Śāntarasa (Sanskrit: शान्तरस, occasionally spelled shantarasa, santarasa; transl. the imaginative experience of tranquility, emotion of emotionlessness) is considered as a ninth rasa, a concept of aesthetic flavour in Sanskrit literature. According to translation of Abhinavabhārati, Abhinavagupta's commentary on Nāṭyaśāstra by some experts, śāntarasa may be defined as: "that which brings happiness and welfare to all beings and which is accompanied by the stabilization (saṃsthitā) in the Self". It has as its stable emotion (sthāyibhāva) as impassivity (sama) which culminates in detachment (Vairāgya) arising from knowledge of truth and purity of mind. According to J L Masson and M V Patwardhan, who have collected the original manuscripts and translated Abhinavagupta's work, observe: the aud
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| - Śāntarasa (Sanskrit: शान्तरस, occasionally spelled shantarasa, santarasa; transl. the imaginative experience of tranquility, emotion of emotionlessness) is considered as a ninth rasa, a concept of aesthetic flavour in Sanskrit literature. According to translation of Abhinavabhārati, Abhinavagupta's commentary on Nāṭyaśāstra by some experts, śāntarasa may be defined as: "that which brings happiness and welfare to all beings and which is accompanied by the stabilization (saṃsthitā) in the Self". It has as its stable emotion (sthāyibhāva) as impassivity (sama) which culminates in detachment (Vairāgya) arising from knowledge of truth and purity of mind. According to J L Masson and M V Patwardhan, who have collected the original manuscripts and translated Abhinavagupta's work, observe: the aud (en)
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| - Śāntarasa (Sanskrit: शान्तरस, occasionally spelled shantarasa, santarasa; transl. the imaginative experience of tranquility, emotion of emotionlessness) is considered as a ninth rasa, a concept of aesthetic flavour in Sanskrit literature. According to translation of Abhinavabhārati, Abhinavagupta's commentary on Nāṭyaśāstra by some experts, śāntarasa may be defined as: "that which brings happiness and welfare to all beings and which is accompanied by the stabilization (saṃsthitā) in the Self". It has as its stable emotion (sthāyibhāva) as impassivity (sama) which culminates in detachment (Vairāgya) arising from knowledge of truth and purity of mind. According to J L Masson and M V Patwardhan, who have collected the original manuscripts and translated Abhinavagupta's work, observe: the audience undergoes transcendental experience, which is basic to all aesthetic experience in a play based on śāntarasa. It was not included in the list of rasas mentioned by Bharata in his epic Nāṭyaśāstra. The inclusion of this rasa as a prominent one in Sanskrit poetry and dramaturgy is attributed to Udbhata, a president in the court of king Jayapida of Kashmir during 779-813 AD and a contemporary of Vamana. Much of the literary criticism on this flavor was further carried out by Ānandavardhana in his commentary on Mahābhārata and Rāmāyaṇa and later by Abhinavagupta in Nāṭyaśāstra. (en)
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