Rasa: Love Relationships in Transcendence
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Rasaesthetics Richard Schechner Where in the body is theatricality located? What is its place? Traditionally in Western theatre, the eyes and to some degree the ears are where theatricality is experienced. By etymology and by practice a theatre is a “place of/for seeing.” Seeing requires distance; engenders focus or differentiation; encourages analysis or breaking apart into logical strings; privileges meaning, theme, narration. Modern science depends on instruments of observation, of ocularity: tele- scopes and microscopes. Theories derived from observations made by means of ocular instruments define the time-space continuum. From super-galactic strings on the one hand to molecular and subatomic wave particles on the other, we “know” the universe by “seeing” it. See = know; know = see; speed = space; distance = time; diachronicity = story. But in other cultural traditions there are other locations for theatricality. One of these, the mouth, or better said, the snout-to-belly-to-bowel—the route through the body managed by the enteric nervous system—is the topic of this essay. The snout-to-belly-to-bowel is the “where” of taste, digestion, and excretion. The performance of the snout-to-belly-to-bowel is an ongoing interlinked muscular, cellular, and neurological process of testing-tasting, separating nourishment from waste, distributing nourishment throughout the body, and eliminating waste. The snout-to-belly-to-bowel is the where of in- timacy, sharing of bodily substances, mixing the inside and the outside, emo- tional experiences, and gut feelings. A good meal with good company is a pleasure; so is foreplay and lovemaking; so is a good shit. -
Sanskrutha Bharathi, New Jersey & Sangam Festival
Sanskrutha Bharathi, New Jersey & Sangam Festival- Princeton, New Jersey hosted a seminar and performance - commemorating the 1000th year of the Kashmirian genius Acharya Abhinavagupta on Saturday, April 8th 2017. The program opened with a brief prayer followed by a paper presentation by Bharatanatyam exponent and scholar Bala Devi Chandrashekar on Sri Abhinavagupta's commentary on Bharata muni's treatise "Natya shastra". The presentation stressed the immense value of understanding Abhinava Gupta's commentary "Abhinava Bharathi" to comprehend Natya Sastra. The Key takeaways from Bala Devi's presentation - Abhinava Gupta's two major works on aesthetics are - Dhvanyaloka -locana and Abhinava Bharati, they point towards his quest into the nature of aesthetic experience. In both these works Abhinava Gupta suggests that aesthetic experience is something beyond worldly experience, and has used the word ‘Alaukika’ to distinguish the former feeling from the mundane latter ones. He subscribes to the theory of Rasa Dhvani and thus entered the ongoing aesthetic debate on nature of aesthetic pleasure. Bharatha in Natyashastra, his pioneering work on Indian dramatics, mentions eight rasas and says rasa is produced when ‘Vibhaava’, Anubhava and Vyabhichari bhava come together. According to Abhinavagupta, the aesthetic experience is the manifestation of the self. It is similar to the spiritual experience as one transcends the limitations of one's limited self because of the process of universalisation taking place during the aesthetic contemplation of characters depicted in the work of art. Abhinavagupta maintains that this rasa is the supreme good of all literature. Abhinavagupta extended the eight rasas categorized by Bharata, by adding one more to the list, the Shanta rasa. -
Bhagavata Purana
Bhagavata Purana The Bh āgavata Pur āṇa (Devanagari : भागवतपुराण ; also Śrīmad Bh āgavata Mah ā Pur āṇa, Śrīmad Bh āgavatam or Bh āgavata ) is one of Hinduism 's eighteen great Puranas (Mahapuranas , great histories).[1][2] Composed in Sanskrit and available in almost all Indian languages,[3] it promotes bhakti (devotion) to Krishna [4][5][6] integrating themes from the Advaita (monism) philosophy of Adi Shankara .[5][7][8] The Bhagavata Purana , like other puranas, discusses a wide range of topics including cosmology, genealogy, geography, mythology, legend, music, dance, yoga and culture.[5][9] As it begins, the forces of evil have won a war between the benevolent devas (deities) and evil asuras (demons) and now rule the universe. Truth re-emerges as Krishna, (called " Hari " and " Vasudeva " in the text) – first makes peace with the demons, understands them and then creatively defeats them, bringing back hope, justice, freedom and good – a cyclic theme that appears in many legends.[10] The Bhagavata Purana is a revered text in Vaishnavism , a Hindu tradition that reveres Vishnu.[11] The text presents a form of religion ( dharma ) that competes with that of the Vedas , wherein bhakti ultimately leads to self-knowledge, liberation ( moksha ) and bliss.[12] However the Bhagavata Purana asserts that the inner nature and outer form of Krishna is identical to the Vedas and that this is what rescues the world from the forces of evil.[13] An oft-quoted verse is used by some Krishna sects to assert that the text itself is Krishna in literary -
