Bhava and Rasa

The Rasa-Bhava is the central concept in Indian performing arts such as dance, drama, cinema, literature etc. Bhava means “to become”. Bhava is the state of mind while Rasa is the aesthetic flavour that results from that Bhava. The Bhava themselves carry no meaning in the absence of Rasa. Thus Rasa is basically forms and manifestations of Bhava in the form of multitude of sensations through taste, emotion, and delight. In other words, Rasa is the dominant emotional theme that is invoked in the audience. When we watch a movie, a sad scene makes us cry – that is Rasa. The Rasa-Bhava is what establishes a relationship between the performer and the audience.

The Rasa hypothesis was essentially propounded by Bharata in Natyashastra. He portrayed eight Rasas viz. Śṛngāram (love, appeal), Hāsyam (giggling, satire), Raudram (fierceness, rage), Kāruṇyam (sympathy, misfortune), Bībhatsam (disdain, abhorrence), Bhayānakam (ghastliness, dread), Vīram (brave mind-set) and Adbhutam (wonder, awe). Further, Abhivangupta presented a 10th rasa called Śāntam which indicates the harmony or serenity. These absolute nine rasas make the Navarasa.

Rasa as well as Bhav are perfectly expressed by Bharat Muni in the Natyashastra, an old work of emotional hypothesis. Rasa, the substance, signifies a fundamental mental state where as Bhav, the perspective, is frequently converted into feeling, feeling or mind-set. The two are firmly interlinked and entwined. Rasa-abhinaya, in the text makes sense of rasa as the inclination experienced by the crowd because of the bhav, looks and the non-verbal communication of the artist. In Bharatnatyam, as in some other old style dance structure, the cozy connection among rasa and bhava is plainly apparent. In straightforward words, bhava is the feeling and rasa is the inclination, which it forms into.

"Anubhavyate anen vagang krotobhinaya iti"

This shloka by Bharat Muni, just characterizes the bhava as the consistent perspective or an opinion. Rasa is the prevailing inclination or feeling.

• Eight rasas and 49 bhavas are portrayed by Bharat Muni in the Natya Shastra.
• The eight sthayi bhava, winning stable inclination, lead to the eight relating rasas.
• The sthayi bhava of Rati (energy of adoration) brings about the Shringara Rasa (suggestive).
• The sthayi bhava of Haasa (jollity) brings about the Hasya Rasa (chuckling).
• The sthayi bhava of Shoka (distress) leads to the Karuna Rasa (empathy).
• The sthayi bhava of Krodha (outrage) leads to the Raudra Rasa (fierceness).
• The sthayi bhava of Utsaha (courage) brings about the Go Rasa (gallant).
• The sthayi bhava of Bhaya (dread) leads to the Bhayanaka Rasa (unfortunate).
• The sthayi bhava of Jugupsa (disdain) leads to the Vibhatsa Rasa (aversion).
• The sthayi bhava of Vismaya (shock) brings about the Adbhuta Rasa (wonder).

Each Rasa has a particular directing divinity and a particular tone, for example, the quality of a panicked individual is dark where as that of an incensed individual is red.

Bharat Muni says "Vibhaavaanubhaav vyabhichaari samyogat ras nishpatti", importance, out of the blend (samayoga), of the determinants (vibhava), the consequents (anubhava) and the fleeting mental status (vyabhichari), the introduction of feeling (rasa) happens.

Bharat Muni portrays it flawlessly by giving an illustration of the upgrade - reaction circumstances throughout everyday life. There can be upgrade from the climate, for example Vibhava. These reason a specific measure of excitation in an individual, which is called Anubhav. For instance, a lady after coming to a nursery might give a provocative look or a grin. This energy may likewise incorporate any of the sattvika feelings like becoming flushed, perspiring, blacking out and so on. This together arises as Rasa, or, the relishable tastefully experienced feeling or feeling.

Along these lines, that's what we see in spite of the fact that there is just a single sort of rasa, it can have different bhavas implanted in it. For instance, in the predominant inclination or Rasa, say, Shringara Rasa, or love, there can be numerous bhavas or opinions. On one hand it tends to be appeared through bhavas of playing with your sidekick, the calming impact of seasons, delight in laurels and trimmings, getting a charge out of and seeing the darling, having intercourse with your dearest and so on. Then again, it very well may be displayed as division, with bhavas of torment, misery, energy and tension. Yet, in both the cases, the prevailing inclination continues as before, for example Shringara Rasa.

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