Exploring Indian Aesthetic Theory for Developing New Architectural Forms

[WH05]
Mrs. Deepika Shetty, Associate Professor, Architect, Urban Designer
Faculty of Architecture, Manipal Institute of Technology, Manipal University, India
deepika.jeevan@gmail.com

Abstract:
Development of perfect form has been the most debated topic as well as one of the most
exciting themes of architectural discussion. Instead of looking for a universal solution and
absolute truth it is more relevant to look at multiple options and localized flavors and modes of
creating architectural forms. With this belief this paper explores the aesthetic theory of Rasa
shastra1 in Indian art, which has inbuilt philosophy of universality as well as individuality and
possibilities of diverse interpretations, to create a framework to visualize and create space and
form. This is then developed to concepts of space organization techniques to translate the
theory to concrete diagrams and finally applied to creating and visualizing an architectural form.
Introduction:
Aesthetics is an important criterion of perception that distinguishes one viewpoint to another.
Aesthetics in local terms is a way of seeing things right from literature to all forms of arts. At
around 10th- 11th cent. CE. Abhinavgupta explored Rasa as an aesthetic theory in his
commentary on Natyasastra in ‘Abinavbharathi’ and Dvanyaloka in ‘Locana’. 2 This shastra was
detailed elaborately with dance drama in focus which included literature, poetry, music, dance,
stage, costume and lot of parallels with cooking too. Here in this paper the theory has been
interpreted further to be applied to architecture.
Art is an emotional expression is the basic assumption of this concept. It is a theory of
consciousness which states that objective universe is an emission of the self or consciousness
born, not out of any dialectic necessity, but out of self’s free will or simply as an exertion of it’s
sportive nature. The Rasa in the singular connotes the akhanda (undivided) asvada (aesthetic
enjoyment) in the spectator, which is of the nature of visranti (blissful repose). The art object is
not the ultimate analysis or the highest stage of contemplation, nor is it something objective
other than the self. It is merely a stimulus, which the mind appropriates not as another but as
external realities of one’s own self. Universality is the hallmark of aesthetic experience though it
proceeds from the object highly individualized by the artist. The presented situation in art
becomes aesthetic only when all the elements therein are grasped by their critic in their
universal aspects. Personal considerations fade away. Even impossible things in life do not
endanger disbelief in art. We are almost approaching the realm of infinite pleasure-
brahmananda. Though Rasa is a mode of awareness, it is unique (alaukik, lokottara),
transcending the empirical modes of cognition, such as sense, perception, inference and
recollection. He isolates state of savoring the art object (rasana) from all other preceding
cognitive stages, such as the initial sense of contact, verbal comprehension, associational
thinking, deduction, and the like, which are necessarily involved in apprehending the meanings.
This state is supernormal as it is neither entirely self-directed (svagata) nor other directed