Rasa Aesthetics Goes Global: Relevance and Legitimacy
CHAPTER TWO Rasa Aesthetics Goes Global: Relevance and Legitimacy PRIYADARSHI PATNAIK Quantum Physics makes me so happy! It is like looking at the universe naked. Ohh . Sheldon’s words in the sitcom The Big Bang Theory, Season 5, Episode 20. This living hand, now warm and capable Of earnest grasping, would, if it were cold And in the icy silence of the tomb, So haunt thy days and chill thy dreaming nights That thou would wish thine own heart dry of blood So in my veins red life might stream again, And thou be conscience-calm’d–see here it is— I hold it towards you.1 John Keats, “This Hand, Now Warm and Capable.” I. INTRODUCTION Let us begin this chapter with the two quotes above which raise more questions than they answer. What is it that makes Keats’s poem successful? Why does it make us marvel and yet leave us in a state where it is difficult to pinpoint what we feel?W hat is it in this string of words that makes us experience emotions that have nothing to do with our lives? Similarly, when Sheldon looks at his whiteboard of equations in The Big Bang Theory and blurts out the words above, we see rare emotions in a person who is generally unmoved by emotions of everyday life or art. What motivates such Copyright © ${Date}. ${Publisher}. All rights reserved. © ${Date}. ${Publisher}. Copyright reaction? Whatever else we may say, we cannot deny that these questions are as pertinent today as they must have been when Bharata’s NāṭyaŚāstra attempted to answer such questions through the aesthetic concept of rasa. -
The Essential Vedanta: a New Source Book of Advaita Vedanta
Religion/Hinduism Deutsch & Dalvi “[This book] is overall an excellent collection of Advaita philosophic litera- ture, much of it quite inaccessible in translation (even some of the extant translations are now difficult to obtain), and ought to be in the library of The Essential everyone interested in the study of Indian philosophy.” The Essential —Richard Brooks, in Philosophy East and West Vedanta “The publication of this book is an event of the greatest significance for everybody who is interested in the history of philosophy, and of Indian philosophy in particular, due to at least three reasons. First, Advaita Vedānta Vedanta more than any other school represents the peculiarity of Indian thought, so much so that it is often identified with Indian philosophy. Second, the interplay between Vedānta and other Indian philosophical schools and A New Source Book of religious traditions presents to the readers, in the long run, practically a vast panorama of Indian thought and spirituality. Third, the richness of Vedānta Advaita Vedanta sources included in the book, masterly combined with a philosophical reconstruction made by Eliot Deutsch, one of the most respected contem- porary authorities both in Vedānta and comparative philosophy.” —Marietta Stepaniants, Director, Institute of Oriental Philosophy, Russian Academy of Sciences “The learned editors deserve congratulations for providing us with a complete picture of the origin and the development of Advaita Vedānta in historical perspective from its inception in the Vedic texts. It is a well conceived and well executed anthology of Vedānta philosophy from the original texts, rich in content, most representative and complete in all respects.” —Deba Brata SenSharma, Ex-Director, Institute of Sanskrit and Indological Studies, Kurukshetra University “This volume is a significant contribution, and is a great aid to the study of Advaita Vedānta from its primary source material. -
Final Senior Fellowship Report
FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God. -
The Tradition of Kuchipudi Dance-Dramas1
