Rasanirupana of Ajitasenacharya
By Parul N. Mankad
Summary
Dr. Parul Mankad examines the fifth chapter of Ajitasenacharya’s treatise Rasanirūpaṇa, which sets out his views on rasa, the aesthetic flavour central to Sanskrit poetics. Drawing on Bharata’s Nāṭyaśāstra, Ajitasena defines perception and explains how knowledge arises when mental disturbances are removed. He accepts nine rasas and corresponding permanent emotions, lists the supporting factors (vibhāvas), involuntary reactions (sāttvika‑bhāvas) and thirty‑three transitory states. Notably, he asserts that rasa resides in the actor rather than the spectator, diverging from later theorists. Ajitasena identifies varieties of the erotic sentiment and ranks śānta rasa (peace) as supreme. While acknowledging colours and deities associated with rasas for poetic completeness, he does not accept their factual reality. Mankad evaluates these positions, questioning the claim that rasa exists solely in the performer and considering the originality of Ajitasena’s contributions. The article situates his work between Bharata’s dramaturgy and subsequent rasa theory, shedding light on a relatively neglected figure in Indian aesthetics.
Conclusion
The analysis of Ajitasenacharya’s Rasanirūpaṇa reveals both continuity and innovation in medieval aesthetic theory. By outlining his definitions of rasa and critiquing his contention that rasa resides only in the actor, Dr. Mankad highlights how Ajitasena engaged with and adapted earlier doctrines. The study encourages a broader appreciation of lesser‑known thinkers whose works enrich the history of Sanskrit poetics.