Rasa, aka: Rasā, Rasha; 27 Definition(s)

Introduction

Rasa means something in Buddhism, Pali, Hinduism, Sanskrit, Jainism, Prakrit, Marathi. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.

In Hinduism

Āyurveda (science of life)

Rasa (रस) is a Sanskrit technical term, translating to the “taste” of a plant (eg. bitter). It is used throughout Āyurvedic literature such as the Suśruta-saṃhitā and the Caraka-saṃhitā.

(Source): Wisdom Library: Āyurveda and botany

[Since a matter is designated after the name of the preponderant natural element, which enters into its composition], taste is said to be a water-origined principle. All material elements are inseparably connected with one another, and there is a sort of interdependence among them, each one contributing to the continuance of the other and jointly entering, to a more or less extent, into the composition of all material substances.

This water-origined flavour (Rasa), which becoming modified through its contact with the rest of the material elements, admits of being divided into six different kinds, such as

  1. sweet (Madhura),
  2. acid (Amla),
  3. saline (Havana),
  4. pungent (Katuka),
  5. bitter (Tikta),
  6. and astringent (Kashāya).

These, in their turn, being combined with one another, give rise to sixty-three different kinds.

According to certain authorities, there are only two kinds of tastes, owing to the two-fold (hot and cold) nature of the temperament of the world. Of these the tastes such as sweet, bitter and astringent are cold in their properties, while the pungent, acid and saline ones exercise fiery or heat making virtues.

The watery (Saumya) tastes are cold. The fiery (Āgneya) ones are hot.

(Source): archive.org: Sushruta samhita, Volume I

Rasa (a concept corresponding to taste) is the only perceivable parameter for drug identification in Ayurveda. The Ayurvedic pharmacological principles such as guṇa (quality), vīrya (potency) and vipāka (effect of biotransformation) are inferred based on the identified Rasa of a drug. All these principles together predict the probable spectrum of drug action in Ayurveda.

(Source): PMC: Rasa Nirdhāraṇa (assessment of taste) of Leonotis nepetifolia

Taste, called rasa in Sanskrit, is the key to understanding ayurvedic nutrition. It is why certain foods influence some people’s digestion in a positive way while not for others.

In terms of importance, taste is second only to water — the element without which taste would not exist. (If the tongue is dry, it cannot taste.) Rasa is the immediate taste on the tongue, the one we remember, and the immediate experience of how that particular taste influences the body. Taste is made from the same five elements that comprise the doshas — ether, air, fire, water and earth — and a rasa may be sweet, sour, salty, pungent, bitter or astringent. Its corresponding short-term effect will have a direct influence on vata, pitta and kapha.

(Source): Gaiam life: The Six Tastes of Ayurveda

 

Rasa, roughly corresponds to “taste” in English. Ayurvedic pharmacology has the concept that helps exploring and verifying pharmacological behavior of a substance based on its rasa. Rasa is quite larger a concept than taste, where taste is only the first tool to enter into a larger concept. Rasa is defined as a “knowledge perceived through Rasanā Indriya (roughly gustatory sensation) located at Jihvā (tongue).” Caraka says Rasa is experienced the moment a substance comes into contact with the tongue.

Rasa indirectly indicates the pharamacological behavior of the substance but directly reflects the mahābhautika state of the substance. There are six primary Rasas viz.

  1. madhura (sweet),
  2. amla (sour),
  3. lavaṇa (salty),
  4. kaṭu (hot),
  5. tikta (bitter)
  6. and kaṣaya (astringent).

The concept of Rasa in Ayurveda includes not only the sensory knowledge through taste buds but also the trigeminal senses. Each Rasa indicates a distinct mahābhautika status of the substance.

(Source): PMC: The scientific basis of rasa (taste)

The term ‘Rasa’ stands for all circulating fluids in the body including the fluid portion of blood (Cakrapāṇi on Carakasaṃhitā Cikitsāsthāna 15/36). ‘Rasa’ isalso the minutest and essential fraction of properly digested food. Heart is the site for this ‘Rasa’ (Suśrutasaṃhitā Sūtrasthāna 14/3). This ‘Rasa’ circulates in the body along with ‘Rakta’ (Ātaṅkadarpaṇa on Mādhava-nidāna 33/4). Ten great blood vessels connected to heart carry the ‘Rasātmaka Ojas’, onwhich the whole life process is dependent (Aṣṭāṅgahṛdayasaṃhitā Śārirasthāna 3/18).

