Rasa

The Sanskrit term “rasa” denotes a wide spectrum of meanings viz. “sap”, “juice”, “essence”, “taste, flavor”, “delight”, “charm,” and “sentiment,” etc. In Ayurveda, the term denotes taste/flavor, primary circulating nutritional fluid (ahararasa), fresh juice of plant (svarasa).In the context of rasashastra it indicates quicksilver, mercury (parada) and other precious metals. In Ayurveda, the primary taste is one of the identifying markers of the dravya. Apart from the contemporary meaning of taste, the concept of rasa has a wider pharmacological approach. The taste plays a vital role in deriving the pharmacological activity profile of the medicines.A physician, well acquainted with the classification of rasa and dosha, seldom commits blunders in ascertaining the etiology, symptomatology, and treatment of diseases. This chapterdescribes concept of rasa (taste) with its applications in pharmacotherapeutics.

Contributors

Section/Chapter/topic	Concepts/Prakriti/Manas prakriti
Authors	T.Saketh Ram1, Deole Y.S.2
Reviewer	Basisht G.3,
Editor	Basisht G.3
Affiliations	1National Institute of Indian Medical Heritage, C.C.R.A.S. Hyderabad, India 2Department of Kayachikitsa, G. J. Patel Institute of Ayurvedic Studies and Research, New Vallabh Vidyanagar, Gujarat, India 3Rheumatologist, Orlando, Florida, U.S.A.
Correspondence emails	dr.saketram@gmail.com, dryogeshdeole@gmail.com carakasamhita@gmail.com
Publisher	Charak Samhita Research, Training and Development Centre, I.T.R.A., Jamnagar, India
Date of publication:	November 18, 2022
DOI	In process

Usage of term “rasa” in different Indian Knowledge systems

The term rasa is used for denoting various meanings in various classical knowledge systems as below.

Table 1: Difference meanings of rasa

Name of the Indian Knowledge System	Usage of the term “rasa”
Ayurveda	Taste, flavour as perceived by tongue; Primary circulation nutritional fluid (rasadhatu) Fresh Juice of a plant (svarasa)
Rasashastra	Mercury; any precious metal as gold.
Nyaya, Vaisheshika Darshana	Taste as perceived by tongue;
Natyashastra (theatrics and dramaturgy), Kavyashastra (science of poetry), Shilpashastra (iconography)	“sentiment” or “aesthetic sense” or “emotion”; rasa is the name given to bhava when it is immediately apprehended by the consciousness without veils. Shringara(the erotic), hasya(the comic), karuṇa (the pathetic), raudra (the furious), veera(the heroic), bhayanaka(the fearful), bibhatsa(the disgusting), adbhuta (the wondrous). shanta(the peaceful)
Ganitashastra (Mathematics and Algebra)	Term denotes number “six” and number “nine”; six is based on six tastes and nine is based on nine emotions; In general practice for six “ritu=seasons” is employed instead of six tastes e.g.ritucakra denoting sixth group in 72 melakara ragas of Carnatic music.
Miscellaneous usage	Water, any liquid as milk, ghee, oil etc., nectar, semen, exudation- plant resin etc.,

Etymology & derivation

rasa: masculine vocative singular stem: rasa
As per “Dhatuvritti, 316” the root √rasaderives the meaning “āsvādanasnehanayoḥ (रसआस्वादनस्नेहनयोः।रसयति।रसतिइतिअपिशपि।)” which may be broadly understood in the following manner: The Sanskrit “rasa” is composed of two roots “ra” means “giving” “bestowing” “granting” “yielding” and “sa” means “wisdom” “knowledge” “paradise”. Together these roots create “rasa” meaning “to grant knowledge,” “to yield happiness,” “to bestow paradise,” all of which are the “essence” of life, so the Sanskrit dictionary defines “rasa” as “essence”.
This article deals with the aspect of rasa as taste/flavor.

Definition

Taste is the object of the gustatory sense organ and is in substance (dravya). Taste is perceived when a substance comes into contact with the tongue, gustatory sense organ (nipata). It is perceived through direct perception (pratyaksha) and based on inference (anumana) through consequent actions e.g. salivation.

