ġb) Rasa also refers to a property of medicinal drugs, according to the second chapter ( dharaṇyādi-varga) of the 13th-century Raj Nighantu or Rājanighaṇṭu (an Ayurvedic encyclopedia). It mentions the names of 1483 medicinal drugs ( auṣadhi) and substances ( dravya) excluding synonyms, grouped into twenty-two chapters. The Rāja-nighaṇṭu is a medical lexicon ascribed originally known as the Abhidhānacuṇāmaṇi. Source: Wisdom Library: Raj Nighantuġa) Rasa (रस) or Rasavarga is another name for Pānīyādi: the fourteenth chapter of the 13th-century Raj Nighantu or Rājanighaṇṭu (an Ayurvedic encyclopedia). It is used throughout Ayurvedic literature such as the Suśruta-saṃhitā and the Caraka-saṃhitā. Rasa (रस) is a Sanskrit technical term, translating to the “taste” of a plant (e.g. Thus the paper will be based on the discussion of aesthetic delight of rasa which reflects the prominent mood of human behavior and its symbolic image of Saharanpur woodcraft in contemporary world.Rasa in Ayurveda glossary Source: Wisdom Library: Āyurveda and botany The present paper is an attempt to study the rasa manifestation of the exceptional and unique motifs in Saharanpur woodcraft. The highly aesthetic fascination and enrichment of the motifs of Saharanpur woodcraft reveal the inner delight through rasa theory. These motifs have been filled with ornamentation representation and aesthetic pleasure of Indian rasa application to stir the heart of its viewers and seek to evaluate the adoption and implication of all flora and fauna with its meaning and essence. The inspiration of depiction of these motifs is not only the ornamentation and decoration but also the adoption of it in human life with essential aspects. These motifs signify the glimpse of Gujjar- Pratihar art as well as Mughal art. Saharanpur woodcraft display various motifs of decoration such as zoomorphic (Peacock, lion, elephant, deer, bull and so on), auspicious (Swastika, Sun, Chakra, Kalasha and so on), figurative, vegetative (Flora and fauna and fruits) and intricate geometrical forms. Hence, Saharanpur city represents the ancestor’s tradition of woodcraft as the world famous center of wood carving. In this context, the woodcraft has always remained an enchanting phenomenon from the first evident of the civilization in Indian subcontinent which is the best way to indicate the folk tradition, culture and self expression of artisans. These motifs are associated with ancestor’s tradition, beliefs, emotions and religion that influence human existence. Throughout the world, art and craft are known as the best achievement of human being which reveals a vast vocabulary of inspirational and powerful motifs. Finally, the paper will illustrate through examples of Bollywood and interviews with BharatNatyam teachers (in Sweden) how improvisation, and newness is brought into various aspects of performance arts, thereby challenging Sheldon Pollock’s reading of the Natyashastra, as being rigid and frozen in time and devoid of bringing novelty, making them irrelevant to our times. There will also be a focus on the concept of hieropraxis (art as worship, pleasing both people and Gods), which was common, both to Indian and Greek art forms. Using Bharat Gupt’s study of the poetics and Natyashastra, this paper will focus on similarities in both Indian and Greek aesthetics, also highlighting when and why contemporary notion of aesthetics in European theatre moved away from the Greek, which was more similar to the Indian sensibility. An integral part of aesthetics both Indian and Greek (although European performing arts moved away from the original concept of Greek aesthetics) is improvisation on the rules that are suggested for a clear structure, which by definition is fluid and allows room for ‘newness. Rasa, in Indian context, applied to both the performer and the audience is considered an alaukika (other worldly) experience. Rasa, meaning gist, is the essence that one feels when experience an art piece, be it performance or static art.
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