Difference between revisions of "Rasa (रसः)"
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| − | Rasa (Sanskrit: रसः) in general means the 'knowledge perceived through the rasanendriya or the sensory organ of taste (tongue)'. As "essence, juice, sap, taste, delight" the term rasa has wide import as discussed in Nyaya and Vaiseshika darshanas, Yoga darshana, classical Sanskrit Sahitya, Kavyashastra, Chandas, Ayurveda, Vrikshayurveda and other texts. In each of these texts, the term "Rasa" has a specific contextual meaning and concept. | + | Rasa (Sanskrit: रसः) in general means the 'knowledge perceived through the rasanendriya or the sensory organ of taste (tongue)'. As "essence, juice, sap, taste, delight" the term rasa has wide import as discussed in [[Nyaya Darshana (न्यायदर्शनम्)|Nyaya]] and [[Vaiseshika Darshana (वैशेषिकदर्शनम्)|Vaiseshika]] darshanas, [[Yoga Darshana (योगदर्शनम्)|Yoga darshana]], [[Vedanta (वेदान्तः)|Vedanta]], classical Sanskrit Sahitya, Kavyashastra, [[Chandas (छन्दस्)|Chandas]], [[Ayurveda (आयुर्वेदः)|Ayurveda]], [[Vrikshayurveda (वृक्षायुर्वेद)|Vrikshayurveda]] and other texts. In each of these texts, the term "Rasa" has a specific contextual meaning and associated concept. As a non-translatable it is best to use this term as is based on the context. |
| − | Most commonly Rasa refers to "tastes" in literature dealing with the topic of dietetics and culinary art, Pakakala. Rasa in Ayurveda refers to "flavours" of six kinds as mentioned in Ashtangahrdaya samhita by Vagbhata and it indicates the | + | Most commonly Rasa refers to "tastes" in literature dealing with the topic of dietetics and culinary art, Pakakala. Rasa in Ayurveda refers to "flavours" of six kinds as mentioned in Ashtangahrdaya samhita by Vagbhata and it indicates the pharmacological behaviour of a substance. As it stands for fluid portion of the body, it is referred to as the water-originating principle. |
In Indian aesthetics, Rasa has the connotation of emotional experience, and a systematic analysis of the nature of emotion is found in Natyashastra or the science of theatrics and dramatics. In this context rasa refers to "sentiment, aesthetic relish" or the relishable quality inherent in a work of art. Bharata Muni, the author of Natyashastra enumerates eight "fundamental" emotions occurring in humans as well as animals.<ref>Paranjpe, A. C. (2006) ''Self and identity in modern psychology and Indian thought.'' New York: Kluwer Academic Publishers. (Page 265)</ref> | In Indian aesthetics, Rasa has the connotation of emotional experience, and a systematic analysis of the nature of emotion is found in Natyashastra or the science of theatrics and dramatics. In this context rasa refers to "sentiment, aesthetic relish" or the relishable quality inherent in a work of art. Bharata Muni, the author of Natyashastra enumerates eight "fundamental" emotions occurring in humans as well as animals.<ref>Paranjpe, A. C. (2006) ''Self and identity in modern psychology and Indian thought.'' New York: Kluwer Academic Publishers. (Page 265)</ref> | ||
| − | == Etymology == | + | == ॥ Etymology == |
| + | Rasa (रसः।rasaḥ), an ancient term is derived from the dhatu 'रस् (ras)' in the meaning of आस्वादने (āsvādane) as per Shabdakalpadhruma.<ref name=":0">https://ashtadhyayi.com/kosha?search=rasa</ref> | ||
| − | |||
| − | = | + | according to Apte Pratical Sanskrit- English Dictionary<ref name=":0" /> |
| − | == Rasa in Agriculture and Vrikshayurveda == | + | == ॥ Rasa in Indian Arts == |
| + | |||
| + | |||
| + | Rasa theory of Bharata<ref>https://ebooks.inflibnet.ac.in/icp04/chapter/the-rasa-theory-of-bharata/</ref> holds primary importance alludes to eight kinds of Rasas | ||
| + | |||
| + | # Rati (Pleasure) (love), – Smiling face, sweet words, contraction of eye-brows, sidelong glances and the like. | ||
| + | # Hasa (Joy) – Smile and the like, i.e., laugher, excessive laugher. | ||
| + | # Shoka (Sorrow) (grief)- Shedding tears, lamentation, bewailing, change of color, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. | ||
| + | # Krodha (Malice) – Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the like. | ||
| + | #* against enemies – knitting of the eye-brows, fierce look, bitten lips, hands clasping each other, touching one’s own shoulder and breast. | ||
| + | #* when controlled by superiors – slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement. | ||
| + | #* against beloved woman – very slight movement of the body, shedding tears, knitting eyebrows, sidelong glances and throbbing lips. | ||