The Tradition of Kuchipudi Dance-dramas1 Sunil Kothari The Historical Background Of the many branches of learning which flourished in Andhra from very early ti.mes not the least noteworthy is the tradition of the Natyashastra, embracing the tw1n arts of music and dance. The Natyashastra mentions the Andhra region m connection with a particular style of dance in the context of the Vritti-s. Bharata refers to Kaishiki Vrittt: a delicate and graceful movement in the dance of this reg1on .2 A particular raga by the name of Andhri was the contribution of this region to the music of India. The dance traditions in Andhra can be traced to various sources. The ancient temples, the Buddhist ruins excavated at Nagarjunakonda, Amaravati, Ghantasala, Jagayyapet and Bhattiprole indicate a flourishing dance tradition in Andhra. Of these the Amaravati stupa relics are the most ancient dating back to the second century B.C.3 They reveal the great choreographic possibilities of group and composite dances called pind1bandha-s, mentioned by Bharata and on which Abhinavagupta gives a detailed commentary in Abhinava Bharat1: 4 The history of dance, divided into two periods for the sake of convenience on account of the continuity of the Sanskrit and the later development of the vernacular regional languages, admits of two broad limits : from the second century B.C. to the ninth century A.D. and from the tenth century A.D. to the eighteenth century A.D. The latter period coincides with the growth of various regional styles and with the development of the tradition of Kuchipudi dance dramas. -
What Sanskrit Drama Might Teach Us About Music and Audience Reception of Later Greek Drama As Alexander the Great Spread Hellen
What Sanskrit drama might teach us about Music and Audience Reception of later Greek drama As Alexander the Great spread Hellenism through the Mediterranean to India, theatre venues expanded east far beyond Athens and theatre audiences grew more socially and ethnically diverse. Thus, we must ask how theatrical performances during this time succeeded in communicating the proper emotions to a mixed audience. In recent years, scholars of later Greek theatre have examined the problems of a more diverse audience in terms of gender, ethnicity and class, and exhort us to consider the input of non- Athenian, non-Greek communities (e.g. Hall 2006, Gildenhard & Revermann 2010, Moore 2012). The influence of Richard Shechner's broad and inclusive performance theory (1988) has further stimulated scholars of Greek theatre to employ cross-cultural and cross-genre comparisons. In this paper I illustrate how music may have been used in later Greek drama to produce the appropriate pleasure (Aristotle's hēdonē) for mixed audiences, through cross-cultural comparison with music as employed in Sanskrit drama. Music, song, and dance were an essential, pervasive part of both ancient Greek and Indian drama and worked together to stimulate and give pleasure to large, mixed audiences (Gupt 1994:274). Both Greek and Indian writers on drama and music share the idea that a successful performance leads all spectators toward virtue, good character, and appropriate pleasure. I focus on two forms of Indian drama—Kutiyattam and Kathakali dance-drama of Kerala—still performed today in India before mixed audiences. The key to success of these productions is the way they combine different emotions through music, dance, and drama to create rasa 'aesthetic pleasure'. -
Satvika Abhinaya in Kathakali
The game of dice from the Mahabharata. Satvika Abhinaya in Kathakali M. K. K. Nayar The forest is thick and frightening, yet cool. The sun is low in the sky, scattering its rays through the thick foliage, laying a carpet of golden flowers on the shores of the gurgling stream. A doe, in labour pains, gently moves along to find a safe and cosy corner to give birth to its offspring. It relaxes on the dry ground close to the water. It is startled by the sound of a dry twig breaking. Peering into the distance, its sad eyes catch a glimpse of a hunter, stalking it carefully, his bow strung and poised to pierce it. The doe is lying far too much in the open. Since it cannot flee, it must hide nearby. As it turns around, it is stricken with fear at the sight of a tiger approaching it from the direction where it hoped to hide. The doe must somehow escape, but the dried grass behind it has caught fire. Thus the creature is hemmed in on all sides, by the river, the fire, the hunter and the tiger. The impending peril aggravates the doe's labour pains. In sheer agony, it looks around only to see the flowing river, the rag ing fire, the approaching hunter, and the tiger ready to spring. All hope of escape seems to be lost when suddenly a flash of lightning rents the sky, followed by a thunderstorm. Struck by lightning, the hunter dies; his arrow misses its aim and kills the tiger instead. -
Vaishnava Tantra As Outlined in the Bhagavata Krishna Kshetra Swami
