<P> Rasa is a fusion of word and meaning, that bathes the minds of readers, with savor of bliss . It is the truth of poetry, shining without cessation . Clear to the heart, it is yet beyond the words . </P> <P> In the theories of Indian poetics, ancient scholars state that the effectiveness of a literary composition depends both on what is stated and how it is stated (words, grammar, rhythm), that is the suggested meaning and the experience of rasa . Among the most celebrated in Hindu traditions on the theory of poetics and literary works, are 5th - century Bhartrhari and the 9th - century Anandavardhana, but the theoretical tradition on integrating rasa into literary artworks likely goes back to a more ancient period . This is generally discussed under the Indian concepts of Dhvani, Sabdatattva and Sphota . </P> <P> The literary work Bhagavata Purana deploys rasa, presenting Bhakti of Krishna in aesthetic terms . The rasa it presents is as an emotional relish, a mood, which is called Sthayi Bhava . This development towards a relishable state results by the interplay on it of attendant emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas . Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants . Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion . Sanchari Bhavas are those crossing feelings which are ancillary to a mood . Later scholars added more emotional states such as the Saatvika Bhavas . </P> <P> In the Indian theories on sculpture and architecture (Shilpa Shastras), the rasa theories, in part, drive the forms, shapes, arrangements and expressions in images and structures . Some Indian texts on Shilpa on image carving and making, suggest nine rasas . </P>

Discuss the various tenets of rasa theory propounded by bharat