1965
DOI: 10.2307/428251
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"Rasas" as Springs of Art in Indian Aesthetics

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Cited by 6 publications
(3 citation statements)
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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%
“…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%
“…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
“…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%