The Concepts of Rasa (With Special Reference to Abhinavagupta)

Rasa the aesthetics pleasure is accepted as the highest value of Sanskrit Kavya in Sanskrit the world kavya includes both sravya and drsya i.e. all form of poetry and drama. The Rasa is a very old concept and is found in the Upanisad in the sense of pure consciousness or the highest reality. In the field of literary criticism Bharata, the author of the Natyasastra is the first known Acharya of the rasa theory and Abhinavagupta in his commentator Abhinavagupta hailing from Kashmir was one of the greatest philosopher and thinkers in the field of Kashmir Shaiva philosophy and literary criticism. He explained the rasa theory propounded by Bharata on the philosophical plain and raised the experience of rasa i.e. Rasasvada similar to the experience of the Highest Bliss, i.e. Brahmasvada. Abhinavagupta’ rasa theory had a great impact on the whole of rasa school of Sanskrit poetics.

The present anthology of twenty-two well researched papers representing the outcome of a national seminar hosted by Indian Institute of Advance Study Shimla sheds welcome light and presents fresh perspective on the concept of rasa.

It is hoped that the book will be as interesting to the critical readers as it will be informative to the students and scholars of Sanskrit poetics.

Prof. Suresh Chandra Pande (b. 1934 at Almora U.P now in Uttrakhand) retired as Professor and Head Sanskrit Department University of Allahabad in 1995 after a distinguished academic career of about thirty-nine years.

He was appointed Professor of Prakrit language in Parshvanath Vidyapith, Varanasi in 1995 for about two years and Visiting Professor in Indian Institute of Advance Study (IIAS) Shimla for three years in 2002.

Prof. Pande’s branch of specialization is Sanskrit poetry drama, poetics and dramaturgy. His first research work was on ‘Dhvani School and its Criticism’ and was awarded the D. Phil degree in 1965.

Prof. Pande has received many awards including the Certificate of Honour from the President of India in 2001. Sanskrit Mahamahopadhyaya from Hindi Sahitya Sammelan, Allahabad, Certificate of Honour from Sampurananad Sanskrit University and Rashtriya Sanskrit Sanathan , New Delhi and Vishishta Puraskar from Uttar Pradesh Sanskrit Sansthanam.

He has published many books and research papers and participated in several national and international seminars. His latest book Alankarakosh (the project work done during the stay at IIAS) is under publication

Rasa (aesthetic pleasure) is accepted as the highest value of poetry (kavya) hence it is called the soul of Kavya. The rasa is a very old concept and is found in the Upanisad wherein it is equated with or the synonym of Brahman the highest bliss. In the field of dramaturgy Bharata the author of the Natyasastra is the first known Acharya of the rasa theory and Abhinavagupta in his commentator. Acharya Abhinavagupta has been one of the most profound thinkers of India in the 10th century AD. He Kashmir Shaiva philosopher his contribution in the field of literary criticism is remarkable. He was the celebrated author of two commentaries – Abhinavagupta Natyasastra and Locana on the Dhvanyaloka. In both the commentaries he ahs presented a scholarity and philosophical exposition of the rasa experience in the light of the Dhavni theory of Anandavardhana. There is undercurrent of spiritually in all his writings. According to him the rasa experience though never identical with but similar to Brahmasvada because at the time of rasa realization the aesthete or the connoisseur goes beyond the limitations of the ego-centric experience. Abhinavagupta theory’s of rasa though not accepted in toto by some of the later writers on poetics particularity the anti-dhavni theorists still holds ground.

So keeping in view the importance of the rasa theory and Abhinavagupta Prof. G.C Pande the then chairman of the governing body of the Indian Institute of Advance Study, Shimla thought of making a fruitful discussion on this important subject. He asked me to organize a seminar by inviting the scholars of literary criticism from different states of India as far as possible. The present book is the outcome of that seminar.

I express my deep sense of gratitude to Prof. G. C. Pande and Prof. Mrinal Miri, the then Director of IIAS, who provided all the facilities for the smooth conduct of the seminar. I am also grateful to the present dynamic director Prof. Peter R. deSouza and also Dr. Debarshi Sen the Publication Officer and Mr. Ashok Sharma the Pro at the IIAS for expediting the long awaited publication of the book.