Natyashastra: A Study of the Underlying Unity of all Arts 

Article by Dr.Priyaankaa Mathur

The concept of Aesthetic Emotion,' Rasa' is an ancient concept, that can be found as early as the period between 200 BCE and 200 CE in the works on drama and dance in Bharat's Natyashastra, bearing testimony to this fact. The theory of Rasa provides an underlying unity among all arts, which provides a methodology both for the production and the analysis of art.

Natyashastra finds its roots in Psychology, which lays focus on Culture, Art, Fine Arts, and Education in the context of the Indian cultural systems. We find textual references at the end of the treatise mentioning Bharata as the leader of the performance, who is perfect in the discipline of knowledge and art. Although, there are questions about who Bharata was and the time frame he lived in.

The name Bharata is an acronym constituting three syllables 'Bha' for Bhava (mood), 'Ra' for Raga (melodic framework), and 'Ta' for Tala (rhythm). Some western scholars hold an argument that the Natyashastra is not a work of a single author or even a group of authors or a school of thought. They believe that its different chapters were written by different authors over a period of time. While, according to the eminent Indian scholar Prof. Kapila Vatsayan, the close reading of the Natyashasthra reflects the unity of purpose and that the treatise is a product of a single integrated vision, perhaps of a single author. Moreover, Natyashastra is believed to have preceded before the Valmiki Ramayana. In Sunder and Yuddha Khandas, Valmiki has shown a distinct musical awareness wherein he has used Bharat Muni's terminology for many aspects of Indian classical music of today, which were mentioned then in the Natyashastra.

The Natyashastra begins with a salutation to Pitamaha (Brahma) and Maheshwara( Shiva) and attributes all that is to follow in the shastra of Natyashastra to Brahma, which originated as the fifth Veda the 'Natyaveda'.Bharata quotes Brahma saying to him " O, the sinless one, you with your hundred sons will have to put 'Natyaveda' to use." In the Natyashastra, the mode of presentation is a dialogue between Bharata and the sages, which unfolds the origin, theory, and technique of drama and theatre with all its components of speech, word, body language, gestures, costumes, decor, and the inner states and temperaments. The text, which now contains 6000 slokas, is believed to be based upon the Natya Veda which contained 36000 slokas, which were transmitted through the oral tradition. 

Bharata leaves deep influence on the subsequent Sanskrit critics like Abhinav Gupta, Manmohan, or Vishwanath in Indian aesthetics. Over the centuries many commentaries have been done on the treatise, while the most authoritative commentary on Natyashastra has been the 'Abhinava Bharati' by Abhinava Gupta. Bharata occupies a supreme place for being the master developer of categories for all the arts, particularly drama, dance, poetry, and music with uncanny precision in evolving the system of correspondence between the material, physical, psychical, ethical, and even spiritual. According to Bharata, the arts provide both pleasure and education and are a vehicle of beauty, duty, and conduct. 

Natyashastra is a depiction and communication of emotions of the complete activities of life including knowledge, craft, art, lore, fine art, design, emotions, and acts of life. Bharata says that the entire nature of human beings as connected with the experience of happiness or misery presented through the process of histrionics (Abhinaya) which is rendered by the physical and emotional form of acting called as Natya. Although Bharata speaks in the context of drama, which is achieved through the refinement of the senses, sense of perception, particularly of the eye and the ear, it lays to the foundation of a theory, which is not restricted to a particular art.

Chapters VI and VII of Natyashastra elaborate on 'Rasa' and 'Sthayibhava' which have captured the imagination of many western and Indian theoreticians as well as the practitioners alike for centuries. Bharata defines the Rasa- Sutra as: “Vibhavanubhav-Vyabhichari-Samyogat-Rasanishpattih”.

Bharata explains the abstraction of life into primary moods, sentiments, and emotive states are basic and universal to the humans, which is expressed in a variety of ways, in an infinite variety of time, space, body language, modes of speech, gesticulations, costumes, wherein the emotions of love, laughter, jealousy, fear, and wonder are universal. These universal emotions constitute the 'core themes', which have determinants and stimulants, Vibhava and Anubhavas. Through the interpretation of particular rasas and Sthayi Bhavas they come together (Samyoga) and a state of 'Rasa Nishpatti' i.e an aesthetic relish or an experience is evoked or created.

Bharata defines Rasa as what is aesthetically relished, which is similar to the flavor of a dish that includes all necessary ingredients in the proper proportion of different spices(Vyanjana), leafy vegetables (Aushadhi), and articles of food ( Dravya) together produce a flavor and a taste. Similarly in the arts when different emotional states come together, an aesthetic flavor is produced which is relished or experienced (Rasanubhuti) by the knowledgeable contemplator or the viewer. Bharata observes eight Rasas namely, are Srinagar(Erotic), Hasya (comic), Karuna (pathetic), Raudra(Furious), Veera(Heroic), Bhayanaka ( Horrifying), Vibhatsya(Disgusting), and Adbhuta(Wondrous). These 8 Rasas are neither quantitative nor qualitative ,  but suggest that they are the various colorings of one's experiences.

