Studies in Indian Philosophy

SR No.: 001580
Original Sutra Author: N/A
Author: Dalsukh Malvania, Nagin J Shah
Publisher: L D Indology Ahmedabad
Publication Year: 1981
Total Pages: 352
Language: English
Classification: Book_English, Philosophy, Epistemology, & Religion
File Size: 21 MB

Page 228

What did Bharata mean by Rasa?
'Rasa-nirmiti-Prakritya' and the second one as 'Rasasvada-Prakritya'. These processes may be representated in the following schemata :
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(1).
(2).
(-).
(3)
(It could also be seen that, in some sense at least, the subprocess (1)_ - (2) is an inversion of the process (2). (3), such that poles (1) and (3) may resemble each other in many respects.)
The pole (2), that is the objectified expression (of art) in a sense is independent of the poles (1) and (3). That is, though it is dependent on 1 for its creation, it is not dependent on it for its existence. Similarly it i.e. (2) is also independent of (3) for its existence, though it is related to it for being appreciated. On the other hand pole (3) cannot exist if pole (2) does not exist.
There appears to be an interesting parallel in this account and Samkhya account of knowledge. The pole (2) appears to be similar to the Tanmatras' of the Samkhya or the world that is absolutely indenendent of our knowledge, the only difference being that the 'tanmātras' belong to the real world whereas pole (2) belongs to the world of art. The pole (3) appears to be something like the Mahabhuta of Samkhya which is a sort of the construction of a knower. The subprocess with the poles (1) and (2) is again very similar to the Samkhya process from Tanmatras to Mahabhūta, with, of course, a difference that the art process of creation is more or less an inverted process of the one that is represented in Samkhya. It is very similar to the process by which the Samkhya philosopher, starting from the world of Mahābhūtas arrives at an entity called Tanmatras. The artist also, draws his material from the world of Mahābhūtas, a material which has been transformed into his individual experience. This individual experience starts1 as a background for the artistic creation and is sometimes known is the Indian theory of Art as 'Sthayibhava',11 although I have reasons to think that
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