Application of the Navarasa Theory in Architecture.

Sumantra MISRA1, Manjari CHAKRABORTY2, N. R. MANDAL3

1
Department of Architecture, Birla Institute of Technology, Mesra, Ranchi, Jharkhand – 835215, India;
sumantra.misra@gmail.com
2
Department of Architecture, Birla Institute of Technology, Mesra, Ranchi, Jharkhand – 835215, India;
dr_manjari@bitmesra.ac.in
3
Department of Planning, School of Planning and Architecture, Neelbad Road, Near IISER Institute, Bhauri,
Bhopal, Madhya Pradesh – 462030, India; nrm1201@gmail.com
 5th International Conference on Arts and Humanities 2018 - ICOAH 2018

APPLICATION OF THE NAVARASA THEORY IN ARCHITECTURE.

Abstract: The Indian aesthetic theory as stated by Bharata has been in wide use in all Indian Dance,
Music and Art forms. This paper attempts to examine its influence on the contemporary Indian
architecture and evaluate its Western metaphors. The Nine Rasas have been discussed at length and it
has been attempted to identify a few Architectural edifices which can relate to and perhaps have
drawn inspiration from these Rasas. International parallels have been drawn to the Indian Navarasas
wherein of course, emotional response has been used to replace Rasa; and sub-consciously all these
styles have played upon this theory to evoke the desired emotion from the observer. The Indian
emotional aspects as represented in the Rasas and their Western emotional counterparts relating its
associative architectural style have been discussed.

Keywords: Architectural Theory; History of Architecture; Western Contemporary Architecture;

Indian Architecture.

Introduction

The Rasa has been perhaps the most important concept of Indian traditional aesthetic theory. The philosophy of
Bharata (2nd Century A.D.), has propagated the Doctrine of Rasa in his Natyashastra and this has been debated,
discussed and developed by the great Indian philosophers like Kalidasa, Bhoja, Rudrata and others.

However, Bharata, the originator of the Rasa Theory had identified a total of eight basic Rasas as mentioned in
Table 1 (below).

Table 1. Bharatas Rasa Theory and its components

Rasa Translation Keywords Synonyms Attributed
Colour
Karuna Rasa The Sadness, Pathos Concern, Light Grey,
Compassionate Considerate, Sorrow, (White,
Misery, Grief Background 1,
15%)
Shringara Rasa The Erotic Love, Fondness, Passion, Purple,
Yearning, Tenderness Enchantment, (Purple, Accent 4)
Infatuation,
Adulation, Idolatry,
Narcissism,
Bewitchment,
Seduction, Enrapture
Veera Rasa The Heroic Valour Courage, Bravery, Light Green,
Gallantry (Olive Green,
Accent 3, Lighter
80%)
Hasya Rasa The Comic Laughter, Humour Wit, Hilarity White
(White,
Background 1)
Bhayankara Rasa The Terrifying Fear Inconfidence, Black
Anxiety, (Black, Text 1)
Apprehension,
Intimidation
Vibhatsa Rasa The Disgusting Aversion Dislike, Loathing, Blue
Repugnance (Blue)
Adbhuta Rasa The Awesome Surprise Disclosure, Blow, Yellow
Astonishment (Yellow)
Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
Raudra Rasa The Wrathful Anger, Vengeance, Fury, Temper, Ire, Red
Arrogance Frenzy (Red)

When performing a drama (which includes classical dance), it is felt that a judicious use of the first eight moods
would leave the audience with a feeling of the ninth, peace or Shanti Rasa mentioned in Table 2.

Table 2. The ninth Rasa as a culmination of all the eight Rasas

Shanti Rasa The Peaceful Calm Serene, Quiet, No colour
Tranquil, Composed assigned

In a musical performance, the first four, and the ninth, find expression in the Raagas, or musical modes. The
moods of the other four, that is, anger, fear, disgust, and surprise, are not regarded as inherent in the Raagas
themselves, but rather can be combined with stage action to create a greater dramatic effect.

Navaras in Indian Classical Music, again, can possess shades and meaning of these moods which can be
described in a variety of ways. These descriptive words are called Bhavas (expressions). The Rasa Shringar
(love), for instance, has so many Bhavas: happiness, joy, enchantment, wonder, ecstasy, infatuation, adoration,
eroticism, devotion, and so on - there must be an infinite number of words to describe all the kinds of
love(Hindustani Classical Music And Everything - Posts, no date). Bhavas are what artists (and in this case
craftsmen and architects) spend years developing and refining, and are what communicates with and moves
audiences and end-users.

