Navarasa - An Embodiment of Indian Art

An unbroken tradition is validated time and again in Indian art practices. From antiquities to the contemporary, Indian art has a strong link with 'saundarya shastra ' or aesthetics. Indian aesthetics is understood as the theorization of the theory of the beautiful. Its definition in the context of Indian rhetoricians is of a state of heightened awareness, of bliss, which transcends pleasure, declaring kinship with the spirit rather than the corporeal self.

The theory of Indian art practice is housed within the 'rasa theory' as stated by Bharata in his Natya Shastra (4th Century AD) Over the centuries philosophers and theoreticians have contributed greatly to the development of Indian aesthetics. Shilpa Shastras, written in consonance with the requirements of the Agama or liturgical texts, these tomes, which comprise, (among others) the Vishnudharmotara Purana, Samaranganasutradhara, Sukranitisara and the Shilpa Ratna, the Shilpa Sastras are amongst the most significant contributors to the understanding and comprehension of ancient Indian aesthetic practice.

Ancient Indian aesthetics have placed a distinct emphasis on the artist being the subjective beholder, expressing himself/herself in a highly detached and objective fashion. He meditates upon his experience and is able to give form to the formless. Thus the role of art is multiple--it is a means of self-expression, a record of the experiences of the artiste, a form of communication satisfying man's need to be part of a group, a way of searching for and understanding the virtues of life.

Bharata in the Natyashastra, an extraordinary text on the theatre arts, enunciated the theory of art that focuses on the idea of 'Rasa' for the first time, around the beginning of the Christian era. The Dhvanyaloka, penned by the famous aesthetician Abhinavagupta, revolutionized Sanskrit literary theory by proposing that the main goal of good poetry is the evocation of a mood or "flavor" (rasa) and that this process can be explained only by recognizing a semantic power beyond denotation and metaphor, namely, the power of suggestion. On the basis of this analysis the Locana develops a theory of the psychology of aesthetic response.

The Aesthetic experience is described as the 'tasting of flavour' or rasa swadana. Rasa literally means the quintessential essence of a work of art. A two-way process, the artist strives for rasa in his work and the rasika or connoisseur intuitively detects it. Rasa is bestowed not made. Arguably the most important term in Indian art theory, rasa lays claim to several definitions. In its most obvious sense, rasa refers to the sap, juice of plants or extract. More composite connotations include, the non-material essence of something or the "best or finest part of it," like perfume which comes from matter but which is not so easy to describe or comprehend. Rasa also denotes taste and flavour, relating to consuming or handling either the physical object or taking in its non-physical properties that yield pleasure.

Rasavadana or the tasting of the flavour is contingent upon several elements coming together in harmony. Bhava (the mood/emotional state), vibhavas (determinants), anubhavas (consequents) and the vyabhicharibhavas (complementary emotional states)

There is no concurrence on the number of rasas. Bharat in his Natyashastra speaks of 8 at a later date the ninth rasa of 'Shanta' or tranquility has been added.

Some writers have explored the question of which rasas are complementary and in harmony. In his Rasagangadhara, Jagannath explains Sringara goes with Vira and Adbhuta. Vira goes with Adbhuta Shringara and Raudra. But Shringaraand Bibhatsa, Shringarand Karuna and Shringar and Shanta " stand in opposition". Vira and Bhayanaka, and Shanta and Raudra are similarly disparate. The suggestion is that when one rasa is maturing, the experience of rasa is broken, if its contrary intervenes.

Though rasa is defined as one and undivided it is one or more of these nine rasas through which the aesthetic experience takes place. Out of these nine, one sentiment or flavour dominates; a work of art propels a spectator toward, or becomes an occasion for, a rasa experience.

With respect to art practice, our ancient texts are quite specific. Vatsayana's Kamasutra speaks of shadanga or the six limbs of painting. The Six Limbs of Indian Art. Anthropomorphic forms are given to all abstract ideas and beliefs, so the painting is considered to be human body with six limbs - 2 arms, 2 legs, a head and a torso. Thus each aspect of a perfect painting is seen as a limb of the human body, complete when all are present, incomplete when one is missing.

Yashodhara of Gujarat wrote a Jayamangala - tika, in which he enumerated the 6 limbs as follows: - Rupabheda, Pramanani, Bhava, Lavanya, Sadrishya and Varnikabhanga, which may be rendered respectively as differentiation of form; canons of measurement (balance, proportion, harmony, cadence, rhythm etc.); the quality of life within its breath and sap as articulated through feeling; grace; with reference to or verisimilitude with; and rise and fall or intensity and tonality of colour.

It is against this backdrop that the work of contemporary artists will be showcased, the essence of their work which maybe linked to a specific mood or emotion or will transgress/include a group of sentiments.

What will be unique about the show is the re reading of ancient Indian texts and the response of the modern interventions of the same. In this regard we have selected artists from all over India and thus a holistic approach of the rasa theory itself is aimed at. In their works, rasa will be examined not only in the confines of the 'nine' rasas but Navarasa transmuted through the essential nine rasas, breaking boundaries, evoking a new rasa beyond the essentialism and boundary of the ancient navarasa.

The participating artists include-Paresh Maity, Jayshree Burman, Anjolie Ela Menon, Vaikuntham, F.N. Souza, Niraj Goswami, Arpana Caur, Ramanando, Muralidharan, Laxma Goud, Amit Ambala , Sunil Das, Vasundara Tiwari, Baiju Patha, Ravinder Reddy, Himmat Shah, S. Radhakrishna, Nandagopal, Paritosh, Suhas Roy, Shibu Natesan, Subodh Gupta

The exhibition will be held at the Visual Arts Gallery, India Habitat Centre, New Delhi from the 12th to the 15th of August 2002. The Apparao Galleries, Chennai and the Voluntary Health Association of India are collaborating for this fund-raiser for the empowerment of the artisans and craftsmen of the region of Bhuj.

Dr. Alka Pande
Curator of the Navarasa.
Contact number 0091 11 4682001-9 extns 2108/2107
E-mail alkapande@indiahabitat.org