The Rasa theory is one of the most important contributions of Indian aesthetics and classical art thought. The concept of Rasa explains the aesthetic experience that arises in the mind of a sensitive spectator or reader through the representation of emotions in a work of art. Two major thinkers associated with the development of Rasa theory are Bharatamuni and Abhinavagupta. Bharatamuni first presented the systematic theory of Rasa in the *Natyashastra*, while Abhinavagupta later developed, interpreted, and philosophically deepened it in his commentary *Abhinavabharati*. Although both thinkers agree that Rasa is the central essence of artistic experience, they differ considerably in their explanation of how Rasa arises, how the spectator experiences it, and what its ultimate nature is. Bharatamuni’s Rasa theory is primarily presented in the sixth chapter of the *Natyashastra*. His famous statement is, “Vibhavanubhavyavyabhicarisamyogadrasanispattih,” which means that Rasa is produced through the combination of Vibhava, Anubhava and Vyabhichari Bhava. In this formulation, Rasa is understood through the interaction of different emotional components represented in drama and other performing arts. According to Bharatamuni, the first important element is Vibhava, or the determinants that cause or stimulate an emotional state. Vibhava is of two types: Alambana Vibhava and Uddipana Vibhava. Alambana refers to the person or object that becomes the basis of an emotion, while Uddipana consists of circumstances, surroundings, objects, gestures, seasons, places, and other factors that intensify the emotion. For example, in a love scene, the hero and heroine are Alambana Vibhavas, while a beautiful garden, moonlight, flowers, music, and pleasant weather may function as Uddipana Vibhavas. The second element is Anubhava, meaning the physical or expressive manifestations through which an inner emotional state becomes visible. Facial expressions, gestures, movements, speech, tears, smiles, changes in posture, and other dramatic expressions are examples of Anubhavas. If a character experiences love, a gentle smile, affectionate glance, soft speech, and graceful bodily movements may express that emotion. The third element is Vyabhichari Bhava, also known as Sanchari Bhava. These are temporary or transitory emotional states that support and strengthen the dominant emotional condition. Anxiety, doubt, excitement, shame, remembrance, impatience, joy, fatigue, and fear are examples. They move around the dominant emotional state and help develop it. Bharatamuni also identifies Sthayi Bhava, or the permanent/dominant emotional disposition, as the basis of Rasa. The principal Sthayi Bhavas include Rati, Hasya, Shoka, Krodha, Utsaha, Bhaya, Jugupsa, and Vismaya. When these stable emotions are properly stimulated and expressed through Vibhavas, Anubhavas, and Vyabhichari Bhavas, they become aesthetically experienced as Rasa. Thus, Rati becomes Shringara Rasa, Shoka becomes Karuna Rasa, Krodha becomes Raudra Rasa, and so on. For example, in the story of Rama and Sita, the affection between Rama and Sita provides the basis for Shringara. Their presence as lovers acts as Alambana Vibhava, the natural beauty of the surroundings may act as Uddipana Vibhava, their loving expressions function as Anubhavas, and emotions such as longing, anxiety, remembrance, and hope function as Vyabhichari Bhavas. Through their combination, the spectator experiences Shringara Rasa. Bharatamuni’s theory is therefore strongly connected with dramatic representation and performance. His primary concern is to explain the structural and artistic processes through which emotions presented on the stage become Rasa. His theory provides a practical framework for actors, dancers, playwrights, musicians, and other artists. Abhinavagupta, writing several centuries after Bharatamuni, gave the Rasa theory a deeper psychological and philosophical interpretation. His explanation appears mainly in *Abhinavabharati*, his celebrated commentary on the *Natyashastra*. Abhinavagupta accepted Bharatamuni’s basic formula but interpreted the meaning of “Rasa-nispatti” differently.