PORE Research Record • PIJCACE Journal
Bharata Muni as a Microcosm of Cosmic Emanation: Sustaining, Offering and Expanding Nāṭya through Icchā, Jñāna, and Kriyā
Piyal Bhattacharya
Journal:
Poorvam Int. J. Creative Arts & Cult. Expr. (PIJCACE)
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Volume:
1 (2025)
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Issue:
1
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ISSN:
3107-6866
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Publication Abstract
This paper examines Bharata Muni through a traditional śāstrika lens, moving beyond historical debates to interpret him as a cosmic principle of performative knowledge (nāṭya-jñāna). Using Sanskrit philological analysis, the study unpacks the name Bharata as bharati-rāti-tanoti (sustains-offers-expands), revealing a microcosmic model of cosmic emanation functioning through icchā (will), jñāna (knowledge), and kriyā (action).
The analysis demonstrates how Bharata represents not merely an individual scholar but a community of artists—a sampradāya embodying the dharma of manifesting and offering theatrical knowledge for collective benefit. Drawing from the Nāṭyaśāstra, Abhinavabhāratī, Upanishads, and dharmaśāstra texts, the paper establishes connections between aesthetic theory and spiritual goals, positioning nāṭya as a means to transcend material existence and achieve Self-realization.
The study reveals how Bharata's system transforms both performers and spectators through rasa (aesthetic experience), leading from material engagement to spiritual awakening. This interpretation emphasizes nāṭya's role as dharmic practice rather than mere entertainment, offering a framework for understanding Indian performance traditions as vehicles for mokṣa (liberation) through the integration of artistic excellence with spiritual discipline.
The analysis demonstrates how Bharata represents not merely an individual scholar but a community of artists—a sampradāya embodying the dharma of manifesting and offering theatrical knowledge for collective benefit. Drawing from the Nāṭyaśāstra, Abhinavabhāratī, Upanishads, and dharmaśāstra texts, the paper establishes connections between aesthetic theory and spiritual goals, positioning nāṭya as a means to transcend material existence and achieve Self-realization.
The study reveals how Bharata's system transforms both performers and spectators through rasa (aesthetic experience), leading from material engagement to spiritual awakening. This interpretation emphasizes nāṭya's role as dharmic practice rather than mere entertainment, offering a framework for understanding Indian performance traditions as vehicles for mokṣa (liberation) through the integration of artistic excellence with spiritual discipline.
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