643:
42:
407:
156:
2008:
262:
359:, as an important accessory sentiment of the Shanta Rasa, which he strove with great effort to establish. However, just as Shantha slowly attained a state of primacy that it was considered the Rasa of Rasas, Bhakti also soon began to loom large and despite the lukewarmness of the great run of Alankarikas, had the service of some distinguished advocates, including
392:
350:
In the literary compositions, the emotion of Bhakti as a feeling of adoration towards God was long considered only a minor feeling fit only for
Stothras, but not capable of being developed into a separate rasa as the sole theme of a whole poem or drama. In the tenth century, it was still struggling,
293:
where the Gods declare that drama is the 'Fifth Veda' because it is suitable for the degenerate age as the best form of religious instruction. The Nātyashāstra presents the aesthetic concepts of rasas and their associated bhāvas in
Chapters Six and Seven respectively, which appear to be independent
626:
Shānta-rasa functions as an equal member of the set of rasas, but it is simultaneously distinct as being the most clear form of aesthetic bliss. Abhinavagupta likens it to the string of a jeweled necklace; while it may not be the most appealing for most people, it is the string that gives form to
294:
of the work as a whole. Eight rasas and associated bhāvas are named and their enjoyment is likened to savoring a meal: rasa is the enjoyment of flavors that arise from the proper preparation of ingredients and the quality of ingredients.
600:
A ninth rasa was added by later authors. This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the
Alankarikas, and the expression
627:
the necklace, allowing the jewels of the other eight rasas to be relished. Relishing the rasas and particularly shānta-rasa is hinted as being as-good-as but never-equal-to the bliss of Self-realization experienced by
1807:
333:
brought rasa theory to its pinnacle in his separate commentaries on the Dhvanyāloka, the Dhvanyāloka-locana (translated by
Ingalls, Masson and Patwardhan, 1992) and the Abhinavabharati, his commentary on the
338:, portions of which are translated by Gnoli and Masson and Patwardhan. Abhinavagupta offers for the first time a technical definition of rasa which is the universal bliss of the Self or
302:
The theory of the rasas develops significantly with the
Kashmiri aesthetician Ãndandavardhana's classic on poetics, the Dhvanyāloka which introduces the ninth rasa,
1857:
1004:
Matthew Jones (January 2010). "Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and
Millionaire". Visual Anthropology 23 (1): 33–43.
310:) which arises from its bhāva, weariness of the pleasures of the world. The primary purpose of this text is to refine the literary concept
1787:
318:, primarily in forms of Sanskrit including a word, sentence or whole work "suggests" a real-world emotional state or bhāva, but thanks to
228:
The expressions used in
Kudiyattam or Kathakali are extremely exaggerated theatrical expressions. The opposite of this interpretation is
141:
evolved with an emphasis on inducing special spiritual or philosophical states in the audience, or with representing them symbolically.
106:
451:. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance,
78:
1009:
827:
743:
1069:
85:
59:
379:
were attentive to rasa, which blossomed into a fully developed aesthetic system. Even in contemporary India the term
1021:
780:
656:
125:
17:
2038:
92:
971:
Art, Reality and the
Reality of the Arts: Ontology, Representation and The Sister Arts Theory in Indian Aesthetics
1688:
1381:
2053:
63:
74:
1366:
1291:
1041:
1037:
1990:
1917:
964:
Art, Nature and the
Artifactuality of Art and Nature: A Plea for Environmental Aesthetics in Ancient India
2048:
1516:
1346:
232:'s school of subtle and understated abhinaya of the devadasis. There were serious public debates when
1223:
325:
The 9th - 10th century master of the religious system known as "the nondual
Shaivism of Kashmir" (or
30:
1501:
383:
denoting "flavor" or "essence" is used colloquially to describe the aesthetic experiences in films.
2043:
1877:
1661:
1062:
1416:
322:, the sensitive spectator relishes the rasa, the aesthetic flavor of tragedy, heroism or romance.
