An Introduction to Indian Aesthetics: History, Theory, and Theoreticians by Mini Chandran and Sreenath V. S.

This book can be seen as a response to a severe demand in the field of Indian poetics for an introductory book that provides an overview of all the seminal schools of Indian poetical thoughts, keeping in view both the theories and the theoreticians. This book, in the words of authors, is meant to be “An introduction to the world of Sanskrit poetics, explaining its major concepts lucidly for even those who do not know Sanskrit. It offers a comprehensive historical and conceptual overview of all the major schools in Sanskrit poetics…. It is meant to be a beginners’ guide to the awe-inspiring immensity of Sanskrit literature and literary thought, the first step in a journey that should ideally lead to the profundities of ancient thought.” (Chandran et al 2021, p. xii). The discussion in the book progresses with varied theoretical perspectives on Indian aesthetics in a well laid historico-conceptual order. Though the book briefly talks about Tamil poetics putting it parallel to Sanskrit poetics by comparing Tolk?ppiyam with N??ya??stra in the preface, it primarily serves to be an introductory handbook of Sanskrit poetics for the non-Sanskrit University students at various levels. This book succeeds in providing clearer idea of Indian poetical thoughts to its readers.

Understanding Dalit Literature: A Critical Perspective Towards Dalit Aesthetics

Indian literature has always been governed by classical norms. Literature has been divided into ‘high culture’ and ‘low culture’. The non-Dalit writing revolves around ‘rasa’ and the motive is ‘art for art’s sake’. Dalit aestheticism is ‘art for life’s sake’. When certain forms and styles are applied imitating Sanskrit poetics, Shakespearean language or Aristotle’s ‘Poetics’, literature is considered to be following beauty parameters that are considered to be necessary for artistic pleasure. This kind of claim of holding traditional Indian aesthetics as a law book for all kinds of literature cannot be validated. The assertion of mainstream aesthetics as aesthetics for pan India is bound to exclude the truth of disregarded subjects. There is a need for Dalit literature to follow alternative aesthetics as the writings are the real story of pain and survival. How can pain be read for the purpose of pleasure? In the case of Dalit literature, the artistic yardsticks are not destroyed rather they are rejected. The traditional aesthetics will not be able to do justice with Dalit literature. Sharankumar Limbale writes “To assert that someone’s writing will be called literature only when ‘our’ literary standards can be imposed on is a sign of cultural dictatorship” (Limbale, 2004, p. 107). This paper will be an attempt to discuss the need for alternative aesthetics to understand Dalit literature.

Liquid Meaning in Sanskrit Poetics

Chapter three surveys classical Indian literary theory and looks at how rasa (liquid meaning) became considered to be the goal of the literary work of art. The chapter considers a vision of the poetic work of art that is radically different from the models of private, silent reading that most Westerners have been brought up with. The text discusses how rasa is achieved through resonant suggestion, and how the meaning of a poem is understood in terms of its taste. The production of rasa is viewed through classical Indian aesthetics as well as though works of Western literary critics who have put forth resonant ideas. The Meghadūta is seen as an exemplary work in this regard.

Recreating Daṇḍin’s Styles in Tamil

In Sanskrit poetics, the defining characteristics of poetry, its very life breath, are the guṇas, ‘qualities’. They make up the phonetic and syntactic fabric of poetic language without which there would be nothing to further to ornament. Many of these intimate features are by necessity specific to the Sanskrit language and defined in terms of its peculiar grammar including phonology and morphology. In the present article, I will describe what happens to four of these guṇas when they are transferred to the Tamil language in the Taṇṭiyalaṅkāram, a close adaptation of Daṇḍin’s Kāvyādarśa. I wish to demonstrate that the Tamil Taṇṭi did not thoughtlessly accept the Sanskrit model but sought, in some cases, to redefine the qualities so that they are meaningful in the context of Tamil grammar and its poetological tradition. A partial translation of the Tamil text is included.

SOME NOTES ABOUT CLASSIC POETICS

This article deals with Sanskrit poetics based on the chapter onSanskrit grammar in Abu Rayhan Beruni's India, in general. In general, Beruni'swork in the field of literature and linguistics requires special study. The place ofSanskrit literature in the world literary-historical process is also briefly mentioned.The poetic structure of Sanskrit texts is analyzed on the basis of the ancient Turkic"Altun yaruk". Beruni's observations on genres in ancient Sanskrit literature arediscussed.

Introduction

This chapter introduces the main themes of the book—Kavikarṇapūra, theology, Sanskrit poetry, and Sanskrit poetics—and provides an overview of each chapter. It briefly highlights the importance of the practice of poetry for the Caitanya Vaiṣṇava tradition, places Kavikarṇapūra in the (political) history of sixteenth‐century Bengal and Orissa as well as sketches his place in the early developments of the Caitanya Vaiṣṇava tradition (a topic more fully explored in Chapter 1). The chapter also reflects more generally on the nature of both his poetry and poetics, and highlights the way Kavikarṇapūra has so far been studied in modern scholarship.

Meaning, Indian theories of

The term artha in Sanskrit is used for the notion of meaning, in the widest sense of the word ‘meaning’; it can be the meaning of words, sentences and scriptures, as well as of nonlinguistic gestures and signs. Its meaning ranges from a real object in the external world referred to by a word to a mere concept of an object which may or may not correspond to anything in the external world. The differences regarding what ‘meaning’ is are argued out by the philosophical schools of Nyāya, Vaiśeṣika, Mīmāṃsā, Buddhism, Sanskrit grammar and Sanskrit poetics. Among these, Nyāya, Vaiśeṣika and Mīmāṃsā have realistic ontologies. Mīmāṃsā focuses mainly on interpreting the Vedic scriptures. Buddhist thinkers generally depict language as giving a false picture of reality. Sanskrit grammar is more interested in language than in ontology, while Sanskrit poetics focuses on the poetic dimensions of meaning. Generally, the notion of meaning is stratified into three or four types. First there is the primary meaning. If this is inappropriate in a given context, then one moves to a secondary meaning, an extension of the primary meaning. Beyond this is the suggested meaning, which may or may not be the same as the meaning intended by the speaker. Specific conditions under which these different varieties are understood are discussed by the schools. The various Indian theories of meaning are closely related to the overall stances taken by the different schools. Among the factors which influence the notion of meaning are the ontological and epistemological views of a school, its views regarding the role of God and scripture, its focus on a certain type of discourse, and its ultimate purpose in theorizing.

Resonance in Dhvani Aesthetics and the Deleuzian Logic of Sensation

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.