The origin of this concept is attributed to Bharata while formulating his epic on Rasa theory in Natyashastra around 200 BC to 200 AD.
Though many commentaries were written on Bharata's Natya Shastra earlier, which have been referred by Abhinavagupta where he asserts, Sthayibahva alone when enhanced with other emotions is the basis for Rasa.
[4][5] Bharata in his Natya Shastra mentions eight Sthayibhavas: (i) Rati (Love), (ii) Hasa (Mirth), (iii) Krodha (Anger), (iv) Utsaha (Courage), (v) Bhaya (Fear), (vi) Jugupsa (Aversion), (vii) Vismaya (Wonder), and (viii), and Soka (Sorrow) each corresponding to eight Rasas.
[6] Bhatta Lollata, in his play upacitivāda comments, Rasa is produced when any one of the eight Sthayibhavas is intensified by the performer by "mimesis" or anukŗti.
[8][3] Modern critics of Sanskrit literature argue that Bharata deliberately did not discuss the Sthayibhvas in his work, as he did not intend to merge Rasa, a dominant theme in a drama and an "ordinary" stable emotion (Sthayibhava).