Концепция расы в индийской художественной культуре (на примере традиции рагамала)

Художественная культура. 2019. № № 4 (31). С. 138–157.

Babin A.

Abstract:

The article is devoted to the concept of "rasa" (aesthetic experience), one of the key concepts of Indian aesthetics. The author briefly traces the features of the interpretation of this concept at different stages of its existence, in relation to different types of art. The initial phase is traditionally associated with the sphere of theatrical reflection and the theory of painting (“Natyashastra” and “Chitrasutra” treatises respectively). Subsequently, through efforts of a number of theorists, rasa became one of the key categories of Indian poetics. However, it retained significance for other arts, firstly for stage practices, including music. Here rasa became an inherent feature of the ragas, specific modes of Indian music. It is assumed that each raga has its own particular rasa, and also can be associated with a certain range of extra-musical connotations.

This article is focused on the role of rasa in the formation and existence of the ragamala phenomenon, a special genre form that connects different spheres of Indian art. The word «ragamala» (Skt. «garland of ragas») in its narrow sense means series of poetic stanzas and miniature paintings of the XVI–XIX centuries, describing and depicting anthropomorphic images of ragas. In a broad sense, it can mean the whole tradition of existence of visual images of musical concepts (i.e. raga, svara, etc) in Indian culture. Its origins are found in treatises on music, then it was further developed in lyric poetry and, finally, in miniature painting. The concept of rasa is considered in this article as one of the main factors determining the very possibility of the emergence of this unique tradition.

Keywords: Искусство и эстетика стран Востока, Oriental Art, Ragamala, Indian painting, рагамала, живопись Индии, Indian Aesthetics, музыка Индии