Shukadeva Narrating Bhagavata Vaishnava Tantra As Outlined in the Bhagavata Krishna Kshetra Swami f you ask a vaishnava whether she or he generally an integral feature of Vaishnava cul- PAINTING: practises tantra, the answer is likely to be: ture and practice. This is particularly the case ‘No, absolutely not. I practise bhakti!’ In- in the area of formal or ritual, practices, which Y I ANN / deed, it is safe to say that most Vaishnavas con- Vaishnavas often identify asarchana —the con- N sider devotion, bhakti, to Vishnu, Narayana, stellation of activities centred on the worship of A or Krishna to be the defining feature of Vaish- Vishnu as embodied in a physical form, graphic TIONAL navism. What may be less known even within representation, or feature of physical nature. M current Vaishnava circles is that tantra—or as- Here I want to sketch some features of Vaishnava USEUM, pects of what can be identified as tantra—is tantra, particularly as these are found in one of N the most important sacred texts for Vaishnavas, EW Krishna Kshetra Swami is the dean of studies, D Bhaktivedanta College, Belgium and a research namely, the Bhagavata. I hasten to add—and ELHI fellow at the Oxford Centre for Hindu Studies, this is one reason mainstream Vaishnavas may Oxford, uk. reject the idea that they practise tantra—that 178 PB January 2016 Vaishnava Tantra As Outlined in the Bhagavata 189 the Vaishnavism I describe here firmly rejects the initiation from a qualified guru or acharya con- sorts of transgressive practices associated with veys divine grace to the sadhaka, practitioner, some forms of tantra, sometimes referred to as facilitating devotional, reciprocal exchange that ‘left-handed’ tantra, or thevama-marga . -
Conceptual Study of Dhatuposhan Nyaya
wjpmr, 2021,7(3), 81 – 83. SJIF Impact Factor: 5.922 WORLD JOURNAL OF PHARMACEUTICAL Review Article Deepak et al. World Journal of Pharmaceutical and Medical Research AND MEDICAL RESEARCH ISSN 2455-3301 www.wjpmr.com Wjpmr CONCEPTUAL STUDY OF DHATUPOSHAN NYAYA Gupta Deepak1*, Sharma Ravi2, Madan Prateek3, Tomar Anil4 and Ravindra Kumar Yadav5 1,2,3,4,5PG Scholar, PG Department of Kriya sharir, Ch, Brahm Prakash Ayurved Charak Sansthan, Khera Dabar, Najafgarh, New Delhi. *Corresponding Author: Gupta Deepak PG Scholar, PG Department of Kriya sharir, Ch, Brahm Prakash Ayurved Charak Sansthan, Khera Dabar, Najafgarh, New Delhi. DOI: https://doi.org/10.17605/OSF.IO/TYM87 Article Received on 02/01/2021 Article Revised on 23/01/2021 Article Accepted on 13/02/2021 ABSTRACT In Ayurveda text Dosha, Dhatu and mala are the biological and functional unit of body. In this series Dhatu are the essential constitution of our body, different Acharyas mention 7 types(Ras, Rakta, Mansa, Medh, Asthi, Majja and Sukra) of Dhatu which maintain and nourish human body The formation and nourishment of Dhatu is a continuing process which is occurred from the embryonic stage of the foetus to death. The nourishment of all Dhatu depends on the Ahara what we take from outside. The Ahara after digestion of Jatharagni and Bhutagni vyapara become the Ahara rasa which is analogous to the seven Dhatu. The seven Dhatu get their nourishment one after one from the Ahara Ras. The concepts of Sapta Dhatus of Ayurveda refer to the physiology of basic nutritional and structural factors of the body. -
Men in Dance with Special Emphasis on Kuchipudi, a South Indian
Men in Dance with Special Emphasis on Kuchipudi, a South Indian Classical Dance Tradition Presented at International Word Congress of Dance Research By Rajesh Chavali (MA Kuchipudi) Introduction India is a country of diverse languages, religions, cultures and castes, all assimilated seamlessly with great integrity. We must acknowledge this is not a political decision but rather a course of evolution and history. A historic perspective of ancient India with several invasions and rulers of India that didn’t belong to that land influenced a lot of what we see in todays’ India. As we can imagine and nothing out of ordinary, India has seen several intrinsic and extrinsic influences including socioeconomic condition, political influences, power struggle, hierarchy in the caste system, acceptance of the roles of man and woman in the social ecosystem, development and adoption of a variety of religions and philosophical schools of thoughts. For the scope of the current paper at this congress, I’ll focus briefly on these influences and how Indian dances evolved over time and will present more detailed discussion of origin of Kuchipudi, a south Indian classical dance form as a male tradition in Indian classical dance history to its current state. Extrinsic and Intrinsic Influences on Developing India over the Years India, as a country, has undergone several political invasions, major influencers being Mughal and British invasions. The existing cultural dances of India (classical or other non-classical forms or non-classical forms of those times that later attained classical status) in parts of the country were heavily influenced by these invasions while the relatively untouched or inaccessible parts of India, such as northeast part of India largely retained their identity.