Relevant bibliographies by topics / Indian aesthetics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Indian aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Indian aesthetics.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Indian aesthetics"

1

Dinakaran, N. Victor David, and E. Vara Prasad. "Indian Feminist Theatre: aesthetics." Global Journal For Research Analysis 3, no. 8 (June 15, 2012): 1–6. http://dx.doi.org/10.15373/22778160/august2014/182.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

R, Kumaraguruparan. "Dravidian Aesthetics - the foremost of Indian Aesthetics." International Research Journal of Tamil 4, S-5 (August 25, 2022): 230–40. http://dx.doi.org/10.34256/irjt22s536.

Full text
Abstract:
The influences of contemporary events on the field of study and society on speakers of Dravidian languages such as Tamil indicate the primacy of Dravidian ideology. Scholars in other countries look at the functioning of the Dravidian movement in the political, social, and cultural spheres behind the Tamil aesthetics of Dravidian aesthetics being at the forefront of Indian aesthetics. The Czechoslovakian multi-linguist recalls in the interview the Sanskrit-Tamil linguistic exchanges, the unity, and other differences. The contribution of Dravidian culture to Indianization is revealed through the media interviews of Sri Lankan Tamil scholar Karthikesu Sivathambi. There is an explanation of the understanding of Tamil consciousness. Accordingly, the Dravidian movement developed by rejecting the Sanskrit tradition, the North Indian tradition, the Bhakti tradition, etc. Aside from religion, which is a feature of the past, the temple towers, the Nataraja image, the bhakti literature, etc., must be regarded as the active contribution of the Tamils, who were fully absorbed in Indian culture. These aspects were not adopted because of the atheistic, rationalist, and anti-Brahmin elements of the Dravidian movement. BC 100- AD 250 lays claim to Sangam literature, the Pre-Bhakti period literature. The central theme of the article was that the Dravidian movement regarded it as belonging to Tamils who did not have the Sanskrit tradition. It is understood that the contributions of Periyar and others led to the development of the Dravidian cultural ideology. Experts in other languages expound on Dravidian aesthetics. Malayalam scholar K. Ayyappa Panicker praises the Thinai doctrine of Tamil as a rare wealth of knowledge not found in the languages of the world. Not all Sanskrit language texts are based on the orthodox tradition they also include books.
APA, Harvard, Vancouver, ISO, and other styles
3

Joshi, Neeti, and Shalini Bhati. "AESTHETICS IN INDIAN ART." REVIEW JOURNAL PHILOSOPHY & SOCIAL SCIENCE 47, no. 2 (2022): 373–78. http://dx.doi.org/10.31995/rjpss.2022.v47i02.041.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

Full text
Abstract:
Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.
APA, Harvard, Vancouver, ISO, and other styles
5

Pudaruth, Santosh Kumar. "A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita." SAGE Open 6, no. 4 (October 2016): 215824401667451. http://dx.doi.org/10.1177/2158244016674512.

Full text
Abstract:
Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.
APA, Harvard, Vancouver, ISO, and other styles
6

Mariani, Giorgio. "The Red and the Black: Images of American Indians in the Italian Political Landscape." Studia Anglica Posnaniensia 53, s1 (December 1, 2018): 327–45. http://dx.doi.org/10.2478/stap-2018-0016.

Full text
Abstract:
Abstract In Italy, over the last decades, both the Left and the Right have repeatedly employed American Indians as political icons. The Left and the Right, that is, both adopted and adapted certain real or often outright invented features of American Indian culture and history to promote their own ideas, values, and political campaigns. The essay explores how well-established stereotypes such as those of the ecological Indian, the Indian as victim, and the Indian as fearless warrior, have often surfaced in Italian political discourse. The “Indiani Metropolitani” student movement resorted to “Indian” imagery and concepts to rejuvenate the languages of the old socialist and communist left, whereas the Right has for the most part preferred to brandish the Indian as an image of a bygone past, threatened by modernization and, especially, by immigration. Indians are thus compared to contemporary Europeans, struggling to resist being invaded by “foreign” peoples. While both the Left and the Right reinvent American Indians for their own purposes, and could be said to practice a form of cultural imperialism, the essay argues that the Leftist appropriations of the image of the Indian were always marked by irony. Moreover, while the Right’s Indians can be seen as instances of what Walter Benjamin (1969) described as Fascism’s aestheticization of politics, groups like the Indiani Metropolitani tried to politicize the aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
7

Singh, Anita. "Aesthetics of Indian Feminist Theatre." Rupkatha Journal on Interdisciplinary Studies in Humanities 1, no. 2 (December 7, 2009): 150–70. http://dx.doi.org/10.21659/rupkatha.v1n2.05.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Dr Rabia Zafar. "The Aesthetics of Hassan Shouqi." Dareecha-e-Tahqeeq 1, no. 2 (March 21, 2022): 19–29. http://dx.doi.org/10.58760/dareechaetahqeeq.v1i2.10.

