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,
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