From the above references it is clear that three major substances circulate in the cardiovascular compartment—the first one is ‘Rasa’—the liquid nutrient portion of blood (Plasma); the second substance is ‘Rakta’, the oxygen-carrying red material (RBCs); and the third one is ‘Ojas’—the white substance that is responsible for immunity (WBCs).

The manner, in which ‘Rasa’ moves all over the body, is exactly similar to the manner in which sound, fire and water move (Suśrutasaṃhitā Sūtrasthāna 4/16).

(Source): Cogprints: Concepts of Human Physiology in Ayurveda
Āyurveda book cover
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Āyurveda (आयुर्वेद, ayurveda) is a branch of Indian science dealing with medicine, herbalism, taxology, anatomy, surgery, alchemy and related topics. Traditional practice of Āyurveda in ancient India dates back to at least the first millenium BC. Literature is commonly written in Sanskrit using various poetic metres.

Rasaśāstra (chemistry and alchemy)

Rasā (रसा):—One of the sixty-eight Rasauṣadhi, very powerful drugs known to be useful in alchemical processes related to mercury (rasa), according to Rasaprakāśa-sudhākara (chapter 9).

(Source): Wisdom Library: Rasa-śāstra

Rasa (रस):—The origin myth of mercury (rasa) as recorded in the Rasendracūḍāmaṇi, the Rasaratnasamucchaya and the Ānandakandam is a variant on the puranic myth of the birth of the boy-god Skanda. Here, when the god Śiva has been interrupted in the midst of an interminable bout of sexual intercourse with the Goddess, he ejaculates into the mouth of the fire god Agni, who has taken the form of a pigeon. As Agni flies across the heavens, drops of Śiva’s semen fall from his beak onto the ground, where they bore down through the earth’s surface to create five wells (kūpa), each some nine hundred miles in depth. It is in these wells, the myth concludes, that Śiva’s semen is found today in the form of merucry. Anxious of the powers that mercury could afford to humans, the lesser gods of the Hindu pantheon plead with Śiva to vitiate it with various impurities, for which reason it is now found in a variety of colors, ranging from the white mercury of the eastern well to the red (and purest) mercury of the northern well. These sources generally locate this northern well in Darada-deśa (‘Cinnabar Land’)

(Source): Google Books: Alchemical Traditions
Rasaśāstra book cover
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Rasaśāstra (रसशास्त्र, rasa-shastra) is an important branch of Āyurveda, specialising in chemical interactions with herbs, metals and minerals. Some texts combine yogic and tantric practices with various alchemical operations. The ultimate goal of Rasaśāstra is not only to preserve and prolong life, but also to bestow wealth upon humankind.

Śilpaśāstra (iconography)

Pandit Raj Jagannatha says that rasa is the name given to bhāva when it is immediately apprehended by the consciousness without veils.

(Source): Google Books: Aparājitapṛcchā, a Critical Study
Śilpaśāstra book cover
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Śilpaśāstra (शिल्पशास्त्र, shilpa-shastra) represents the ancient Indian science of creative arts such as sculpture, iconography and painting. Closely related to Vāstuśāstra (architecture), they often share the same literature.

Nāṭyaśāstra (theatrics and dramaturgy)

1) Rasa (रस) refers to the “sentiment” of a dramatic play. According to the Nāṭyaśāstra 1.17-18, when Brahmā created the Nāṭyaveda he took rasa (sentiment) from the Atharvaveda.

