Rasa and Bhava Theory
Art & Culture › Dance Forms · Topic 5.3
Rasa and bhava theory is the Indian theory of aesthetics, set out in the Natya Shastra of Bharata Muni, which explains how an artist shows emotion (bhava) so that the audience tastes an aesthetic flavour (rasa). The Natya Shastra names eight rasas, and the ninth, shanta, was added later and is linked to Abhinavagupta of Kashmir (10th to 11th century). The nine rasas are shringara (love), hasya (laughter), karuna (pathos), raudra (anger), veera (heroism), bhayanaka (fear), bibhatsa (disgust), adbhuta (wonder) and shanta (peace). Each has a sthayi bhava, such as rati for shringara. The core rule is the rasa sutra of Chapter 6.
5 min read · UPSC Prelims · Art & Culture · Dance Forms
At a Glance
- Source Natya Shastra, Chapter 6
- Rasas 8 in original, 9 with shanta
- Key commentator Abhinavagupta
- Bhava types Sthayi, vyabhichari, sattvika
- Formula Rasa sutra
- Exam link UPSC Prelims, Art and Culture: Dance Forms
Where Does It Fit?
This topic follows Ashta Nayika, which depends on shringara rasa. It is the aesthetic base for all classical dance abhinaya and is also used in music, painting and literature. Previous topic: Concept of Ashta Nayika. Next topic: Eight Classical Dance Forms (Bharatanatyam, Kathak, Kathakali, Kuchipudi, Odissi, Manipuri, Mohiniyattam, Sattriya).
What Are the Nine Rasas and Their Bhavas?
| Rasa | Meaning | Sthayi bhava (lasting emotion) | Colour in Natya Shastra |
|---|---|---|---|
| Shringara | Love, beauty | Rati (love) | Light green or shyama |
| Hasya | Laughter, comedy | Hasa (mirth) | White |
| Karuna | Pathos, compassion | Shoka (sorrow) | Grey |
| Raudra | Anger, fury | Krodha (anger) | Red |
| Veera | Heroism, courage | Utsaha (energy) | Light orange |
| Bhayanaka | Fear, terror | Bhaya (fear) | Black |
| Bibhatsa | Disgust, aversion | Jugupsa (disgust) | Blue |
| Adbhuta | Wonder, amazement | Vismaya (surprise) | Yellow |
| Shanta | Peace, calm | Shama or nirveda (tranquility) | White or none; added later |
How Does Rasa Come About?
- Bhava: the emotional state shown by the actor or dancer. Bharata lists 49 bhavas: 8 sthayi, 33 vyabhichari and 8 sattvika
- Sthayi bhava: the lasting basic emotion, eight in the Natya Shastra, which turns into rasa when properly shown
- Vyabhichari bhava: passing or transitory moods, 33 in number, such as doubt, joy, fear and shame
- Sattvika bhava: involuntary signs of feeling, eight in number: stambha (stupor), sveda (sweat), romancha (goosebumps), svarabheda (change of voice), vepathu (trembling), vaivarnya (change of colour), ashru (tears) and pralaya (fainting)
- Vibhava: the cause of emotion, such as the hero, heroine and setting
- Anubhava: the visible effect of emotion on the performer, such as gestures and looks
- Rasa sutra: vibhava-anubhava-vyabhichari-samyogad-rasa-nishpattih, meaning rasa arises from the union of causes, effects and passing moods
- Rasa nishpatti: the process of rasa being produced. Four early commentators, Bhatta Lollata, Shankuka, Bhatta Nayaka and Abhinavagupta, explained it differently
What Else Should You Remember?
- Abhinavagupta: the Kashmiri Shaiva philosopher whose commentary Abhinavabharati on the Natya Shastra is the leading interpretation. He held that rasa is a universal, shared joy of the spectator
- Shanta rasa: not in the earliest list of eight; Udbhata is credited in tradition with adding it, and Abhinavagupta defended it as the highest rasa, linked with moksha
- Other rasas: later writers added vatsalya (parental love) and bhakti (devotion), though the standard exam list stays at nine
- Navarasa: the common name for the group of nine rasas
- Dhvani theory: Anandavardhana, in the Dhvanyaloka, said the soul of poetry is suggestion, and linked it with rasa
- Rasa in dance: abhinaya in Bharatanatyam, Kathak and Odissi is built around the nine rasas, with a face and eyes trained for each
- Kathakali: uses navarasa training through special face and eye exercises, a feature of the Kerala tradition
- Rasa in painting: the Vishnudharmottara Purana links rasa with colour and painting; Rajput and Pahari miniature art uses rasa themes
- Sattvika bhava: unlike the others, cannot be easily faked; it shows real feeling of the performer
- Role of the performer: the actor does not need to feel the emotion personally, but must express it so that the audience feels it
- Alternate spellings: shringara is also written sringara, bibhatsa as vibhatsa, and navarasa as nava rasa, and all are accepted in answers
- Folk and modern use: Indian film music and cinema openly use navarasa in titles, songs and training, and the Ministry of Culture and acting schools teach it
- Facial training: dancers practise rasa by exercises of eyebrows, eyes and cheeks, and Kathakali students spend years on these
- Link with other topics: the nayika states belong to shringara, as in Concept of Ashta Nayika, and gestures carry the meaning, as in Mudras and Hand Gestures
Why Does It Matter for the Exam?