In the last chapter of Natyashastra, Bharata alone conducts himself as a leader of a performance by acting in many roles and playing many instruments, and adorning many accessories. He denotes 'Bharata' as a term for a class of Ballad singers who were perhaps the precursors of drama and theatre, while the 'Paripalavas' may well have been the precursors of the actors. Those called 'Bharatas' were emphasized on taking many roles and to be the vehicles of presenting and evoking Rasa (sentiment), Sthayi Bhava (dominant emotive states) and the Vyabhichari Bhavas (transitory or transferable stages).

Bharat shows a deep understanding of the intrinsic mutuality of senses, body, mind, intellect, and brain, wherein the inner states of the consciousness finds expressions at many levels. 

Diverse configurations of all these emerge as distinct states of being or commonly known as the emotional states, which can be identified. Since he believed that the total of human states of a being constitutes the content of art. Bharata states 8 Sthayi Bhavas (static emotions), 8 Satvik Bhavas (responsive emotions), and 33 Sanchari or Vyabhichari Bhavas( transitory emotions). These 8 static emotions in conjunction with the associated group of Sanchari and Satvikabhavas may evoke corresponding Rasas as follows: Rati (love) evokes Sringara Rasa, Hasya( Mirth)- Hasya Rasa, Shoka(Grief)- Karuna Rasa, Krodha(Anger)-Raudra Rasa, Utsaha(Enthusiasm)- Veer Rasa, Bhaya(Fear) - Bhayanaka Rasa, Jugupsa (Disgust) -Vibhatsya Rasa, Vismaya(Surprise)- Adbhuta Rasa.

The Ninth Rasa Shanta(peace) was added later on by Abhinava Gupta, while it's absence in Bharata’s Natyashastra is a question of debate and discussion. While, the Rasa synthesis involves the dependency and co-production of determinants, consequents, and the transitory mental states, the Shanta Rasa is the state of ultimate peace and tranquility, a state of perfection of mind and absolute bliss and peace, which is free from either pleasure or pain and has no dependency.

Natyashastra provides an insight into the psychology of aesthetic reception and has been acknowledged for the scientific exposition of Rasa theory making a distinctive contribution in the form of Natya, Rasas, and Compendium based on human nature and experience. A compendium gives an account of everything together including the sentiments Rasas, Bhava, Sthayi Bhava, Vyabhichari Bhava, Satvik Bhava, along with the four kinds of Abhinay (histrionic representation), the Dharma (mode of dramatic representation), the success of Natya, Musical notes, instruments, songs, the size, and shape of theatre in detail, which in total constitutes a theatrical performance.

The Theory of rasa enunciated by Bharata has stimulated both creativity and critical discourse in the Indian arts for nearly 2000 years. The text of the Natyashasthra is as relevant to literature, poetry, and drama as it is to architecture, sculpture, painting, music, and dance. It's a comprehensive treatment of artistic expression, aesthetic experience communication, content, and form that merges from an integral vision that acts as an umbrella for all Indian arts. The treatise primarily deals with stagecraft and covers every aspect ranging from stage design, music, dance, makeup and its influence on music, classical Indian dance, and literature as well. 

Chapter IV of Natyashastra known as the 'Tandavalaksanam' deals with the cadence of movements called 'Karans' and longer sequences called 'Angaharas', while in chapters, VIII, IX, and X Bharata mentions the rules of 'Angikabhinaya'. He explains that  drama spectators in the right frame of mind taste the permanent mental conditions by the suggested representations of Enactment (Abhinaya) of emotional states carried out by speech delivery (Vac), physical gestures, movements (Anga), the physical acting (Sattva), to obtain pleasure and satisfaction. The treatise deals with the varied aspects of drama, including sections on dance and music particularly instrumental music, including tunings, scales, modal patterns and functions, instrument types, performance techniques, and accompaniment styles.

Natyashastra is a very important treatise to study the history of Indian classical music because it is the only text which gives such detail about the music of the then era. Chapters III and V of the Natyashastra mentions the technical terms of music and musical structures, along with their meanings. It elaborates on the components of sound, musical instruments, structure, and compositions prevalent then. The treatise mentions several musical instruments types Tat Vadya (lutes), Sushir Vadya (flute), Ghana Vadya (cymbals), Avanadha Vadya (drums), and the way they should be played. 

Bharata speaks of the music played in dramas and mentions 'Dhruva Gana' which were the songs with which the plays were ornamented. He describes a music system based on modes (jatis) and the ancient heptonic scales of (Sadja Grama and Madhya Grama) and practice of creating a Scale Harmonies (Murcchana) based on them, which was much in vogue then. We find references of 22 microtonal intervals (Srutis). The term Raaga is first found in Natyashastra, which Bharata mentions as not a scale but a 'tonal color' which colors and fills the heart and mind of the listener. Natyashashtra makes several references to the seven notes, Saptasvaras, naming them by the same names used even today (Shadja, Rishabha, Gandhar, Madhayam, Pancham, Dhaivat, and Nishad and also associates svaras with various Rasas. 

