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Sanskrit poetry --- Rasas --- Poetics --- Abhinavagupta, - Rajanaka

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From the early years of the Common Era to 1700, Indian intellectuals explored with unparalleled subtlety the place of emotion in art. Their investigations led to the deconstruction of art's formal structures and broader inquiries into the pleasure of tragic tales. Rasa, or taste, was the word they chose to describe art's aesthetics, and their passionate effort to pin down these phenomena became its own remarkable act of creation.This book is the first in any language to follow the evolution of rasa from its origins in dramaturgical thought—a concept for the stage—to its flourishing in literary thought—a concept for the page. A Rasa Reader incorporates primary texts by every significant thinker on classical Indian aesthetics, many never translated before. The arrangement of the selections captures the intellectual dynamism that has powered this debate for centuries. Headnotes explain the meaning and significance of each text, a comprehensive introduction summarizes major threads in intellectual-historical terms, and critical endnotes and an extensive bibliography add further depth to the selections. The Sanskrit theory of emotion in art is one of the most sophisticated in the ancient world, a precursor of the work being done today by critics and philosophers of aesthetics. A Rasa Reader's conceptual detail, historical precision, and clarity will appeal to any scholar interested in a full portrait of global intellectual development. A Rasa Reader is the inaugural book in the Historical Sourcebooks in Classical Indian Thought series, edited by Sheldon Pollock. These text-based books guide readers through the most important forms of classical Indian thought, from epistemology, rhetoric, and hermeneutics to astral science, yoga, and medicine. Each volume provides fresh translations of key works, headnotes to contextualize selections, a comprehensive analysis of major lines of development within the discipline, and exegetical and text-critical endnotes, as well as a bibliography. Designed for comparativists and interested general readers, Historical Sourcebooks is also a great resource for advanced scholars seeking authoritative commentary on challenging works.

Rasas --- Aesthetics, Indic --- Sanskrit literature --- Rasas - Early works to 1800 --- Aesthetics, Indic - Translations into English --- Sanskrit literature - Translations into English

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Bhanu is probably the most famous Sanskrit poet that no one today has ever heard of. His “Bouquet of Rasa” and “River of Rasa,” both composed in the early sixteenth century, probably under the patronage of the Nizam of Ahmadnagar in western India, attracted the attention of the most celebrated commentators in early modern India. Some of the greatest painters of Mewar and Basohli vied to turn his subtle poems into pictures. And his verses were prized by poets everywhere: Abu al-Fazl, the preeminent scholar at Akbar’s court, translated them into Persian, and, Kshetráyya, the great Andhra poet of the next century, adapted them into Telugu. Many writers have described the types of heroines and heroes of Sanskrit literature (the subject of the “Bouquet of Rasa”) or explained the nature of aesthetic emotion (that of the “River of Rasa”), but none did so in verse of such exquisite and subtle artistry.

Sanskrit poetry --- Rasas --- Poetics --- Bhānudatta Miśra --- Bhānudatta Miśra --- Sanskrit poetry - Translations into English --- Rasas - Poetry --- Poetics - Poetry --- Bhānudatta Miśra - Translations into English

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The intensity and meaningfulness of aesthetic experience have often been described in theological terms. By designating basic human emotions as rasa, a word that connotes taste, flavor, or essence, Indian aesthetic theory conceptualizes emotional states as something to be savored. At their core, emotions can be tastes of the divine. In this book, the methods of the emerging discipline of comparative theology enable the author’s appreciation of Hindu texts and practices to illuminate her Christian reflections on aesthetics and emotion. Three emotions vie for prominence in the religious sphere: peace, love, and fury. Whereas Indian theorists following Abhinavagupta claim that the aesthetic emotion of peace best approximates the goal of religious experience, devotees of Krishna and medieval Christian readings of the Song of Songs argue that love communicates most powerfully with divinity. In response to the transcendence emphasized in both approaches, the book turns to fury at injustice to attend to emotion’s foundations in the material realm. The implications of this constructive theology of emotion for Christian liturgy, pastoral care, and social engagement are manifold.

Christianity and other religions --- Hinduism --- Emotions --- Rasas. --- Aesthetics, Indic --- Literature --- Mood (Psychology) --- Poetics --- Rhetoric and psychology --- Hinduism. --- Relations --- Christianity. --- Religious aspects. --- Aesthetics --- Abhinavagupta. --- Aesthetics. --- Bernard of Clairvaux. --- Comparative Theology. --- Emotions. --- Gaudiya Vaisnavism. --- Indian Christianity. --- Jyoti Sahi. --- Liberation theology. --- Rasa. --- Christianity and other religions - Hinduism. --- Hinduism - Relations - Christianity. --- Emotions - Religious aspects.