The document discusses the emergence and development of art forms in ancient India as described in the Natyashastra. It outlines how rituals in the Vedic period incorporated song, dance, and drama. The Natyashastra, attributed to Bharatamuni in the 2nd century CE, is described as the fifth Veda that defined the rules and codes of performing arts. It established theories of rasa (aesthetic flavors or sentiments) and their connection to bhava (psychological states). The eight primary rasas - erotic, comic, pathetic, furious, heroic, terrible, odious, and marvelous - are each linked to a presiding deity and explained in the document.

1. -Dr. B. Sridevi,
-Assistant Professor,
-Department of Foreign Languages,
-SRM Institute of Science and Technology,
-Ramapuram, Chennai – 89.

2. EMERGENCE OF ART
 Various situations & experiences in life are expressed
 Mode / Tool of expression – Music, Dance, Drama &
Action.

3. BACKGROUND OF THE STUDY -
VEDIC LITERATURE
 DURING VEDIC RITUALS & SACRIFICES – USAGE
OF SONG, DANCE & DIALOGUE.
 ART OF MUSIC & DANCE – WELL DEVELOPED –
VEDIC AGE

4. FOUR VEDAS
 VEDA – KNOWLEDGE
 FIRST EVER WRITTEN LITERARY SCRIPTS
 RIG VEDA – HYMNS IN PRAISE OF GODS
 YAJUR VEDA – MANTRAS DURING SACRIFICIAL FIRE
 SAMA VEDA – CHANTS & MELODIES IN PRAISE OF
GOD
 ATHARVA VEDA – PROCEDURES OF EVERYDAY LIFE

5. NATYASHASTRA - EXTRACTION
FROM FOUR VEDAS
 WORD / SPEECH -> RIGVEDA
 SONG -> SAMAVEDA
 ACT OF PERFORMING HISTRIONIC (EXPRESSION
IN THEATERICAL / DRAMATICAL STYLE) ->
YAJURVEDA
 ELEMENTS OF RASA -> ATHARVAVEDA

6. BHARATHAMUNI’s NATYASHASTRA
 PRESCRIBED LAWS MAINLY TO GOVERN MUSIC,
DANCE & DRAMA.
 ACTORS – KNOWLEDGE ABOUT ALL NUANCES OF
DANCE & DRAMA
 FIFTH VEDA (NATYA VEDA)

7. BHARATHAMUNI’s NATYASHASTRA
 2nd CENTURY
 36 CHAPTERS
 NATYA = ANYTHING THAT IS PERFORMED ON
STAGE + SHASTRA = THE BOOK THAT DEFINES
THE CODES AND RULES => NATYASHASTRA

8. CHAPTER 6 – RASA THEORY
 RASADHYAYA – SENTIMENTS (RASA) –
DESCRIPTION OF ALL RASAS – LED THE INDIAN
POETICS
 RASA – TASTE / FLAVOUR / JUICE
 INFERENCE FROM RASA THEORY – INDIAN
CONCEPT OF AESTHETIC FLAVOUR &
EMOTIONAL IMPRESSION OF A WORK OF ART.

9. BHARATHAMUNI – 8 TYPES OF
RASAS
 1. EROTIC – SRNGARA
 2. COMIC – HASYA
 3. PATHETIC – KARUNA
 4. FURIOUS – RAUDRA
 5. HEROIC – VIRA
 6. TERRIBLE – BHAYANAKA
 7. ODIOUS – BIBHATSA
 8. MARVELLOUS – ADBHUTA
 9. PARENTAL AFFECTION – VATSALYA / SHANTA –
PEACE

10. EROTIC (SRNGARA)
 RULING GOD / DEITY - VISHNU
 EROTIC - SEXUAL DESIRE , LOVE, FERTILITY,
UNION BETWEEN MAN AND WOMAN
 SRNGARA – NOT ONLY HAPPINESS
 ALL RELATIONSHIPS
DOESN’T HAVE POSITIVE &
HAPPY ENDINGS
Eg: STORY OF RADHA &
KRISHNA

