Exploring the Navarasas: Depicting 9 Emotions Through Indian Art

Table of Content

Adbhuta Rasa
Bhayanaka Rasa
Bibhatsa Rasa
Hasya Rasa
Karuna Rasa
Raudra Rasa
Shanta Rasa
Sringara Rasa
Veera Rasa

Rasa can be explained as the emotional state of mind, and has formed an important aspect of Indian aesthetic understanding for centuries. The Navarasa, or the nine emotional states, come from the treatise of Bharata Muni, the Natyashastra. The chapters detail the aesthetically determined practice of diverse arts recognised as part of drama, containing within it dance, music and poetics, along with general directions of form and expression.

Art is a form of expression. It is a means for the artist to portray his own emotions and feelings in a way that the viewer, also known as the “rasik” can experience, understand and enjoy. The concept of the Navarasa is deeply embedded in our narrative styles of visual depiction, be it sculptural panels, mural paintings as well as traditional Indian, tribal and folk art forms like Pattachitra, Madhubani, Kalighat etc.

Adbutha (surprise/wonder) Bhayanaka (terror/fear), Bibhatsya (disgust), Hasya (laughter/mirth), Karuna (sorrow/empathy), Raudra (anger), Shantha (peace or tranquillity) , Shringara (love/beauty), and Veera (heroism/courage) ; and all the interconnecting states of feeling.

Each Rasa also has a deity and color associated with it. As Indian art is predominantly religious in nature, we can see how depictions of different deities in their various forms display certain emotions or Rasas, and how certain color palettes are used to depict the emotions.

Adbhuta Rasa

This Rasa depicts wonder or amazement. The deity associated with this Rasa is Brahma, as the creator of the universe, filled with wonder. The color associated with the Adhbhuta Rasa is yellow.

The below Phad painting depicts the Tree of Wonder, capturing the essence of Adbhuta Rasa in its true sense. In this captivating Phad painting, two majestic trees stand at the centre of the canvas, their lush foliage shimmering in a radiant golden hue. The tree exudes a sense of grandeur and vitality, its branches spreading wide. The yellowish golden hues infuse the composition with a sense of richness and abundance, evoking a feeling of awe and wonder.

Golden Tapestry: Tree of Wonder by Kalyan Joshi

Bhayanaka Rasa

This Rasa depicts horror or fear. The deity associated with it is Kali, and the color is black. In paintings, Bhayanaka Rasa can be depicted through scary or horrifying images, predominantly those of Kali, but also other fear or terror inducing scenes.

For example, the below Madhubani, Kalighat and Pattachitra paintings show Goddess Kali, depicted with a skull necklace around her neck, a cut off head and weapons in her hand, with a fierce expression. It is interesting to note that she is usually depicted in the color black, which is associated with the Bhayanaka Rasa.

Mahakali handpainted in Bengal Pattachitra style by Manoranjan Chitrakar

Goddess Kaali in Kalighat by Uttam Chitrakar

Transcendence Unleashed: A Vibrant Ode to Maa Kali's Fierce Majesty by Apindra Swain

Maa Kali In Madhubani by Ambika Devi

Transcendence Unleashed: A Vibrant Ode to Maa Kali's Fierce Majesty by Apindra Swain

Bibhatsa Rasa

This Rasa depicts disgust and repulsion. The deity associated with it is Shiva, especially in his Mahakaal form, and the color is blue.

The below Thangka painting perfectly encapsulates the essence of the Bibhatsa Rasa, showcasing Mahakal in blue, with flames emerging out of him, with a repulsive expression on his face. He is depicted wearing a crown made of skulls, symbolizing the transmutation of the negative aspects of life and death into wisdom. The serpent wrapped around represents the domination of harmful forces, and the tiger skin draped around Mahakala's waist signifies his triumph over primal instincts and represents his ability to tame and control even the wildest of energies. This form of Mahakala is a fierce and protective deity, often associated with the removal of obstacles on the spiritual path and the destruction of negativity.