Apart from the Rasas, there are other terms which are commonly used to describe the shades of feelings that can
be conveyed by Raagas. According to their nature, Raagas can be classified into two groups- serious or light. A
serious Raaga can be said to have a Gambhir Prakrit (serious nature). This might be said of the strictly classical
literature in general. Lighter Raagas are said to have Chanchal Prakrit (restless nature). A Raaga with a
devotional tradition is described as having Bhakti Ras (devotional love), to distinguish it from the more
romantic nature of Shringar Ras. Also certain Raagas are said to have healing properties.

That said; such fine nuances which may be possible in the performing arts per se, perhaps would be unattainable
in the architecture of built form. However we can easily go about trying to relate to broader classifications – The
Navarasa.

The aesthetical qualities codified by Bharat and others for the Natyashastra have later been adopted into music,
sculpture, iconography and painting, as exemplified in the temple and rock cut caves. (Schaper, 1983)

Study Area

Under the above circumstances, it is expected that these aesthetical qualities have also passed into the realms of
Architecture and Urban Design.

In this paper, it is attempted to identify a few Architectural edifices which can relate to and perhaps have drawn
inspiration from these Rasas.

We also draw International parallels to the Indian Navarasas wherein of course, emotional response has been
used to replace Rasa; and sub-consciously all these styles have played upon this theory to evoke the desired
emotion from the observer.
 5th International Conference on Arts and Humanities 2018 - ICOAH 2018

Database

Table 3.The eight Rasas and their corresponding Architectural Expressions in India.
Rasa Image Architectural Expression
Karuna Rasa The relaxing environs of its nalakettu as seen in Figure 1
(traditional Kerala home with a quadrangle in the
centre) (Seemantini, 2013)

Figure 1 HARIVIHAR,
Chottanikara, Tripunitura,
Kerala, India.

Shringara Perfect proportions, the white façade representing

Rasa purity, the water reflecting the structure and the flora
around it combined with the curvilinear profile of the
domes induce sensuality as is evident in Figure 2.

Figure 2 Taj Mahal, Dharmapuri,

Forest Colony, Tajganj,
Agra, Uttar Pradesh, India.

Veera Rasa Gopuram sculpture vigorously exercises an aesthetic of

exaggerations seen in Figure 3. It is theatrical in
expression and often heroic in subject matter. (Edited
by, Martha Ann Selby, 2008)

Figure 3 Meenakshi Sundareswarar

Temple, Tiru-aalavai,
Madurai, Tamil Nadu,
India.

Hasya Rasa An aeroplane landing on a boat as seen in Figure 4 is

outlandish already, more so because this is actually a
Catholic Church. The feeling of piety gives way to
laughter and mirth epitomising Hasya Rasa.

Figure 4 Kappal Matha Church in

Uvari,Tamil Nadu, India.

Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
Bhayankara The strategic location of the fort on top of this natural
Rasa wonder of a peak seen in Figure 5 must have been for
some reason. Whatever reason there might be even
thought of climbing up to the fort evokes fright and loss
of life.

Figure 5 Prabalgad Fort, Padaghe,

Maharashtra, India.

Vibhatsa Inspired to create something extraordinary and taken too

Rasa far by the idiom “Normal is Boring” as seen in Figure 6,
the end design by a renowned Indian architect has
resulted in the creation of a structure which can best be
described as Repulsive.

Figure 6 Infosys, Rajiv Gandhi

Infotech Park, Hinjawadi,
Taluka Mulshi, Pune,
India.

Adbhuta Even the benches and plants on the exterior of this

Rasa clubhouse seen in Figure 7 are upside down, although
luckily everything on the inside seems to be normal.
(Shayan Roy, 2016)

Figure 7 Orange County, Ahinsa

Khand 1, Indirapuram,
Ghaziabad, Uttar Pradesh,
India.