According to the Nāṭyaśāstra chapter 6.15, the eight sentiments (rasa) recognized in drama are as follows:

  1. śṛṅgāra (Erotic),
  2. hāsya (Comic),
  3. karuṇa (Pathetic),
  4. raudra (Furious),
  5. vīra (Heroic),
  6. bhayānaka (Terrible),
  7. bībhatsa (Odious),
  8. adbhuta (Marvellous)

According to the Nāṭyaśāstra chapter 6.31, “No poetic meaning proceeds from speech without any kind of sentiment (rasa). Now the Sentiment is produced (rasaniṣpatti) from a combination (saṃyoga) of Determinants (vibhāva), Consequents (anubhāva) and Complementary Psychological States (vyabhicāribhāva).”

2) Rasa (रस, “taste”) refers to an aspect of the representation of objects and senses, according to the Nāṭyaśāstra chapter 24. Accordingly, “by slightly narrowing down the eyes and expanding the nostrils and in the same breath, the wise one is to represent the agreeable taste (rasa) and the smell (gandha)”.

(Source): Wisdom Library: Nāṭya-śāstra

Rasa (रस, “sentiment”).—The term rasa or the sentiment primarily denotes taste or favour, however in literature; it has the connotation of emotional experience of beauty. Bharata, the author of the NŚ,is said to be the first exponent of the theory of rasa. His famous rasa-sūtra runs as follows—“rasa is the outcome of the combinations of vibhāva, anubhāva and vyabhicāribhāva”.

In the Śrīkaṇṭhacarita of Maṅkhaka, various kinds of poetic sentiments are found to be depicted. Maṅkhaka himself states that his poem is full of rasas. In his poem, Maṅkhaka delineates all the sentiments, some in broad details and some in short; however, his claim is quite justified as all the rasas get attention from the poet.

(Source): Shodhganga: Mankhaka a sanskrit literary genius (natya)
Nāṭyaśāstra book cover
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Nāṭyaśāstra (नाट्यशास्त्र, natya-shastra) refers to both the ancient Indian tradition of performing arts, (e.g., theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing dramatic plays (nāṭya) and poetic works (kāvya).

Purāṇa

1a) Rasa (रस).—A Tuṣita god.*

  • * Brahmāṇḍa-purāṇa III. 3. 19.

1b) The guṇa of waters becomes absorbed in jyotis or tejas and consequently waters reach the verge of destruction.*

  • * Vāyu-purāṇa 101. 42. 102. 9.
(Source): Cologne Digital Sanskrit Dictionaries: The Purana Index
Purāṇa book cover
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The Purāṇas (पुराण, purana) refers to Sanskrit literature preserving ancient India’s vast cultural history, including historical legends, religious ceremonies, various arts and sciences. The eighteen mahāpurāṇas total over 400,000 ślokas (metrical couplets) and date to at least several centuries BCE.

Vaiśeṣika (school of philosophy)

Rasa (रस, “taste”) is one of the seventeen guṇas (‘qualities’), according to the Vaiśeṣika-sūtras. These guṇas are considered as a category of padārtha (“metaphysical correlate”). These padārthas represent everything that exists which can be cognized and named. Together with their subdivisions, they attempt to explain the nature of the universe and the existence of living beings.

(Source): Wisdom Library: Vaiśeṣika
Vaiśeṣika book cover
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Vaiśeṣika (वैशेषिक, vaisheshika) refers to a school of orthodox Hindu philosophy (āstika), drawing its subject-matter from the Upaniṣads. Vaiśeṣika deals with subjects such as logic, epistemology, philosophy and expounds concepts similair to Buddhism in nature

Vaiṣṇavism (Vaiṣṇava dharma)

Rasa (रस) or Rasatattva is an unequalled tattva which can be compared to the rising of the moon, whose radiance is the expanding līlā of para-brahma Śrī Kṛṣṇa. Bhakti-rasa is the function of kṛṣṇa-bhakti when it becomes absolutely pure. It is made up of four different ingredients: (1) vibhāva, (2) anubhāva, (3) sāttvika, and (4) vyabhicārī or sañcārī.

(Source): Pure Bhakti: Jaiva-dharma
Vaiṣṇavism book cover
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Vaiṣṇava (वैष्णव, vaishnava) or Vaiṣṇavism (vaishnavism) represents a tradition of Hinduism worshipping Viṣṇu as the supreme Lord. Similair to the Śāktism and Śaivism traditions, Vaiṣṇavism also developed as an individual movement, famous for its exposition of the daśāvatāra (‘ten avatars of Viṣṇu’).