Mahakala as an imagery of Time Thangka painting by Gyaltsen Zimba

Hasya Rasa

Hasya rasa depicts laughter and mirth, associated with the color white and deity Pramatha.

The below Kalighat painting of a lady with a mischievous cat holding a fish in her mouth, made with light colors depicts the Hasya Rasa showcasing a lighthearted scene of laughter and mirth. This exquisite painting captures an intimate everyday moment, blending elegance with humor and cultural depth. A graceful woman, adorned in resplendent jewelry, sits on a finely carved wooden chair, exuding a regal yet effortless charm. Her face, defined by sharp expressive eyes, a delicate bindi, and a slight smirk, conveys a blend of indulgence and amusement. Seated beside her is a mischievous yet endearing cat, its sleek grey body gracefully arched as it clutches a fish in its mouth, looking at its mistress with wide, cunning eyes. The playful dynamic between the woman and the cat is accentuated by her gentle embrace, her fingers resting on its head as if both scolding and caressing it simultaneously. The cat with its exaggerated features, conveys a sense of sly triumph, adding an element of wit and satire to the composition.

Lady with cat in Kalighat by Hasir Chitrakar

Karuna Rasa

Karuna Rasa depicts sorrow. The deity associated with it is Yama, the god of death, as death brings sorrow. The color associated with the Karuna Rasa is gray.

The below painting depicts Sita, sitting alone in Lanka, after being kidnapped by Ravana, overcome with grief and awaiting Lord Rama.

Sita, Oleograph by Raja Ravi Varma

Raudra Rasa

Raudra Rasa depicts anger and fury. The deity associated with this Rasa is Rudra, a form of Shiva, while the color associated with it is Red.

The below Pattachitra paintings brings to life the divine union of Maa Kali and Lord Shiva. This awe-inspiring painting showcases Maa Kali in her fierce Raudra Roop (the Angry Form), exuding a potent energy that captivates the viewer. The fusion of Yellow, Black, and White colors symbolizes the elemental forces of creation, destruction, and purity, respectively.

The Transcendent Twirl: The Feisty Monochrome of Power and Divity Pattachitra painting by Apindra Swain

Sacred Harmony of Colors and Mythology: Unveiling the Divine Dance Pattachitra painting by Apindra Swain

Shanta Rasa

The Shanta Rasa denotes peace and tranquility. The color associated with this Rasa is white, while the deity associated with Shanta Rasa is Vishnu.

The below oleograph depicts Lord Vishnu reclining gracefully on the mighty serpent Adishesha, whose multiple hoods spread protectively over him. The painting embodies celestial serenity, with Vishnu’s calm expression radiating divine grace and wisdom. Intricate jewelry, a golden crown, and a garland of fresh flowers adorn him, emphasizing his supreme status. Goddess Lakshmi, seated at his feet, gazes at him with devotion, symbolizing prosperity and devotion. The cosmic ocean, depicted with gentle waves, represents the eternal cycle of creation and preservation. Above, Lord Brahma emerges from a lotus rising from Vishnu's navel, symbolizing the birth of the universe. In the foreground, Garuda and celestial beings, including Narada and Hayagriva, pay their respects, reinforcing Vishnu’s role as the protector of dharma. This showcases the Shanta Rasa beautifully.

Sheshashayi Vishnu in Oleograph by R.G. Chonker

Sringara Rasa

Sringara Rasa denotes love, the deity associated with it being Vishnu and the color being light green. This is the most popularly depicted in paintings among the nine Rasas.

The love of Radha Krishna is a well known theme that depicts the Sringara Rasa. The below Pichwai painting captures a tender and intimate moment between Radha and Krishna, the eternal divine lovers, framed in an ethereal setting that radiates grace, devotion, and romance. rishna, elegantly dressed in a royal white jama adorned with fine pearls, emeralds, and rubies, exudes regal charm. His pink turban and gentle posture reflect both nobility and affection as he lovingly reaches out toward Radha. Opposite him, Radha stands poised in a richly embellished green lehenga choli, her eyes lowered in modest grace, embodying shringara rasa (the mood of love).