Raudra Rasa Some Indians are proud of the "ostentatious house" as

seen in Figure 8, while others see it as "shameful in a
nation where many children go hungry". Dipankar
Gupta, a sociologist at New Delhi's Jawaharlal Nehru
University, opined that "such wealth can be
inconceivable" not only in Mumbai, "home to some of
the Asia's worst slums", but also in a nation with 42
percent of the world's underweight children younger
than five. (World Heritage Encyclopedia, no date)
Figure 8 Antilia, Altamount Road;
Cumballa Hill, Mumbai,
Maharashtra, India.
 5th International Conference on Arts and Humanities 2018 - ICOAH 2018

1. The Shringara Rasa

Now, while looking for these emotions in the Architectural space we find that in the ancient text of the Kama
Sutra, it is mentioned that to have an erotic environment we must have the following setting: “a house near a
water body, like a pond; a large number of mango and other fruit-bearing trees in the vicinity; sweet smelling
flowers; chirping of birds”. (Randhawa, M. S. and Galbraith, 1968)
2. The Bhayankara Rasa

This emotion gives the feeling of one being unprotected and expecting immediate loss of life or something
precious. This feeling is noticed when there is an edge-of-a-cliff situation. An illustration could be a building
constructed on a cliff and its glass balcony offering a horrifying view of a 1000 ft deep fall below. This feeling
could be further accentuated if the handrail is made of glass too.
3. The Adbhuta Rasa

This emotion is explicitly felt when the person is protected but the visual is overbearing. Contortion in the built
form of any kind will invoke such emotions. Or, for that matter, any architecture that plays on scale and the
human proportion.
4. The Karuna Rasa

The feeling of compassion is felt when one offers protection from any distressful situation. Closed courts;
introverted planning; all kinds of disaster shelters just by virtue of their purpose; serve as good examples.
5. The Hasya Rasa

This emotion relates to the humorous and witty elements in life. Such emotions could arise out of exaggerated
confusion, irony or even pain. It is very often experienced in an abnormal variation from the usual. A weird fish-
shaped building fits the bill here.
6. The Veera Rasa

This feeling is explicit in a situation where one is standing despite of all odds. This Rasa infuses heroism and a
feeling of victory and achievement. It could almost border on arrogance. The lonely intact architectural marvel
surrounded by ruins or squalor on all sides speaks a lot about the battles won. Or architecture that champions a
noble cause could also be a good example.
7. The Vibhatsa Rasa

Synonymous to a sickening distaste or dislike; deep aversion and repugnance it would be difficult to imagine
which client would desire such architecture. Possibly the only example befitting this typology would be
incidental architecture born more out of some freak accident rather than anything else.
8. The Raudra Rasa

This emotion expresses intense anger; rage and vengeance. This again is an emotion better let off architecturally
than be dealt with. An office of an adamant NGO fighting social evil would perhaps justify such emotions.
9. The Shanti Rasa

Though this is a Rasa under exclusive study in the discipline of performing arts, which is nothing but a
culmination of all these eight aforementioned moods together; it would be unfair to say such a feat would not be
possible in architecture too. However, the author feels that it would be easier for the architect to work on Peace
or Shanti as an individual entity rather than a sum of parts.
Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
These nine Rasas which have been discussed in the paper consist of both pleasant and not-so-pleasant emotions.
They are only indicative and some further studies are necessary in these lines to build up on this research. And,
though these are traditional measures of aesthetic-cum-emotional values, psychiatrists and their ilk are
encouraged to come up with a rating system that could also be incorporated into this hypothesis to make it more
holistic and comprehensive.

Lastly, architects are expected to make conscious efforts to recognise these principles and modulate them for the
better in all design activities.

Western aesthetic thought has mostly originated from Western philosophy. It has found its way into art, literature
and lastly into architecture. As in the Indian Aesthetic Theory of Rasas; emotions in architecture have always
played a very important role in the shaping of architectural entities all over the world.

The Indian emotional aspects as represented in the Rasas and their Western emotional counterparts relating its
associative architectural style are discussed and represented below in Table 4.

