Rasa Siddhant- Bhuktivad of Bhat Nayak

  Bhuktivad of Bhat Nayak

 (-Vibhavaanubhavyavicharisanyogadrasnispatti-)

    

    The Rasa-Shurta(Principal of Indian Aesthetics-Vibhavaanubhavyavicharisanyogadrasnispatti-) described in the sixth chapter of Natyashashtra was well interoperated by another critic- Bhat Nayak. His analysis and criticism is called as Bhuktivad where the Rasa is germinated with the combination of (Sanyog means Bhojya-Bhojak Bhav) and Nispatti means Bhukti (Bhog Karna). Bhat Nayak explained that the Sanyog- a connection of Vibhav-Anubhav and Vyavichari Bhav is a kind of Bhojya- eatable product and Bhojak- Dawat-a place where people eats and Nispatti means  where emotion is produced with combination of Vibhav-Anubhav and Vyavichari Bhav  is like the Rasmalai- Dukan and a person to eat the Rasmalai Sweets. As per the statement of Bhat Nayak the functioning of the of the literature is supposed to be the origin of emotions. He further explains that Rasa in Music and Drama or in Poetry is neither directly realised nor produced or can be suggested to reproduce.

    Kavya - means literature is vocable and its has its three quality- Abhidha(meaning)- Bhavna(sensation) and Bhog(utility). a completed meaning of the literature is understood  with all three quality. Abhidha is the meaning by means of which we understand the meaning of the word and Bhavna is the emotions inside the word  and Bhog is a kind of intake of that particular word with a power of denotation. Lets talk with an example- take a work Dog(Kutta), its it has a meaning and sensation but it never produce a emotion of anger until an unless it comes to you as Bhog. If somebody tell you - see what a preet dog roaming around .. sensitise different feeling and what kind of dog you are? sensitive the different meaning, so the impact of Bhog(utility) of the words create different meaning if the literature is same. 

    If it is believe that Rasa is apprehended then, it is only possible as audience to understand the relationship of the Nayak-Nayaka the internal-relationship of Bhojya-Bhojak Bhav. It means if spectator believe that the feeling of emotions(Rasa) is germinated in his soul that means the Bhojya-Bhojak Bhav of Nayak Nayaki simplifies to Bhavato and the emotion of love generalised to feel audience himself in that love with his partner like the hero-heroins of the drama. In music too, same kindly of feeling can be shared by meaning of literature/ lyrics of the Bandish. An artist reciting the Bandish of Radha- Krishna may feel the audience as the resemblance of his own love with his/her beloved one. A spectator who witness a performance just to derive a kind of innocent delight would not consider to make himself unhappy and miserable by witnessing a bad situation, but rasa would certainly involved in any situation. As per the Bhat Nayak there are some stimulants which is only possible at the divine level due to this reason the Bhavakto- Bhog of the Rasa with reference to the spectator himself is impossible however partial feeling of Rasa can be imagined to the audience. 

    The Criticism of Bhat Nayak is according to the Sankhya-Shastra and called as Sankhyamatanuyayi- a follower of Sankhymat. As per the Sankhyamat Love- Happiness-Misery and Sorrow are the character of mind not the soul, but human can feel the sensation of these Panch-Vikar (Five diformation) similarly the pleasure love-affection, misery-sorrow-joy is not part of the spectator but can feel the sensation of these emotions which actually happing in the drama. As per the criticism of Bhat Nayak Rasa cannot be formally said to take the form of direct experiences so the audience is indifferent to the emotions of the Nayak-Nayaki, however the partial impact of that feeling can be observed in spectator. The concept of idealisation and and generalization is characterised by the absence flaws and the positive abundance of the merits and figure. Thus this criticism is called Bhuktivad. 

Demerits of Bhukivad 

    Feeling of the emotions is supposed to be in the spectator but not in directly propionate to the soul of Nayak-Nayaki and their level of emotion. He accepted that Rasa-nispatti can be feel by the audience but it is not their own emotions and drives from the main character. The relation of Bhavkato- Bhojakto is imagined here to generate emotions, and also there is a illusion of Bhavkato- Bhojakto. To who it represent, the epic character Radha- Krishna or the Nayak-Nayaki of the Play who are playing the role of Radha- Krishan or the audience who is watching the play. 

