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Principle of Indian Aesthetics ( Rasa Siddhant)


Rasa Siddhant 

 (-Vibhavaanubhavyavicharisanyogadrasnispatti-)

     Vibhavaanubhavyavicharisanyogadrasnispattimeans the combination of Vibhav, Anubhav, and Vybhichari Bhav, the Rasa(Beauty/Aesthetic) is generated in the human mind and soul. The prime element of Rasa is then awake inside the mind and soul of the connoisseur. Thus The Rati, element inside the mind of the listener connected with the psychosis of the artist at the same level with the support of the musical essence and the action taken by the artist germinate the beauty in spectators. The principle established by the Acharya Bharat was cited and explained by many scholars from different perspectives. Among the many Tika( a novel interpretation), four novel explanations by the novel scholars, Bhat Lolatta- Aropvad, Shri Shankuk- Anumitivad, Bhatnayak- Bhuktivad, and Abhinavgupt - Abhivyaktivad are commonly illustrated in many books and are usually in practice. These explanations/tika on Natyashashtra is the vision or the prime description about the impact of the Rasa and its association with the Art-Artist-and Listener / Viewer/ Art-Connoisseur.

Bhatt Lolatta- Aropvad: 

    The very first describer of the Vibhavaanubhavyavicharisanyogadrasnispatti of Natyashastra was Bhatt Lolatta whose point of view on Rasa Shastra is based on the Uttar Mimamsa - Vedanta ( a critical analysis )one among the six darshan of Vedic literature. The theory of Uttpattivad - Aropvad of Bhatt Lolatta describes the impulsion of rasa is created in the character of the drama who act as the copy of the real character like Ram-Sita, Radha-Krishan, or any other. In his view, acting is a phenomenon of understanding the real character and their aesthetical feeling on whom they act and perform as an artist. Thus the real essence of beauty is only lying on the real character n whom the play is designed but the spectators feel that the rasa what they feel is actually of the original character on whom the artists are performing in front of them so these spectators blame or imputed that the rasa what they are feeling is the rasa of the actor/actress of the play. In music content, when a bandish is played or sung the visualization of the character of the lyrics or tune can be observed. The beauty/sorrow or misery of that particular theme/ character is real and the Rasa what artist describes is the copy of the Rasa of real hero on whom he/she sung melodies. The listeners feel the rasa but blame that the rasa only lies in the real character but it resembles the artist who is singing or playing an instrument. 

    This theory is a kind of accusation that rasa lies only in the real character but after seeing the artist performing in such drama/ raga then viewers/ listeners feel that the rasa is imputed to the artist who is performing. In simple words is a kind of illusion or resemblance of a snake by seeing the rope or tremble when seeing our own shadow in the moonlight. The interpretation of Bhatt Lolatta basically deals with the two words- Sanyog and Nispatti. According to him, the Sanyog means the combination of Utpadya- Utpadabhav( being produced - product), it means rasa is produced in actor/ singer with imagining the real character and it is not in the spectators, and Nispatti means the to create or produce only by accusation, thus the theory of Bhatt Lolatta is called Uttpattivad - Aropvad. The theory Bhatt Lolatta is criticized later and found something lacking in the Rasauttpatti between the audience and the artist. The audience who are watching/ listening to the performance has no sentiments and it only lies in the real character from whom the play or music is inspired and performed make no sense. If it happens then why does the audience feel the beauty of a song or a film or a drama? or why do they cry and laugh accordingly with the scene of the movie or the song. How can be it possible, only by blaming Rasa is created in the actor or actress? A rasa in music and drama cannot be created by imitation. it might be somehow helpful in learning but the actual beauty comes only by assimilation with the Sur- Sahitye evum Patra( music, literature, and the theme/character ). 

Continue ...... 

See next article for the theory of Shree Sankuk... 








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1 comment:

  1. Dr. Saish DeshpandeFebruary 7, 2022 at 11:29 PM

    Wish to read more especially on Bhatt Nayaka and Dhananjay.

    ReplyDelete

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