This collection of 9 images represents in an ethereal and minimalistic way the Navarasas (9 rasas) form the Indian aesthetic theory of rasa.
Rasa (रस) (Sanskrit for ‘juice’, ‘extract of a fruit’ or ‘essence’) refers to the finest quality of an object. The term rasa generally refers to the ‘essence’ and emotional qualities crafted into a work of art (or a performance) by the maker and to the response, the contemplation or perception of the artwork evokes in the viewer, or sahṛdaya सह्रदय.
Rasa is said to arise when the sthayibhava, (latent sentiment) in the individual is awakened by their perception of the vibhavas (the stimuli such as the story, the stage and the actors responsible for the awakening). This implies not the production of any new emotion in the spectator, but only the awakening of latent sentiment.
Anubhavas are the deliberate manifestations of feelings on the part of the actor (in accordance with the mood at aim). They consist of the various gestures and glances etc. of the actor which are intended to develop the basic stimulus or the vibhava.
The first design is made out of translucent jade green half circles that smoothly overlap each other to compose a soft shape that grows from a solid center as its curves fade slowly with the background. This composition invokes the Shringaram rasa (शृङ्गारं), the rasa of love, attractiveness and the erotic. The half circles, the overlapping translucent gradients, the shades of green and the light serve as vibhavas to manifest symmetry, repetition, direction, contrast and balance as anubhavas.
The second design is made out of tenuous white spirals that lingeringly develop an optimistic design that bursts in every direction. This composition invokes the Hasyam rasa (हास्यं), the rasa of joy, mirth and laughter. The spirals, the whiteness, the opacity and the brightness serve as vibhavas to manifest scale, spin, direction, balance and hierarchy as anubhavas.
The third design is made out of rigid red squares that one over the other build a vertiginous perspective. This composition invokes the Raudram rasa (रौद्रं), the rasa of fury and anger. The sharp edges, the corners, the opacity and the overlays serve as vibhavas to manifest, perspective, scale, height, direction, proximity and hierarchy as anubhavas.
The fourth design is made out of vertical gray ovals that decadently fall downwards. This composition invokes the Karunyam rasa (कारुण्यं), the rasa of compassion, tragedy and the pathetic. The ovals, the transparency, the distribution and the silhouette serve as vibhavas to manifest direction, movement, flow, balance and symmetry as anubhavas.
The fifth design is made out of rhombus that gradually constitute repellent spikes that reject and deny any contact. This composition invokes the Bibhatasam rasa(बीभत्सं)), the rasa of aversion, disgust and the odious. The rhombus, the gradients, the distribution and the rotation serve as vibhavas to manifest direction, continuity, repetition and texture as anubhavas.