| + | #* against one’s servants – threat, rebuke, dilating eyes and casting contemptuous looks of various kinds. | ||
| + | #* artificial – betraying signs of effort. | ||
| + | # Utsaha (Courage) (heroism)- steadiness, munificence, boldness of undertaking and the like. | ||
| + | # Bhaya (Fear) – trembling of the hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking lips, perspiration, tremor, apprehension of danger, seeking for safety, running away, loud crying and the like. | ||
| + | # Jugupsa (Disgust) – contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like. | ||
| + | # Vismaya (Surprise) – wide opening the eyes, looking without winking of the eyes and movement of the eye-brows, horripilation, moving the head to and fro, the cry of ‘well done’ and the like. | ||
| + | |||
| + | == ॥ Rasa in Darshanas == | ||
| + | |||
| + | == ॥ Rasa in Ayurveda == | ||
| + | |||
| + | == ॥ Rasa in Agriculture and Vrikshayurveda == | ||
== References == | == References == | ||
Revision as of 15:16, 3 March 2026
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Rasa (Sanskrit: रसः) in general means the 'knowledge perceived through the rasanendriya or the sensory organ of taste (tongue)'. As "essence, juice, sap, taste, delight" the term rasa has wide import as discussed in Nyaya and Vaiseshika darshanas, Yoga darshana, Vedanta, classical Sanskrit Sahitya, Kavyashastra, Chandas, Ayurveda, Vrikshayurveda and other texts. In each of these texts, the term "Rasa" has a specific contextual meaning and associated concept. As a non-translatable it is best to use this term as is based on the context.
Most commonly Rasa refers to "tastes" in literature dealing with the topic of dietetics and culinary art, Pakakala. Rasa in Ayurveda refers to "flavours" of six kinds as mentioned in Ashtangahrdaya samhita by Vagbhata and it indicates the pharmacological behaviour of a substance. As it stands for fluid portion of the body, it is referred to as the water-originating principle.
In Indian aesthetics, Rasa has the connotation of emotional experience, and a systematic analysis of the nature of emotion is found in Natyashastra or the science of theatrics and dramatics. In this context rasa refers to "sentiment, aesthetic relish" or the relishable quality inherent in a work of art. Bharata Muni, the author of Natyashastra enumerates eight "fundamental" emotions occurring in humans as well as animals.[1]
॥ Etymology
Rasa (रसः।rasaḥ), an ancient term is derived from the dhatu 'रस् (ras)' in the meaning of आस्वादने (āsvādane) as per Shabdakalpadhruma.[2]
according to Apte Pratical Sanskrit- English Dictionary[2]
॥ Rasa in Indian Arts
Rasa theory of Bharata[3] holds primary importance alludes to eight kinds of Rasas
- Rati (Pleasure) (love), – Smiling face, sweet words, contraction of eye-brows, sidelong glances and the like.
- Hasa (Joy) – Smile and the like, i.e., laugher, excessive laugher.
- Shoka (Sorrow) (grief)- Shedding tears, lamentation, bewailing, change of color, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like.
- Krodha (Malice) – Extended nostrils, unturned eyes, bitten lips, throbbing cheeks and the like.
- against enemies – knitting of the eye-brows, fierce look, bitten lips, hands clasping each other, touching one’s own shoulder and breast.
- when controlled by superiors – slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.
- against beloved woman – very slight movement of the body, shedding tears, knitting eyebrows, sidelong glances and throbbing lips.
- against one’s servants – threat, rebuke, dilating eyes and casting contemptuous looks of various kinds.
- artificial – betraying signs of effort.
- Utsaha (Courage) (heroism)- steadiness, munificence, boldness of undertaking and the like.
- Bhaya (Fear) – trembling of the hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking lips, perspiration, tremor, apprehension of danger, seeking for safety, running away, loud crying and the like.
- Jugupsa (Disgust) – contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.
- Vismaya (Surprise) – wide opening the eyes, looking without winking of the eyes and movement of the eye-brows, horripilation, moving the head to and fro, the cry of ‘well done’ and the like.
॥ Rasa in Darshanas
॥ Rasa in Ayurveda
॥ Rasa in Agriculture and Vrikshayurveda
References
- ↑ Paranjpe, A. C. (2006) Self and identity in modern psychology and Indian thought. New York: Kluwer Academic Publishers. (Page 265)
- ↑ 2.0 2.1 https://ashtadhyayi.com/kosha?search=rasa
- ↑ https://ebooks.inflibnet.ac.in/icp04/chapter/the-rasa-theory-of-bharata/