AKSHAY NIMBARK: Assignment 109- Exploring Key Streams of Indian Aesthetic Thought

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109 - Literary Theory & Criticism and Indian Aesthetics

Exploring Key Streams of Indian Aesthetic Thought

Table Of Contents:-

Personal Information
Assignment Details
Abstract
Keywords
Introduction
Bharatmuni & Rasa Theory
Kavi Bhamaha & Alamkara
Aacharya Vamana & Riti Theory
Aanandavardhana & Dhvani Theory
Aacharya Kuntaka & Vakrokti Theory
Kshemendra & Auchitya Theory
Conclusion
References

Personal Information:-

Name:- Akshay Nimbark

Batch:- M.A. Sem 2 (2023-2025)

Enrollment Number:- 5108230029

E-Mail Address:-akshay7043598292@gmail.com

Roll Number:- 02

Assignment Details:-

Topic:-Exploring Key Streams of Indian Aesthetic Thought

Paper & Subject Code:- 109 - Literary Theory & Criticism and Indian Aesthetics

Submitted To:- Smt. Sujata Binoy Gardi, Department Of English, Mkbu, Bhavnagar

Date Of Submission:- 26 April 2024

Abstract :

This assignment embarks on a captivating journey through the intricate realms of Indian Aesthetic Thought, delving into its diverse streams and profound insights. From the ancient treatises of Bharatmuni's Natyashastra to the scholarly analyses of Aacharya Vamana, each stream offers a unique perspective on beauty, emotion, and artistic expression. We explore the foundational theories of Rasa and Alamkara, unraveling their significance in shaping cultural perceptions and artistic endeavors. Through this exploration, we gain a deeper understanding of the timeless relevance of Indian Aesthetic Thought, inspiring continued appreciation for its rich heritage and enduring legacy in the realm of creativity and human expression.

Keywords :

Indian Aesthetic Thought, Bharatmuni, Natyashastra, Rasa Theory, Alamkara Theory, Aacharya Vamana, Riti Theory, Figures of Speech, Sanskrit Poetry, Cultural Heritage

Introduction :

In delving into Indian Aestheticism, it's crucial to acknowledge the literary giants of ancient times. These visionaries introduced a plethora of schools of Literary Criticism and Aestheticism, leaving an indelible mark on literature for generations to come. They gifted us with profound theories such as Rasa Theory, Dhvani Theory, Riti Theory, Vakrokti Theory, Alamkaras, and Auchitya Theory, each shedding light on different aspects of literary beauty and expression.

In this assignment, we'll embark on a journey through these five literary schools, exploring their significance through the lens of the timeless works they are associated with. But it doesn't end there. Beyond these renowned figures, there are numerous other luminaries in ancient Indian criticism who contributed to shaping the techniques we still use in modern-day cinematography. Their insights continue to resonate and influence our understanding of both literature and film.

(1) Bharatmuni : 'Natyashastra' (2nd Century BC) 》Rasa Theory

(2) Kavi Bhamaha : 'Kavyalamkara' (6th Century AD) 》Alamkaras

(3) Aacharya Vamana : 'Kavyalamkarasutra' (9th Century AD) 》Riti Theory

(4) Anandavardhana : 'Dhvanyaloka' (9th Century AD) 》Dhvani Theory & Sphotavaad

(5) Aacharya Kuntaka : 'Vakroktijivita' (11th Century AD) 》Vakrokti Theory

(6) Kshemendra : 'Auchityavicharacharcha' (Eleventh Century AD) 》Auchitya Theory

Bharatmuni & Rasa Theory :

Bharatmuni, an ancient sage, shines brightly in the realm of Sanskrit Theatre. His masterpiece, the 'Natyashastra,' serves as a treasure trove of techniques for enhancing dramatic performances to their fullest potential.

One of Bharatmuni's key contributions is the Rasa Theory, outlined in the sixth chapter of the 'Natyashastra.' According to this theory, there are eight primary emotional states, or Rasas, that a performance can evoke. Later, the ninth Rasa, 'Shanti Rasa' (Peace), was added by the 9th-century King of Kashmir and Grammarian, Maharaja Abhinavagupta.

