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, 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.

॥ Introduction

In Indian literary sources Rasa is used in multiple disciplines

1. Rasa or material taste of substances. They are six in number termed shadrasas (e.g., lavana or salty taste, madhura or sweet taste) mentioned in Ayurvedic texts.
2. Rasa dhatu in Ayurveda. Mercury or Parada is called Rasa in Ayurveda. Essence of food, bodily fluids are also denoted as rasa in Ayurveda.
3. Rasa or aesthetic relish in Kavyashastra. Rasa is termed as aesthetic delight derived from poetic or dramatic representation.
4. Bhakti rasa is recognized in Vedanta.
5. Rasa or fluid essence of substances. Natural essence of substances (e.g., plants).

In a general sense 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.

Apart from having a laukika - material or worldly connotation, Rasa also has an alauikika - non-worldly or transcendental reference. Bharata Muni though was the first Acharya to reveal the concept of Rasa, Acharya Abhinavagupta in his 'Abhinava Bharati', commentary on Bharata Muni's Natyashastra, established one of the chief theories of the transcendental nature of rasa with a philosophical foundation.

॥ Etymology

Rasa (रसः।rasaḥ), an ancient term is derived from the dhatu 'रस् (ras)' in the meaning of आस्वादने (āsvādane) as per Shabdakalpadhruma.

According to Apte Pratical Sanskrit- English Dictionary

॥ Rasa in Panchabhutas

One of the five substances, Rasa is elemental in nature.

॥ Rasa in Indian Arts

Rasa theory of Bharata holds primary importance alludes to eight kinds of Rasas

1. Rati (Pleasure) (love), – Smiling face, sweet words, contraction of eye-brows, sidelong glances and the like.
2. Hasa (Joy) – Smile and the like, i.e., laugher, excessive laugher.
3. 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.
4. 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.
5. Utsaha (Courage) (heroism)- steadiness, munificence, boldness of undertaking and the like.
6. 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.
7. Jugupsa (Disgust) – contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.
8. 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.