Table 4.The eight Rasas and their Corresponding Architectural Expressions the world over.
Rasa Corresponding Translation Illustrative Example
Contemporary
International
Style
Karuna Rasa Organic The It sought to make a tribute to
Compassionate a culture based on respect
for its history and traditions,
past, present and future, as
well as its sensitivity. The
project (Figure 9) was based
on the indigenous population
of that part of the Pacific, its
culture and its symbols,
which are very old but are
still very alive. (Cultural
Center Jean Marie Tjibaou -
Data, Photos & Plans -
WikiArquitectura, 2017)
Image
Figure 9 Jean-Marie Tjibaou
Cultural Centre,
Noumea, New
Caledonia. The New
Caledonian
government’s objective
was to solicit ideas for
a center that would
celebrate the Kanak
culture native to New
Caledonia, and in the
process, smooth over
ethnic tensions that had
been chronically
deteriorating between
the Kanak people and
the island’s other
inhabitants. (David
Langdon, 2015)
 5th International Conference on Arts and Humanities 2018 - ICOAH 2018

Shringara Art Nouveau The Erotic The dry and un-

Rasa nuanced eroticism of art nou
veau (Figure 10) is evident
in its serpentine iconography
and richly seductive colours.
(Lippard, 1967)

Figure 10 A fine example of Art

Nouveau, Victor Horta
designed a stunning
staircase that elegantly
depicts the wonders
that could be contained
upstairs, as well as
symbolising the
privacy of the second
storey. (League 4 –
Victor Horta, Hotel
Tassel | ., no date)

Veera Rasa Skyscrapers The Heroic The tower (Figure 11) was to
be a symbol of the triumph
of the modern west; of a
masculine heroism. (A.,
2008)

Figure 11 Record shattering

HERO that is the Burj
Khalifa, Dubai, United
Arab Emirates.
(Sharma, 2015)

Hasya Rasa Post Modern The Comic Classical features in a

playful way (Figure 12). The
“Duck” vs “Decorated
Shed” (Venturi, Brown and
Izenour, 1972)

Figure 12 Duck House,

Flanders, New York,
USA (Duck House,
Flanders, New York,
USA | Photo Gallery |
Funny Buildings, 2017)

Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
Bhayankara Brutalism The Terrifying Unadorned and rough-cast
Rasa concrete (Figure 13) was
used; adding to its
unfortunate reputation for
evoking a bleak dystopian
future. (Clement, 2012)

Figure 13 The Research Institute

for Experimental
Medicine (FEM,
formerly ZTL – Central
Animal Laboratory).
(Gareth Davies, 2013)

Vibhatsa Deconstruction The Disgusting Decon (Figure 14) has a

Rasa unique kind of power: the
ability to consume and
destroy perfectly good
brains. (Salingaros and
Alexander, 2004)

Figure 14 Deconstructing the

Churches is a series of
photo collages that are
part of a larger series of
photos, which visually
deconstruct parts of the
real world that we
normally think of as
stable. (Michael
Jantzen, 2012)

Adbhuta Fascist The Awesome Characterised by

Rasa Monumental austerity
(Figure 15) and abstract
formalism one is left in awe
of it and doesn’t quite know
what to make of these.
(Sennott, 2004)

Figure 15 Designed by the

architect most closely
associated with
fascism, Marcello
Piacentini, the Palace
of Justice was the
largest building
constructed in Milan in
the interwar period.
 5th International Conference on Arts and Humanities 2018 - ICOAH 2018

(Lucy Maulsby, 2014)

Raudra Rasa Deconstruction The Wrathful It goes without saying that

the new Port House (Figure
16) is daringly experimental,
in-your-face architecture of
the love-it or hate-it variety;
it’s impossible to be
indifferent to a building that
looks like a giant spaceship,
or an artist’s rendering of a Figure 16 A huge, faceted glass
meteorite, or some kind of volume sits on the roof
futuristic riff on a giant of the new
barnacle. (Kristin headquarters Zaha
Hohenadel, 2016) Hadid Architects has
designed for Antwerp's
Port Authority. (Jessica
Mairs, 2016)

Results and Discussion

“You employ stone, wood and concrete, and with these materials you build houses and palaces.
That is construction. Ingenuity is at work. But suddenly you touch my heart, you do me good, I
am happy and I say: "This is beautiful." That is Architecture. Art enters in”. (Le Corbusier -
Wikiquote, no date)

Emotions in architecture have been there since time immemorial, be it in Western thought or Indian. Papers have
been written by Hernan and Mastandrea in 2009 and Droog and de Vries in 2009 on emotions in architecture in
the Western orientation. Both have stated that there are four types of Aesthetic Emotions namely:
Positive/Negative; I like/I don't like; Relaxing/Arousing Interesting/Not Interesting; Beautiful/ugly) (Hernan and
Mastandrea, 2009)and Boredom, Amusement, Unpleasant Surprise and Fascination (Droog Simon and de Vries,
2009). However, the Indian aesthetic theory states that there are nine types of emotions in their Navarasa
Theory, which is a refinement and a far more elaborate expression.

