Open Access
Vol. 2, No. 1 (2026)
Independent Researcher, Danville, California, USA, ashwinisrivatsan@gmail.com
This study proposes that there exists a deeper structural affinity between performance practice and philosophical inquiry than is commonly acknowledged. Grounded in the foundational insights of Piyal Bhattacharya on the metaphysics of embodiment in the Nāṭyaśāstra, this paper builds upon his framework by drawing upon philosophical systems such as Ashtanga Yoga and Kashmir Shaivism. More specifically, it argues that the process of nṛtta may be understood as analogous to the yogic or tantric progression toward states such as Samprajñāta samādhi. Within this mapping, sthāna (along with sthiti) corresponds to dhāraṇā (focused concentration), karaṇa to dhyāna (meditative absorption), and aṅgahāra to samādhi (complete integration). In this context, the paper further argues that the performer employs sthānas as an initial step toward depersonalization—shifting from individual identity toward a structured, archetypal presence. This transformation is not merely aesthetic but contemplative, requiring both technical precision and a deeply internalized state of awareness. Through this lens, Abhinavagupta’s engagement with the Nāṭyaśāstra can be seen as something that recognizes performance as a valid and potent pathway toward higher states of consciousness.
DOI: 10.63752/pijcace.0201S03
39 Downloads
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Open Access
Vol. 1, No. 2 (2026)
Independent Researcher, Centre of Art and Divinity, Chidakash Kalalay Centre of Art and Divinity
This critical essay examines the metaphysical foundations of embodiment in Bharata's Nāṭyaśāstra, arguing that the sthānas, cārīs, and karaṇas are not merely physical movements but psychophysical embodiments of cosmic tattvas. Drawing on parallels between the cosmological unfolding described in Taittirīya Upaniṣad and the theatrical universe of nāṭya, this study demonstrates how Bharata systematically creates an 'extra-daily' performance dimension through consecrated space, non-empirical time (tāla), and embodied gravitational presence. The essay explores how expansion of space through sthānas manifests specific energies (rūpa and guṇa), how cārīs dynamically explore floor and aerial space, and how karaṇas serve as epistemological tools for acquiring embodied knowledge. Central to this analysis is the concept of Kaiśikī vṛtti, which transforms daily actions into extra-daily artistic expressions capable of generating alaukika rasa experience. This metaphysical framework reveals Bharata's system as a parallel universe creation on stage, where psychophysical embodiments serve the ultimate purpose of delivering dharmic teachings while elevating both performers and spectators beyond mundane emotional experiences.
DOI: 10.63752/pijcace.0102W01
54 Downloads
635 Views
Open Access
Vol. 1, No. 1 (2025)
Senior Lecturer, University of Visual and Performing Arts, Sri Lanka
The Low Country dance tradition of Sri Lanka, centred in the Southern and parts of the Western Province, features three stylistic schools: Matara, Benthara, and Raigama. Central to these traditions are ritual healing ceremonies (shantikarma) and popular folk dramas (Kolam), where masks play a vital role. These masks serve as powerful storytelling tools, generating humour and portraying a wide range of characters, thereby evoking strong emotional responses in audiences. Despite the cultural significance of Sri Lankan traditional masks, there is limited scholarly focus on how their colour symbolism influences psychological engagement and ritual effectiveness. This gap hinders a deeper understanding of how traditional performances impact mental states, emotions, and social cognition. The colours on these masks are not arbitrary; they psychologically stimulate the audience and convey messages about a character’s masculinity, social status, and moral orientation. This study adopts a qualitative methodology, incorporating interviews, observations, and literature reviews. Mask performers involved in shantikarma and Kolam drama were observed over one month, with in-depth interviews conducted over four months. Drawing from psychological theories of colour perception and cultural semiotics, the research highlights how colour choices in mask design are intentionally crafted to influence both performers and spectators. The study reveals that these colours enhance narrative impact and serve therapeutic purposes within ritual contexts. Thus, Sri Lankan masks, a profound element of the nation’s cultural heritage, demonstrate a sophisticated understanding of colour’s psychological effects, enriching both performance art and communal healing practices.
DOI: 10.63752/pijcace.vol.1.issue.01S.005
37 Downloads
1824 Views
