This paper was presented at
Psychology: The Indian Contribution
National Conference on
Indian Psychology, Yoga and Consciousness
organised by the Indian Council of Philosophical Research
at the Sri Aurobindo International Centre of Education
Pondicherry, India, 10-13 December 2004

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Aesthetic experience (relish of rasa) in different frame works: A study of time-frame performance of different rasas and bhavas etc., and the relish of rasa

P.K. Mishra — Utkal University, Bhubaneswar.

The area of this paper relates to the psychology of Indian aesthetics which deals with the mental strength and resistance of connoisseurs in tolerating sound and light combinations and enjoying different bhavas displayed on stage. The mental resistance studied by the rhetoricians and dramaturgists are quite interesting. It appears; they have thought over these time limits for plays of rasa and bhava. The time frame necessary for display of rasas are quite scientifically judged. In dramaturgy, time frame is according to the mental satisfaction of the connoisseur. It can be marked if judged carefully, that the category of connoisseurs are different for which a side spectrum of varieties are prescribed to cater to the needs of all of them together and separately. Therefore hairsplitting divisions of rupakas and uparupakas on the basis of characters, acts, rasa and bhava etc., are found. The authorities have taken care for this. The criterion for the consideration of the framework of the plays corresponds to the mental phenomena. There are innumerable stages of mind as there are layers of lotus leaves. The piercing of thousand lotus leaves by a needle cannot be marked by any pierce, which is like a samlaksyakrama. The mental stages undergo several changes by the visual effect of play, which are also difficult to count without any scientific instrument. Similarly the reaction to different plays is standardized by the authority on dramaturgy, considering the deeper emotional effects.

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