2033:
1937:
1887:
1311:
367:
that gave the great impetus to the study of Bhakti from an increasingly aesthetic point of view.
52:
1441:
1867:
1817:
1574:
1276:
1142:
99:
733:
1995:
1569:
1544:
1522:
1431:
1256:
1229:
1203:
1137:
1957:
1837:
1827:
1735:
1708:
1611:
1132:
1391:
8:
2000:
1967:
1942:
1777:
1730:
1725:
1539:
1496:
1486:
1436:
1321:
1173:
1127:
1122:
1117:
1112:
1055:
696:
1456:
686:
339:
269:
artist expressing emotions on stage. Vaachikabhinaya is an important part of Yakshagana"
1962:
1952:
1922:
1897:
1683:
1621:
1481:
1411:
1281:
1188:
1107:
1092:
864:
319:
908:
A Brief Introduction to a Comparative Study of Greek and Indian Aesthetics and Poetics
2012:
1972:
1847:
1740:
1714:
1356:
1316:
1251:
1208:
1183:
1097:
1017:
917:, Indian Aesthetics and Art Activity, Simla: Indian Institute of Advanced Study, 1968
885:
823:
776:
739:
460:
335:
278:
245:
168:
150:
1476:
1426:
1371:
1286:
1271:
1218:
881:
856:
701:
680:
423:
326:
1808:
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
1361:
1301:
1178:
817:
650:
575:
428:
957:
Rasa, Sringara and Sringara Rasa: Aesthetics as Mass Culture in Indian Antiquity
439:
is a sentiment or emotion evoked in each member of the audience by the art. The
1947:
1927:
1797:
1554:
1506:
1466:
1401:
1351:
1331:
1266:
994:, Frontiers of Transculturality in Contemporary Aesthetics, Turin (Italy): 2001
950:
Aesthetics Beyond/ Within Aesthetics: The Scope and Limits of Indian Aesthetics
241:
233:
229:
192:
2027:
1977:
1767:
1626:
1549:
1491:
1406:
1386:
1246:
1198:
400:
376:
356:
352:
330:
176:
1168:
518:
244:
of abhinaya remains extremely rich in variations of the emotions, while the
1581:
1446:
1326:
1306:
1158:
464:
418:
290:
847:
Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".
610:
581:
564:
549:
548:
534:
519:
504:
489:
473:
236:
condemned Rukmini Devi's puritanistic interpretations and applications of
1750:
1703:
1559:
1511:
1471:
1421:
1213:
677:– A Japanese beauty concept with influence from Indian aesthetic concepts
612:
463:
of a frightened person is black, and the aura of an angry person is red.
303:
674:
1720:
1698:
1591:
1376:
1336:
1296:
1163:
1078:
868:
266:
196:
172:
138:
943:
Representation in Painting and Drama: Arguments from Indian Aesthetics
431:
and other performance arts, written between 200 BC and 200 AD. In the
1631:
1601:
1396:
1341:
1261:
1193:
691:
364:
360:
200:
184:
860:
796:
41:
1932:
1666:
1616:
1596:
1461:
669:
660:
472:
456:
274:
237:
663:, misplaced vowels or missing conjuncts instead of Indic text.