- List of rasas: nine rasas with sthayi bhavas
- Matching: rasa with bhava, such as veera with utsaha and karuna with shoka
- Persons: Bharata, Abhinavagupta, Anandavardhana
- Counts: 49 bhavas, 33 vyabhichari, 8 sthayi, 8 sattvika
- Common errors: listing shanta as part of the original eight, or confusing sthayi with vyabhichari bhava
As an analytical point, rasa theory treats art as a shared emotional experience rather than a display of skill alone. This idea is why Indian dance, music, theatre and painting speak a common aesthetic language.
Why Is This Topic Important?
- Nine rasas List asked
- Matching Rasa with sthayi bhava
- Persons Abhinavagupta
What Came Next?
The next topic is the eight classical dance forms, which put this theory into practice. Next topic: Eight Classical Dance Forms (Bharatanatyam, Kathak, Kathakali, Kuchipudi, Odissi, Manipuri, Mohiniyattam, Sattriya).
Key People and Terms
- Rasa Aesthetic flavour
- Bhava Emotion shown
- Vibhava Cause
- Anubhava Effect
- Navarasa Nine rasas
- Sattvika Involuntary sign
Exam Corner
Points to Remember
- Nine rasas: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, shanta.
- Shringara: rati.
- Ninth rasa: shanta.
- Main commentator: Abhinavagupta.
- Bhavas: 8 + 33 + 8 = 49.
Do Not Confuse With
- Rasa and bhava Flavour tasted versus emotion shown
- Sthayi and vyabhichari Lasting versus passing
- Sattvika and anubhava Involuntary signs versus voluntary expression
Memory Hook
Bhava is shown, rasa is tasted; eight were first, shanta came ninth.
Mains Angle
Questions ask about the Indian view of art. These points give a frame.
- Aesthetics Art as shared emotion
- Reach Dance, music, painting
- Relevance Use in film and therapy
A Question You May Face
An original practice question, not a past paper question.
“Explain the theory of rasa and its importance for Indian performing arts.”
How to Answer
- Theory Bhava to rasa.
- Nine rasas List with examples.
- Spread Dance, music, painting.
- Relevance Modern art and film.
GS Relevance
Frequently Asked Questions
What is rasa in Indian aesthetics?
Rasa is the aesthetic flavour or emotional essence that an audience experiences when a performer correctly shows an emotion. The theory comes from the Natya Shastra of Bharata Muni and is the base of Indian dance, music, theatre and poetry. The word literally means juice or taste.
How many rasas are there in the Natya Shastra?
The Natya Shastra lists eight rasas: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa and adbhuta. A ninth, shanta, was added by later thinkers and defended by Abhinavagupta. Together the nine are called navarasa and are the standard list for exams.
What is the difference between rasa and bhava?
Bhava is the emotion or state of mind that the performer shows through face, body and voice. Rasa is the aesthetic enjoyment that the audience feels as a result. Bhava is the cause and rasa is the experience, so a performer shows bhava to produce rasa.
What are the sthayi bhavas of the nine rasas?
The sthayi bhavas are rati (love) for shringara, hasa (mirth) for hasya, shoka (sorrow) for karuna, krodha (anger) for raudra, utsaha (energy) for veera, bhaya (fear) for bhayanaka, jugupsa (disgust) for bibhatsa, vismaya (wonder) for adbhuta, and shama (calm) for shanta.
Who was Abhinavagupta?
Abhinavagupta was a Kashmiri Shaiva philosopher and aesthetician of the 10th to 11th century. His commentary Abhinavabharati on the Natya Shastra is the most important explanation of the rasa theory, and he defended shanta as the ninth rasa and the highest in spiritual value.
Why is rasa theory important for UPSC?
It is important because Prelims asks for the list of rasas, matching with sthayi bhavas and the role of Abhinavagupta, and Mains links it to dance, theatre and painting. It forms the theoretical base of abhinaya in every classical dance form.
PYQ Practice — Statement Analysis
1 Shanta is the ninth rasa.
It was added to the original eight.
2 The sthayi bhava of veera rasa is bhaya.
It is utsaha. Bhaya belongs to bhayanaka.
3 Abhinavagupta wrote the Abhinavabharati.
It is a commentary on the Natya Shastra.
4 The Natya Shastra lists nine rasas in its original text.
It lists eight. Shanta was added later.
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