Five schools of Indian Aesthetic

presentation on Five School of Indian Aesthetic

1. Prepared by : Latta Baraiya Sem : 2 (M.A.) Enrollment no. : 3069206420200003 Topic : Five School of Indian Aesthetic Paper : Indian Aesthetic & Criticism Email id : [email protected] Submitted to : S. B. Gardi Department of English Maharaja Krishnakumarsinhji Bhavnagar University

2. History of Indian Aesthetic Art is the expression of a man's feeling and imagination on through a medium. When both are given a form, it is called art. Artist has total freedom to deny reality because they are supposed to be the creator of beauty. Aesthetic is a discipline in which authors and philosopher try to explain the concepts of beauty. BHARATA was the first to write on aesthetics in NATYASASTRA. Oriental art and Oriental aesthetics are terms which are used to designate all art.

3. Religious functions Most Indian art can be given a religious interpretation by persons of a strongly theistic inclination. Religious and philosophic thought is quite significant as a factor in the social context of art in any moment of history. The development of a religions was accompanied by a corresponding growth in vivid imagery. Much Indian art and criticism had a religions form and content. This is evident from the link that one can make between the rasa-lila of Krishna and the Gopis and the Rasa Theory.

4. Dhvani Theory Theory of suggestion This word means sound literally, but does not deal with the function of sound in the musical sense. Propounded by Anandavardhana 9th century thinker, in his treatise Dhavanyaloka. The Dhvani Theory considers the indirectly evoked meaning or suggestivity as the characteristics feature of literary utterance.

5. According to Anandavardhana, “The soul of Kavya is Dhvani” In his work Dhavanyaloka he has given a detailed description of structural analysis of indirect meanings. Dhvani was initially written for poetry but by the time, it's used in the art also for it's suggestive meanin g. The significance of this theory for all art forms lies in the fact that visual arts also communicate through suggestions and can suggest both meanings and emotion

6. Alamkara Theory Theory of Figures Theory was found by Bhamah in 6th century Defines Kavya togetherness of sound and meaning According to Bhamah Alamkara (Poetic Figure) is the essential element of poetry and it consists in the striking manner of putting a striking idea in an equally striking word. Alamkara is used to underline an integral Part of a literal meaning.

7. Anandavardhana view in Dhavanyaloka that, “Alamkaras (poetic fugures) are those elements which, depending upon word and meaning, minister to the generation of poetic charm” It is also certifies the creative use of language in literature

8. Riti Theory Founder - Vamana in 9th century Vamana author of Kavyalankar Sutravritti Meaning of riti is Style, Method According to Vamana “Riti or mode if expression constitute the soul of poetry” Two other words use for Riti are “ Marga” and “Vrtti”

9. Three type of style Vaidarbha Gaudiya Panchali Vamana takes the Vaidarbha style as best He says that it contains all ten poetics qualities properly balanced. Ten qualities are : Ojas, Prasad, Shlesha, Samata, Samadhi, Madhurya, Sukamarta, Udartva, Arthavyakti, Kanti

10. Auchitya Theory Theory of Propriety Ksemendra made Auchitya the central element of poetry. The theory of propriety claimes that in all aspects of literary composition there is a possibility of a perfect, the most appreciate choice - of a subject, of idea, of words, of device. It has been used for propriety in delineating Bhavas according to the speaker, content and type of literary composition.

11. Ksemendra’s work Auchityavicharcharcha Ksemendra highlights the concept that can extend without much modification on the various art forms In simple words, there must be a fit between theme and form and this is so in all Aesthetic fields.

12. Vakrokti Theory Theory of Oblique Expression Founder Kuntaka Kuntaka was a kashmiri Sanskrit poetician and literary theorist who is remembered for his work Vakroktijivitam in which he postulates the vakrokti siddhanta or theory of Oblique Expression. In this thoery Kuntaka wants to convey that a certain strikingness of expression is essence of poetry.

13. References Bharata. Natyasastra. Manmohan Ghosh (tr) Kapoor, Kapil Literary Theory, New Delhi, 1998. Chanda, Urmi. “Aesthetics in Indian Art An Inquiry into the Hows, Whats and Whys of Artistic Tradition.” Aesthetics of Indian Art, 2014, doi:St. Xavier's College, Mumbai.

14. Nanda, Ayush. “History of Indian Aesthetics.” Ayush Nanda, ayushnanda.com/history-indian-aesthetics-brief-notes.

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