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Rasa Siddhant of Shree Shankuk

                                                         

                                        Anumitivad 

 (-Vibhavaanubhavyavicharisanyogadrasnispatti-)

        Among the four main interpretations of Bharat's Rasa Siddhant -  An Indian Aesthetic theory,  accomplished by the Acharya Bharat in his well-acclaimed book Natyashastra, Shree Shankuk has well explained the passage of aesthetic and the beauty behind the illustration of Acharya Bharat's -Vibhavaanubhavyavicharisanyogadrasnispatti-  in the Sixth Chapter of Natyashastra. Aesthetic, a theory of beauty is a reflection of ats and emotion perhaps been one of the early pursuits of the human mind. As humans are always surrounded by emotions -the bunch of love, affection, misery, sadness, or many more. To understand the exact nature and cause of these appeals and emotions, the subject/spectators need to understand the depth of the arts or the by means of literature, gesture, or certain kind of movement that creates the meaningful/ meaningless expression. Since music and drama are the earliest arts, Acharya Bharat Rasa Siddhant inspire everyone about the accomplishment of drama and its allied subject like music, dance, and poetry.  If a human conquers emotions then it is the process of salvation or it can be the inanimate life so Bharat's theory of Rasa has thrown light on the nature of dramatic experience and the delight it gives to the cultivated audience. The experience that a spectator feels while listening to music, film, drama, poetry, or any art form which makes him/her feel good or bad or undergoes a kind of certain feeling is the Rasa defined by the Acharya Bharta. The Bhav- Vibhav, Anubhao defined by the Acharya Bharat was late interpreted by many scholars. Among those renowned scholars, Shree Shankuk was one of the finest scholars who gives the different perspectives and narration of the Rasa Siddhant by Rasa. 

    The Rasa theory established by Shree Shankuk is basically called Anumitivad where Sanyog of the clause Vibhavaanubhavyavicharisanyogadrasnispatti is defined as the connectivity of presuming-phantasy (Anumapya- Anumapak) and Uttaptti is referring as the inference. Thus the theory of Shree Shankuk expresses that origination of the emotions is only possible by guessing the imitation of the character with a combination of Vibhav- Anubhav and Sancharbhav.  Here Shree Shankuk said that the real essence of emotions is not possible in the audience however they can guess that the emotion lies in the actor/ actress is only the implication of the real hero on whom the play is being performed. Similarly, in music too a singer only can guess the real essence of emotions but can cont feel it. 

    The opinion of Shree Shankuk is mainly focused on the imitation of the arts where the artist only plays a role of real character on whom the drama is created and the audience may visualize the real character on the actor/ actress but he the origination of Rasa is not possible in those actors who imitate or act on a real hero, so emotions are only the part of the main character -like Radha- Krishna, Ram -Sita. However, he also says that the presuming of Rasa may be possible for the actor/ actress and they may feel the emotions of the real character but the audience only can guess the level of feeling and heartening emotions of Radha - Krishan by seeing the actor/actress. The philosophy behind the Principle of Shree is based on the Nayashastra where an audience guess the origination of emotion is only presuming like the relation of Fire and Smoke- 'यत्र यत्र धूम: तत्र तत्र वह्नि:  means if smoke is seen it can be assumed that the existence of fire. This means the rasa originated in the Nayak/ Naika is like the smoke and the real Rasa lies in the original character like fire and it can be guessed by observing the artist performing the play.  

    Shree Shankuk's interpretation of Rasa Siddhant was basically based on the Nyayashastra of Vedic literature. His observation was based on the audience's- actors' role in the process of creating emotions thus he further explains that Rasa lies in the actors' skillful imitation of the main character on which he/she is playing a role. It means a Nayak playing the role of Ram gets delighted as he can infer the character of Ram's emotions on the strength of his multiplication. Shree Shankuk has clearly mentioned that the center of the rasa even lies in the main character Ram/Sita but with skillful imitation, Nayak/ Naika can delight it, but the audience who are watching the drama may feel that the actor is copying the character of an original character. 

    The interpretation of Shree Shankuk was indeed a step forward that the Bhat Lolatt but still, there is a lack of connection between the origination of Rasa and the emotions. He explained that the feelings are presumed but not in the audience. His concept of feeling has a vast deviation and says that if the audience feels any emotional attachment to the real character like Ram- Sita, Radha- Krishan then it might be the sin of thinking so thus the Rasa cannot be lies in the spectators only in real character and it can be guessed by observing the actor/ actress of the play. 

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Bhat Nayak will be in net article 

   

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Principle of Indian Aesthetics ( Rasa Siddhant)

Rasa Siddhant 

 (-Vibhavaanubhavyavicharisanyogadrasnispatti-)

     Vibhavaanubhavyavicharisanyogadrasnispatti- means 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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Ektaal: Uniqueness in Rhythmic of Cycle of Twelve Beats

 Ektaal

          Ektaal is one of the popular Taal in Khyal patterns of Hindustani Classical Music. It is widely played in Vilambit Khyal in many Gharana and common Taal for Drut Khayal in almost all the Gharanas of Khyal Music. It has twelve beat cycle having six equal sections of two beats in each bar called Vibhag. Ektaal consists of four tali and two Khali in total, the first beat of Ektal is called Sama starting with the First clapping while demonstrating the Taal in hand. The second Tali is in the third bar, the third tali in the fifth bar, and the fourth tali in the sixth bar while the second and fourth bar is Khali having no signature of tali.