In simpler terms, Rasa is like the flavor or mood that a performance creates. Daniel Meyer-Dinkgräfe, in his work 'Approaches to Acting: Past and Present,' explains that Rasa emerges from a blend of factors: what's depicted (Determinants), how it's experienced (Consequents), and the fleeting emotions it stirs (Transitory States). This combination forms the essence of Rasa, enriching the theatrical experience for both performers and audiences alike.

Here is the Grid of Nine Rasas (Rhetorical Sentiments)

Definition of Rasa Given by Bharatmuni :

"तत्र विभावानुभावव्यभिचारीसंयोगाद्रस्निष्पत्ती।"

According to Bharatmuni, Rasa is like a magical mix of three ingredients: Vibhava (Causes), Anubhava (Consequences), and Vyabhichari or Sanchari Bhava (Transitory Emotions).

Let's break it down further:

1. Vibhavas (Causes): These are the main triggers that stir emotions in the audience, also known as sahridaya, or those who can feel the Rasa. There are two types:

- Alambana Vibhava (Basic Stimulus): This refers to specific objects or people that evoke emotions, like Shakuntala or Dushyanta.

- Uddipana Vibhava (Outside Stimulus or Catalyst): These are environmental factors that intensify emotions, such as the chirping of birds, the sight of rivers, the arrival of spring, or the fragrance of flowers.

2. Anubhavas (Consequences): These are the outward expressions or signs that result from the Vibhavas, indicating the emotional experience:

- For instance, if a character feels love due to seeing a beautiful landscape (Vibhava), the expression of that love through gestures, facial expressions, or dialogue would be the Anubhavas.

Together, these elements create the rich tapestry of emotions that captivate audiences and bring the theatrical experience to life.

These elements can be grouped into two categories:

1. Vachika (Verbal): This includes all the spoken aspects of a performance, such as songs, poems, speeches, and dialogues. It's about how words are delivered—using voice modulation, intonation, and eloquence—to stir emotions in the audience's minds.

2. Angika (Physical): This involves the physical movements of the performers' limbs and body parts. By skillfully modulating their gestures, expressions, and postures, performers enhance the emotional impact on the audience.

Vyabhichari (Transitory Emotions): These are fleeting emotions that arise in the hearts of the audience members. They're sparked by the performers' movements, such as the way they move their eyes, hands, chest, or hips. These momentary emotions add depth and resonance to the overall experience, enriching the audience's connection with the performance.

There are Thirty-Three Vyabhichari Bhavas:

Kavi Bhamaha & Alamkara:

Kavi Bhamaha, a Sanskrit Poetician from Kashmir around the 7th century BC, is renowned for his work on Figurative Indices called 'Kavyalamkara' or 'The Ornaments of Poetry.' In this treatise, he delves into the fascinating world of Figures of Speech in Sanskrit poetry, showcasing his expertise in this area. The 'Kavyalamkara' is an extensive exploration of various theories and types of Figures of Speech, shedding light on the intricate techniques used by poets to embellish their verses. Bhamaha's contribution to the Alamkara Theory remains highly regarded in the realm of Indian poetics.

Bhamaha divides Alamkaras into two types :

1. Shabdalamkara: This is about the beauty and cleverness found in the words themselves when used in a sentence. It's like when a wordplay or witty expression adds a touch of enjoyment for the reader or listener. Examples include Anuprasa (alliteration), Yamak (pun), Shlesha (metaphor), Punarokti (repetition), Vipaksha (antithesis), and Vakrokti (oblique expression).

2. Arthalankara: Here, the pleasure comes from the meaning derived from the sentence or literary work. It's when the message behind the words brings joy to the reader. Examples include Upama (simile), Rupak (metaphor), Manavikaran (personification), Utpreksha (hyperbole), Atishayokti (exaggeration), and Upameyopama (comparison).