1
Meaning of the term:
Rasa- flavor, taste, juice, essence, core, basic…
Rasa-shastra – Theory of defining good taste, Speculation of primary emotional experience, Evolves values and
techniques in production and apprehension of art, Evolution of aesthetic discourse, In Natyashastra it is a theory of
aesthetic flavor, which contemplates, on ‘Bhava’ exploring aesthetic moods.
2
Bharata in his Natyashastra between 2nd cent BCE - 2nd cent. CE first formulated Rasa as an emotive theory of
aesthetics. It was primarily in context of the theatre. Anandavardhana’s Dvanyaloka later developed it into general
poetic principle by 9th cent CE.
(paragata) it negates all distinction of person, place and time, which obstructs our enjoyment of
emotions in real life. This brings about the distinction between Bhava and Rasa where the
former is human emotion as is and the latter is the emotion in aesthetically enjoyed form.
Rasa for architecture:
The entire process of Rasa realization can be summed up as follows:
When an ideal spectator (sahrdya) gifted with emotional maturity and aesthetic sensitivity,
witness a good play on the stage, enriched by fine acting, music, dance, theatrical decoration,
costumes etc. He grasps the theme of the play, not in particular but in general context. When
the drama theme becomes free of limits of time and place, and the spectator gets rid of
restriction of surrounding and their effects, then he relishes aesthetic delight-siddhi.
In creation of spatial forms in architecture you have the core meaning of the building on one end
(kavyartha); at the other end is the artistic enjoyment or siddhi which connects the form with
mature user. Between these are vibhava (context), anubhava (environment or setting) and
vyabhicarins (explorations and variations of the theme) which form rasa. The seven fold psychic
obstacles that prevent the pleasure to be perfect are; lack of imagination, attachment to / over
absorption in a particular place and time as belonging to oneself or to another person, the state
of being affected by one’s personal thoughts, experiences etc., the fallibility of the means of
apprehension, their absence of clarity or distinctness, the absence of prominence of sthayin
(theme) and the rise of a doubt.
Abhinavgupta states that the vibhavas and other accessories are instrumental in removing the
obstacles in the apprehension of Rasa. Rasa is a product of not only abiding psychic states
(sthayibhava) but also passing moods (Vyabhichari-bhavas) and which point to their causes
(vibhavas) as well as consequences (anubhava). In all these, it should be noted how the term
bhava invariably occurs in one form or the other and emphases the role of imagination on the
part of the designer and demands a corresponding imagination on the part of the critic. If there
is no harmony or propriety in the presentation of these, the critic will at once notice it and there
is bhanga (disruption) of his rasa. The sthayin cannot be identified or ascertained on the
strength of the anubhavas, vibhavas, and vyabhicarins, since they are not restricted for any
particular sthayin. For e.g. Tears are occasioned by joy as well as eye-disease or misery,
An example of comprehensive agglomeration is- vibhava like loss of a relative, an anubhava like
lamentation, shedding of tears etc., and vyabhicarins like anxiety, or concern, misery, etc.,
surely suggest the sthayin- soka (grief).
Sthayins identified by Bharata were nine- sringara (love),hasya (humor),shoka (grief), krodha
(rage), veera (heroism), bhaya (fear), vibhitsa (disgust), ashcarya (wonder) and shantha
(serenity). The concept of sthayin in architecture is visualized in space and time via abstract
diagram of bindu (a point, which goes to form a body describing itself), nabhi (the anchor
indicating stability and movement in order), and cakra (the wheel symbolizing the cyclic order of
life and cosmos) which depict the continuity of part to whole relationship. Vibhava are neither
the material cause, nor are they indicative cause but they help in creating the setting for
apprehension hence there need not be any realistic parallels. The spatial relations of vibhava
are ksetra (physical space of all types, zones to region), loka (a generalized concept of space, a
paradigm, not bound physically, materially, without any geographical or historical dimension),
desa (a concept, tradition, history and/ or physical boundary representing a single space) and
the temporal positioning of the same is via kala(time-period). Anubhava is the organizational
parameter to create variation in the context. The situation or anubhava are created and
exemplify sthayin via temporal and spatial division –Ksana, situation-sandhi, connection-sutra
and hierarchy -krama. Vyabhicarins are interwoven mental states, which are complementary to
the sthayibhava. They partake of millions of variegated forms of rise and disappearance. The
variation in the given situation or context in time and space are modulated, accommodated,
dictated as per the instance by these variables. They are tala (the regulars in space, or
connected to routine as in time), laya (the pace or speed created in space and time), mana (the
variation in emphasis both in time and space). This hence is to do with rhythm, intensity, pause,
repose, pitch, the phenomenon of transgression and regression, etc. which creates interest and
variety within the order.
Building tools for Rasa:
There are very important tools which are used to depict the concepts and achieve various
effects discussed in the previous section. These can be taken as parallels of mudras (stylization
and method of movement of body parts) in dance. In architecture there are four main elemental
design tools which define the style and method for the design maintaining the universal concept
of design. The stylization is more a maestro’s interpretation of expression modes. The
combination of personal creative ideas with knowledge of aesthetics gives the means of
expression the level of perfection or siddhi.
DEFINITION OF SPACE- A PLACE:
The basic demarcation of the space is related to the notion of spontaneous perception where
man’s space is subjectively centered. He establishes certain centers in the external
environment, which are his reference points. Here the center denotes the point of identification
or reference and hence the boundary would be the territory suggested by design for that activity.
This is to be done keeping all four organizational principles and their interpretation in mind. The
center would be associated differently as per the interpretation of that particular space in the
larger context, for e.g., center of the universe, center of the kingdom, center of the town, center
of neighborhood, the character of which would reflect the respective local goal.
HIERARCHY OF NODES -system of centers:
The associational background with the specifics of anubhava, the system of connections, and
hierarchy of nodes is worked out. The features, elements, functions, technology, material in
relation to the vyabhicarins build up time frame for association in accordance to its mana
(importance), sthithi (status), krama (order) in the overall context. This gives the suggestion of
location, importance and function in the perception of the user.
MOVEMENT AND CONNECTIONS
The four basic movements in a space are Transverse, rotational, leap and potent/ pause/ static
Within a space these four are basically the play of perception and physical movement and
suggestions where planes, elements, ornamentation, relief, color, texture, are tools to achieve
the same.
In the larger context the three tools are the way via which ksana is defined, sandhi is created,
sutra is offered, krama is felt.
Design for Rasa:
A site offers features and landscape to which
the society as a whole gives some meanings
significance and this builds the paradigm with
which the architect works on. Here the
vibhava – where the binding meaning of
context, the abstract meaning (cultural
significance) of space syntax and physical
boundary of settlement are identified and
absorbed by the designer.
The location, orientation and approach are a
diagram related to the concept of space
Here is an example of a temple in the costal
creation where one introduces, secludes and
town of Barkur located in southwest India. The
intensifies the role of the built form. The
town was an ancient capital of a small
th zones of influence of the built form are related
province of Alupas in 10-11 century A.D. and
to its significance to the context and
flourished in the Vijaynagara Empire as a port
th accordingly the zones and its boundaries
town between 12-15 century A.D. The main
increases.
crossroads of the town is marked by a
monument called Kalchapra and the N-S axis
is a district road and the main road of the town
runs E-W.
The Panchalingeshwara temple is of regional
importance and is visited by people from
around 200 villages of the region and more.
The temple here has a foot print of the 8th -9th
century temple style; however the
superstructure seems to have been modified
during 12-14th century. The temple is located
in the elevated area on an average 30ft above
rest of the town.

