Significance of Anandavardhana
Anandavardhana is a crucial figure in Sanskrit literature and poetics, recognized as an influential literary theorist and rhetorician from the 9th century. His seminal work, Dhvanyaloka, emphasizes the concept of dhvani (suggestion) as the essence of poetry, impacting the understanding of Rasa and plot construction. Anandavardhana's contributions include categories of poetry, the significance of Pratibha, and discussions on aesthetic traditions. He is also noted for his links to Kashmira Shaiva ideologies and his critiques of traditional poetic elements such as alamkaras.
In Dutch: Anandavardhana; In Finnish: Anandavardhana
The below excerpts are indicatory and do represent direct quotations or translations. It is your responsibility to fact check each reference.
Hindu concept of 'Anandavardhana'
Anandavardhana is a pivotal figure in Sanskrit poetics, renowned for his work "Dhvanyaloka," where he emphasizes the significance of divine inspiration in emotive poetry, critiques poetic techniques, and develops key concepts in aesthetic theory.
From: Kavyamimamsa of Rajasekhara (Study)
(1) A prominent scholar whose views align with those of Rajashekhara on the importance of poetic genius over material prerequisites.[1] (2) An important scholar who, alongside others, touched upon the subject of harana but did not elaborate on it extensively.[2] (3) An eminent rhetorician and poetician in the 9th century A.D. known for establishing key concepts in Sanskrit Poetics and the Dhvani Theory.[3] (4) An author known for definitive contributions to Sanskrit literature, referenced in determining Rajashekhara's timeframe.[4] (5) A prominent scholar who developed the concept of three types of artha in kavya, providing a definitive improvement on earlier theories.[5]
From: Sahitya-kaumudi by Baladeva Vidyabhushana
(1) One of the top figures in Sanskrit poetics, noted for being brilliant alongside Jagannatha.[6] (2) A commentator who asserts that blazingness refers broadly to raudra-rasa and potentially others.[7] (3) A scholar who followed Bhamaha's methodologies regarding the gunas and contributed further to their understanding.[8] (4) A figure who relates citra to conformity with traditional poetic usage, raising questions about its authenticity as a poetry form.[9] (5) An author who created categories of poetry and equated citra with citra-kavya.[10]
From: Harshacharita (socio-cultural Study)
(1) A scholar who referenced the works Harshacarita and Kadambari in his own writings during the 9th century.[11] (2) A theorist who asserted that dhvani (suggestion) is the essence or 'soul' of kavya.[12]
From: Vakyapadiya (study of the concept of Sentence)
(1) The foremost thinker in Indian poetics who emphasized Pratibha's significance in his work, Dhvanyaloka.[13]
From: Gitartha Samgraha (critical Study)
(1) An important figure in the Kashmirian Gita tradition, known for the commentary 'Anandavardhini' written in the 11th century.[14]
From: Shishupala-vadha (Study)
(1) An influential literary theorist whose works referenced Magha and contributed to the tradition of Sanskrit literature.[15]
The concept of Anandavardhana in local and regional sources
Anandavardhana is crucial to understanding poetic aesthetics, especially in how Rasa is interpreted within Prabandha. His commentary on poetry and plot construction significantly shapes literary analysis and appreciation in the region.
From: Triveni Journal
(1) A commentator on the aesthetics of poetry and plot construction, whose views influence the understanding of Rasa in Prabandha.[16]