"Rasas" as Springs of Art in Indian Aesthetics

Mukerjee, Radhakamal

doi:10.2307/428251

Cited by 6 publications

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“…One of these is the rasa theory (Barlingay, 2007; Chakrabarti, 2016; Pollock, 2016; Schwartz, 2004). This basically states that ‘the arts generate and consolidate moods, sentiments, and transient emotions ( rasa ), freed from the fluctuations of fleeting desires and impulses, focus and diffuse these in the minds and hearts of the people’ (Mukherjee, 1965: 91). The original use of this term ranges over a variety of interconnected meanings (Chakrabarti, 2016: 8), such as ‘a fluid that quickly tends to spill, a taste such as sour, sweet or salty, the soul or essence of something, a desire, a power, a chemical agent used in changing one metal to another, the life-giving sap in plants and even poison’.…”

Section: Assumptions Of the Researchermentioning

confidence: 99%

Indianness in Photography

Jerrentrup

2022

South Asia Research

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This article explores the question whether there is a specifically Indian style of photography. A survey of photography students from various institutions revealed that though there is little clarity about the actual look of an Indian style of photography, students clearly define their own photographs as Indian. Intriguingly, the focus is less on certain visual characteristics, but more on the feelings they derive from the photographs, a scenario which is reminiscent of the rasa theory. Even though this was hardly mentioned by the students, this psycho-social element seems to have left a cultural imprint but also reflects an act of claiming ownership and agency. In addition, the students identified alienating aspects in photography, such as seeing one’s own culture like an outsider, but at the same time consider it to be integrating, since photography paves the way for a deeper engagement with one’s own culture, and as such strengthens Indianness.

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Section: Assumptions Of the Researchermentioning

confidence: 99%

Indianness in Photography

Jerrentrup

2022

South Asia Research

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“…Hal tersebut mengacu kepada skema pengetahuan tradisional, yang salah satunya tercantum dalam Kitab Natya Shastra yang membahas drama/tari klasik, yang mengungkapkan dan mengkomunikasikasikan perasaan dan emosi dari manusia. Hal tersebut dinamakan 'rasa' (Mukerjee, 1965).…”

Section: Estetika Hinduunclassified

Rekontekstualisasi Estetika Hindu â€˜Rasaâ€™ Dalam Desain Arsitektural

Noorwatha

2018

MJSB

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Tulisan ini bertujuan untuk membahas proses rekontekstualisasi estetika Hindu 'rasa' dalam desain arsitektural kekinian. Metodenya adalah kajian perpustakaan (library research) dengan pendekatan hermeneutik dalam menginterpretasikan objek penelitian berupa teks estetika Hindu, maupun komparasinya dengan keilmuan desain arsitektural. Literatur utamanya mengacu ke Kitab Natyashastra oleh Bharata Muni dan proses rekonstekstualisasinya menggunakan analogi dramaturgikal (Attoe, 1979) dan manifestasi 'rasa' ke seni visual dan arsitektur (Shetty dan Bhoosan, 2017) dan (Verma dan Gupta, 2015). Hasil penelitian menunjukkan bahwa estetika Hindu khususnya teori 'rasa' relevan dikembangkan ke dalam keilmuan desain arsitektural kekinian. Relevansi tersebut bukan semata kesesuaian istilah semata, namun juga kesesuaian dengan materi pokok kelimuan desain arsitektural seperti bentuk, penciptaan spasial, konteks arsitektural sebagai tuntutan desain arsitektural kekinian. Kata Kunci: estetika hindu, desain interior, rekontekstualisasi Hindu Aesthetics 'Rasa' Recontextualisation on Architectural DesignThis paper aims to discuss the process of recontextualization of Hindu aesthetics 'taste' in contemporary architectural design. The method is library research with hermeneutic approach on interpreting the Hinduism aesthetics text, as well as comparation with the science of architectural design. Its main literature refers to the Book of Natyashastra by Bharata Muni and its recontextualization process using dramaturgical analogies (Attoe, 1979) and the manifestations of the 'rasa' to the visual and architectural arts (Shetty and Bhoosan, 2017) and (Verma and Gupta, 2015). The results show that 'rasa' theory of Hindu aesthetics is relevant to developed into the contemporary architectural design. Relevance is not merely the conformity of the term alone, but also in conformity with the subject matter of architectural design such as science, form, spatial creation, architectural contexts as the present architectural design demands.

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“…Both Natyasastra and the Silparatna of Srikumara prescribe the colour scheme for paintings and image making accordingly. Hence, light green for love, white for merriment, grey for compassion, red for fury, light orange for heroic energy, black for terror, yellow for wonder and blue for repulsion (Mukerjee, 1965, p. 93). For Natyasastra , erotic sentiment ( sringara ) was light green ( syama ), comic ( hasya ) was white, pathetic ( karuna ) was ash coloured ( kapota ), furious ( raudra ) was red, the heroic ( vira ) was light orange ( gaura ), terrible ( bhayanaka ) was black, odious ( bibhatsa ) was blue and the marvellous ( adbhuta ) was yellow (Ghosh, 1951, vol.…”

Section: Social Shadesmentioning

confidence: 99%

From Sacred to Commodity and Beyond: Colour and Values in India

Jha¹

2015

Journal of Human Values

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A venture in a less traversed terrain of Indian scholarship, this article looks at the transformation in the value regimes that go into the making of colours in the Indian milieu. At one level, this study traces the sacredness imbued in colours and at another level the article delves into the genealogy that gives rise to a complex where colour, colonial investment in the economy of colours (with an aim at capitalizing colours as commodities), values and experiential dynamics enshrined in the imageries and practices associated with colours all come together. With these entanglements, the idea is to engage with the social fabrics and the politics of colours in the Indian milieu. In this rendering, the distinction between values and forms collapses giving us in turn a field of aesthetic experience. Mobilizing a wide range of registers (written as well as pictorial, archival as well as literary), this story is narrated with key rubrics, such as, ambiguous location of colour in the discourse on visuality, social and cultural life of colours and the manner in which Western science and modernity has influenced the values pertaining to colours. However, the core anxiety is parked on the relation between colour, aesthetic experience and the question of value. ImpressionTake equal weights of soot and alum, a double weight of gallnuts (māzū) A threefold weight of gum and then (use) the strength of your arm.

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"Rasas" as Springs of Art in Indian Aesthetics

Cited by 6 publications

References 0 publications

Indianness in Photography

Indianness in Photography

Rekontekstualisasi Estetika Hindu â€˜Rasaâ€™ Dalam Desain Arsitektural

From Sacred to Commodity and Beyond: Colour and Values in India

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