          Ektaal is widely popular in all three formats of Khyal music especially in singing and playing an instrument in Vilambit Khyal. The Vibhag of Ektaal in two-beat per bar is similar to Choutaal, the popular Taal of Dhrupad style which is played in Pakhawaj 

Theka :-

Dhin    Dhin	DhaGe       Tirakita	Tun     Na	Kat    Ta	DhaGe    Tirekita	Dhin      Na	Dhin
x	0	2	0	3	4	x

 

Here - x signature is the sign of Sama, two three, and four are the claps used in demonstrating Taal. Zero is the Khali or no claps silence. 

Dugun Laya :-

Dhin     Dhin	Dha Ge     Tirakita	Tun, Na	Dhin Dhin        DhaGe Tirekita
x	0	2	0

Tun Na,      Kat ta	Dha Ge     Tirakita        Dhin Na	Dhin
3	4	x

 

          The counting of Dugun in Extal is started from 7th  beat to meet Sama. i.e., this pattern is called Dugun in one cycle (Ek Avartan). There is another pattern from Sama to Sama is also in practice.

 

 

Tigun Layakari :-

Dhin     Dhin	Dha Ge     Tirakita	Tun, Na	Kat   ta	Dhin, Dhin,  DhaGe, Tirakita  Tun,Na
x	0	2	0	3

Kat, Ta,    Dha Ge    Tirakita  Dhin,   Na	Dhin
4	x

 

          Similarly, here also the Layakari of triple timing is counted from 9^th matra to meet Sama. This pattern of tala demonstration is called Tigun in one Avartan. Sama to Sama Tigun can be demonstrated by spelling/writing the Bols three times appropriately.

Chougun Layakari :-

Dhin     Dhin	Dha Ge     Tirakita	Tun,   Na	Kat   Ta
x	0	2	0

 

DhaGe      Dhin, Dhin, Dha Ge,  Tirakita	Tu Na, Kat, Ta  DhaGe, Trikita Dhi,Na	Dhin
3	4	x

 

A similar pattern of one Avartan Layakari has demonstrated above in Chougun Layakari started from the tenth Matra of Ektal. 

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Raga Khamaj- A fragrance of Romance

Raga Khamaj 

 Raga Khamaj is a very popular and prominent  Raga in Hindustani Classical Music which represents both Ragang and Thaat. Khamaj is one of the major Ragang among the 30 various melodies that signify the distinctness of Indian classical music. Khamaj is also the mone among the 10 Thaat classified by the great musicologist Pt. Vishnu Narayan Bhatkhande. The Ashriya Raga Khamaj is classified under Khamaj Thaat. In this Raga both forms of Nishad (Ni) is used simultaneously, Shuddh Nishad in ascending and  Komal Nishad in descending order, and the rest of the notes are used in Suddha (Natural) form. In Aaroh Rishav (Re) is completely restricted and Suddh Nishad is used and Avroh is of all seven notes following with Komal Nishad. Jati of the  Raga in Shadav-Sampurna because Re is restricted in Aroh and singing time according to the Shasta in the first phase of the evening. This Raga is Purbang dominance where Gandhar is considered as the Vadi Swar or the main essence notes of the Raga. Dhaivat in Samvadi Swar and  Shadaj, Gandhar, Pancham, and Nishad are Nyas of the Raga Khamaj. 

          Raga Khamaj is not only the Raga but also the Ragang. Various other Ragas in Hindustani Classical Music adjoined with Khamaj-ang. Ga ma Pa Dha-ma Ga, Ga ma Dha Ni Dha ma Pa Dha ma Ga, Ga ma Ni Dha Ni Pa Dha Ni Sa, Sa Ni Dha Pa Dha ma Ga denotes the Khamaj-ang. Raga Jhinjhoti, Ahirbhairav, Gara, and many others are the Ragas mixture of Khamaj-ang with other melodies to form a new melody in Hindustani Classical Music. Semi-Classical forms of Hindustani Classical music are commonly sung in this Raga Khamaj i.e  Thumri, Dhamar, Dadra, Hori, Bhajan Chota Khyal in Geet, Ghazals are very often singing in this Raga. Dhrupad, Bada, Khyal are rare but sometimes in practice...

Aroha         :        Sa Ga ma Pa, Dha Ni Sa

Avroha       :        Sa Ni Da, Pa, ma Ga Re Sa

Pakad         :        Sa Ga ma Pa, Ga ma Ni Dha Ni Pa Dha ma Ga ma Ga Re Sa

Note: Please learn this raga with Guru in order to understand the proper note combination and its actual grammatic sequence of Raga. 

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