Aacharya Vamana & Riti Theory :

Aacharya Vamana, an Indian scholar from the late 8th to early 9th century, introduced the concept of Riti Vichar, focusing on the style of literary writings. Riti, according to Vamana, is like the soul of poetry, giving it life and uniqueness. It's what sets apart different authors, each writing in their distinct and remarkable styles. Just as the soul animates the body, Riti animates poetry, making it vibrant and distinctive.

Riti Theory : Riti (Style of Writing) is what Vamana's theory focuses upon. In Vamana's view, Riti is :

"रीतिरोआत्मकाव्यस्य शरीरस्येव।"

Aanandavardhana & Dhvani Theory :

Aanandavardhana, a scholar from Kashmir around the 9th century, is famous for his Dhvani Theory explained in his book 'Dhvanyaloka.' This theory says that in any piece of writing or poetry, there's a deeper meaning beyond just the words themselves, which he calls "Dhvani" or "resonance." According to him, without this deeper meaning, poetry wouldn't be poetry—it's what gives it life and impact. Additionally, he also talks about Sphota, a concept introduced by Bhartrihari, which suggests that there's a sudden burst of meaning when we hear or read a word, rather than understanding each word separately. These ideas together help us understand how poetry and language work in a more profound way.

Dhvani comes in three types:

1. Abhidha (Direct): This is when words mean exactly what they say, like "I am going to school for studies."

2. Lakshana (Indirect): Here, words hint at something beyond their literal meaning, like "Ramble o sage freely in the forest, lion has come amidst of it." There's more to understand than just the words.

3. Vyanjana (Suggestive): Words carry both their literal meaning and suggest something deeper. For instance, "Fair is foul and foul is fair, let us hover through the for and filthy air."

And then there's Sphotavaada:

This is when a word triggers a vivid picture in your mind. It's like a sudden "blast" of understanding. Aanandavardhana calls it 'Antimbuddhigrahya' and it happens at the end of phrases, sentences, or even words.

Grammatical Definitions of Dhvani :

(1) ध्वनति इति ध्वनि: - That which suggest both word and meaning is Dhvani

(2) ध्वन्यते इति ध्वनि: - That which is suggested is Dhvani

(3) ध्वननं ध्वनि: - Process of Suggestion is Dhvani

(4) ध्वनि समुदाय: ध्वनि: - Entire Literature is Dhvani

There are three types of Dhvani:

1. Vastu Dhvani (Literal): This is when words directly describe things or ideas without using any fancy language. Like in the phrase, "What's in a name? That which we call a rose/ By any other name would smell as sweet."

2. Alamkara Dhvani (Figurative): Here, words suggest meaning through the use of figures of speech or literary devices. For instance, "Who will not rise in rage seeing his beloved's lip wounded? You heeded not my warning and kissed the lotus hiding a bee. Now rightly pay the penalty."

3. Rasa Dhvani (Emotional): Aanandavardhana believed that true poetry must evoke emotions (Rasa) both in the poet and the audience. It's about creating a shared emotional experience through words. Like in the lines,

"Turning and turning in the widening gyre

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere the ceremony of innocence is drowned;

The best lack all conviction, while the worst are full of passionate intensity."

Aacharya Kuntaka & Vakrokti Theory :

Kuntaka's Vakrokti Theory:

Aacharya Kuntaka, a Sanskrit literary theorist, talks about Vakrokti, or "Oblique Expression," in his work 'Vakroktijivita.'

According to him, Vakrokti is essential for creating any type of literary composition, especially poetry. He says that when words and their meanings are intertwined in a skillful and clever way, it results in a well-crafted piece of poetry. Such poetry, which reflects the poet's effort in choosing just the right words, brings delight to those who can appreciate its artistry.

For Aacharya Kuntaka, Vakrokti is like a twist of artfulness in expression. He believes that only when something is expressed with a touch of artistic crookedness, it becomes truly beautiful and brings aesthetic pleasure.

There are six kinds of Vakrokti :

1. Phonetic Figurativeness (Varnavinyasa Vakrata): This is about playing with the sounds of words, like in "Fair is foul and foul is fair."

