Some Aspects Of Rasa Theory

This document provides a comprehensive overview of the book "Some Aspects of the Rasa Theory" by V. M. Kulkarni, published by B. L. Institute of Indology. It is a collection of papers presented at a seminar on the Rasa Theory held in Patan in 1982.

Key Themes and Focus Areas:

The book aims to critically re-examine various aspects of the Rasa Theory, a central concept in Sanskrit theories of art. Some of the key aspects discussed include:

• The Nature of Rasa: Exploring its worldly (laukika) and non-worldly (alaukika) dimensions.
• Rasa Theory and Darśanas (Philosophical Systems): Examining the relationship between Rasa Theory and various Indian philosophical schools like Mimamsa, Nyaya, Sankhya, Vedanta, and Kashmir Shaivism.
• Rasa Theory and Other Fine Arts: Investigating the applicability and relevance of Rasa Theory to music, dance, painting, sculpture, and architecture.
• Rasa Theory and Modern Literature: Discussing its relevance to contemporary literary criticism and thought, and comparing it with Western concepts like catharsis.
• Catharsis and Rasa: Analyzing the similarities and differences between the Western concept of catharsis and the Indian concept of rasa.

Content Highlights from the Papers:

The document includes summaries of several papers presented at the seminar, each focusing on a specific aspect of the Rasa Theory:

• "The Basic Modes of Poetic Expression" by H. C. Bhayani: Discusses the evolution of classifying poetic beauty from early theories emphasizing alankara (embellishment) to the dhvani tradition emphasizing suggestion, and the role of svabhāvokti (natural description) and vakrokti (figurative expression).
• "Germs of the Later Rasa Doctrine in Bharata's Natyaśāstra" by M. V. Patwardhan: Traces the origins of the Rasa Theory back to Bharata's Natyaśāstra, highlighting how Bharata's concepts of abhinaya (dramatic representation) and his treatment of bhāvas (emotions) laid the groundwork for later developments.
• "Śankuka – A Defence" by R. B. Patankar: Defends the theories of Sankuka, a key interpreter of Bharata's Rasa Theory, focusing on his concept of citra-turaga-pratiti (seeing a horse in a picture) to explain aesthetic perception and its unique ontological and epistemological features.
• "Abhinavagupta on the Alaukika Nature of Rasa" by V. M. Kulkarni: Provides an in-depth exposition of Abhinavagupta's concept of alaukikatva (non-worldliness) of rasa, drawing from his commentaries, and drawing parallels with the Western concept of the autonomy of aesthetic experience.
• "Worldly Nature of Rasa" by T. S. Nandi: Examines the historical debate on whether rasa is worldly (laukika) or non-worldly (alaukika), arguing that early theorists like Bharata tended towards a laukika interpretation.
• "Rasa Theory and the Darśanas" by Krishna S. Arjunwadkar: Explores the influence of various Indian philosophical systems (Darśanas) on the interpretations of the Rasa Theory by key figures like Lollata, Sankuka, Nayaka, and Abhinavagupta.
• "Rasa Theory and the Darśanas-2" by P. R. Vora: Continues the discussion on the philosophical underpinnings of the Rasa Theory, analyzing the contributions of Lollata, Sankuka, Bhatta Nayaka, and Abhinavagupta in relation to Mimamsa, Nyaya, Sankhya, Vedanta, and Kashmir Shaivism.
• "Rasa Theory and the Darśanas-3" by Bhagavatiprasad Pandya: A brief summary discussing the difficulty in definitively assigning specific Darśana influences to Rasa theorists, emphasizing the eclectic approach of many scholars and the need for further research.
• "The Rasa Theory in Relation to All the Fine Arts" by P. N. Virkar: Investigates the application of Rasa Theory to various fine arts beyond drama and poetry, including painting, music, sculpture, and architecture, highlighting the concept of sādhāraṇīkaraṇa (universalization).
• "The Relevance of RASA Theory to Modern Literature" by K. Krishnamoorthy: Argues for the enduring relevance of Rasa Theory to modern literature, drawing parallels with Western critical concepts like "creative emotion," "objective correlative," and the role of the poet and critic, as well as discussing sādhāraṇīkaraṇa and dhvani.
• "Catharsis and Rasa" by C. N. Patel: Compares and contrasts the Western concept of catharsis with the Indian concept of rasa, highlighting their different philosophical underpinnings (transcendental vs. empirical) and their shared aim of explaining the pleasurable nature of aesthetic experience.
• Appendix I: "The Relevance of Sanskrit Poetics to Contemporary Practical Criticism" by Umashankar Joshi: Explores how Sanskrit poetics, particularly its seminal ideas like rasa, dhvani, and aucitya, can enrich modern literary criticism in India, emphasizing the importance of a comparative approach and aesthetic sensibility.
• Appendix II: "Does the Rasa theory have any modern relevance ?" by R. B. Patankar: Critically examines the modern relevance of the Rasa Theory, particularly its concepts of sādhāraṇīkaraṇa and alaukikatva, and discusses their parallels and divergences with Western critical thought.

Overall Contribution:

The book is presented as a valuable resource for scholars interested in Indian theories of art and comparative aesthetics. It aims to stimulate further study and research by critically examining the Rasa Theory and its connections to philosophy, other arts, and modern literary thought. The editor, Dr. V. M. Kulkarni, is highlighted for his extensive experience in Sanskrit and Prakrit literature, poetics, and aesthetics.