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    Modern Introduction ...

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Modern Introduction of Indian Aesthetic Theory (PB)

by: S.S. Barlingay

All arts in India owe their roots to the theoretical structure developed by Bharatamuni in his celebrated work Natyasastra. His theory of beauty is known as the theory of rasa. The present volume has shown how the insight of Bharata was developed by the classical scholars from Abhinavagupta to Jagannatha who propounded the theories with names like rasa, alamkara, riti, vakrokti, dhvani etc. to employ the theory of beauty from natya (drama) to kavya (poetry).



ISBN: 9788124603789
Year Of Publication: 2007
Edition: 1st
Pages : xxvi, 374
Bibliographic Details : Appendices, Bibliography, Index
Language : English
Binding : Paperback
Publisher: D.K. Printworld Pvt. Ltd.
Size: 23 cm.
Weight: 675


The foundation of the Indian aesthetic theory can be traced to Bharatamuni’s Natyashastra where he gave his theory of beauty (theory of rasa) which was later elaborately developed by learned scholars. In this work, Prof. Barlingay examines the development of the rasa theory by various authorities on art and aesthetics and finally presents his own critical understanding of it. The volume begins with a survey of the history of Indian art by examining painstakingly the relation between art and beauty, perception of time and space in art, and classification of arts. It then plunges into a detailed study of origin and development of rasa theory: from rasa in the Vedas and Upanishads to Bharata’s rasa theory and perspectives of Abhinavagupta, Bhattatauta, Bhatta Lollata, Kuntaka, Dandin, Mammata, Vamana, Rudrata, Vishvanatha, Bhamaha, Jagannatha and others who enriched it further with their own theories. It explains how principles were employed and re-employed by the masters to reveal various meanings, inter-relationships, symbols, and perceptions of art. It highlights the salient features of each master’s unique manner of interpretation of art concepts. The work is a must for scholars and students keen to study the fundamentals of concept and theory of Indian art, particularly with reference to drama and poetics.