General definition (in Hinduism)

Rasa (रस, “flavor”):—The theory of rasa as the essence of literature has led to endless debate among scholars. Rasa means “sap”, “juice”, “essence”, “taste”, “delight”, “charm” and “sentiment”. All of these meanings are wrapped up in rasa as the defining trait of artistic literature. Only those who are gifted with a sense of good taste (the rasika) are able to appreciate the work of peots.

(Source): Google Books: Croaking Frogs: A Guide to Sanskrit Metrics and Figures of Speech

Every living entity, beginning from Brahmā, the first-born living being within the material world, down to the insignificant ant, desires to relish some sort of taste derived from sense perceptions. These sensual pleasures are technically called rasas. Such rasas are of different varieties.

In the revealed scriptures the following twelve varieties of rasas are enumerated:

  1. raudra (anger),
  2. adbhuta (wonder),
  3. śṛṅgāra (conjugal love),
  4. hāsya (comedy),
  5. vīra (chivalry),
  6. dayā (mercy),
  7. dāsya (servitorship),
  8. sakhya (fraternity),
  9. bhayānaka (horror),
  10. bībhatsa (shock),
  11. śānta (neutrality),
  12. vātsalya (parenthood).
(Source): Srimad Bhagavatam: The Book

A term for mercury, the prime alchemical reagent, was rasa.

(Source): Oxford Bibliographies: Hinduism

In Buddhism

Abhidhamma

Taste;

(Source): Journey to Nibbana: Patthana Dhama

Function or achievement.

(Source): Dhamma Study: Cetasikas

lit: 'taste'; Property of matter (rupa).

(Source): Pali Kanon: Introducing Buddhist Abhidhamma
Abhidhamma book cover
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Abhidhamma (अभिधम्म) usually refers to the last section (piṭaka) of the Pali canon and includes schematic classifications of scholastic literature dealing with Theravāda Buddhism. Primary topics include psychology, philosophy, methodology and metaphysics which are rendered into exhaustive enumerations and commentaries.

Pali

rasa : (m.) taste; juice; flavour; quick-silver.

(Source): BuddhaSasana: Concise Pali-English Dictionary

1) Rasa, 2 (-°) is a dial. form of °dasa ten, and occurs in Classic Pāli only in the numerals for 13 (terasa), 15 (paṇṇa-rasa, pannarasa), 17 (sattarasa) & 18 (aṭṭhārasa, late). The Prk. has gone further: see Pischel, Prk. Gr. § 245. (Page 567)