Although Bharata described Rasa in the context of drama, he makes a bold claim that there is no art or science, no craft or skill falling outside the purview of drama, and successfully demonstrates it in his voluminous treatment of the subject in Natyashastra. 

The Rasa theory was initially propounded as an aesthetic element of Natya (the dramatic art) and eventually was applied to Kavya ( poetry) and other fine arts such as Alekhya (Drawing and Painting), Sangita (Music), Nritya ( Histrionics of Dance and Drama), Murtishilpa( Sculpture) and Vastu Shilpa( Architecture). The underline unity of all these forms is divine worship. According to Bharata, Rasa is a unique concept of delight or joy of self-revelation through awareness of the higher self or the cosmic spirit of Anand(Aesthetic Bliss or Ecstasy).

The "Rasa Theory" of Natyashastra, states that bliss is intrinsic that manifests through spiritual and personally subjective means. Following the same, the Rasa theory as conceived by the Hindu aestheticians and practiced by the artist has two aspects. The first is the evoked state (Rasavastha) in which transcendental or spiritual bliss is experienced. The second is the sentiments, the moods, the permanent and transitory states, which were the object of the presentation. The second provided the content of art, while the first was the ultimate objective. The configuration of various moods as in transitory states ( Vyabhichari Bhava), involuntarily states( Sattvika Bhava) and dominant states( Sthayibhava Bhava), which are eight or nine states of being, can be understood in the light of spiritual beliefs.

Natyashastra exhibits a familiarity with the notions of space measurement, shape, and form especially in chapters dealing with construction and measurement of principal types of theatres. It further describes an acute sense of distance, area, shape, direction, tempo, and algebraic proportions. These principles are also evident in the sound intervals, micro-tones, notes, and also meters in prosody. Natyashastra enables the study of chronological developments in the field of drama, arts, poetry, music, and dance, but also disciplines such as medicine, mathematics, linguistics, prosody, and architecture.

Natyashastra is an ocean and certainly a confluence which reveals that in each case the particular Shastra( Natya,Vastu, or Sangita), the principal genre considered the role of the other art. Like in Drama( Natya) comprises architecture, dance, music, poetry, and painting. While Vastu ( architecture) comprises sculpture, painting, and dance. Sangita (music) considers the psychological systems of poetry and dance.

The technique of the Indian arts is directly conditioned with the Rasa states, which can be evoked. These principles are evident in the roles of proportion in Architecture, in the detailed formulations of the principles of Tala (measurement) and Bhanga (stance) of Indian sculpture. We find these principles in the relative disposition of proportion of color and perspective in paintings, and in the patterns of division and combination of the movements of major limbs (Anga) and the minor limbs (Upanga) in Dance, and the use of Shruti and Svara(Notes) in the given mode( Raga) to create a particular mood in Indian classical music.

The fine arts are supposed to be the best mediums to evoke the Rasa experience i.e.the emotional expression, the creation of beauty, and the attainment of Truth. Therefore there is a lot of similarities in their presentation since one element of 'Rasa' is common in all the arts, which has a unique goal of salvation just as in Drama and Dance, the scenic intricacies are expressed through Abhinaya, the same is depicted through color and space in paintings since the basic elements of them all remain the same namely Ratio, Harmony and Oneness, which all lead to the ultimate pleasure or the supreme experience of Absolute bliss 'Brahmananda' which gave rise to the ancient theory of Rasa which is both a theory of transcendental experience and the system of technique. The Rasa experience is something mysterious and metaphysical and absolute, which can neither be created nor destroyed, but can be realized in the presence of the work of art by the audience or the spectator. 

Precisely, 'love' is a reality experienced by the lover and 'truth' is the reality experienced by a philosopher, so 'beauty' is the reality experienced by the artist and these are the phases of the absolute. This is an experience which the artist can communicate through the work of art be it any form, it is equally manifested irrespective of the themes, be it in the little and great, the animate and inanimate, or even the good and the evil. Thus, all fine arts convey ideas, expressions of feelings and emotions imagination and imitation, according to the ability of the artists by conveying them his language, through his special tools and techniques, with variations and limitations of scope, according to the form of art.

There is an intimate correlation between all the fine arts as they are interrelated in themes, contents, expressions of feelings, emotions, skillfulness, and control. Like in Indian classical music a distinct atmosphere or a tonal structure of a raga imparts a particular state of feelings, since the ragas have the power of producing certain mental effects and each is supposed to have an emotional significance, which is  the ethos of the Raga. Thus, the Raga may be said to stand for the language of the soul expressing itself variously under the pangs of separation which the Nayika experiences in a Bandish depicting Karuna Rasa, or Vipralambh Sringara or the storm of passion ( Sambhog Shringara Rasa).These emotions can be successfully depicted in all fine arts. Thus, from the paintings of Ajanta caves to the famous sculptures of Khajuraho and Konark or the amazing genius of the Taj, we find that all arts are interrelated with the joining factor of Rasa.