The philosophies of Jacques Derrida led to the use of deconstruction in the works of several architects.
Sometimes the works of these architects may appear to be vengeful similar to the Raudra Rasa as described by
Bharata.

Besides the contributions of philosophers there have been several avante garde art movements that have
influenced and revolutionarised painting, sculpture, music, literature and architecture. Cubism is one such
movement which impacted all forms of artistic endeavours and made a considerable impact on architecture of
the 20th century. When this form of representation is compared with all earlier efforts, it brings to mind Bharata’s
postulate which he describes as Adbhuta.

The Art Nouveau movement was characterised typically by organic iconography which again has a strong
resemblance with Shringara Rasa.

Post-Modernist Architecture which talks about using of Classical features in a playful way really creates
emotions in the observer akin to the Hasya Rasa

Supertall structures are a resultant of the mad rush by power centres to have the tallest tower, or rather the tallest
phallic symbol reminding one of the Veera Rasa.

Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
Several Indian architects like Raj Rewal and Charles Correa have made references to the Rasas but none have
very consciously used them in their design development. This discussion on Navarasa Theory may provide an
idea to the young future designers to use these theories and produce architecture which will be in the realms of
Classical Art as it has been used by ancient Indian dancers, musicians and artists.

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Appendix

Tables

Table 1. Bharatas Rasa Theory and its components.

Table 2. The ninth Rasa as a culmination of all the eight Rasas.

Table 3.The eight Rasas and their corresponding Architectural Expressions in India.

Table 4.The eight Rasas and their Corresponding Architectural Expressions the world over.

Figures

Figure 1 HARIVIHAR, Chottanikara, Tripunitura, Kerala, India.

Figure 2 Taj Mahal, Dharmapuri, Forest Colony, Tajganj, Agra, Uttar Pradesh, India.

Sumantra Misra, Associate Professor, Piloo Mody College of Architecture, ABIT Group of Institutions, Sector 1, CDA, Cuttack - 753014, Odisha,
India.
Figure 3 Meenakshi Sundareswarar Temple, Tiru-aalavai, Madurai, Tamil Nadu, India.

Figure 4 Kappal Matha Church in Uvari,Tamil Nadu, India.

Figure 5 Prabalgad Fort, Padaghe, Maharashtra, India.

Figure 6 Infosys, Rajiv Gandhi Infotech Park, Hinjawadi, Taluka Mulshi, Pune, India.

Figure 7 Orange County, Ahinsa Khand 1, Indirapuram, Ghaziabad, Uttar Pradesh, India.

Figure 8 Antilia, Altamount Road; Cumballa Hill, Mumbai, Maharashtra, India.

Figure 9 Jean-Marie Tjibaou Cultural Centre, Noumea, New Caledonia. The New Caledonian government’s
objective was to solicit ideas for a center that would celebrate the Kanak culture native to New
Caledonia, and in the process, smooth over ethnic tensions that had been chronically deteriorating
between the Kanak people and the island’s other inhabitants. (David Langdon, 2015)

Figure 10 A fine example of Art Nouveau, Victor Horta designed a stunning staircase that elegantly depicts the
wonders that could be contained upstairs, as well as symbolising the privacy of the second storey.
(League 4 – Victor Horta, Hotel Tassel |., no date)

Figure 11 Record shattering HERO that is the Burj Khalifa, Dubai, United Arab Emirates. (Sharma, 2015)

Figure 12 Duck House, Flanders, New York, USA (Duck House, Flanders, New York, USA | Photo Gallery |
Funny Buildings, 2017)

Figure 13 The Research Institute for Experimental Medicine (FEM, formerly ZTL – Central Animal
Laboratory). (Gareth Davies, 2013)

Figure 14 Deconstructing the Churches is a series of photo collages that are part of a larger series of photos,
which visually deconstruct parts of the real world that we normally think of as stable. (Michael Jantzen,
2012)

Figure 15 Designed by the architect most closely associated with fascism, Marcello Piacentini, the Palace of
Justice was the largest building constructed in Milan in the interwar period. (Lucy Maulsby, 2014)

Figure 16 A huge, faceted glass volume sits on the roof of the new headquarters Zaha Hadid Architects has
designed for Antwerp's Port Authority. (Jessica Mairs, 2016)