Search results
Results From The WOW.Com Content Network
In Indian aesthetics, a rasa (Sanskrit: रस) literally means "juice, essence or taste". [1] [2] It is a concept in Indian arts denoting the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience, but cannot be described. [2]
Rasa theory blossoms beginning with the Sanskrit text Nātyashāstra (nātya meaning "drama" and shāstra meaning "science of"), a work attributed to Bharata Muni where the Gods declare that drama is the 'Fifth Veda' because it is suitable for the degenerate age as the best form of religious instruction. The Nātyashāstra presents the ...
The Alankara Shastra is the traditional Indian science of aesthetics that deals with the principles and techniques of literary composition and ornamentation. It is an important aspect of Indian literary criticism and aims to enhance the beauty and expressiveness of literary works.
Aesthetics examines the philosophy of aesthetic value, which is determined by critical judgments of artistic taste; [2] thus, the function of aesthetics is the "critical reflection on art, culture and nature". [3] [4] Aesthetics studies natural and artificial sources of experiences and how people form a judgment about those sources of experience.
Aestheticism (also known as the aesthetic movement) was an art movement in the late 19th century that valued the appearance of literature, music, fonts and the arts over their functions. [ 1 ] [ 2 ] According to Aestheticism, art should be produced to be beautiful, rather than to teach a lesson , create a parallel , or perform another didactic ...
According to Sheldon Pollock, a new category in aesthetic flavors was created even though most of the religious poetry was based on the passion and desire of God and not about dispassion. Further, he quotes Mammaṭa , where he observes: "When the desire is directed toward a deity, we have 'emotion' rather than rasa."
Anandavardhana authored the Dhvanyāloka, or A Light on Suggestion , a work articulating the philosophy of "aesthetic suggestion" (dhvani, vyañjanā). Ānandavardhana is credited with creating the dhvani theory. He wrote that dhvani (meaning sound, or resonance) is the "soul" or "essence" of poetry ."
Bharata has named eight Sthayibhavas corresponding to each Rasa. According to him all other aesthetic emotions in a drama viz. Vibhavas, Anubhavas, and Vyabhicaribhavas combine together and enhance a Sthayibhava which ultimately transforms into the flavor (Rasa) in a play.