1. Prepared by : Latta Baraiya
Sem : 2 (M.A.)
Enrollment no. : 3069206420200003
Topic : Five School of Indian Aesthetic
Paper : Indian Aesthetic & Criticism
Email id : lattabaraiya1204@gmail.com
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 meaning.
● 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.