Key To Transliteration
1. Prologue
Different Arts — Their Interrelations
The Parameters — Art And Beauty
Cultural Traditions In Art — The Parameters Of Appreciation
The Classification Of Arts
Time, Music And Dance: Tala, Laya And Svara
Perception Of Time And Space In Art
Milestones In The History Of Dramaturgy And Poetics
2. Psychology Of Bhavas
Bhavas: Meaning And Types
Sthayi Bhavas
Vyabhicari Bhavas
Sattvika Bhavas
Sthayi Bhavas And Rasa
Sthayi Bhavas And Mental States
Sthayi Bhavas And Artha
Types Of Vibhavas
3. Theories Of Poetry
The Basic Parameters Of Literature
Natya Or Drama
Contents Of Natyashastra
Abhinaya And Poetry
Dance And Drama
The Main Authors and Their Theories
Drama Vs. Literature
Bharata’s Mode Of Theorization
Bharata’s Context : Stage Drama
Beautiful In The Text
Alamkara : A Parameter Of Poetry
Rasavat Alamkara : Its Introduction And Elimination
Riti And Similar Concepts
Aucitya : A Constitutive And Evaluative Parameter Of Beauty
Types Of Meaning
Sphotavada: Abhihitanvayavada And Anvitabhidhanavada
Anandavardhana’s View
Symbol And Its Interpretation
4. Rasa Theory — Historical Survey
Rasa Theory — Historical Survey
Rasa In Vedas And Upanishads
Rasa In Ayurveda
Rasa In Different Philosophical Systems
Rasa In Natyashastra
The Purpose Of Drama : Siddhis
The Process Of Art-creation
Rasa For Alamkarins
Transformation In The Meaning Of Rasa
Focus On Appreciation
Views Of Lollata, Shankuka And Bhattatauta
Abhinavagupta’s View
Bhattanayaka’s View
5. Bharata’s Rasa Theory
Rasa Theory: Bharata And Abhinavagupta
Natya And Nataka
Stage Medium: An Aspect Of Natya
The Samkhya Theory
Rasanirmiti And Rasasvada Prakriyas
Employment Of Samkhya Theory In The Indian Theory Of Art
Natya And Kavya
The Meaning Of Natya
Three Stages Of An Art
Art As Communication
The Three Stages Of Communication
The Language Of Natya
Evidence From Natyashastra
Some Confused Interpretations
Bharata On Bhavas
Sthayi Bhavas
6. Bharata’s Rasa Theory (Continued) — Dharmi, Vritti, Pravriti And Siddhi
The Element Of Communication In Art
Imitation Or Anukarana
Types Of Vritti And Pravrittis
Classification Of Arts
Purpose Of Art: Superworldly Happiness (The Siddhis)
Can Rasa And Siddhi Be Identified?
Vagueness About Bhavas
Vagueness About Sthayi Bhavas And Their Meaning
7. Rasa Theory — Additional Evidence Continued
Communication Process: Rasanishpatti And Rasasvada
Sources Of The Concept Of Rasa
Sthayi Bhavas As Kavyartha
The Concept Of Nishpatti
The Concept Of Samyoga
Rasa — The Audio-visual Language
Distinction Between Sthayi Bhavas And Kaviantargata Bhavas
8. Rasa Theory — Bhattanayaka And Abhinavagupta
Rasa As Ananda
Bhattanayaka’s View
The Process Of Appreciation
Bhattanayaka’s View — Continuation
Rasa As A Norm
Experience Vis-a-vis-language
Sadharanikarana And Knowing
Knowing Qua Measuring
9. Post-abhinavagupta Development Of Rasa Theory
Meaning Of Vijnanavada
Asvada And Asvadya
The Post-abhinavagupta Period — The Period Of Decadence
Post-abhinavagupta Theories Of Poetics
The World Of Creation
Misinterpretation Of Rasa-theory In The Post-jagannatha Period
Panditraj Jagannatha On Poetry
The Development Of Rasa Theory
10. Abhinaya
Bharata’s Theory Of Abhinaya
Acting As Pretending
Abhinaya And Communication
11. Medium, Language And Parameters
Experience, Thought, Language And Models
Language And Thought
Language And Dialogue
Language As Expression Of Experience
Language As Expression Of Self-consciousness
Language As Human Activity
Para, Pashyanti, Madhyama And Vaikhari
Evaluation And Parameters
Reviews And Evaluation
Naming, Describing And Explaining
Status Of Parameters
Use Of Language
The Meaning Of Beauty
Relationship Between Shabda And Artha
Aesthetics: An Anthopocentric World
Relationship Between Mind And Body
Communication In Arts
Upama And Types Of Parameter
12. Observations And Remarks: Distinction Between Rasa-dhvani And Rasa-siddhi
Nature And Kinds Of Judgement
Nature Of Art
Nature Of Appreciation
Nature Of Beautiful
Beauty And Artistic Communications
Beauty: Natural And Artistic
The Artist And The Appreciaton
The Knowledge By Gestalt Of Art Experience
Arts: Auditory, Visual And Audio-visual
Aesthetic Experience And The Nature Of Originality
The Meaning Of Beautiful
Describability Of Beauty
Indescribability And Parameters Of Art
An Epistemology Of Art
13. Epilogue
Appendix 1: About Classical Scholars
Appendix 2: Vamana’s Philosophy Of Poetry
Appendix 3: A Further Note On ‘Para’
Appendix 4: Aw Mankwnm!

Meet the Author
Prof. S.S. Barlingay (1919-1997), a reputed name in teaching and research on philosophy, was founder-editor of several scholarly journals. He was a teacher of philosophy at prestigious universities within India including the universities of Delhi and Pune, and at the Perth University, Australia and Zagreb University, Croatia. He published numerous books on logic, ethics, epistemology, aesthetics and political philosophy. He was the chairman of the State Board of Literature and Culture of the Government of Maharashtra.
Books of S.S. Barlingay