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भाव

The Concept of Bhava

Bhava or to emote is the essence of literary and performing art. Bhava is the becoming. In other words, everything (objective or material) that can exist or comes in to existence is bhava. Going by this simple understanding, the state of mind and even the material conditions like birth and death or growth and decay or existence and transformation is bhava. This understanding can be extended to artistic creativity. The feeling and the thought process are the direct outcome of the state of mind in real life and at the same time, attributes like place, time, action, movement, gesture, posture, etc. can also be defined and described as bhava. The only difference that needs to be acknowledged is that in real life becoming is more due to direct implications of what we call the law of causation and with the reference to artistic creativity, it is the artist who influences it; using the sheer power of his imagination and creativity.

The artist does this by creating situations, incidents, characters and infusing attributes like feelings, thoughts, actions etc. It would be termed as process of “becoming” with the reference to artistic creativity more as, induced or caused and not as a production of material thing. In this light, Bharat Muni’s coining of the term “Nispatti” should be more interpreted as “Samavitti” means the process of creating intellectual awareness of an emotional experience through the means of Vibhava and other factors in the minds of the bhavaka or the spectator or the reader. This only leads to conclude that whether it’s a mental or material state, bhava means nothing but depiction of consciousness as rightly put by Bharata Muni – “Bhavayati iti bhava” and in this context, relating bhava with the expression artistic creativity is very much justified.

Bhava or to emote is the essence of literary and performing art. Bhava is becoming. Going by this simple understanding, state of mind and even the material conditions like birth & death or growth & decay or existence & transformation is bhava.

विभाव

Vibhava (hetu, karana, nimmita) means ‘cause’ of what happens or is happening in life. Bharata has termed it as ‘Vibhava’ and has described its primary purpose as, creating the awareness of the emotions that the creator (Poet/Author) intends to.

With the reference to artistic presentation (creative expression), Vibhava can be inntepreted as, ‘Developing the knowledge or understanding of a specific emotion (mental state) that the creator (Poet/Author) intends to convey through the means and modes of acting.

The Vibhavas are of two types one is ‘Aalambana Vibhava’ and the other is ‘Uddipana Vibhava’. In broader sense, they are the internal and external causes of something. ‘Alambana vibhava’ is source of a particular emotion that determines its nature and ‘Uddipana vibhava’ is the one, which enhances the emotion caused by a stimulant. It has no direct bearing or connection with the cause or consequence and it is not a part of the process but indirectly plays the role of enhancer of a particular emotion borne out of a stimulant. This can be best explained by many literary presentations such as works of Kalidasa or other renowned authors.

व्यभिचारिभावाः

Vyabhichari or Sanchari Bhava. They act as transitory feelings and sentiments, which can have many sources. These come to stay for a while, do their job and go. Thirty three such Vyabhichari or Sanchari Bhavas are mentioned in the Natya Sastra.

This is also known as sanchari bhava. The term means improvisation or explanation. These are transitory emotional feelings that differ from person to person. They will not have a constant nature.

अथ व्यभिचारिभावाः

Vyabhicari [Sancari] Bhavas – They are thirty three in number viz.

Source: The Natya Sastra, of BHARATAMUNI by BOS, Chapter 6 sloka 18-21 page no. 72)

अनुभाव

‘Anu’ is a Sanskrit word and in this context, it means “in reaction to”! Here in this case since it is the natural reaction of body to ‘Vibhava’ it is termed as ‘Anubhava’. Apparently, there is a very thin line of demarcation between the two; yet they cannot be termed as the same because Vibhava is the cause and Anubhava is its Consequence. Vibhava is definitive whereas Anubhava is not definitive. The simple reason for this is: it is not possible to link Anubhava with a specific emotion (mental state). For example, physical reaction like ‘strenuous expression on the face’ is a sure physical reaction which is a manifestation of a definite ‘cause’ or 1/8 Vibhava. Therefore, the physical reaction of strenouous expression

on the face will be the ‘Anubhava’. Nevertheless, since such a reaction could be the result of either a body ache or mental stress or for being thrown in to an awkward condition. As mentioned earlier, the vibhava is definitive because it is the internal state, which triggers the anubhava, which is the external manifestation.

The further explanation of the terms and related examples are given in the sixth and the seventh chapter of The Natya Sastra By Bharat Muni. To begin with, the analysis of the chapter six and following by chapter seven, which is as per the slokas. And the terms of Bhavas and Rasa which are also discussed in the chapter seven of the same will be taken in the chronology. (Ref: Rasa Theory By Shree. G K Bhatt M S University of Baroda)

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