488:
452:
443:
mentions six rasa in one section, but in the dedicated section on
1745:
1693:
1651:
1636:
1606:
175:
underpinning of all Indian classical dance and theatre, such as
1678:
1656:
1586:
1564:
619:
588:
481:
188:
180:
901:
Aesthetic Enjoyment: Its Background in Philosophy and Medicine
752:
406:
391:
261:
155:
1451:
1047:
683:– An ancient Sanskrit text on performance arts and aesthetics
628:
571:
541:
511:
497:
480:(शृङ्गारः): Romance, Love, attractiveness. Presiding deity:
432:
411:
160:
1672:
1646:
557:
527:
915:
Nature of Aesthetic Enjoyment in Greek and Indian Analyses
1641:
978:
Emotion, Aesthetic Experience and the Contextualist Turn
966:, Journal of Comparative Literature and Aesthetics: 1996
952:, Journal of Comparative Literature and Aesthetics: 1995
945:, Journal of Comparative Literature and Aesthetics: 1992
931:, Journal of Comparative Literature and Aesthetics: 1978
922:
The Concept of Imitation in Greek and Indian Aesthetics
731:
314:
or poetic suggestion, by arguing for the existence of
1858:
The Work of Art in the Age of Mechanical Reproduction
496:(हास्यं): Laughter, mirth, comedy. Presiding deity:
929:
Understanding and Enjoyment in Aesthetic Experience
66:. Unsourced material may be challenged and removed.
1007:
987:, East and West in Aesthetics, Siena (Italy): 1997
985:Dhvani as a Pivot in Sanskrit Literary Aesthetics
973:, Indian Response to Literary Theory, Delhi: 1996
207:in classical Indian dance form is referred to as
2025:
526:(कारुण्यं): Compassion, mercy. Presiding deity:
410:Raudram rasa of the destructive fury of goddess
159:Raudram rasa of the destructive fury of goddess
992:Transculturality of Classical Indian Aesthetics
587:(अद्भुतं): Wonder, amazement. Presiding deity:
540:(बीभत्सं): Disgust, aversion. Presiding deity:
144:
29:"Navarasa" redirects here. For other uses, see
1001:, Vishvanatha Kaviraja Institute (India): 1995
875:
720:
306:as a specifically religious feeling of peace (
1063:
1788:The Literary Mind and the Carving of Dragons
1016:. New York: The Metropolitan Museum of Art.
980:, International Yearbook of Aesthetics: 1996
846:
758:
725:
289:meaning "science of"), a work attributed to
605:" (the nine rasas), could come into vogue.
556:(भयानकं): Horror, terror. Presiding deity:
1070:
1056:
819:A Rasa Reader: Classical Indian Aesthetics
809:
342:colored by the emotional tone of a drama.
822:. Columbia University Press. p. 48.
738:. Bloomsbury Academic. pp. 102–103.
714:
355:mentions Bhakti in his commentary on the
297:
126:Learn how and when to remove this message
903:, Calcutta: University of Calcutta, 1966
405:
390:
273:Rasa theory blossoms beginning with the
260:
154:
815:
248:expressions are more limited in scope.
14:
2026:
735:Approaches to Acting: Past and Present
447:it states and discusses eight primary
345:
1051:
770:
370:
64:adding citations to reliable sources
35:
910:, Calcutta: Sen Ray & Co., 1954
24:
938:, Milan (Italy): Rubberttino, 1995
893:
816:Pollock, Sheldon (26 April 2016).
570:(वीरं): Heroism. Presiding deity:
421:enunciated the eight rasas in the
25:
2065:
1031:
1012:India: art and culture, 1300-1900
510:(रौद्रं): Fury. Presiding deity:
2006:
924:, Calcutta: Rupa & Co., 1977
641:
386:
40:
732:Daniel Meyer-Dinkgräfe (2005).
618:: Peace or tranquility. deity:
256:
51:needs additional citations for
1077:
999:Contemporary Indian Aesthetics
936:Contemporary Indian Aesthetics
886:10.1093/obo/9780195399318-0071
840:
789:
764:
595:
427:, an ancient Sanskrit text of
13:
1:
707:
1918:Aestheticization of politics
1042:Bhāva (psychological states)
145:Rasas in the performing arts
7:
1008:Welch, Stuart Cary (1985).
880:. Oxford University Press.
849:Educational Theatre Journal
634:
611:
582:
565:
550:
535:
520:
505:
490:
474:
467:established the following:
10:
2070:
622:. Colour: perpetual white.