12. COMIC (HASYA)
 RULING GOD - PRAMATHAS
 HASYA – LAUGHTER
 THE RASA HAVING LOT OF COMIC ELEMENTS IN
IT

14. PATHETIC (KARUNA)
 RULING DEITY – YAMA
 YAMA – GOD OF DEATH
 RASA OF SADNESS
 PEOPLE FEEL SAD – WHEN SOMEONE DIES (
FAMILY MEMBERS / RELATIVES / FRIENDS -WHO
IS IN CLOSE ASSOCIATION WITH / RELATED TO )

16. FURIOUS (RAUDRA)
 RULING DEITY – LORD SHIVA
 FURIOUS – ANGER
 OTHER MANIFESTATIONS OF LORD SHIVA
EVIDENT IN RASA THEORY

17. FURIOUS (RAUDRA)
 SHIVA – PREDOMINANTLY CALLED AS ‘NATARAJ’
 NATARAJ => ‘NATA’ & ‘RAJ’
 NATA MEANS – PERFORMANCE OF ART
(DANCE/DRAMA)
 RAJ MEANS - RULER

19. ODIOUS (BIBHATSA)
 RULING DEITY – MAHAKALA
 ODIOUS – SOMETHING DISGUSTING / THAT YOU
DON’T WANT TO WATCH
 DO WE ALWAYS ENJOY IT ? YES ??
 WHEN DO WE ENJOY IT ?

20. ODIOUS (BIBHATSA)
 IT HAS SOME CO-RELATION WITH YOUR
PSYCHOLOGICAL CONNECTION
 LEAVES PAINFUL / SOULFUL IMPACT ON MIND ,
SOUL & BODY
 CURIOUS NATURE

22. TERRIBLE (BHAYANAKA)
 RULING DEITY – KALA
 TERRIBLE – FRIGHTENED / TERRIFIED
 RASA OF FRIGHT

24. HEROIC (VIRA)
 RULING DEITY – INDRA
 HEROIC – GLORIOUS , BRAVERY & GALLANT
NATURE
 ANCIENT CENTURIES – MEN – GLORIOUS, BRAVE
& COURAGEOUS WHEREAS WOMEN – VICTIMS

25. HEROIC (VIRA)
 LORD INDRA – GOD OF THUNDER & RAINS
 WHY INDRA ?
 MANY INSTANCES – INDRA LOSES HEAVEN &
SEEKS HELP FROM EVERYONE FOR SAVING HIM &
RESCUING THE HEAVEN
 INDRA – POLITICAL HERO
 INDIA – NATION HAVING PRIMARY OCCUPATION
AS AGRICULTURE

26. HEROIC (VIRA)
 LORD INDRA – PROTECTOR / CONSERVER OF
CROPS
 IF LORD INDRA IS ANGRY, PEOPLE & LAND ARE
AFFECTED WITH STORMS & FLOODS.
 CROPS DIE & PEOPLE ARE SICKENED
 INDRA’s BLESSINGS MAKE PEOPLE HEROIC
 Eg: ARJUNA – SON OF LORD INDRA

27. HEROIC (VIRA)

29. MARVELLOUS (ADBHUTA)
 RULING DEITY – BRAHMA ( THE LORD OF
CREATION)
 LORD BRAHMA – CREATED
THE ENTIRE UNIVERSE
• MARVELLOUS – ALL THE
WONDERFUL THINGS
• ALL WONDERFUL THINGS IN
THE WORLD - CREATED BY
LORD BRAHMA

31. THREE PRIME GODS – TRINITY -
RASA
 THREE GODS – BRAHMA, VISHNU & SHIVA –
TRINITY
 INVOLVED IN RASAS
 ALL 8 RASAS – CONDITIONED WITH THE
PSYCHOLOGICAL STATES OF ONE’s MIND
 RASAS – LINKED WITH BASIC, ESSENTIAL
CONDITIONS OF A HUMAN’s MIND
 BASIC, ESSENTIAL, PSYCHOLOGICAL STATE OF
ONE’s MIND – BHAV

32. THREE PRIME GODS – TRINITY -
RASA

33. RASA’s CONNECTION WITH BHAVA
 RASA’s – CLOSE CO-RELATION WITH BHAVA
 AUTHOR / DIRECTOR – NOVEL / MOVIE – INSTILS
& KINDLES THE RASA ( SENTIMENTS) IN THE
AUDIENCE
 HOW ARE SENTIMENTS AROUSED ? BY ACTIONS

