Indian Aesthetic

Indian Aesthetic 

Introduction :-

Indian Aesthetic based on the Sanskrit. Indian Aesthetic is the beauty of the poetic power and it meaning. It represents the Indian culture in certain ways and it's aesthetic. Indian aesthetics refers to the principles and philosophy that guide the creation and appreciation of art, beauty, and the sensory experience in the context of Indian culture. It encompasses a rich and diverse range of artistic expressions, including visual arts, literature, music, dance, and more. 

In a simplified sense, Indian aesthetics often emphasizes the interconnectedness of beauty, emotion, and spirituality. It is deeply rooted in ancient philosophical traditions, particularly in concepts found in Hindu, Buddhist, and other Indian philosophical schools. The idea of "rasa" (essence or emotion) is crucial in Indian aesthetics, where the goal is often to evoke a specific emotional response in the audience. 'Rasa' is the most attractive and prominent figure in this Indian Aesthetic aspects. Rasa shows the real meaning of beauty and interesting dilemmas of work of art. It explores the real essence of contexts in perticular manner. 'Rasa' make difference between what we just see?, and what we see and observe?.

Indian aesthetic principles are not only about visual appeal but also about capturing the essence of the divine, expressing profound emotions, and aligning with the spiritual dimensions of life. These principles vary across different regions and art forms in India, reflecting the diverse cultural heritage of the country. In this Indian Aesthetic to find something unique, something new, something interesting, by some major critics.

'Rasa' :-

Bharata calls human soul as Bhava-Jagat (the world of emotions). Expressions are different. Bharata had work on the theory of Rasa and it's significant in the concept and context. Rasa is design the delightful atmosphere around the feelings and emotions. It drives the reference of Upnishad.

There are nine types of rasa in this Indian Aesthetic. And all are very much significant to understand the real beauty of work of art. One shlok in Sanskrit like...

"श्रृंगार करुण वीर

        रौद्र हास्य भयानका।

बिभत्सादभूत शांतश्व

         नव नाट्ये रसा: स्मृता ।।"

1) Shringar (Delight) :-

Delight is like the attract something interesting and looks something beautiful. Shringara means "Love" and often also "beauty." Narrowly speaking, the feeling of love In union and In separation For example Radha and Krishna's love.

2) Hasya (Laughter) :-

Hasya Rasa make you feel more cheerful and happy. Hasya rasa is the rasa of joy. Humour is the very powerful thing against the sadness, fear and anger also.

3) Karuna (Compassion) :-

Karuna feel through your expression and emotions. When we feel sad for all do not see through is illusion of suffering, for ignorance created by Maya, then we experience the highest form of Karuna, which is compassion. The origin Sanskrit word Karuna means "Sadness". We can see that the more popular meaning of the Karuna Rasa is finds expression in many kinds of art, literature, and theater in India.

4) Adbhuta (Wonder) :-

Wonder comes at the beginning of the spiritual journey, the journey to find real truth and solve the mystery of life.

5) Bibhatsa (disgust) :-

The ego may lose the power to control Bibhatsa if it has been deeply hurt by seeing bad intentions behind the words and deeds of others.

6) Veera (Bravery) :-

Veera or Courage is the Hasa of fearlessness, self-assurance, heroism, perfect control of body and mind. Veera is a show the strength and warrior quality.

7) Raudra (Anger) :-

The high expectations and ego hurt problem drives you to anger perception. When expectations are not fulfilled, the ego may feel that it has been neglected if it is instructive, such as incorrectly, this forms the basis for Anger.

8) Bhayanak (Fear) :-

Fear is often caused by ignorance. When something is unknown, the mind can only imagine what it can do and if the ego is not confident enough, the mind will Imagine fearful things.

9) Shant (Peaceful) :-

Although everybody experience some relaxation sometimes, real Shant or Peace exists only in Samadhi, a state of super- consciousness that is the final stage of any yoga or meditation. For a long time, Shant was not even regarded as a Rasa by the Indian tradition because it is without emotion, in Rasa.

"विभावनुभावव्यभिचारी संयोगादरसनिष्पति"

~ भरत मुनि

With help of these aspects Rasa make more impactful.

➣ Vibhav

➣ Anubhav 

➣ Vyabhichari Bhav

➣ Sanyog

E.X "Abhignan shakuntalam" by Kalidas ➤ Dushyant and Shakuntala 

Now let's about these four aspects.

➣ Vibhav :- 

By which we get a rasa or feel the expression it known as 'Vibhav'. There are two types of Vibhav like...

1. Aalamban Vibhav (By this we get a Rasa)

2. Uddipan Vibhav (Nature expression, proper situations for Rasa)

➣ Anubhav :-

Anubhav means react. Expressions belongs to expression it known as anubhav. (Action →← Reaction)

➣ Vyabhichari Bhav :-

Vyabhichari Bhav it for the short time. It is like Waves of the sea by રા. વિ. પાઠક.

➣ Sanyog :-

According all above Bhava's sanyog has done by proper properties and proper method so and so rasa has been coming out from it.

Dhvani :- 

"Dhvnyaloka" thesis written by Aanand Vardhana. In this Dhvani there are two major aspects like, Word and Meaning. Both are very much significant in this Dhvani. Some kind of satirical meaning of talks and sometimes it includes in taunt. Word has it own strength. We should find all type of Dhvani its only because of strength of words. In the  definition of Mammat's word strength,

1. અભિધા :- Drives through the direct meaning.

2. લક્ષણા :- Not drives through the direct meaning but we have to build a meaning our own. 

3. વ્યંજના :- Which have direct meaning and then we also have another meaning.