251:
240:rasa. The abhinaya of the
148:
28:
1986:
1910:
1759:
1532:
1239:
1151:
1085:
771:Ghosh, Manomohan (2002).
217:carefully delineates the
31:Navarasa (disambiguation)
2039:Movements in aesthetics
1938:Evolutionary aesthetics
1888:The Aesthetic Dimension
959:, Lahti (Finland): 1995
876:Natalia Lidova (2014).
661:question marks or boxes
203:and others. Expressing
1868:Avant-Garde and Kitsch
1818:Lectures on Aesthetics
1044:- in the Natya-shastra
997:Sukla, Ananta Charan,
990:Sukla, Ananta Charan,
983:Sukla, Ananta Charan,
976:Sukla, Ananta Charan,
969:Sukla, Ananta Charan,
962:Sukla, Ananta Charan,
955:Sukla, Ananta Charan,
948:Sukla, Ananta Charan,
941:Sukla, Ananta Charan,
934:Sukla, Ananta Charan,
927:Sukla, Ananta Charan,
920:Sukla, Ananta Charan,
649:This article contains
415:
403:
298:Kashmiri aestheticians
270:
164:
2054:History of aesthetics
2013:Philosophy portal
484:. Colour: light green
409:
394:
264:
158:
1958:Philosophy of design
1838:In Praise of Shadows
1828:The Critic as Artist
329:) and aesthetician,
285:meaning "drama" and
221:used to create each
60:improve this article
1968:Philosophy of music
1943:Mathematical beauty
761:, pp. 249–250.
721:Natalia Lidova 2014
697:Sanskrit Literature
435:performing arts, a
346:Inclusion of bhakti
75:"Indian aesthetics"
1963:Philosophy of film
1953:Patterns in nature
1923:Applied aesthetics
1898:Why Beauty Matters
1684:Life imitating art
1545:Art for art's sake
416:
404:
371:Attention to rasas
320:aesthetic distance
271:
165:
2049:Indian philosophy
2021:
2020:
1973:Psychology of art
1848:Art as Experience
1038:Rasa (sentiments)
829:978-0-231-54069-8
759:Wallace Dace 1963
745:978-1-4411-0381-9
657:rendering support
246:Pandanallur style
151:Rasa (aesthetics)
136:
135:
128:
110:
18:Indian Aesthetics
16:(Redirected from
2061:
2011:
2010:
2009:
1903:
1893:
1883:
1873:
1863:
1853:
1843:
1833:
1823:
1813:
1803:
1793:
1783:
1773:
1072:
1065:
1058:
1049:
1048:
1027:
889:
872:
834:
833:
813:
807:
806:
804:
803:
793:
787:
786:
768:
762:
756:
750:
749:
729:
723:
718:
702:Sanskrit Theatre
687:Nātyakalpadrumam
645:
644:
616:
591:. Colour: yellow
585:
568:
553:
538:
523:
508:
493:
477:
414:in Bharatanatyam
327:Kashmir Shaivism
171:still forms the
163:in Bharatanatyam
131:
124:
120:
117:
111:
109:
68:
44:
36:
21:
2069:
2068:
2064:
2063:
2062:
2060:
2059:
2058:
2044:Literary theory
2024:
2023:
2022:
2017:
2007:
2005:
1982:
1906:
1901:
1891:
1881:
1878:Critical Essays
1871:
1861:
1851:
1841:
1831:
1821:
1811:
1801:
1791:
1781:
1771:
1755:
1528:
1442:Ortega y Gasset
1235:
1147:
1081:
1076:
1034:
1024:
896:
894:Further reading
861:10.2307/3204783
843:
838:
837:
830:
814:
810:
801:
799:
795:
794:
790:
783:
769:
765:
757:
753:
746:
730:
726:
719:
715:
710:
666:
665:
664:
655:Without proper
646:
642:
637:
598:
560:. Colour: black
500:. Colour: white
429:dramatic theory
389:
373:
348:
300:
259:
254:
153:
147:
132:
121:
115:
112:
69:
67:
57:
45:
34:
23:
22:
15:
12:
11:
5:
2067:
2057:
2056:
2051:
2046:
2041:
2036:
2034:Dance in India
2019:
2018:
2016:
2015:
2003:
1998:
1993:
1987:
1984:
1983:
1981:
1980:
1975:
1970:
1965:
1960:
1955:
1950:
1948:Neuroesthetics
1945:
1940:
1935:
1930:
1928:Arts criticism
1925:
1920:
1914:
1912:
1908:
1907:
1905:
1904:
1894:
1884:
1874:
1864:
1854:
1844:
1834:
1824:
1814:
1804:
1798:On the Sublime
1794:
1784:
1774:
1763:
1761:
1757:
1756:
1754:
1753:
1748:
1743:
1738:
1733:
1728:
1723:
1718:
1711:
1706:
1701:
1696:
1691:
1686:
1681:
1676:
1669:
1664:
1662:Interpretation
1659:
1654:
1649:
1644:
1639:
1634:
1629:
1624:
1619:
1614:
1609:
1604:
1599:
1594:
1589:
1584:
1579:
1578:
1577:
1572:
1562:
1557:
1555:Artistic merit
1552:
1547:
1542:
1536:
1534:
1530:
1529:
1527:
1526:
1519:
1514:
1509:
1504:
1499:
1494:
1489:
1484:
1479:
1474:
1469:
1464:
1459:
1454:
1449:
1444:
1439:
1434:
1429:
1424:
1419:
1414:
1409:
1404:
1399:
1394:
1389:
1384:
1379:
1374:
1369:
1364:
1359:
1354:
1349:
1344:
1339:
1334:
1329:
1324:
1319:
1314:
1309:
1304:
1299:
1294:
1289:
1284:
1279:
1274:
1269:
1264:
1259:
1254:
1249:
1243:
1241:
1237:
1236:
1234:
1233:
1226:
1221:
1216:
1211:
1206:
1204:Psychoanalysis
1201:
1196:
1191:
1186:
1181:
1176:
1171:
1166:
1161:
1155:
1153:
1149:
1148:
1146:
1145:
1140:
1135:
1130:
1125:
1120:
1115:
1110:
1105:
1100:
1095:
1089:
1087:
1083:
1082:
1075:
1074:
1067:
1060:
1052:
1046:
1045:
1033:
1032:External links
1030:
1029:
1028:
1022:
1005:
1002:
995:
988:
981:
974:
967:
960:
953:
946:
939:
932:
925:
918:
911:
904:
895:
892:
891:
890:
873:
855:(3): 249–254.
842:
839:
836:
835:
828:
808:
797:"The Navarasa"
788:
781:
763:
751:
744:
724:
712:
711:
709:
706:
705:
704:
699:
694:
689:
684:
678:
672:
659:, you may see
647:
640:
639:
638:
636:
633:
624:
623:
597:
594:
593:
592:
578:
561:
545:
544:. Colour: blue
531:
530:. Colour: grey
515:
501:
485:
455:arises out of
395:Expression of
388:
385:
372:
369:
347:
344:
299:
296:
258:
255:
253:
250:
242:Melattur style
234:Balasaraswathi
230:Balasaraswathi
167:The theory of
149:Main article:
146:
143:
134:
133:
48:
46:
39:
9:
6:
4:
3:
2:
2066:
2055:
2052:
2050:
2047:
2045:
2042:
2040:
2037:
2035:
2032:
2031:
2029:
2014:
2004:
2002:
1999:
1997:
1994:
1992:
1989:
1988:
1985:
1979:
1978:Theory of art
1976:
1974:
1971:
1969:
1966:
1964:
1961:
1959:
1956:
1954:
1951:
1949:
1946:
1944:
1941:
1939:
1936:
1934:
1931:
1929:
1926:
1924:
1921:
1919:
1916:
1915:
1913:
1909:
1900:
1899:
1895:
1890:
1889:
1885:
1880:
1879:
1875:
1869:
1865:
1859:
1855:
1850:
1849:
1845:
1840:
1839:
1835:
1829:
1825:
1820:
1819:
1815:
1810:
1809:
1805:
1800:
1799:
1795:
1790:
1789:
1785:
1780:
1779:
1775:
1770:
1769:
1768:Hippias Major
1765:
1764:
1762:
1758:
1752:
1749:
1747:
1744:
1742:
1739:
1737:
1734:
1732:
1729:
1727:
1724:
1722:
1719:
1717:
1716:
1712:
1710:
1707:
1705:
1702:
1700:
1697:
1695:
1692:
1690:
1687:
1685:
1682:
1680:
1677:
1675:
1674:
1670:
1668:
1665:
1663:
1660:
1658:
1655:
1653:
1650:
1648:
1645:
1643:
1640:
1638:
1635:
1633:
1630:
1628:
1627:Entertainment
1625:
1623:
1620:
1618:
1615:
1613:
1610:
1608:
1605:
1603:
1600:
1598:
1595:
1593:
1590:
1588:
1585:
1583:
1580:
1576:
1573:
1571:
1568:
1567:
1566:
1563:
1561:
1558:
1556:
1553:
1551:
1550:Art manifesto
1548:
1546:
1543:
1541:
1540:Appropriation
1538:
1537:
1535:
1531:
1525:
1524:
1520:
1518:
1515:
1513:
1510:
1508:
1505:
1503:
1500:
1498:
1495:
1493:
1490:
1488:
1485:
1483:
1480:
1478:
1475:
1473:
1470:
1468:
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1438:
1435:
1433:
1432:Merleau-Ponty
1430:
1428:
1425:
1423:
1420:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1400:
1398:
1395:
1393:
1390:
1388:
1385:
1383:
1380:
1378:
1375:
1373:
1370:
1368:
1365:
1363:
1360:
1358:
1355:
1353:
1350:
1348:
1345:
1343:
1340:
1338:
1335:
1333:
1330:
1328:
1325:
1323:
1320:
1318:
1315:
1313:
1310:
1308:
1305:
1303:
1300:
1298:
1295:
1293:
1290:
1288:
1285:
1283:
1280:
1278:
1275:
1273:
1270:
1268:
1265:
1263:
1260:
1258:
1255:
1253:
1250:
1248:
1247:Abhinavagupta
1245:
1244:
1242:
1238:
1232:
1231:
1227:
1225:
1222:
1220:
1217:
1215:
1212:
1210:
1207:
1205:
1202:
1200:
1199:Postmodernism
1197:
1195:
1192:
1190:
1187:
1185:
1182:
1180:
1177:
1175:
1172:
1170:
1167:
1165:
1162:
1160:
1157:
1156:
1154:
1150:
1144:
1141:
1139:
1136:
1134:
1131:
1129:
1126:
1124:
1121:
1119:
1116:
1114:
1111:
1109:
1106:
1104:
1101:
1099:
1096:
1094:
1091:
1090:
1088:
1084:
1080:
1073:
1068:
1066:
1061:
1059:
1054:
1053:
1050:
1043:
1039:
1036:
1035:
1025:
1023:9780944142134
1019:
1015:
1014:
1011:
1006:
1003:
1000:
996:
993:
989:
986:
982:
979:
975:
972:
968:
965:
961:
958:
954:
951:
947:
944:
940:
937:
933:
930:
926:
923:
919:
916:
912:
909:
905:
902:
898:
897:
887:
883:
879:
874:
870:
866:
862:
858:
854:
850:
845:
844:
831:
825:
821:
820:
812:
798:
792:
784:
782:81-7080-076-5
778:
774:
767:
760:
755:
747:
741:
737:
736:
728:
722:
717:
713:
703:
700:
698:
695:
693:
690:
688:
685:
682:
679:
676:
673:
671:
668:
667:
662:
658:
654:
652:
632:
630:
621:
617:
615:
614:
608:
607:
606:
604:
590:
586:
584:
579:
577:
573:
569:
567:
562:
559:
555:
554:
552:
546:
543:
539:
537:
532:
529:
525:
524:
522:
516:
514:. Colour: red
513:
509:
507:
502:
499:
495:
494:
492:
486:
483:
479:
478:
476:
470:
469:
468:
466:
462:
458:
454:
450:
446:
442:
441:Natya Shastra
438:
434:
430:
426:
425:
420:
413:
408:
402:
401:Bharatanatyam
399:(Romance) in
398:
393:
387:The navarasas
384:
382:
378:
368:
366:
362:
358:
357:Natya Shastra
354:
353:Abhinavagupta
351:and Aacharya
343:
341:
337:
332:
331:Abhinavagupta
328:
323:
321:
317:
313:
309:
305:
295:
292:
288:
284:
280:
276:
268:
263:
249:
247:
243:
239:
235:
231:
226:
224:
220:
216:
212:
211:
210:Rasa-abhinaya
206:
202:
198:
194:
190:
186:
182:
178:
177:Bharatanatyam
174:
170:
162:
157:
152:
142:
140:
130:
127:
119:
116:December 2016
108:
105:
101:
98:
94:
91:
87:
84:
80:
77: –
76:
72:
71:Find sources:
65:
61:
55:
54:
49:This article
47:
43:
38:
37:
32:
27:
19:
1896:
1886:
1876:
1846:
1836:
1816:
1806:
1796:
1786:
1776:
1766:
1713:
1689:Magnificence
1671:
1521:
1487:Schopenhauer
1322:Coomaraswamy
1240:Philosophers
1228:
1159:Aestheticism
1102:
1013:
1010:
998:
991:
984:
977:
970:
963:
956:
949:
942:
935:
928:
921:
914:
913:Sen, R. K.,
907:
906:Sen, R. K.,
900:
899:Sen, R. K.,
878:Natyashastra
877:
852:
848:
818:
811:
800:. Retrieved
791:
772:
766:
754:
734:
727:
716:
648:
625:
609:
602:
599:
580:
563:
547:
533:
517:
503:
487:
471:
465:Bharata Muni
448:
444:
440:
436:
422:
419:Bharata Muni
417:
396:
380:
374:
363:. It is the
349:
336:Nātyashāstra
324:
315:
311:
307:
301:
291:Bharata Muni
286:
282:
279:Nātyashāstra
272:
257:Natyashastra
227:
222:
218:
214:
209:
208:
204:
166:
137:
122:
113:
103:
96:
89:
82:
70:
58:Please help
53:verification
50:
26:
1782:(c. 335 BC)
1772:(c. 390 BC)
1751:Work of art
1704:Picturesque
1560:Avant-garde
1517:Winckelmann
1392:Kierkegaard
1317:Collingwood
1287:Baudrillard
1214:Romanticism
1184:Historicism
1118:Mathematics
841:Works cited
773:Natyasastra
681:Nātyasāstra
596:Śāntaṃ rasa
424:Nātyasāstra
375:Poets like
316:rasa-dhvani
304:shānta-rasa
215:Nātyasāstra
2028:Categories
1721:Recreation
1699:Perception
1592:Creativity
1292:Baumgarten
1282:Baudelaire
1164:Classicism
1079:Aesthetics
802:2012-04-22
708:References
651:Indic text
574:. Colour:
551:Bhayānakaṃ
267:Yakshagana
197:Kudiyattam
139:Indian art
86:newspapers
1726:Reverence
1632:Eroticism
