Types of Rasa

The Raaga-Rasa mapping is overrated. While the concept of swara can be used to display various emotions, there is no specific melody for any rasa. The same raaga can be used to depict different rasas. Some rasas, including Bhaya (terror), are primarily depicted by nritta or natya (dance).

1) Hāsya (हास्य) refers to the “comic” sentiment (rasa). It is one of the eight rasas mentioned in the Nāṭyaśāstra 6.15. The color associated with the hāsya is white (sita), and the presiding deities of of the comic (śṛṅgāra) sentiment are the Pramathas.

Our upper lip curls into a snarl. A deadly stare accompanied by clenched teeth. Disgust is loathing, anger, deep and cruel. We may want to turn away, pull the blankets up tighter.

Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The theory of rasas forms the aesthetic underpinning of all Indian classical dance and theatre, such as Bharatanatyam, Kathakali, Kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, and others.

Rasa-lila - Krsna's Most Confidential Pastimes. Madhura-rati, or attachment in conjugal love, is described as follows: The conjugal relationship is experienced between the Supreme Personality of Godhead and the young damsels of Vrajabhumi, and due to their conjugal love they continuously exist in eight kinds of remembrances called madhura-rati.

Karuna Rasa is a very essential part of the Natyashastra. The dominant emotion or the Sthayi Bhava in Karuna Rasa is soka or sorrow.

Utsāha is an essential factor in matters governing human thoughts and actions, and directs all human achievements because primarily it is the strength of will, firmness of resolve, energy and power, endurance and perseverance, and the joy and elation resulting from achievement of pre-determined objectives.

Kalyani Kala Mandir ... gives rise to the Vibhatsa Rasa (revulsion). The sthayi bhava of Vismaya (astonishment) gives rise to the Adbhuta Rasa ...