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Books > Language and Literature > हिन्दी साहित्य > भारतीयवाङ्गमयेषु रससिध्दान्त: Rasa Siddhanta in Indian Literature
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भारतीयवाङ्गमयेषु रससिध्दान्त: Rasa Siddhanta in Indian Literature
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भारतीयवाङ्गमयेषु रससिध्दान्त: Rasa Siddhanta in Indian Literature
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Rasa Siddhanta in Indian literature

The subject is not only difficult but also requires deep insight. Hundreds of books on this subject are available in Sanskrit language only. The prime objective of this book consisting about hundred pages is to bring all possible views relating to Rasa Siddhanta descrided in different Indian languages like Hindi, Bangla, Maithili, Oriya and tamil etc. at one place.

In course of learning and teaching I had occasions to go through several books such as Kavya-Prakasa, Dhwanyalok, Vyakti- Vivek, Sahitya-Darpana, Rasa Gangadhara etc. which deals with the principles of Rasa (The aesthetic object or fact) and have divergent view on Rasabhivyakti (aesthetic configuration). In this effort, I have tried to go through several books written in western languages particularly in English, dealing with the principles of Rasa (the aesthetic object). The views expressed by western writers need study and thorough consideration. Therefore, the title should have been Rasa Siddhanta in World Literature but as decided earlier it is: restricted to Indian literature, I have mentioned in brief the principles of poetics, Rasa, expressed in western languages, where ever needed.

Several volumes other than in sanskrit dealing. with Rasa Siddhanta in Hindi, Bangla, Maithili are before me. Notable amont them being works of Dr. Kanti Chandra Pandey, Dr. Nagendra, Dr. Ram Murti Tripathy, Dr. Braj Mohan Chaturvedi and others. These Books are very illuminator and enlighten the readers, hence should be carefully studied. In these books also poetic . principles of west has found place. Critical analysis of these principles has been incorporated in this book.

In short, it Can be said that the Natya Sastra of Bharata is the main source of all scholars irrespective of East and West. Abhinava Gupta's Abhinsva Bharati with its' explanatory commentary on Natya Sastra is exemplary and is Predominantly mentioned. Each and every author has derived inspiration from this book. Rasabhivyakti (aesthetic configuration) Rasanu- bhuti (aesthetic experience) and Sadharni Karana (generalisation) actually minute, complicated and difficult procencs. To describe and analyse them in simple sanskrit prose is the main objective of this book. At places the summary and substance of details available in English language with quotations have been included.

Abhinava Gupta's commentary of Dhwanyaloka named Locana has been the becon light in this arduous journey of writing this book. One of the fundamental principles of Sanskrit grammar Sphotavada has also been discussed in this book.

In the context of Rasanubhuti (aesthetic experience) or Sadharni Karana (Generalisation) of Rasa (aesthetic object), I have tried to analyse Kundalini Tattva, the origin and basics of Agam (Tantra) and to my belief this is a new idea or way in finding the essence of Rasanubhuti (aesthetic experience).

There is no foot note in this book. Footnotes have never been favourite to me. Where ever, requited, the quotations are incorporated in the text itself. I hope, My effort in completing this book will be discussed, analysed and appreciated by the learned scholars.












भारतीयवाङ्गमयेषु रससिध्दान्त: Rasa Siddhanta in Indian Literature

Item Code:
NZK745
Cover:
Hardcover
Edition:
1998
Language:
Sanskrit Only
Size:
9.0 inch X 6.0 inch
Pages:
117
Other Details:
Weight of the Book: 265 gms
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$20.00
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Rasa Siddhanta in Indian literature

The subject is not only difficult but also requires deep insight. Hundreds of books on this subject are available in Sanskrit language only. The prime objective of this book consisting about hundred pages is to bring all possible views relating to Rasa Siddhanta descrided in different Indian languages like Hindi, Bangla, Maithili, Oriya and tamil etc. at one place.

In course of learning and teaching I had occasions to go through several books such as Kavya-Prakasa, Dhwanyalok, Vyakti- Vivek, Sahitya-Darpana, Rasa Gangadhara etc. which deals with the principles of Rasa (The aesthetic object or fact) and have divergent view on Rasabhivyakti (aesthetic configuration). In this effort, I have tried to go through several books written in western languages particularly in English, dealing with the principles of Rasa (the aesthetic object). The views expressed by western writers need study and thorough consideration. Therefore, the title should have been Rasa Siddhanta in World Literature but as decided earlier it is: restricted to Indian literature, I have mentioned in brief the principles of poetics, Rasa, expressed in western languages, where ever needed.

Several volumes other than in sanskrit dealing. with Rasa Siddhanta in Hindi, Bangla, Maithili are before me. Notable amont them being works of Dr. Kanti Chandra Pandey, Dr. Nagendra, Dr. Ram Murti Tripathy, Dr. Braj Mohan Chaturvedi and others. These Books are very illuminator and enlighten the readers, hence should be carefully studied. In these books also poetic . principles of west has found place. Critical analysis of these principles has been incorporated in this book.

In short, it Can be said that the Natya Sastra of Bharata is the main source of all scholars irrespective of East and West. Abhinava Gupta's Abhinsva Bharati with its' explanatory commentary on Natya Sastra is exemplary and is Predominantly mentioned. Each and every author has derived inspiration from this book. Rasabhivyakti (aesthetic configuration) Rasanu- bhuti (aesthetic experience) and Sadharni Karana (generalisation) actually minute, complicated and difficult procencs. To describe and analyse them in simple sanskrit prose is the main objective of this book. At places the summary and substance of details available in English language with quotations have been included.

Abhinava Gupta's commentary of Dhwanyaloka named Locana has been the becon light in this arduous journey of writing this book. One of the fundamental principles of Sanskrit grammar Sphotavada has also been discussed in this book.

In the context of Rasanubhuti (aesthetic experience) or Sadharni Karana (Generalisation) of Rasa (aesthetic object), I have tried to analyse Kundalini Tattva, the origin and basics of Agam (Tantra) and to my belief this is a new idea or way in finding the essence of Rasanubhuti (aesthetic experience).

There is no foot note in this book. Footnotes have never been favourite to me. Where ever, requited, the quotations are incorporated in the text itself. I hope, My effort in completing this book will be discussed, analysed and appreciated by the learned scholars.












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