1602:Depiction
1575:Masculine
1477:Santayana
1437:Nietzsche
1382:Hutcheson
1372:Heidegger
1357:Greenberg
1312:Coleridge
1277:Balthasar
1262:Aristotle
1224:Theosophy
1219:Symbolism
1194:Modernism
1179:Formalism
692:Rasa lila
536:Bībhatsam
365:Bhagavata
361:Tyagaraja
201:Kathakali
185:Kuchipudi
173:aesthetic
2001:Category
1933:Axiology
1802:(c. 500)
1792:(c. 100)
1667:Judgment
1622:Emotions
1617:Elegance
1597:Cuteness
1570:Feminine
1533:Concepts
1502:Tanizaki
1482:Schiller
1467:Richards
1457:Rancière
1427:Maritain
1362:Hanslick
1302:Benjamin
1174:Feminism
1143:Theology
1123:Medieval
1113:Japanese
1108:Internet
675:Bishōnen
670:Abhinaya
635:See also
603:Navarasa
583:Adbhutaṃ
521:Kāruṇyaṃ
475:Śṛṅgāraḥ
457:Sringara
397:Sringāra
377:Kālidāsa
275:Sanskrit
238:Sringara
193:Manipuri
1996:Outline
1911:Related
1778:Poetics
1746:Tragedy
1736:Sublime
1709:Quality
1694:Mimesis
1652:Harmony
1637:Fashion
1612:Ecstasy
1607:Disgust
1523:more...
1492:Scruton
1417:Lyotard
1352:Goodman
1332:Deleuze
1267:Aquinas
1257:Alberti
1230:more...
1209:Realism
1189:Marxism
1169:Fascism
1152:Schools
1138:Science
1093:Ancient
869:3204783
576:saffron
506:Raudraṃ
287:shāstra
252:History
100:scholar
1902:(2009)
1892:(1977)
1882:(1946)
1872:(1939)
1862:(1935)
1852:(1934)
1842:(1933)
1832:(1891)
1822:(1835)
1812:(1757)
1679:Kitsch
1657:Humour
1587:Comedy
1565:Beauty
1507:Vasari
1497:Tagore
1472:Ruskin
1412:Lukács
1402:Langer
1347:Goethe
1272:Balázs
1252:Adorno
1133:Nature
1098:Africa
1020:
867:
826:
779:
742:
620:Vishnu
613:Śāntaṃ
589:Brahma
491:Hāsyaṃ
482:Vishnu
459:. The
433:Indian
312:dhvani
219:bhavas
213:. The
189:Odissi
181:kathak
102:
95:
88:
81:
73:
1991:Index
1760:Works
1741:Taste
1731:Style
1512:Wilde
1452:Plato
1447:Pater
1407:Lipps
1367:Hegel
1337:Dewey
1327:Danto
1307:Burke
1128:Music
1103:India
1086:Areas
865:JSTOR
629:yogis
572:Indra
566:Vīraṃ
542:Shiva
512:Shiva
498:Shiva
453:Hāsya
412:Durga
340:Atman
308:śānta
283:nātya
277:text
169:rasas
161:Durga
107:JSTOR
93:books
1715:Rasa
1673:Kama
1647:Gaze
1582:Camp
1462:Rand
1397:Klee
1387:Kant
1377:Hume
1297:Bell
1040:and
1018:ISBN
824:ISBN
777:ISBN
740:ISBN
558:Yama
528:Yama
461:Aura
449:rasa
445:rasa
437:rasa
381:rasa
223:rasa
205:Rasa
79:news
1642:Fun
1422:Man
1342:Fry
882:doi
857:doi
265:"A
62:by
2030::
1870:"
1860:"
1830:"
863:.
853:15
851:.
775:.
631:.
225:.
199:,
195:,
191:,
187:,
183:,
179:,
1866:"
1856:"
1826:"
1071:e
1064:t
1057:v
1026:.
888:.
884::
871:.
859::
832:.
805:.
785:.
748:.
653:.
601:"
281:(
129:)
123:(
118:)
114:(
104:·
97:·
90:·
83:·
56:.
33:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.