Үнді өнеріндегі сезімдер мен әсерлер тұжырымы

Aesthetic concept in Indian arts related to emotions and feelings

In Indian aesthetics, a rasa literally means "juice, essence or taste". 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: 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. 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. 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. 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.

According to the Natya Shastra, a rasa is a synthetic phenomenon and the goal of any creative performance art, oratory, painting or literature. Wallace Dace translates the ancient text's explanation of rasa as "a relish that of an elemental human emotion like love, pity, fear, heroism or mystery, which forms the dominant note of a dramatic piece; this dominant emotion, as tasted by the audience, has a different quality from that which is aroused in real life; rasa may be said to be the original emotion transfigured by aesthetic delight". Rasas are created through a wide range of means, and the ancient Indian texts discuss many such means. For example, one way is through the use of gestures and facial expressions of the actors. Expressing Rasa in classical Indian dance form is referred to as Rasa abhinaya. The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others. In Indian classical music, each raga is an inspired creation for a specific mood, where the musician or ensemble creates the rasa in the listener. As an example, the literary work Bhagavata Purana deploys rasa, presenting the bhakti of Krishna in aesthetic terms. The rasa it presents is an emotional relish, a mood called Sthayi Bhava. This development towards a relishable state is created through 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 of emotion. Sanchari Bhavas are those passing feelings which are ancillary to a mood. Later scholars added more emotional states such as the Sattvika Bhavas. In the Indian theories on sculpture and architecture (Shilpa Shastras), the rasa theories, in part, drive the forms, shapes, arrangements and expressions of images and structures. Some Indian texts on sculpture suggest nine rasas.

Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient Sanskrit text of dramatic theory and other performance arts, written between 200 BC and 200 AD. Śṛṅgāraḥ (शृङ्गारः): Romance, Love, attractiveness. Presiding deity: Vishnu. Colour: Śyāma (Dark Bluish)
Hāsyam (हास्यं): Laughter, mirth, comedy. Presiding deity: Shiva. Colour: white
Raudram (रौद्रं): Fury. Presiding deity: Rudra. Colour: red
Kāruṇyam (कारुण्यं): Compassion, mercy. Presiding deity: Yama. Colour: grey
Bībhatsam (बीभत्सं): Disgust, aversion. Presiding deity: Mahakal. Colour: blue
Bhayānakam (भयानकं): Horror, terror. Presiding deity: Kāla. Colour: black
Veeram (वीरं): Heroism. Presiding deity: Indra. Colour: Bright White
Adbhutam (अद्भुतं): Wonder, amazement. Presiding deity: Brahma. Colour: yellow

A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries before it could be accepted and the expression "Navarasa", (the nine rasas), could become established. [[Shanta Rasa: Peace or tranquility. deity: Vishnu. Colour: perpetual white. Shānta rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta rasa is implied to be almost as good as, but never quite equal to the bliss of self realization experienced by yogis.

According to the Natyashastra, bhavas are of three types: sthayi (stable), sanchari (travelling) and sattvika (pure) These classifications are based on how the rasas are developed or enacted during the aesthetic experience. This is seen in the following passage:
पुनश्च भावान्वक्ष्यामि स्थायिसञ्चारिसत्त्वजान्॥६.१६॥

Rasa has been an important influence on the cinema of India. Satyajit Ray has applied the Rasa method of classical Sanskrit drama to movies, for instance in The Apu Trilogy (1955–1959). In Hindi cinema, it is the theme of the film Naya Din Nayi Raat, where Sanjeev Kumar plays nine characters corresponding to nine Rasa.