34. RASA’s CONNECTION WITH BHAVA
 EACH RASA ( SENTIMENT) IS CO-RELATED TO
ONE OF THE BHAVA (PSYCHOLOGICAL STATE)
 BHARATHAMUNI HAS SUGGESTED SOME FIXED
PSYCHOLOGICAL STATES
 FIXED – DURABLE, STEADY, CONTINUOUS
 BHARATHA IDENTIFIES SOME PROMINENT
MOOD-SWINGS OF A PERSON

35. RASA’s CONNECTION WITH BHAVA
 RASA = SENTIMENT
 BHAVA = PSYCHOLOGICAL STATE
 STHAYIBHAVA = DURABLE PSYCHOLOGICAL
STATE
 8 STHAYIBHAVAS
 VYABHICARIBHAVA = COMPLEMENTARY
PSYCHOLOGICAL STATE
 33 VYABHICARIBHAVAS

36. Do the bhavas emerge from rasas
or the rasas come out of the
bhavas ?
 WHO PRODUCES WHAT ? DOES RASA CREATE
BHAVA OR DOES BHAVA CREATE RASA ?
 WHO CREATES THE HAPPINESS / SADNESS IN
YOU ?? !!
 PSYCHOLOGICAL STATES – BASIC INGREDIENTS
OF THOUGHT PROCESS
 YOU HAVE A PSYCHOLOGICAL STATE OF
HAPPINESS / SADNESS IN YOU
 BHAVA – ALWAYS PRESENT

37. Do the bhavas emerge from rasas
or the rasas come out of the
bhavas ?
 RASA IS MAINLY CREATED BY THE ACTION OF
THE CHARACTERS ON STAGE.
 RASA IS NOT CREATED BY BHAVA.
 AUDIENCE DON’T CREATE RASA / BUT THE
PLAYWRIGHT DOES.
 BHAVA ALSO DOESN’T CREATE RASA.
 THEY IDENTIFY EACH OTHER.
 RASA & BHAVA ARE INTER-LINKED WITH EACH
OTHER.

38.  DRAMA – CUISINE / BANQUET – EVERY SPICE IN
ITS EQUAL PROPORTION – PERFECT RESULT

39. WHAT DO WE LEARN FROM
BHARATHA’s NATYASHASTRA ?
 FOREMOST AMONG THE WORKS ON RHETORIC
 EMBODIES THE RULES THAT GOVERNS THE
COMPOSITION OF THE PLAY.
 ACTOR WHO NEEDS DETAILED INSTRUCTIONS –
DRAMATIC APPLICATIONS , RULES, STYLES OF
LANGUAGE / PLOT

40. PURPOSE OF WRITING
NATYASHASTRA
 GODS’ REQUISITION – LORD BRAHMA –
PRODUCE FIFTH VEDA TO PLAY (KIRDANIYAKAM)
 FIFTH VEDA – COULD BE SEEN, HEARD, ENJOYED,
TO BE INSTRUCTED
 FIFTH VEDA – BENEFIT TO ALL PEOPLE
 BRAHMA – IN HIS MEDITATION – EXTRACTED
THE ESSENCE – FOUR VEDAS

41. PURPOSE OF WRITING
NATYASHASTRA
 NATYA VEDA – FULL OF STORIES FROM EPICS &
LEGENDARY WORKS
 GUIDES PEOPLE TO WALK IN THE PATH OF
RIGHTEOUSNESS
 BRAHMA’s INSTRUCTIONS TO BHARATHA
 FAMILIARISE NATYA VEDA TO MANKIND
 NATYA VEDA – LUCID REPRESENTATION OF THE
LIFE OF GODS, DEMONS, KINGS, HOUSEHOLDERS
& GREAT SAGES.

42. KNOWLEDGE ABOUT
NATYASHASTRA TO BHARATHA
 NANDHIKESHWARA TAUGHT THIS ART –
BHARATHA – 13th Century
 BHARATHA – PASS ON THIS ART TO MANKIND –
HUMAN WELFARE & PROSPECTS.

43. HOW CAN YOU ASSOCIATE
NATYASHASTRA TO THE CURRENT
SCENARIO ?
 ASSOCIATE EACH AND EVERY RASA WITH A PIECE
OF ART / LITERATURE.
 MOVIE
 BOOK
 SONG
 PAINTING
 CLIMATE
 SCENARY
 WEB SERIES
 EVEN FOOD !!!