Radha- Krishna in Pichwai by Shehzaad Ali Sherani

This beautiful Kangra painting depicts Radha and Krishna in a forest, lost in each other’s eyes, living a romantic moment against the serene backdrop of Vrindavan’s forest and a peacock being a spectator to their love.

Divine Union: Radha Krishna in Kangra by Poonam Katoch

These traditional Kalighat paintings depict the divine love of Shiva and Parvati as an epitome of the Sringara Rasa. These paintings show Parvati, with a glowing golden complexion, exuding grace and affection, gently leaning into Shiva, gazing at Shiva with deep adoration, caressing his cheek, lovingly embracing him; acting as a testament to their eternal love.

Shiv and Parvati in Kalighat by Anwar Chitrakar

Shiv Parvati In Kalighat by Anwar Chitrakar

This Madhubani painting showcases the love story of King Dushyant and Shakuntala, as written by Kalidasa in his popular play Abhijanashakuntalam, a piece full of Sringara Rasa, that is depicted even in the painting.

Love Story of King Dushyant & Shakuntala By Kalidas: Madhubani by Ambika Devi

These Kalighat paintings also depict scenes of household romance between couples, speaking about the Sringara which brightens up one’s otherwise dull daily routine life, acknowledging the Sringara hidden in little moments like fixing a flower in one’s lover’s hair or just spending quality time with one’s special someone. Love doesn’t have to be measured by grand gestures, it exists even in the most mundane of times, if only one is willing to find Sringara in each moment, making life beautiful.

The Household Romance in Kalighat by Sonali Chitrakar

The Blooming Romance In Kalighat by Sonali Chitrakar

Eternal Love Story: Awakening of Romance Kalighat by Hasir Chitrakar

Veera Rasa

Veera Rasa depicts heroism or courage. It is associated with the deity Indra and the color associated with Veera Rasa is yellow.

The Kalamkari painting shows Veera Lakshmi, a form of Lakshmi holding a variety of weapons in her multiple arms.

Dhairya/ Veera (Valourous) Lakshmi In Kalamkari by Harinath N

The below Pattachitra painting showcases the awe-inspiring form of Goddess Durga in a captivating portrayal showcasing her divine power, strength, and ferocity. In this painting, Goddess Durga is depicted as a fierce warrior, radiating a sense of courage and determination. She is depicted with multiple arms, each wielding a different weapon, symbolizing her various powers and attributes.

Sacred Warrior: Feminine power through Pattachitra Painting by Apindra Swain

The below Kalamkari painting showcases the war between Rama and Ravana, highlighting the bravery of both the armies and each soldier fighting for their Dharma.

Rama Ravana Yudha: Kalamkari Painting by Harinath.N

The below Kalighat painting shows Jatayu, the vulture, confronting Ravana, as he carries Sita away in his Pushpak Vimana. It is an ode to his bravery, that he chose to protect SIta with his life, even though he knew he would be no match against the might asura king Ravana, makes this story and this painting an epitome of Veera Rasa.

Jatayu confronting Ravana In Kalighat by Manoranjan Chitrakar

Thus, the Navarasas, with their profound emotional spectrum, form the foundation of Indian aesthetics, influencing Indian art. Each Rasa not only embodies a distinct emotional essence but also connects deeply with mythology, color symbolism, and divine representation. Traditional Indian artists, in their various art forms—ranging from Kalighat and Madhubani to Pattachitra and Pichwai—paint each emotion onto their canvas with their magical brushstrokes, vividly bringing the Navarasas to life, transforming visual storytelling into an immersive emotional journey. Whether it is the awe of Adbhuta, the serenity of Shanta, or the passion of Shringara, these Rasas transcend time and medium, allowing both artist and viewer to experience the shared language of human emotion. In portraying the Navarasa, Indian art does not merely tell stories—it breathes life into them.

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