Thus every devotee (regardless of background, caste etc.) is instructed to perform a set of basic practices. Whilst the Bhaktirasamrtasindhu details 64 Veidhi (“that which is based on rules”), there are five which are deemed to be ‘foundationational’:
* Recitation of the name of Krishna
* Remembering and savouring the exploits of Krishna as revealed in the Bhagavata Purana
* Serving the image of Krishna in temples
* Living in the company of holy men
* Living in the mandala of Mathura or Braj (Mathura is the reputed birthplace of Krishna)
By constantly turning one’s mind towards Krishna, the devotee begins a process which – gradually – becomes profound devotion. The basic human emotions are themselves insufficient, and must be continually refined. The devotee learns, progressively, to recognise all the various factors which either intensify or distract from this divine love. Gradually, the devotee learns how to transform the emotion (bhava) of ordinary desire (kama) into the pure and selfless love known as prema. For the advanced devotee, the 64 sadhanas are not mechanical ritual acts, but spontaneous expressions of love, the experience of which is to taste the Rasa – the pure essence of Love. Krishna is the source of Rasa, and there cannot, for devotees, be any Rasa apart from Krishna.
Any devotee whose mind is completely focused on Krishna will, it is said, involuntarily display evidence of that devotion, so that here, the Sattvikabhavas become markers of intense devotion.
Gosvami divides the path of the devotee into three stages. The first is that of Vaidhi-Bhakti, in which the devotee purifies his feelings using the aforementioned practices. The second stage is termed Raganuga-Bhakti – “the devotion of passion”. In this stage, the devotee is said to become a divine participant within the lila of Krishna, and does so by dwelling on the emotional feelings of love exchanged between Krishna and his parents, playmates, and the Gopis. Devotees engaged in Raganuga-Bhakti model their emotions on these divine ideal types. There are five appropriate moods: the Santa-Rasa (peaceful mood, as expressed for example, by meditating sages); the Dasya-Rasa (mood of servitude, as expressed by Krishna’s servants); the Sakhya-Rasa (mood of friendship); the Vatslya-Rasa (mood of parenthood – i.e. Krishna’s parents) and the Madhurya-Rasa (the conjugal mood expressed for example by the Gopis). Through Raganuga-Bhakti, the devotee is able to taste the Rasa (essence) of the players in Krishna’s lila. The final stage of devotion is that of Ragatmika-Bhakti – the perfected love of Krishna as experienced by the Gopis and other actors in Krishna’s Lila.
this is the great implied process of progressive transformation ,,the master key in this ''Emotional devotion begins with the ‘ordinary’ forms of love and desire felt by human beings, but the intention is to transform the ordinary into the sublime''.
Rasa is about human state of mind. Its about what the mind feels and the expression of the feeling thereafter. In the Bharata’s Natyashastra, Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. In indian classical dance it is referred to as Rasa-abhinaya.
Human life is a rich fabric that is given colour and texture by the many happenings that shape it. The mundane actions that characterize every day as well as the extraordinary happenings that make and keep our lives interesting are all threads that get woven together to form this tapestry. The one thing that is common to all these threads is the fact that they evoke feelings in us, we respond to them with our emotions before they can become a part of our internal life. Indeed, life can be thought of as a continuous sequence of emotions that arise in various contexts and circumstances. These emotions, or rasas, are what give life different hues, shades and colours.
8 how the art of acting on the drama is related to nava rasas
9 is villain in real life is only actor
10 an actor acting a villain role how he feels on the rasa effect on his personality/ on personal life
11 are rasas are artificially induced, or natural responses?
9, 10 depends on how strong the personality the person carries.
11)Rasa can be understood as a dynamic experience between the artist, expression, and those who receive it. The artist experiences an emotion and is so overwhelmed by it that he seeks a medium with which to express those feelings. The one who views the artists’ work receives this emotion through the artists’ medium and so experiences the same emotion felt by the creator. The extent to which the viewer experiences the emotion felt by the creator depends on both the creator’s aptitude in presenting the work and the viewers’ aptitude to receive it.
''The extent to which the viewer experiences the emotion felt by the creator depends on both the creator’s aptitude in presenting the work and the viewers’ aptitude to receive it.''
leads me to say it is a factor of ''rasagnatha'' the capacity of the individuals to create , to share, to receive, it is a valuable trait of the personality, beyond the surface /superficiality
A key text which deals with the emotional theory of Rasa is the Natyashastra (the Textbook on Drama), attributed to Bharata Muni (some academics believe that it is more likely to be a compilation by several different authors). Bharata ascribed a divine origin to drama and considered it to be a fifth Veda. The Natyashastra primarily deals with theatre, dance & musical performance. According to the Natyashastra, the major purpose of dance, drama, ritual and poetry is catalytic in that aesthetic performance should provoke an emotion that is already present in members of the audience. The various elements of a performance combine to create a sympathetic response in those who experience them. Moreover, a member of the audience who has cultivated his or her own aesthetic response may experience a transformation of their own emotion into a purely aesthetic, transcendental feeling – an experience of divine bliss. This is the transformation of Bhava (“mood”) into its essence – Rasa. (NB: A scholar or connoisseur is sometimes referred to as a rasika).
---A scholar or ''connoisseur'' is sometimes referred to as a'' rasika''
yes, he discovers the value and enjoys more, in turn inspires the artist
digging deeper into the topic and making it more philosophical !
12 whether self realization , mukthi leads one to become of ''even vision, unpurturbed, unmoved, unaffected, untouched by rasas effect
13 krishna, ''the one yogastha '', excelled in which of the rasas more?
14 ,his way of '' not fighting the battle himself, but causing arjun to fight '' comes under what rasas, if at all ?
15, are rasas characteristic / specific to varnas, brahmana, kshathriya, vaisya, shoodra
16 are rasas characteristic / specific to male , female,
17 whether animals birds have rasanubhoothi or not?, they live in which rasas primarily