2) Rasa, 1 (Vedic rasa; with Lat. ros “dew, ” Lith. rasā id. , and Av Ranhā N. of a river, to Idg. *eres to flow, as in Sk. arṣati, Gr. a)/yorros (to r(έw); also Sk. ṛṣabha: see usabha1.—Dhtp 325 defines as “assādane” 629 as “assāda-snehanesu”; Dhtm 451 as “assāde. ” — The decl. is usually as regular a-stem, but a secondary Instr. fr. an s-stem is to be found in rasasā by taste A. II, 63; J. III, 328) that which is connected with the sense of taste. The defn given at Vism. 447 is as follows: “jivhā-paṭihanana-lakkhaṇo raso, jivhā-viññāṇassa visaya-bhāvo raso, tass’eva gocara-paccupaṭṭhāno, mūla-raso khandha-raso ti ādinā nayena anekavidho, ” i.e. rasa is physiologically & psychologically peculiar to the tongue (sense-object & sense-perception), and also consists as a manifold object in extractions from roots, trunk etc. (see next).—The conventional encyclopædic defn of rasa at Nd1 240; Nd2 540, Dhs. 629 gives taste according to: (a) the 6—fold objective source as mūla-rasa, khandha°, taca°, patta°, puppha°, phala°, or taste (i.e. juice, liquid) of root, trunk, bark, leaf, flower & fruit; and — (b) the 12—fold subjective (physiological) sense-perception as ambila, madhura, tittika, kaṭuka loṇika, khārika, lambila (Miln. 56: ambila), kasāva; sādu, asādu, sīta, uṇha, or sour, sweet, bitter, pungent, salt, alkaline, sour, astringent; pleasant, unpleasant, cold & hot. Miln. 56 has the foll. : ambila, lavaṇa, tittaka, kaṭuka, kasāya, madhura.—1. juice (as applied in the Veda to the Soma juice), e.g. in the foll. combns: ucchu° of sugar cane, extract of sugar, cane syrup Vin. I, 246; VvA. 180; patta° & puppha° of leaf & flower Vin. I, 246; madhura° of honey PvA. 119.—2. taste as (objective) quality, the sense-object of taste (cp. above defns). In the list of the āyatanas, or senses with their complementary sense-objects (sentient and sensed) rasa occupies the 4th place, following upon gandha. It is stated that one tastes (or “senses”) taste with the tongue (no reference to palate): jivhāya rasaṃ sāyitvā (or viññeyya). See also āyatana 3 and rūpa.—M. III, 55 (jivhā-viññeyya r.), 267; D. III, 244, 250; Sn. 387; Dhs. 609; PvA. 50 (vaṇṇagandha-rasa-sampanna bhojana: see below 5).—3. sense of taste, as quality & personal accomplishment. Thus in the list of senses marking superiority (the 10 ādhipateyyas or ṭhāṇas), similar to rasa as special distinction of the Mahāpurisa (see cpd. ras-agga) S. IV, 275 =Pv. II, 958; A. IV, 242.—4. object or act of enjoyment, sensual stimulus, material enjoyment, pleasure (usually in pl.) Sn. 65 (rasesu gedha, see materialistic exegesis at Nd2 540), 854 (rase na anugijjhati; perhaps better rasesu, as SnA); A. III, 237 (puriso agga°-parititto: perhaps to No. 2).—5. flavour and its substance (or substratum), e.g. soup VvA. 243 (kakkaṭaka° crabsoup), cp. S. V, 149, where 8 soup flavours are given (ambila, tittaka, kaṭuka, madhura, khārika, akhārika, loṇika, aloṇika); Pv. II, 115 (aneka-rasa-vyañjana “with exceptionally flavoured sauce”); J. V, 459, 465. gorasa “flavour of cow, i.e. produce of cow: see under go. Also metaphorically: “flavour, relish, pleasure”: Sn. 257 (pariveka°, dhamma-pīṭi°, cp. SnA 299 “assād’aṭṭhena” i.e. tastiness); PvA. 287 (vimutti° relish of salvation). So also as attha°, dhamma°, vimutti° Ps. II, 89.—6. (in grammar & style) essential property, elegance, brightness; in dramatic art “sentiment” (flavour) (see Childers s. v. naṭya-rasa) Miln. 340 (with opamma and lakkhaṇa: perhaps to No. 7); PvA. 122 (°rasa as ending in Np. Aṅgīrasa, expld as jutiyā adhivacanaṃ, “ i.e. brightness, excellency).—7. at t. t. in philosophy “essential property” (Expos. 84), combd with lakkhaṇa etc. (cp. Cpd. 13, 213), either kicca° function or sampatti° property DhsA. 63, 249; Vism. 8, 448; Miln. 148.—8. fine substance, semi-solid semiliquid substance, extract, delicacy, fineness, dust. Thus in paṭhavī° “essence of earth, ” humus S. I, 134 (trsln “taste of earth, ” rather abstract); or rasapaṭhavī earth as dust or in great fineness, “primitive earth” (before taking solid shape) D. III, 86 sq. (trsl. “savoury earth, ” not quite clear), opp. to bhūmipappaṭaka; Vism. 418; pabbata-rasa mountain extract, rock-substance J. III, 55; suvaṇṇa° gold dust J. I, 93. ‹-› 9. (adj.—°) tasting Vv 1611 (Amatarasā f. =nibbānarasāvinī VvA. 85).

