Rasa: An Aesthetic and Mystical Experience of Delight

Abstract

The article, "Rasa: An Aesthetic and Mystical Experience of Delight" by Lakshmi Chandrashekar Subramanian, traces the historical evolution of the concept of "rasa" within Indian performing arts and Hindu devotional literature. The paper examines three key periods: Bharatamuni's Natyashastra (200 BCE - 200 CE), Abhinavagupta's Kashmiri Shaiva philosophy (11th century), and Rupa Gosvami's Bhaktirasamrtasindhu (16th century).

The article begins by defining rasa as "that which is capable of being tasted," detailing its progression from a basic physical essence to a state of heightened delight or bliss, parallel to ultimate reality. Bharata's Natyashastra primarily focuses on rasa as an aesthetic emotion induced in the audience through the interplay of stimulus, involuntary reactions, and voluntary reactions in theatrical performance, with each of the nine rasas assigned a presiding deity. Abhinavagupta, building on Anandavardhana's "dhvani" theory, further develops rasa by linking poetic rapture to divine ecstasy, emphasizing the religious significance of "shanta rasa" (quiescent) and the importance of a pure, receptive audience (rasika). Rupa Gosvami's work marks a significant evolution by explicitly fusing aesthetic delight with mystical and spiritual transcendence, making rasa a vehicle for "bhakti" (devotion) to Krishna. He expands the rasa categories, hierarchically ranking them by intensity of love for the divine, with "shringara rasa" (passionate love) as the pinnacle. Rupa's unique contribution lies in asserting that rasa can be experienced by all involved in the devotional act, including the poet, audience, actors, and divine characters themselves, with Krishna being the embodiment of all rasas. The article concludes that rasa, while retaining its aesthetic roots, evolved into a profound tool for spiritual realization and theological pedagogy, transforming from primarily aesthetic delight to a deeply mystical and devotional experience.