IKS assignment

Name of college : Maharani shree

nandkunverba mahila Arts & Commerce college

Name : Vala Nencyba Dilipsinh

Year : F.Y. B.A. (sem - 1)

Subject : English

Paper name : IKS

        (Indian knowledge service)

Date : 25th August (2025)

Professor : Rachna ma'am Dave

 

         Home Assignment

   Explanation of 'RASA SUTRA'

➡ Introduction 

1. What is RASA? 

→Relished - like the taste of food is      Rasa.

→Rasa is the soul of any litrature 

    'रसयते अनेन इति रस:'

→It established by bharat muni        

    who is the author of  

    'Natyashastra'.

→If no Rasa in litrature then it 

    becomes soulless.

→'Nahi rasa drite kashidarth 

    pravartate'

➡ "Rasa sutra"

→"विभाव अनुभाव व्यभिचारीभाव समयोगद 

    रसनिष्पति|"

→"Vibhaav anubhaav  

     Vyabhicaribhav samyogad 

     rasnishpati."

→The famous defination of Rasa

    in the aphoristic form is given

    XI chapter of Natyashastra called

    "Rasa sutra"

→Rasa is accomplished as a result 

    of the conjunction of Vibhava ,

    Anubhava and Vyabhicaribhava.

 

➡ Vibhava has two types:

1. Alambana Vibhava

2. Uddipana Vibhava

→According to 'Natyashastra' there 

    there are three types of Bhava     

    given by bharatmuni are as     

    follows. 

➡ List of bhava :

→According to 'Natyashastra' 3

    types of bhava. 

 1. Sthayibhava (08)

 2. Sancaribhava (33)

 3. Sattvikabhava (08)

➡ In detail explanation of 

    'RASA SUTRA' 

→Rasa sutra : 'विभाव अनुभाव    

    व्यभिचारीभाव समयोगद रसनिष्पति|'

➡ What is vibhava?

→Vibhava means 'Causes'. 

→Two types of vibhava are:-

 1. Alambana

 2.Uddipana

1. Alambana:

→Alambana means a person or   

    person or person with reference 

    to whom the emotion is     

    manifested. 

2. Uddipana: 

→Uddipana means circumstances 

    that have excited the emotions.

➡ What is Anubhava: 

→It means bodily expressions by 

    which is expressed. 

➡ Sthayibhava: (08)

    (According to Bharat muni)

  Sthayibhava.             Rasa

1. Rati           evokes      Srngara

2. Hasa         evokes      Hasya

3. Soka         evokes      Karuna

4. Krodha    evokes      Roudra

5. Utsaha     evokes      Vir

6. Bhaya      evokes      Bhayanaka

7. Jugupsa   evokes      Bibhatsa

8. Vismaya  evokes      Adbhuta

9. Sama        evokes      Santa

(9th rasa added by Abhinav gupta)

➡ Sancaribhava: (33)

→Sancaribhava means a series of 

    diserve emotions that feed the 

    dominant emotions.

1. Nirweda  -  Sorrounce 

2. Sanka  -  Doubt 

3. Asru  -  Envy

4. Alasya  -  Laziness

5. Harsh  -  Pleasure

➡ Sattvikbhava: (08)

1. Sweda

2. Sthambha

3. Kamp

4. Asru

5. Vaivarnya

6. Romanch

7. Svarbheda

8. Praloya

➡Rasa realisation / Rasa Nishpati

→According to bharat muni it is 

    from a combination of bhava in

    the worth that rasa arise.

→In other words can be said to set

    the mood of the works.

    eg. Angry, Sad, Terrifying, etc...

→These can be panic, fear, anger, 

    trembling, etc...

→Sattvikbhava are similar to

    vyabhicaribhava.

    eg. A tiger in a forest can we the

          cause of fear in a lonely

          traveller.

         Class assignment 

➡ Later development of Rasa

    theory :

→All the letter writes accepted the

    Bharat's principle on Rasa. Only 

    his commentators tried to put

    their own views and points 

    regarding the philosophical and

    psychological nature of Rasa.

→The commentators are Bhatt

    lollata, sri sankhuk, Bhatt nayaka

    and Abhinav gupta. The theories

    of first three scholars can be

    known only through Abhinav's

    commentary Abhinavbharti

    and through some later writers

    like Mammata, Hemachandra,

    Vipradasa, etc...  A brief account

    of the summaries of the theories

    of the commentators on Natya

    shastra is as follows.

