Abstract

This paper presents a study of Rāmacandra–Guṇacandra’s theory of aesthetics in light of the Kashmiri rasa ideology and demonstrates that the Jain authors offer a new and original conceptualization of aesthetic experience, in which the spectator remains cognitively active in the course of watching the drama. In their model, the relationship between rasa and pleasure is mediated by a cognitive error, and the feeling of pleasure does not coincide with the savoring of rasa but emerges after the savoring of rasa ceases. This paper argues that Rāmacandra and Guṇacandra demystify the Kashmiri theory of aesthetics by identifying affinities between the lived world and the fictive world of drama and by rendering the regular means of knowledge, such as inference and memory, as instrumental for the experience of rasa. It further suggests that this new conceptualization, in which pleasure is contingent upon the dissolution of illusion, may have facilitated the development of playwrighting among Jain monks from the twelfth century on.