Indian Aesthetics

Based on the premise that an aesthetic experience is inevitably a human one, this paper considers a non-anthropocentric ecological aesthetic experience through the lens of Indian aesthetics. It does so by problematizing the beautiful in the aesthetic. Rasa in Indian aesthetics refers to the essence of emotion felt in an aesthetic experience. The adbhuta rasa refers to the experience of wonder through astonishment. I argue that what we might find amazing in nature is not only the picturesque, but rather the (...) ecological interconnectedness of nature. Through Indian aesthetics, we recognize in this paper, the criterion for a sensitive, receptive and responsive subject presenting themselves to an engulfment, as important for a non-othered ecological aesthetic experience. It is recognized that there might be an aesthetic allowance in ecological design, realized by placing importance on a sensory immersion in the natural world that allows an engulfment in it. While not neglecting a cognitive reflexive analysis of such a relishing of the adbhuta, we conceive of an experience that finds aesthetic value and appreciation beyond the instrumental and commodified value placed on natural environments. The paper concludes with key questions that a rasa anubhuti raises for emerging eco-aesthetic theories and a summary of the unique hermeneutical and epistemological contributions this approach could make to the field. (shrink)

Shun Kwong-loi argues that the distinction between first- and third-person points of view does not play as explanatory a role in our moral psychology as has been supposed by contemporary philosophical discussions. He draws insightfully from the Confucian tradition to better elucidate our everyday experiences of moral emotions, arguing that it offers an alternative and more faithful perspective on our experiences of anger and compassion. However, unlike the distinction between first- and third-person points of view, Shun’s descriptions of anger and (...) compassion leave unarticulated what would be necessary to differentiate these responses from non-moral responses. Here, I make a friendly suggestion on how this explanatory gap might be filled, providing complementary grounding for Shun’s observations by way of K. C. Bhattacharyya’s phenomenological analysis of feeling. It fills the gap by means of a gradation in the possible depth of emotional responses found in the a priori structure of a feeling experience for any subject. The payoff of such a comparison between Shun’s explication of Confucian moral psychology and Bhattacharyya’s explication of rasa theory is not only a possible phenomenological grounding for the former but also a potential way to articulate a missing ethics in Bhattacharyya’s thought. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds singing to be (...) the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

The paper aims at critical reconsideration of a motif popular in Indian literary, ritual, and pictorial traditions – a tree goddess (yakṣī, vṛkṣakā) or a woman embracing a tree (śālabhañjīkā, dohada), which points to a close and intimate bond between women and trees. At the outset, I present the most important phases of the evolution of this popular motif from the ancient times to present days. Then two essential characteristics of nature recognized in Indian visual arts, literature, religions and philosophy (...) will be distinguished: (1) a dynamic, creative, self-sufficient and inexhaustible power, and (2) a passive, merely reproductive or vegetative, and dependent field of potentiality. The paper is to demonstrate the interdependence of the popular concepts of nature identified with femininity, and their iconic representations circulating for centuries in Indian culture, with a specific line of argument repeatedly used in social practices and public debates. While doing so, I consider the semiotic function of a cultural topos which proves to be an effective instrument for construing and supporting the gender roles and gender identities. As a modern example illustrating vitality and persuasive power of the motif of yakṣī and śālabhañjīkā, I refer to the Chipko Movement, a group of rural women based in the Garhwal Himalayas (state Uttarakhand), who fought against the mass cut of trees in the 1970s. They were involved in the wide-spread environmental campaign which significantly affected the ecological policy of the local and state authorities. Thus, a traditional motif of the visual arts has been revived and re-elaborated by the activists of this ecofeminist movement through converting the symbolic potential of yakṣī/śālabhañjīkā into social and political power. (shrink)

This review brings to the fore the Indian philosopher Kalidas Bhattacharyya. It makes a case for Indian and Asian Studies' scholars to take up the study of Bhattacharya so that his corpus can be used to construct a clear hermeneutic for assessing and accessing Indian texts, say in English and also other English literary texts. Bhattacharyya has been neglected too long by the world.

This is a small collection of proverbs with some philosophical content. I also included here are some of my favorite philosophical quotes. The quotes were collected during many years from my personal reading. I am sure that the reader will identify and enjoy proverbs and some quotes that are new and unique to this publication. A printed copy available at amazon.com. Feedback: [email protected] .

Shri Amritchandra Suri’s Purusārthasiddhyupāya is a matchless Jaina text that deals with the conduct required of the householder (śrāvaka). In no other text that deals with the conduct required of the householder we see the same treatment of complex issues such as the transcendental and the empirical points of view, cause and effect relationships, and injury and non-injury, maintaining throughout the spiritual slant. The basic tenet of Jainism – non-injury or Ahimsā – has been explained in detail in the book.

W artykule rozważane są rozmaite semantyczne i symboliczne relacje, w jakich ujmuje się przyrodę na gruncie filozofii, kosmologii i estetyki indyjskiej. Punktem wyjścia jest charakterystyka wewnętrznej dynamiki przyrody, w którą wpisane jest nieustanne zderzanie się biegunowych jakości. Przedstawione są m.in. wedyjskie kosmogoniczne rozważania, konstatujące samorodność i substancjalną jednorodność cyklicznej natury, oraz pięć reprezentatywnych filozoficznych koncepcji przyrody. Autorka podkreśla także swoistą współzależność pomiędzy afirmowaną wizją przyrody a kulturowymi reprezentacjami natury ludzkiej.

Rasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-representational dance (nṛtta) using three overarching canons of Indian Aesthetics – Rasa, (...) Aucitya, and Dhvani. We present a significant advancement in the field of Indian dance aesthetics by offering a refined definition of non-representational dance or nṛtta by aligning it within the framework of the rasa sūtra (dictum on rasa). The definition is substantiated by a nuanced analysis and interpretation of Bharata’s delineation of nṛtta, and cross-examination with related concepts in the Nāṭyaśāstra. Furthermore, we explore non-representational dance within the frameworks of aucitya and dhvani, enhancing fundamental concepts established by this definition. (shrink)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant states’ (sthayi Bhava), (...) ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)