    

➡ Bhatt lollata:

→The first author in this path is 

    Bhatta-lollata. He appears to be 

    the first author to attempt a

    psychological analysis analysis

    of Rasa. His theory is as follows.

    Rasa is produced when 

    Sthayibhava is associated with

    Vibhavas, Anubhavas and 

    Vyabhicaribhava.

→The sthayibhava originally exist

    only in the Anukarya (Ramadi)

    but as the actor is identified with

    the Anukarya (as rama) by the

    audiance hence it is thought that

    Rasa is also exist in the actor 

    himself.

→The nata imitates the original

    hero and becomes the source of 

    charm to the audience.

→His theory as known as the

    theory of production (utpatti

    vada). According to this theory 

    Rasa is in the Nata and is

    produced (karya) in action. 

    Vibhavas are karanas.

    Anubhavas are gamakas. 

    Vyabhicaribhavas are posakas.

→According to this theory 

    'samyoga' means

    Utpadya - Utpadaka

    Gamya - Gamaka and 

    Posya - Posaka

    Nishpati means uttpati

    Abhivyakti and pusti.

➡ Sri sankhuka:

→The above theory of Bhatt lollata

    was refuted by Sri sankhuka. His

    theory is based on inference and

    is called anumitivada, and is 

    affiliated to the nyaya school.

→The spectator takes Nata as the

    hero Rama. Janana is the result

    of the great skill of the Nata in

    the four kinds of abhinayas. Here

    "Ramtva" is not in the Nata but

    Ascribed to him. In natya, the 

    Artificial, imitation to karanas, 

    Karyas and Sahakarins are

    brought into use and are called

    as Vibhava, Anubhava and 

    Vyabhicaribhavas.

→As the inference of Rasa is in the

    spectator, Rasa can be 

    understood resting with them

    only. Though the sthayi is not 

    present in the actor, the spectator

    infers it is in the actor.

→This theory is known as 

   "Anumitivada".

➡ Bhatta nayaka:

→Bhatt nayaka refutes both the 

    theories of bhatt-lollata and

    Sri sankhuka. According to bhatt

    lollata Rasa is in Anukarya. 

    According to sri sankhuka Rasa

    rests in anukartr. But according 

    to Bhatt nayaka, the sentiment

    is neither dur to production.

→The words have three different

    functions, Namely, Abhida, 

    Bhavakatva and Bhojanakatva.

→Abhida is actual and direct 

    denotation of the word. With this

    function the ideas like vibhavas,

    Anubhavas and vyabhicaribhava

    are conveyed.

➡ Abhinav gupta:

→Bhatta lollata appears to be the 

    first commentator on bharata's

    Rasa sutra who opined that Rasa 

    is created in the character

   described in the play. Later, Sri -

   sankhuka, another commentator,

   contradicted Bhatta lollata's

   opinion and stated that Rasa is 

   experienced by the actor alone.

   Still later, Bhatta nayaka, another

   reputed commentator,condemned

   these two arguments outright and

   gave the opinion the Rasa is 

   experienced by the audience only 

   as a result of the histrionic 

   expression of an actor who 

   portrays the emotions pertaining

   to the character described in the

   play.

→According to bharata the Rasa is

    only Loukika Rasa. He explains 

    it on the analogy of Pakarasa. 

    when we mix food made of rice,

    wheat etc... with some vyanjanas

    a peculiar taste like sadabha is

    produced.

→They are called Natyarasas, 

    which are important in the 

    presentations.

Essay 

➡Oral traditions:

Oral traditions are a vital part of the Indian Knowledge System (IKS), serving as the oldest method of preserving and transmitting knowledge in India. Long before the invention of writing, Indian wisdom, values, customs, and teachings were passed down orally from generation to generation. These traditions include storytelling, folk songs, chants, proverbs, and epics like the Ramayana and Mahabharata.

Oral traditions also reflect India’s diverse cultural heritage, with each region having its own unique style of expression. Even today, they play a key role in keeping local languages and histories alive. Thus, oral traditions are not just a method of communication but a living bridge between the past and present in the Indian Knowledge System.