—agga finest quality (of taste), only in further compn with °aggita (ras-agga-s-aggita) most delicate sense trsln Dial.) D. III, 167, and °aggin (ras-agga-s-aggin, cp. MVastu II. 306: rasa-ras’âgrin) of the best quality (of taste, cp. above 2), said of the Mahāpurisa D. II, 18= III, 144 (cp. trsln Dial. II. 15 “his taste is supremely acute”). The phrase & its wording are still a little doubtful. Childers gives etym. of rasaggas-aggin as rasa-ggas-aggin, ggas representing gras to swallow (not otherwise found in Pāli!), and expls the BSk. ras’âgrin as a distortion of the P. form. —añjana a sort of ointment (among 5 kinds), “vitriol” (Rh. D.) Vin. I, 203. —âda enjoying the objects of taste M. III, 168. —āyatana the sphere of taste D. III, 243, 290; Dhs. 629, 653, 1195 (insert after gandha°, see Dhs. trsl. 319). —ārammaṇa object of taste Dhs. 12, 147, 157. —āsā craving for tastes Dhs. 1059. —garuka bent on enjoyment SnA 107. —taṇhā thirst for taste, lust of sensual enjoyment D. III, 244, 280; J. V, 293; Dhs. 1059; DhA. IV, 196. —saññā perception of tastes D. III, 244 (where also °sañcetanā). —haraṇī (f.) (ph. °haraṇiyo, in compn haraṇi°) taste-conductor, taste-receiver; the salivary canals of the mouth or the nerves of sensation; these are in later literature given as numbering 7000, e.g. at J. V, 293 (khobhetvā phari); DhA. I, 134 (anuphari); KhA 51 (only as 7!); SnA 107 (paṭhama-kabaḷe mukhe pakkhitta-matte satta rasa-haraṇi-sahassāni amaten’eva phutāni ahesuṃ). Older passages are: Vin. II, 137; D. III, 167 (referring to the Mahāpurisa: “sampajjasā r-haranī susaṇṭhitā, ” trsln: erect taste-bearers planted well (in throat)). (Page 566)

(Source): Sutta: The Pali Text Society's Pali-English Dictionary
Pali book cover
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Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.

General definition (in Buddhism)

1) Rasa (रस, “taste”) or rasāyatana refers to one of the “twelve sense spheres” (āyatana) as defined in the Dharma-saṃgraha (section 24). The Dharma-samgraha (Dharmasangraha) is an extensive glossary of Buddhist technical terms in Sanskrit (eg., rasa). The work is attributed to Nagarjuna who lived around the 2nd century A.D.

Rasa also represents one of the “eighteen elements” (dhātu) as well as one of the “eleven form components” (rūpaskandha).

Rasa also refers to one of the “six spheres” (ṣaḍviṣaya) as defined in the Dharma-saṃgraha (section 33).

Rasa also refers to the “five qualities” (pāñcabhautika) as defined in the Dharma-saṃgraha (section 40).

2) Rasa (रस, “taste”) or Ṣaḍrasa refers to the “six kinds of tastes” as defined in the Dharma-saṃgraha (section 36):

  1. madhura (Sweet),
  2. amla, (sour),
  3. lavaṇa, (salty),
  4. kaṭu (acidic),
  5. tikta, (bitter),
  6. kaṣāya (astringent).
(Source): Wisdom Library: Dharma-samgraha

In Jainism

General definition (in Jainism)

Rasa (रस, “taste”) refers to the object of rasana (tasting), which represents one of the “five sense-organs” (pañcendriya), according to the 2nd-century Tattvārthasūtra 2.19. Cognition which results by tasting the object of knowledge is called taste (rasa). How many types of taste are there? There are five types of taste namely spicy, bitter, poisonous, sour and sweet. What is the form of taste sense organ? It is in form of a spade / axe (khurpā).

(Source): Encyclopedia of Jainism: Tattvartha Sutra 2: the Category of the living

Rasa (रस, “healing power”) or Rasadhiriddhi refers to “the extraordinary power by which an ascetic can change any type of un-palatable food into palatable food” and represents one of the eight types of ṛddhi (extraordinary powers), that can be obtained by the Ārya (civilized people): one of the two classes of human beings, according to the 2nd-century Tattvārthasūtra 3.46.—Some ascetics attain extraordinary powers to produce worldly miracles. Such attainments are called ṛddhi. There are eight types of such extraordinary powers (eg., Rasa).

