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rasas (räˑ·sz),

n.pl in Ayurveda, the six tastes: sweet, sour, salty, bitter, pungent, and astringent. These tastes are intimately bound up with doshas, so that individuals crave the tastes they need to restore balance in the doshas. See also doshas.
RasaPredominant mahabhutas
SweetPrithivi and
SourPrithivi and
SaltyJala and
PungentVayu and
BitterVayu and
AstringentVayu and
References in periodicals archive ?
Rani El Khatib, RASAS Managing Director as well as the campaign's creator, added: "The 'Beginnings' and 'Late Nights' commercials were developed to bring to life the texture, taste and aroma of VIMTO.
Niels Thomsen, Marmalade producer, said: "It was a fantastic project and we really appreciate working with RASAS and VIMTO.
The Pem Nem paintings with their emphasis on love and longing reveal the importance of rasa (flavour) and the appreciation of the emotion conveyed by the images.
In the Pem Nem the aim was poetic--conveying the emotions through rasa.
Bhoja (eleventh century) perhaps carried this ideal to its extreme in proposing that all rasas are manifestations of a deeper emotional potential, a "higher-order Passion [srngara]" that "enables a person to experience the world richly," and therefore "may be taken as the origin of all other affective states, or rasas" (Pollock 1998: 126; see also Raghavan 1963: 463).
The manifestation of these rasas in natya is closely connected with the particular form of life (loka vyavahara) of a specific culture.
These rasas are evoked in a reader by words, sentences, topics, etc.
Rasa is the cumulative result of vibhava (stimulus), anubhava (involuntary reaction) and vyabhicharibhava (voluntary reaction).
Despite this, or perhaps because of it, the book works as an introduction to the practical aesthetics of rasa as well as any I've seen--scholarly or no.
Bhavas are the emotional states of the characters portrayed in a drama or poetic work, out of which the rasas of the work are developed; rasabhasa and bhavabhasa are rasas and bhavas that are excessively or inappropriately manifested; rasaprasanti is the subsidence of a particular rasa.
The Telegu poems now made available to English readers through the superb translations contained within this volume, however, give expression to an even more radical posture of srngara rasa, and certainly merit inclusion in our understanding of possible srngara approaches to God.
Moksa, indeed, gives opportunity to santa rasa, and the ambiguity of the rasa vis-a-vis the other rasas is in part a function of the ambiguity of the purusartha vis-a-vis the other purusarthas.