Rasa Theory is about the qualitative shades and textures of emotions aroused in the  personalities appearing in a work of art or literature as also the emotions that are aroused  in the viewers or readers of such works. The nuances of such arousal of emotions as also  the bodily and behavioural symptoms of such ecstatic states are the subject matter of  Rasa Theory. Rasa Theory enables us to evolve a noble ideal for critical appraisal of  qualities of personalities. It is a Personalist Theory of aesthetics.  The “High Five of Love” created by Artist Mumbiram are flagships of the Rasa Renaissance.  They bring us good-tidings that the barren void in Art and Spirituality will once again  resound with the passionate calls of cuckoos maddened by mango blossoms and hordes of  bumblebees lusting after honey.  All five of these books are great solace to the souls thirsting for Rasa or juicy climax of  emotional fulfillment that we are all seeking from love, relationships, art and literature.  They are great reading for all seasons.  A Fusion of great Rasa Art and great Rasa Literature  As an artist, Mumbiram has lived the life of a romantic classical painter. His perspective  has the miraculous combination of a profound understanding of the timeless Indian  Classics and a passion for innovation and originality in a painter´s life and craft.  Mumbiram is the prime mover of the Personalist Movement in philosophy and art. His Art  brings out the best of east-west confluence. Here erudition meets innocence. Here classics  appear with a contemporary idiom. Mumbiram is creating archetypes of a transculture  ethos.  Mumbiram is leading a Rasa Renaissance as an artist. The paintings that appear in the  High Five of Love were not made as illustrations. They are the outcome of a life led with  the aesthetic choice as the only guiding beacon, a life that was inspired by the same  romantic ideals as the great Rasa Classics. It may be said that if the legendary Jayadeva  and his Gita Govinda did not exist, they would have to be invented as literary equivalents  of Mumbiram´s Art.   The persons appearing in the paintings exude the same unabashed innocent passion that  the great Sanskrit Rasa Classics arouse. We have all seen Krishna-Leela depicted in Pahari  or Mughal miniatures. It is all stylized. The Gopis all look alike. They all have the same fish  eyes, the same straight noses that emanate from the same curved foreheads. We can only  relate to them as distant mythological figures. Mumbiram’s Gopis are individuals. Women  that could be the girl next door or movie actresses or rag-pickers or bird-catchers or  whatever. They bring the eternal causeless sporting of the divine with the living entities,  leela, to today’s light. They breathe life-air into scriptural visions. Mumbiram’s treatment  is free from painterly affectations of brushstrokes and shadows. The lines are sweet and  simple, nearly minimal. Such leela ……!  The Universal Paradigm of Divine Love based on the Rasa Theory of Aesthetic Appreciation Mumbiram&Party have presented here books that may become the basis for a popular  movement of Universal Mutual Attraction that is against nobody. Here we have the prime  proponent of an artistic movement matching his painterly virtuosity with his literary  flourish.   The world of Contemporary Art is in chaos and confusion. It has worked itself into terrain  that is meaninglessly abstract, impersonal and, at best, conceptual. It has neither any  Romance nor any Rasa. These Unabashed Presentations of Sanskrit Love Classics rekindle  our hopes for an Aesthetic Renaissance.   The entire English-reading fraternity stands to benefit from these “High Five of Love”.  They add a New Dimension for the English Language. They offer a New Philosophy of  Comparative Religion. They present a Universal Paradigm of Divine Love.  For admirers of Krishna it is a Contemporary Incarnation of the Classical Bhagavat Dharma   where the joy, the beauty and the essential equality of all living entities shines gloriously  through all the confusion of the material world.  Rasa Renaissance The domain of contemporary art is laid barren by meaningless abstraction, compulsive  self-inflicted distortions and ridiculous installations. Art has lost its credibility. It is prime-  facie irrelevant. Art lovers are becoming cynical about the intellectual pseudo-spiritual  props that must hold up all contemporary art.   We are all becoming cynical that auction houses have become the arbiters of what is good  taste and what is beautiful. There exists no theory of aesthetics that would provide us  with reasonable criteria to gauge the relative merits of works of Art. All art-criticism has  become subservient to the market-place and entirely impotent. Art has lost its romance.   It has taken one man's courage to stand up to the onslaught. In Mumbiram's estimate,  contemporary art has been languishing in a never-ending reaction to post-industrial  shock. It is as if the realm of human emotions stands negated forever. Contemporary Art  is hiding its own head in the sand and turning us all into cynics  Far away from the haloed portals of academia, far away from the auctions and the  galleries, transcending the din of the market place (lit.), here you see art reawakening to  the personal realm.  Mumbiram is bringing in the Rasa Theory of aesthetic criticism to the domain of  contemporary visual arts. Rasa Theory is not at all new. It has existed since antiquity that  produced great classics of Sanskrit literature that have endured through the millenniums.  DISTANT DRUMMER Publishing and Holding Company Art and Literature of Rasa Renaissance