We are giving the meaning to the words as per our own convenience. Dhvani depend on the વ્યંજના. "પ્રતિયમાન અર્થ" founded by Aanand Vardhana. Dhvani is the soul of the poem.

✰ Auchitya :-

Kmendra made 'AucCliya" the defines AucCityr as the property of an expression being an exact and appropriate analogue of the expressed. The theory of property or appropriateness claims that in all aspect of literary composition. There is the possibility of a perfect, the, most appropriate choice of subject, of ideas, of words, of devices. As such, it has affinities with Longinus's theory of the sublime.

The concept of propriety with refrence to custom, subject characters and sentiment recourse in almost all theorists and often discussed in association with figures of speech, guan, dosa and rites. Acharya ksemendra was main founder of this theory and his books "AUCHITYAVICHARCHA" that his acceptable of "poem Atama's as a Achitya'.

That means poetry should be made by vastu, dhvani, and all over things were important but only for appreciable Achitya. If the poetry repentence of without almakara, guna, that not for good qualities but very poor things of reproeduce.

✰ Vakrokti :-

Vakrokti is theory of language of literature. KUNTANK was father of this theory and development of idea about simple and different way of performance. Vakrokti it means the Aesthetic.

Vakrokti : Vakra + Ukti 

Vakra: Crooked indirect or unique

Ukti: ocetic expression or speech

According to Kuntaka it would be too fastidious to expect any single standard applicable to the appeal of all poetry because there can be a hundred and one different reason for the peal of different poems to men of taste. For kantaka even dhvani may be one of the important features for the expression of the poets Pratibha or genius.

Vakrokti of kuntaka is a synonym for the principles of beauty underlying all kinds of poetic language. It is also strongly connected with valchitrya (streakiness) and vichchitti (beauty). Here main important point out that this theory is assumed the Poetry is soul is Vakrokti And that time founder of this theory Kunatank & Bhamah believe that many make of language does appreciate and collaboration to connected to words and vocabulary.

Kuntaka has classified forms of vakrokti in six fold.

1. Varna: shabdalankaras & avana - guna

2. Padopurvardha: suggestive use of linguistic elements &gunas

3. Pratyaya: suggestive use of affixes etc....

4. Vakya: figures of sense

5. Prakarama: episode in plot with unity and originality

6. Prabandha: whole plot

✰ Riti :-

The riti School of poetics is represented fully by iis chief exponent tfaingna, author of kavyalankar sutravritti, who flourished in Kashmir towards the close of the eight century. when dhvani theory's Anandvardhan defined of poem soul is Dhavni that time Vanina oppositely put on view about own fillings and describe that guna and alamkara different from each other. Riti is anticipated in the marga of the south Indian writer Dandi, author of kavyadarsha.

vaidarbha and aversion to gaudiya given great prominence. He takes the vaidarbha style as the best and says that it contains all ten poetics qualities properly balanced. Those ten qualities are like...

1. strength through the use of long compounds

2. Prasad: clarity & lucidity

3. Shlesha: well knittedness

4. Sumala: evenness of sound within a line

5. Samadhi: ambivalence through the use of metaphors

6. Madhurya: sweetness

7. Sukamaruta: softness & delicacy

8. Udaratva: exaltation

9. Arthavyakti fucidity of meaning

10. Kanti: grace

Vamana took the ten gunas of Bharata and Dandi but hr traced all gunas separately as belonging to the expression and as belonging to the meaning thus masking their number twenty. He defined them in his own way to suit his theory of Rib and stated that at the gunas existed clearly and fully in the Vaidarbha riti which only a few of them exited in other ritis.

✰ Alankaar :-

Alankaar is a Sanskrit term for figures of speech used in Indian literature to enhance the beauty, meaning, and impact of language. Similar to how ornaments add grace to a person, alankaras embellish poetry, prose, and even everyday speech. 

There are two types of it.

Shabdalankar (શબ્દાલંકાર) :- 

Focuses on the manipulation of words and sounds.

Arthalankar (અર્થાલંકાર) :-

Focuses on the manipulation of the meaning and ideas within the language.

Anuprasa (અનુપ્રાસ): Repetition of consonant sounds at the beginning of words for emphasis.

Ex: Bright bells bell bringing

Upamā (ઉપમા): Simile, comparing two things using "like" or "as." 

Ex: He is as strong as an ox.

Rūpaka (રુપક): Metaphor, directly stating one thing is another. 

Ex: The stars (scholars) gathered for the discussion.

Yamak (યમક): 

Using the same word with different meanings in close proximity. 

Ex: Desh ka desh prem (Love for the country)

Shlesh (શ્લેશ): 

This figure of speech is used in both meanings. In pun, one word has two meanings. 

Ex: रहिमन पानी राखिये, बिन पानी सब सून।

पानी गये न ऊबरै, मोती मानुष चून।।

Utpreksha (ઉત્પ્રેક્ષા): 

Where there is a possibility of simile in the simile. Where the possibility of simile is imagined due to the similarity between the simile and the simile, there is Utpreksha Alankar.

Ex:  उस काल मारे क्रोध के तन कांपने उसका लगा। मानो हवा के जोर से सोता हुआ सागर जगा।

Some connotative words of Utpreksha Alankar are as follows – Jaane, Jyo, Janu, Manu, Mano, Manhu etc.

Conclusion :-

This rasa theory make more impact on the understanding of true meaning of dramas, poems, and any kind of stories. It hel weps to know the real sense of meaning. Dhvani, Vakrokti, Alankaar,Riti, etc. All these also good impact in the Indian Aesthetic literature, art and poetries, and drama theaters. 

Thank you...