Rasa-ṛddhi (occult power to change food) is of six types namely:

  1. change food in the palm (payastravā-riddhi),
  2. change dry to buttered food (ghrastravā-riddhi),
  3. creating sweets (miṣṭāstravā-riddhi),
  4. creating food with nectar (amṛtastravā-riddhi),
  5. removing poison from a poisonous bite (āsyaviṣa-riddhi),
  6. poisonous (dṛṣṭiviṣa-riddhi).
(Source): Encyclopedia of Jainism: Tattvartha Sutra 3: The Lower and middle worlds
General definition book cover
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Jainism is an Indian religion of Dharma whose doctrine revolves around harmlessness (ahimsa) towards every living being. The two major branches (Digambara and Svetambara) of Jainism stimulate self-control (or, shramana, ‘self-reliance’) and spiritual development through a path of peace for the soul to progess to the ultimate goal.

Languages of India and abroad

Marathi-English dictionary

rasa (रस).—m (S) Flavor, taste, sapidity. 2 Juice or sap; the liquor of fruits or plants. 3 By way of eminence. Sugarcane-juice or mango-juice. 4 Liquor obtained by infusion or decoction. 5 The primary or essential juice or fluid of the body; whence blood, serum, sweat &c. are supposed to be engendered. 6 Metal in the state of fusion. 7 Taste, sentiment, susceptibility; or a sentiment or passion; any affection or emotion of the mind. Nine sentiments are enumerated; śṛṅgāra or rati, utsāha or hāsya, kāruṇya, raudra or krōdha, vismaya or adbhuta, bhaya, bītsabha, śānta, vātsalya. See navarasa. 8 In figurative senses. Spirit, sweetness, salt, fire, pathos, beauty &c. (as in a composition, an incident, a business). 9 A mineral or a metallic salt; as sulphur, borax, talc, vitriol &c. 10 In Sanskrit this word stands for quicksilver, semen virile, water, poison, gum myrrh &c.; and under it, as the common term, are comprehended the several items of stimulant or sapid food, as spices, curds, oil, sugar, salt &c. Some of these senses will sometimes be met with in Maraṭhi. rasīṃ utaraṇēṃ To get gourdiness in the extremities--a horse.

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rasā (रसा).—m (rasa) A sauce made of spices pounded together and mixed with water.

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rāśa (राश).—&c. Popular forms of rāśi, rāśighaṭita &c.

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rāśā (राशा).—a (rāsa Heap or stock.) Middling. Applied only to men, and with the implication of neuter or impotent; and, thence, imbecile or incompetent in general.

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rāsa (रास).—f (rāśi S) A sign of the zodiac. 2 A heap or pile; an accumulation; a stock &c. See rāśi throughout its senses and its phrases.

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rāsa (रास).—m or ind This word, from A Head, is used, in stating the number of horses, in the sense A head or an individual; as sara ( P Head) is used to express A head of bulls, bullocks, buffaloes, and cows; naphara to express A head of camels; and naga to express A head of elephants. Ex. ghōḍē rāsa dāhā; baila or gāya &c. sara pāñca; uṇṭa naphara vīsa.

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rāsa (रास).—m (S) A festival amongst cowherds consisting of songs and dances and lively sporting; esp. the circular dance as performed by Krishn̤a and the Gopis or cowherdesses.

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rāsa (रास).—a & ad ( P) Straight, not oblique or obliquely;--used of cloth cut or of cutting cloth. A term amongst tailors. Opp. to irēpha.

(Source): DDSA: The Molesworth Marathi and English Dictionary

rasa (रस).—m Flavour. Juice. Metal in the state of fusion. Fig. Sweetness. Taste. Any affection or emotion of the nine rasa such as śṛṅgāra, vīra, &c.

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rasā (रसा).—m A sauce made of spices.

(Source): DDSA: The Aryabhusan school dictionary, Marathi-English
context information

Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.

Relevant definitions

Search found 779 related definition(s) that might help you understand this better. Below you will find the 15 most relevant articles:

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