2. Lexical Figurativeness (Pada-Purvardha Vakrata): It involves using words in unique or unconventional ways, like calling 'Krishna' as 'Vaikunthapati' or 'Death' as 'Swargavasa.'

3. Grammatical Figurativeness (Pada-Parardha or Pratyaya Vakrata): This is about using grammar creatively, like turning 'Beautiful' into 'Beautify' as a verb.

4. Sentential Figurativeness (Vakya Vakrata): Here, it's all about the poet's imagination and ability to describe things, like when Sita in 'Raghuvansham' sends a message to Rama that Lakshmi is jealous of her.

5. Contextual Figurativeness (Prakarana Vakrata): This involves adding new elements to the original story to make it more striking, like how Rishi Durvasa's role in 'Abhigyanashakuntalam' is a creative addition by Kalidasa.

6. Compositional Figurativeness (Prabandha Vakrata): It's about adapting a known story with new twists and emotional significance, like in 'Urubhang' where Duryodhana's character gets a new depth.

Kshemendra & Auchitya Theory :

Kshemendra's Auchitya Theory:

Kshemendra, a poet and thinker from Kashmir in the Eleventh Century, introduced the concept of Auchitya, or "Appropriateness," in his work 'Auchityavicharacharcha.'

According to him, Auchitya means something is just right for its purpose, fitting in perfectly with what it's meant to be. He says that when a work of art maintains proper composition and stays focused on its main subject throughout, it's considered "Uchita Sahitya," or Appropriate Literary Writing.

Kshemedra calls as :

"औचित्यं रस-सिद्धस्य स्थिरं काव्यस्य जीवितम्।"

In simpler terms, Auchitya is like the lifeblood of a poem, keeping it stable and true to its essence.

Conclusion :

In conclusion, our exploration of the key streams of Indian Aesthetic Thought has illuminated the rich tapestry of ideas and insights that have shaped the cultural and artistic landscape of India for millennia. From the ancient wisdom of Bharatmuni's Natyashastra and the profound theories of Rasa and Alamkara to the intricate analyses of style by scholars like Aacharya Vamana, we have witnessed the depth and diversity of Indian aestheticism. These foundational concepts continue to resonate in contemporary artistic expressions, serving as guiding lights for creators and scholars alike. As we reflect on the myriad perspectives offered by these luminaries, we are reminded of the timeless relevance and enduring legacy of Indian Aesthetic Thought, inspiring continued exploration and appreciation for the beauty and complexity of human creativity.

Reference :

“1 Unit 3 Indian Aestheticians Contents 3.0 Objectives ...” INDIAN AESTHETICIANS , Lucknow University , www.lkouniv.ac.in/site/writereaddata/siteContent/202004120632194475nishi_Indian_Poetics.pdf. Accessed 24 Apr. 2024.

“Bharata’s Rasa Theory.” Bharata’s Rasa Theory , Lucknow University , www.lkouniv.ac.in/site/writereaddata/siteContent/202004120632194631nishi_Rasa_Theory.pdf. Accessed 23 Apr. 2024.

Britannica, The Editors of Encyclopaedia. "rasa". Encyclopedia Britannica, 19 Mar. 2024, https://www.britannica.com/art/rasa. Accessed 24 April 2024.+9

Chaudhury, Pravas Jivan. “The Theory of Rasa.” The Journal of Aesthetics and Art Criticism, vol. 11, no. 2, 1952, pp. 147–50. JSTOR, https://doi.org/10.2307/426040. Accessed 26 Apr. 2024.

Dace, Wallace. “The Concept of ‘Rasa’ in Sanskrit Dramatic Theory.” Educational Theatre Journal, vol. 15, no. 3, 1963, pp. 249–54. JSTOR, https://doi.org/10.2307/3204783. Accessed 23 Apr. 2024.

International Research Journal Commerce arts science. “Rasa Theory of Bharata.” Academia.Edu, 21 Aug. 2018, www.academia.edu/37268636/Rasa_theory_of_Bharata. Accessed 24 Apr. 2024.

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AKSHAY NIMBARK

Friday, April 26, 2024

Assignment 109- Exploring Key Streams of Indian Aesthetic Thought

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