Rasa, Rasika and Rasavant

The Art, कला, has varied genre, विधा. चित्र सूत्र suggests the शास्त्र of the गीत, आतोद्यू, नृत्त, च मूर्ति शिल्प and आलेख्य. प्रतिमा लक्षण is discussed there as देवतारूप-निर्माणम्. Whatever its genre far, the essential element in all the forms and genre of art is the , other than the रस found in द्रव्य गुण विभाग of आयुर्वेद. रस was initially propounded for the नाट्य शास्त्र by which was applied only later to. The other counterparts of the are the रसिक and the रसवन्त. रसानुभूति from नाट्य, संगीत, नाट्य-संगीत, and काव्य are common but not so from आलेख. Mere arousal of a भाव in the रसिक is not enough to touch his or her हृदय. is enjoyed, says far, "only by those who are competent thereto". "The becomes through the fu's own capacity for being delighted, not from the character of the hero to be imitated, nor because the work aims at the production of a Rasa', says धनंजय in दसरूपक. The artist uses the विभाव, अनुभाव and व्यभिचारी भाव etc. which are the means to be employed to रस experience to the रसिक. भावाभिव्यक्ति in a and मूर्ति शिल्प is dependent on the रस- दृष्टि रस - दृष्टि - लक्षण applies to both, the artist and the . This paper widens the coverage of the subject matter here. f itself is the artist, does it employ -- while manifesting itself into various fa? In the case of काव्य, it may be the knowledge of विभाव, अनुभाव, but what about a मूर्ति or a far? What can be the nature of the expressed in that case? The fa becomes significant for both, the f and the Artist, as "the defects of images are constantly destroyed by the power of the virtue of the worshipper who has his heart always set on his deity." says with reference to images. There may be so many reasons for a ч to emerge. Rise of every is not pleasant, even if it is, the pleasure derived may be if, and then it falls short of the stature the has been assigned, especially after. The paper attempts to reconnect the finer points beginning from, and establishes a ground where we find that no matter what genre one is concerned with, at whatever point one is in space and time, there is a fundamental underlying unity, which unifies the artist, and the f, through the TH. An aspect which, it seems, have been given less attention if not ignored since the नाट्य शास्त्र of भरत मुनि..