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"Concept of Rasa" as seen in Anandavardhana and...... smaraṇecchā-dveṣa-prayantnāḥ bāhyā mano-vāg-buddhiśarīrā"rambhāḥ ta ubhayépy anu kriyamāṇā sāttvikā”ngika-vācika-citra-sāmānyā'bhinaya-vyapadeśam labhante.
On pp. 445, he concludes - "atha yathékṣubhyo rasaḥ, sarṣapebhyas tailam dhātubhyo hiranyam, aśmabhyo loham, dadhno navanītam kāṣṭhatógnis tebhyas tebhyo yantra'gni-mantha-samyogebhyo niṣpatati tatha svebhyaḥ svebhyo vibhāvā'nubhāva-vyabhicari-samyogebhyaḥ rati-krodha-śokā"dibhyas te te rasă niṣpadyante."
Bhoja has some further interesting observations concerning rasa. He observes (pp. 446, Śr. Pra., Ch. XI., ibid): "atha yathā lavaṇa-rasa"dayaḥ sva-samyogino mṛdvikādīn apyātma-rūpatām nayanta upacīyante, tathā ratyā"di-janmāno rasāḥ ratyādīn iva vibhāvādīn apy ātma-rūpatām nayanta upacīyante." Also read
"atha yathā sarpir-jatu-madhucchiṣṭā”dīnām pārthivānām ghana-tuhinakarakā"dīnām āpyānām trapu-sīsa-rajatā"dīnām taijasānām agni-samyogāt dravatām adhis sāmānyam bhavati tathā vibhā'vanubhāva-vyabhicāriņām rasasamyogad rasatā, rasena eva sāmānyam bhavati."
Bhoja suggests that during the moments of art-experience the sensitive enjoyer has no cognition of vibhāvā"di-s as something separate or independent of the total rasa-experience.
He also endorses particular taste from particular combination, though as rasasāmānya this event partakes of the total experience. He observes: (pp. 446, ibid) - "yathā ikṣu-rasebhyo madhu-niṣpattir yathā madhurā"dibhyo ṣāḍavótpattir yathā guḍā"dibhyoḥ āsavotpattis tathā tebhyas tebhyo rasa-sāmānyebhyaḥ rasaviseṣā'bhinirvṛtiḥ.
He believes in a fundamental rasa which has varieties such as rasa"bhāsa, bhāva, bhāvā"bhāsa etc. He observes; (pp. 446, ibid) :
"atha yathaikasya'py agner bhaumadivyaudaryā”dayo jātibhedāḥ dāhā"loka pākā”dayo'rthakriyāḥ (= causal effects), dhūmárcir-angārā”dayóvasthaḥ samdṛśyante tathā ekasya api rasasya bhāva-rasa-tadābhāsā”-dayo jātibhedāḥ utkaṇṭhā'bhiṣanganirvṛttyādayórthakriyā utpā'dābhivṛddhi-sthairyā”dayo'vasthās samupalabhyante."
Thus for Bhoja 'rasa-sāmānya' is the highest art-experience and in the moments when this experience operates, the distinction between sthāyin, anubhāva, vyabhicärin, etc. melts away. All 49 bhāvas deserve to be reckoned as rasa, when enhanced, as they are all 'rasyamāna' or 'āsvādyamāna'. Rudrața (XII. 4) as we know had also taken note of this and had suggested "rasanād rasatvam" of all the 49 bhāvas. Bhoja also terms the abhinayas such as vācika, āngika, sättvika, āhārya and even sāmānya to be rasa which is wide enough to include even 'nepathya'.
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