From Temple Ritual to Proscenium: Manomukura, Embodied Preparation and Aesthetic Receptivity in Indian Classical Dance
Moupiya Dutta
Zenodo (CERN European Organization for Nuclear Research) October 18, 2026 preprint DOI: 10.5281/zenodo.23453823 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper |
|---|---|
| Key points | Argues that invocatory practices in Indian classical dance may serve as a culturally embedded mode of preparing aesthetic receptivity, potentially supporting both performers' entry into artistic readiness and spectators' orientation toward aesthetic experience, framed through Abhinavagupta's concept of "Manomukura." The author contends this remains a conceptual proposal, distinguishing historical evidence from psychological interpretation and cautioning against claiming demonstrated cognitive effects without empirical support. |
Abstract
Abstract Invocatory practices hold a significant place in Indian classical dance, yet their possible role in preparing aesthetic consciousness warrants closer investigation. Beyond their devotional and ceremonial significance, this study examines whether ritualised openings may facilitate Manomukura, the clarified mirror of the mind associated with aesthetic receptivity in Sanskrit poetics. Drawing upon historical accounts of temple performance, the sculptural heritage of Konark and comparative examination of eight Indian classical dance traditions, the investigation explores the relationship between invocation, embodied preparation and aesthetic engagement. Abhinavagupta's understanding of Manomukura provides the principal philosophical foundation, complemented by movement phenomenology and embodied cognition. Particular attention is directed towards the distinct yet potentially complementary experiences of performers and spectators. While rhythmic organisation, spatial orientation and ritualised gestures may support the performer's transition into artistic readiness, their perceptual and symbolic dimensions may also orient spectators towards the unfolding aesthetic experience. Historical evidence is distinguished from contemporary psychological interpretation to avoid attributing demonstrable cognitive effects to ritual practices without empirical support. Invocatory performance is consequently examined as a possible culturally embedded mode of preparing aesthetic receptivity, offering a conceptual foundation for further investigation into Hṛdayasaṃvāda and embodied aesthetic relationality. Keywords: Manomukura; Indian Classical Dance; Invocatory Performance; Temple Ritual; Embodied Cognition; Aesthetic Receptivity; Hṛdayasaṃvāda.