Zone1-The water tank acts as a preamble to mark the beginning of the temple zone. Here public
and semi-public activities take place with a change in atmosphere from the commercial car street,
with change in ground level and presence of wide expanse of water.
Zone2- The public street not aware of the whole sequence of visuals as temple is not yet visible
however suggestion is there with the tip of the shikara visible from far.
Zone 3-The path leading upward to the temple which is the first time one sees the entrance and the
person focuses on entering the temple.
Zone4 -This zone is the beginning of the temple area with subsidiary gods the ablution tank and the
bhuta ganas present. This marks the physical beginning and is the space for temple activity to be
advertised to the outside.
Zone 5-Here the focus again shifts to the entry which has a verandah as resting area as well as
space to remove footwear.
Zone 6- Here the flag is hosted on important events and the space to pperform susidary temple
activities and other ceremonies for the public..
Zone 7- Here the entry is totally focused to the garbha griha however there are obstructions. The
planning is such that from this zone onwards the individual is addressed.
Zone 8- This is the extent to which the general public enters and gets the view of the God. The eye
level is slightly lower than the height of the idol creating a feeling of reverence.
Zone 9- The area is meant for special rituals done for special occasions.
Zone 10- the most private and enclosed area with the highest height of the building here is the
focus of the temple. The crowd is secluded and the mystery is enhanced to create the climax.
Zone 11- It is the circambulatary continued from zone 9 which again emphasizes the focus.
Zone12- It is the continuation of circambulatory from zone-7 and 8 which is meant for general
public.
The boundaries of zone 1-5 are pervious and suggestive as they are in public domain and should
not interfere with other activities while the boundaries from zone 5-12 are strong solid elements with
strict geometry. The intensity increases and becomes more focused towards the garbha griha
making it the climax of the sequence of events.
The discussion has been aesthetics however not as a resultant of an activity but the process and
the logic to create good aesthetics has been discussed. The overall framework of design and key
issues to be addressed to bring Rasa has been developed in the paper. However the modes of
stylization and physical representation techniques of the design has not been discussed because
these aspects are related to style which need to originate from regional concepts and values of
space and have to be developed in context to the location and function of the built form along with
the creativity of the designer.

Reference:

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2. Coomaraswamy A.K., Edited and Introduced By Kapila Vatsyayana, ‘Transformation of Nature in

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(1998)

4. Mookerji Ajit, ’Ritual Art in India’, Thames and Hudson Inc., New York. (1985),

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