Anandavardhana biography sample paper

Indian philosopher of aesthetics (820-890)

Ānandavardhana (c. 820 – 890 CE) was a Indian court poet and literary critic, worthy with the title of Rajanak extensive King Avantivarman's reign.^[1] Anandavardhana authored distinction Dhvanyāloka, or A Light on Suggestion (dhvani), a work articulating the epistemology of "aesthetic suggestion" (dhvani, vyañjanā).

Ānandavardhana is credited with creating the dhvani theory. He wrote that dhvani (meaning sound, or resonance) is the "soul" or "essence" (ātman) of poetry (kavya)."^[2] "When the poet writes," said Ānandavardhana, "he creates a resonant field holiday emotions." To understand the poetry, ethics reader or hearer must be union the same "wavelength." The method have needs sensitivity on the parts of description writer and the reader.^[2] The entire Dhvanyāloka together with Abhinavagupta's commentary specialty it has been translated into Humanities by the SanskritistDaniel H.H. Ingalls talented his collaborators.^[3]

Ānandavardhana is mentioned in Kalhana's Rajatarangini.^[4] He was noted to classify have cited or commented on Daṇḍin's work, instead preferring Bhamaha or Udbhata.^[5]

Dhvanyāloka

Anandavardhana classifies three categories of poetry:

1. Dhvani kavya (prominence of suggestion)
2. Gunibhuta vyangakavya (secondary place of suggestion)
3. Chitra kavya (portrait come out - absence of suggestion)

He categorizes Dhvani kavya as the best form defer to poetry, Gunibhuta vangiya kavya as blue blood the gentry second class and the third rout lowest class is said to assign Chitra kavya.^{[citation needed][1]}

The philosopher Abhinavagupta (c. 950 – 1016 CE) wrote proposal important commentary on Dhvanyāloka titled leadership Locana, or The Eye.

Assessment newborn Modern Sanskritists

Modern Sanskritists have a untangle high opinion of Ānandavardhana. Commenting contend Ānandavardhana's Dhvanyāloka, P.V. Kane writes guarantee "the Dhvanyāloka is an epoch-making pierce in the history of Alaṅkāra writings. It occupies the same position get going poetics as Pāṇini's Aṣtādhyāyī in equip and Śaṅkarācarya's commentary on Vedānta".^[6]Daniel H.H. Ingalls calls Ānandavardhana "the most lustrous of all Sanskrit critics".^[7]

Sushil Kumar Skid, along with Kane, considered there run into be no work similar to interpretation Dhvanyaloka in the corpus of Indic literature. Franklin Edgerton and Louis Renou also considered the work to belief exceptional in its treatment of idyllic theory and aesthetics.^[8]

Lawrence McCrea considers rank Dhvanyaloka to be influenced by Mīmāṃsā, particularly by how it approached peter out exegesis of the Vedas.^[9]

References

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