Discussion regarding the number of rasa

The number of tastes, which has been the subject of much debate in Charak Samhita and ranges from one to infinite, is ultimately determined to be six. [Cha.Sa. Sutra Sthana 26/28]

Number of Rasas	Details	Proposed by	Explanation by PunarvasuAtreya
One	Water (apya)	Bhadrakapya	This theory supposes that water (jala) which is the abode (adhara) of the taste (rasa)-attribute (adheya) as one and the same, hence cannot be accepted.
Two	1. Sharp, weight reducing (Chhedaniya, langhana) 2. Pacifying, nourishing, weight increasing (upashamaniya, brimhaniya)	Shakunteya Brahmana	The argument is based on activity of the ingredient and not specific to taste, hence not acceptable.
Three	Above two and ordinary (Sadharana)	PurnakshaMoudgalya	Same as above
Four	1. Liked and wholesome (Svaduhita) 2. Liked but not wholesome (Svadu-ahita) 3. Disliked but wholesome (asvaduhita) 4. Disliked and unwholesome (asvadu-ahita)	HiranyakshaKoushika	Same as above
Five	1. Earth element predominant (Bhauma) 2. Water element predominant (Udaka) 3. Fire element predominant (Agneya) 4. Air element predominant (Vayavya) 5. Space element predominant (Akashiya)	KumarashiraBharadwaja	The group represents substances in general and not specific to taste, hence not acceptable.
Six	1. Heavy (guru) 2. Light (laghu) 3. Cold (shita) 4. Hot (ushna) 5. Oily (Snigdha) 6. Non-oily, dry (ruksha)	Vayorvida	The argument is based on activity of the ingredient and not specific to taste, hence not acceptable.
Seven	1. Sweet (madhura) 2. Sour (amla) 3. Salt (lavana) 4. Katu (pungent) 5. Bitter (tikta) 6. Astringent (kashaya) 7. Alkaline (kshara)	Nimi	First six among this group are acceptable, however alkalinity (seventh entity) which is considered as part of saline taste cannot be a separate entity. Hence tastes are six only.
Eight	Above seven, unperceivable, tastelessness (avyakta)	BadishaDhamargava	In consideration to the above argument and alsoabsurdity of counting tastelessness as a separate taste, this proposition is not acceptable.
Innumerable	Due to various permutations and combinations tastes are innumerable.	Kankayana	Innumerability of tastes cannot serve the purpose of understanding a substance and its actions as taste as an attribute in a substance (abode) act in consonance with other entities like quality and action.

Vagbhata’s justification for six rasa count

"Some may argue that recognizing tastes as only six is untenable because variances in sweetness, oil, jaggery, and other items included within the sweet group (madhuraskandha). Let these disparities cease to exist or become the same by their non-recognition. These minute variations are ascribed to the bigger or smaller proportion of the elemental composition that coexists in the material that is not particularly differentiating and explained in detail. Because they all fall under a single category, the numerous distinctions in attributes, such as heaviness, etc., are also not listed individually. Similar circumstances apply to tastes. Ghee and others have the property of clinging to the mouth, whereas pomegranate fruit and others do not. Because of this, there are only six tastes, despite each of them having countless variations.”[A.S. Sutra Sthana 17/31-43]

Taste composition based on five primary elements

According to the Rasavaisheshika, one may deduce the main elemental makeup of tastes based on characteristics (guna). By grouping tastes according to degrees in terms of six major tastes, the Charak Samhita has provided a clear hint and denotes the proportionate existence of fundamental elements in them.

Using this as a criterion, the elemental makeup of tastes may be deduced. Additionally, the relative positions of the components in each taste should be set appropriately so one can understand both the contribution of the critical features and their relative predominance. For instance, sour and salty tastes are fiery (agneya). The salty taste is considered heavier than the sour taste (which has a water element) due to the prominence of the earth element, which is heavier than water element.

Similarly, because the bitter taste is lighter than pungent, the air element is the initial component in the former. Chakrapani's claim that heaviness or lightness cannot be determined based on elemental composition is untrue, since the theory of the five main elements (panchamahabhuta) forms the foundation of Ayurveda, is the only criterion that can be used to determine a substance's qualities.

As previously stated, the elemental makeup of tastes can be deduced from qualities and effects on dosha, tissues, excretory products, digestive fire, and bodily channels. For example, sweet taste promotes kapha dosha, nutriet fluid (rasa), semen (shukra). Therefore it is apparent by the law of similarity (samanya), and distinctness (vishesha) that sweet is likewise comprised of the earth element and water like kapha, etc. Astringent taste hardens watery fecal matter in diarrhea, indicating the presence of earth element. The appealing and pitta-aggravating characteristics of pungent, sour, and salty tastes demonstrate their igneous origin. The presence of space element is demonstrated by the effectiveness of bitter taste in disorders induced by congestion in channels.

Why are just two factors involved in the synthesis of tastes? This is because each taste affects two doshas by aggravating or alleviating them. Sweet taste, for example, soothes two doshas, vata and pitta, and so forth. As a result, the two components represent two doshas.

