[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Science, technology and education](https://indike.org/pramana/ins.science) › [Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses](https://indike.org/pramana/ins.science.tripathi-2021) › c10.s6.8 # Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s6.8 Vāda in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s6.8 - **Language:** English ### [c10.s6.8](https://indike.org/pramana/ins.science.tripathi-2021.c10.s6.8) Śaṅkuka, criticized Lollaṭa and explained the emergence of \*rasa\* through the dual process of \*anukṛti\* and \*anumiti\* (inference). He anticipates the whole concepts of \*sādhāraṇīkaraṇa\* (decontexualization, universalization) when he says that the \*anukṛti\* done by the actor leads the spectator to cognize this actor as the character but this cognition is different from all the four possible categories of worldly cognitions — \*samyak\* (real), \*mithyā\* (mistaken), \*saṁśaya\* (doubt) and \*sādṛśya\* (similarity). He also uses the analogy of the horse in painting (\*citraturaganyāya\*) to describe the trans-mundane or extraordinary nature of this process. This leads to an inference, and inferred emotion becomes \*rasa\*. This is made possible through the skill and training of the actor in representation, as he also has to undergo through the \*anusandhāna vyāpāra\*. - [Previous: c10.s6.7](https://indike.org/pramana/ins.science.tripathi-2021.c10.s6.7) - [Next: c10.s6.9](https://indike.org/pramana/ins.science.tripathi-2021.c10.s6.9) - [Up: c10.s6](https://indike.org/pramana/ins.science.tripathi-2021.c10.s6) --- Source: [https://indike.org/pramana/ins.science.tripathi-2021.c10.s6.8](https://indike.org/pramana/ins.science.tripathi-2021.c10.s6.8) · Pramāṇa