Significance of Anubhava
Anubhava holds significant meaning across various traditions, primarily representing the physical manifestations of emotions and experiences in the context of devotion and performance. In Jainism, it denotes the power and fruition of karmic actions. Vaishnavism expands on this by detailing emotional expressions resulting from internal states, highlighting its connection to divine devotion. In the performing arts, Anubhava refers to the expressive actions that characterize emotional responses, facilitating the portrayal of deeper sentiments and enriching the experience within dramatic narratives.
Synonyms: Experience, Knowledge, Insight, Wisdom, Understanding, Skill
The below excerpts are indicatory and do represent direct quotations or translations. It is your responsibility to fact check each reference.
Hindu concept of 'Anubhava'
Anubhava in Hinduism represents the external manifestations of emotions stemming from deep devotion. It includes physical expressions and reactions that reflect a devotee's emotional states, illustrating their inner feelings and experiences in a devotional context.
From: Bhakti-rasamrta-sindhu
(1) The specific external symptoms or expressions that arise from internal emotions or states.[1] (2) Observable manifestations of emotions.[2] (3) The physical expressions or manifestations that accompany the internal emotional state in performance.[3] (4) Anubhava encompasses the expressions and physical manifestations that arise from deep emotional experiences in devotion.[4] (5) Expressive behaviors that reflect emotional states in the context of relationships.[5]
From: Bhajana-Rahasya
(1) one of the five essential ingredients of rasa, the actions which display or reveal the spiritual emotions situated within the heart.[6] (2) External manifestations or actions that result from the internal experience of bhavas in bhakti, such as dancing.[7] (3) The external transformations that reveal the heart’s emotions (bhavas) experienced by a devotee when they reach a developed stage of bhava.[8]
From: Chaitanya Bhagavata
(1) External manifestations or expressions of emotion that illustrate the inner feelings of a devotee or divine figure.[9] (2) Subordinate signs of ecstatic emotion that reveal the presence of love for God, becoming apparent in an individual who has begun to develop such feelings.[10]
From: Brihad Bhagavatamrita (commentary)
(1) Sub-ecstasies or expressions of divine devotion, reflecting the deeper sentiments of divine prema experienced by entities.[11]
From: Sahitya-kaumudi by Baladeva Vidyabhushana
(1) The manifestation of emotional expressions or reactions that have not yet appeared in the verse.[12] (2) The bodily reactions or effects that arise as a result of vibhavas and contribute to the expression of rasa.[13] (3) The physical manifestations of feelings, as demonstrated by the act of taking both hands.[14] (4) Anubhavas are external manifestations or expressions that indicate an inner emotion or feeling.[15] (5) Effects or physical manifestations that represent an emotional state in a narrative.[16]
From: Malatimadhava (study)
(1) Physical manifestations of emotion related to Adbhuta rasa, including actions like wide opening of eyes and uttering words of approbation.[17] (2) The observable physical manifestations of the Karuna rasa, such as weeping and lamentation, indicative of inner emotional turmoil.[18] (3) Physical expressions such as side glances and motions of the eyebrows that manifest the emotions experienced in Shringara.[19] (4) Observable physical expressions or behaviors that accompany intense emotional states, exemplified by actions such as red eyes and biting of lips.[20] (5) Consequents that manifest emotions in a performance.[21]
From: Annadatri-carita (study)
(1) The physical expressions or behaviors displayed by characters that reflect the emotional states in the drama.[22]
From: Mudrarakshasa (literary study)
(1) The manifestation of Canakya's actions and strategies, particularly in context to defeating enemies, which feeds into the overall experience of Adbhutarasa.[23] (2) The physical expressions or symptoms of the emotion of anger, such as the visual imagery of ruddy eyes and stomping feet.[24] (3) The visible characteristics or actions reflecting an emotion, like Canakya's declarations of triumph and confidence.[25] (4) The external expression of emotions, communicated through bodily gestures and verbal cues, emanating from internal feelings.[26] (5) The expressive response of characters in a drama, which in Mudrarakshasa includes Canakya's actions against his opponents.[27]
From: Hanuman Nataka (critical study)
(1) Physical expressions or manifestations of emotions, such as movements of arms, hands, and feet in the Hanumannataka.[28]
From: Amarakoshodghatana of Kshirasvamin (study)
(1) The outward expression of emotions through words and gestures, contributing to the portrayal of bhavas.[29]
From: Sivaprakasam (Study in Bondage and Liberation)
(1) Immediate intuition that is part of the process of acquiring knowledge about one's true self.[30]
Jain concept of 'Anubhava'
Anubhava in Jainism signifies both the direct experience or fruition of karmic actions, embodying their unique effects, and also denotes 'power,' aligning it with the term 'prabhava' that emphasizes influence or strength.
From: Trishashti Shalaka Purusha Caritra
(1) A masculine term meaning 'power', equivalent to 'prabhava'.[31]
From: Tattvartha Sutra (with commentary)
(1) Fruition, which is the peculiar taste or experience of each karmic action as it comes into effect.[32]
The concept of Anubhava in local and regional sources
Anubhava encapsulates personal divine experience and realization of one's true self as Brahman. It highlights expressive elements in music and dance, capturing emotional nuances through Bhavas and Vibhavas, ultimately leading to liberation and self-awareness.
From: Triveni Journal
(1) External indicators or manifestations of emotions that are presented in literature, enriching the reader's experience.[33] (2) The feelings that follow the Vibhava, representing behavioral responses.[34] (3) The integral experience of realizing one's true self as Brahman, culminating in liberation and self-awareness.[35] (4) The expressions that reflect the Bhavas and Vibhavas, indicating the gestural communication within the dance performance.[36] (5) The personal experience or realization of the divine, often depicted through the expressive elements of music.[37]