Table 3: Elemental composition for each taste

S.No.	Rasa	Charaka Samhita	Sushruta Samhita	AsthangaSangraha	Rasavaisheshika
1.	Madhura (sweet)	Aap, prithvi	Prithvi, Aap	Prithvi, Aap	Prithvi, Aap
2.	Amla (sour)	Prithvi, Agni	Aap, Agni	Prithvi, Agni	Aap, Agni
3.	Lavana (salty)	Aap, Agni	Prithvi, Agni	Aap, Agni	Agni, Aap
4.	Katu (pungent)	Vayu, Agni	Vayu, Agni	Vayu, Agni	Vayu, Agni
5.	Tikta (bitter)	Vayu, Akasha	Vayu, Akasha	Vayu, Akasha	Akasha, Vayu
6.	Kashaya (astringent)	Vayu, Prithvi	Prithvi, Vayu	Vayu, Prithvi	Prithvi, Vayu

It is proposed that the taste is directly perceivable when the substance comes in contact with tongue, whereas the elemental composition is understood by inference based on action.

Relationship between taste and three doshaunderstood through elemental composition

The six tastes have a logical relationship with the three dosha; three tastes pacify, and the other three aggravate each of them. The sweet, sour, and salty tastes pacifying vata, while the other three aggravate it. The pungent, bitter, and astringent tastes pacify kapha, while the other three aggravate it. The astringent, bitter, and sweet tastes pacify pitta, while the other three vitiate it. [Cha.Sa. Sutra Sthana 1/66] There seems to be a strong association between the number of tastes and the quantity of dosha.

Rasa	Prithvi	Aap/Jala	Teja	Vayu	Akasha	Vata	Pitta	Kapha
Madhura	+	++				Shamaka (pacifies)	Shamaka	Vardhaka (aggravates)
Amla		+	+			Shamaka	Vardhaka	Vardhaka
Lavana	+		+			Shamaka	Vardhaka	Vardhaka
Katu			+	+		Vardhaka	Vardhaka	Shamaka
Tikta				+	+	Vardhaka	Shamaka	Shamaka
Kashaya	+				+	Vardhaka	Shamaka	Shamaka

Relationship between six important qualities and taste

According to six major properties, the six tastes are arranged in order of degrees of predominance as follows:

Table 4: Relation of guna and rasa

Guna	Rasa
Heavy to digest (guru)	Sweet, astringent, salty tastes
Light to digest (laghu)	Bitter, pungent, sour
Unctuous (snigdha)	Sweet, sour, salty taste
Dry (ruksha)	Astringent, pungent, bitter
Cold (sheeta)	Sweet, astringent, bitter
Hot (Ushna)	Salty, sour, pungent

Table 5: Grading of tastes as per qualities.

Property	Maximum	Moderate	Minimum
Dry (ruksha)	Kashaya	Katu	Tikta
Oily (snigdha)	Madhura	Amla	Lavana
Hot (ushna)	Lavana	Amla	Katu
Cold (sheeta)	Kashaya	Madhura	Tikta
Guru (heavy to digest)	Madhura	Kashaya	Lavana
Laghu (light to digest)	Tikta	Katu	Amla

Among the twenty characteristics beginning with heaviness (gurvadiguna), the six listed above are the most prominent, achieving the level of potency (virya). They distinguish three levels of prominence: superior, medium, and inferior. The dravya (substances) with sweet taste predominantly have heavy to digest, unctuous, and cold qualities.

The dravya with bitter, astringent, and salty tastes predominantly have light to digest, dry, and hot properties.

Primary Taste and adjunct, secondary taste (anurasa)

Every substance has a primary taste (pradhana rasa) and adjunct or secondary taste (anurasa). The unmanifested taste is referred to as adjunct taste (anurasa). For example, when chewing chebulic myrobalan (haritaki), an astringent taste is exhibited. While the other four tastes remain unmanifested. Therefore, adjunct taste (anurasa) becomes manifested at the end, such as the emergence of sweet taste, etc. As with Indian gooseberry (amalaki), the sour taste comes first, followed by other tastes.

According to Charaksamhita, the first manifested taste of a material when it comes into touch with the tongue in a dry condition is recognized as the principal taste. It signifies that the main taste is the one that remains in the dry state and is experienced clearly. Whereas the adjunct taste is only present in the fresh form and is exhibited minimally towards the end. Chakrapanidatta interprets that taste and adjunct taste can be distinguished by manifestation; the former is manifested in all states, whereas the latter is always unmanifested and is known only by its faint appearance or inference from its action.However, that adjunct taste is felt in the end is a common experience, which is why

Vagbhata has modified the definition accordingly.

Therefore, to simplify this, the first manifested taste is the principal rasa, and the one manifested at the end is the adjunct or secondary rasa of the substance.