Full text
Abstract:
After the fall of the Bahmani Empire, it disintegrated and five kingdoms came into existence which included Adil Shahi, Qutb Shahi, Nizam Shahi, Barid Shahi and Emad Shahi. With the exception of Qutub Shahi and Adil Shahi empires, all the other empires fell into decline. In Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are related to the aesthetic tradition of Persian, but at the same time, matai effects. In Hassan Shouqi's ghazal, the basic and basic aesthetic elements of Urdu are connected with the Persian aesthetic tradition, but at the same time, local influences are also noticeable. In short! Hassan Shouqi's poetry contains elements of Iranian and Indian aesthetics which is the hallmark of that era.
APA, Harvard, Vancouver, ISO, and other styles
9

Pajin, Dusan. "Kashmiri aesthetics." Theoria, Beograd 67, no. 2 (2024): 179–91. http://dx.doi.org/10.2298/theo2402179p.

Full text
Abstract:
Indian thinkers from the Kashmiri shaivist tradition, who lived between the 9th and llth c. in Kashmir, created a complex art theory. Their ideas were similar to the Byzantine, and the Western Middle-age tradition, but in many ways are particular, especially because they had a theory of taste. Certain type of rasa (aesthetic taste) fills a man with particular mood. But this emotional attitude that the art creates in man, is different the one in everyday life - it has a purifying (suddha) and unworldly (alaukika) effect. Therefore is the aesthetic pleasure (bhoga, or asvada), different then the sensual or intellectual pleasure. It is conncected with a specific thrill (camatkara), wonder (vismaya).
APA, Harvard, Vancouver, ISO, and other styles
10

Satyanarayana, K. "The political and aesthetic significance of contemporary Dalit literature." Journal of Commonwealth Literature 54, no. 1 (July 21, 2017): 9–24. http://dx.doi.org/10.1177/0021989417718378.

Full text
Abstract:
This article attempts to offer a critique of cultural critic D. R. Nagaraj’s theoretical approach to the analysis of contemporary Dalit literature. According to Nagaraj, contemporary Dalit literature is a literature of decultured Dalits which articulates rights and entitlements in liberal polity. Rejecting claims of a separate aesthetics for Dalit literature, he locates Dalit literary contributions in the broad sphere of Indian culture and argues for a new aesthetics for Indian culture. His aim is to recover from the Indian tradition the civilizational contribution of Dalit writers, such as folk and oral cultural forms. This framework undermines the theoretical innovation and aesthetic significance of contemporary Dalit literature. Proposing Dalit literature as a form of contemporary politics in the sphere of modern Indian literary culture, Marathi Dalit critic and writer Baburao Bagul presents Dalit literature as a modern, written, and Ambedkarite tradition that reconfigured modernity, invented new modes of writing, and imagined Dalit as a generic identity, lived experience, and perspective in modern Indian literary history. Dalit literature is human and democratic, Bagul argues, as it draws on the humanist legacy of Buddha, Christ, Phule, Ambedkar, and also the Western Enlightenment. A reading of some Dalit texts, following the discussion of Bagul, illustrates the limitations of Nagaraj’s approach.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Indian aesthetics"

1

Florian, Sara <1981&gt. "Contemporary West Indian poetry: a "Creole" aesthetics?" Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/975.

Full text
Abstract:
La mia tesi verte su un’indagine dei più ricorrenti principi di un’estetica “creola” nella poesia contemporanea dei Caraibi anglofoni, includendo un’analisi dei testi letterari scelti e dei loro contesti. Ho studiato l’opera poetica (che in alcuni casi abbraccia anche arte e musica) di Earl McKenzie e Joan Andrea Hutchinson (Giamaica), di Lasana Sekou (St. Martin), di Shake Keane (St. Vincent), di Kendel Hippolyte (St. Lucia), di Adisa Jelani Andwele (a.k.a. AJA) e del defunto Bruce St. John (Barbados), di Merle Collins (Grenada), di David Rudder e LeRoy Clarke (Trinidad), e di altri due poeti defunti, Eric Roach (Tobago) e Martin Carter (Guyana). I dodici poeti studiati sono stati scelti sulla base di uguaglianza, provenienza geografica e quindi rispettiva variante regionale del Creolo. La mia ricerca cerca di aggiustare la struttura teorica di un’estetica “creola” ad uno scenario letterario caraibico per verificare se sia possibile delineare un’estetica comune nei Caraibi anglofoni.
My thesis deals with an investigation into the most recurrent “Creole” aesthetic principles in contemporary West Indian poetry, including an analysis of the literary texts chosen and their contexts. I have studied the poetic oeuvre – which, in some cases, also incorporates paintings and music – of Earl McKenzie and Joan Andrea Hutchinson (Jamaica), Lasana Sekou (St. Martin), Shake Keane (St. Vincent), Kendel Hippolyte (St. Lucia), Adisa Jelani Andwele (a.k.a. AJA) and the late Bruce St. John (Barbados), Merle Collins (Grenada), David Rudder and LeRoy Clarke (Trinidad), and two other deceased poets, Eric Roach (Tobago) and Martin Carter (Guyana). The twelve poets analysed were chosen on the basis of equality, geographical provenance and thus respective regional variety of the Creole. My research tries to apply a “Creole” aesthetic theoretical framework to selected Caribbean literary works and verify whether it is possible to outline a common West Indian aesthetics out of that process.
APA, Harvard, Vancouver, ISO, and other styles
2

Shope, Suzanne Alene. "American Indian artist, Angel Decora aesthetics, power, and transcultural pedagogy in the progressive era /." Diss., [Missoula, Mont.] : University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-10132009-112300.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.

Full text
Abstract:
Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.
APA, Harvard, Vancouver, ISO, and other styles
4

Wright, Neelam Sidhar. "Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2360/.

Full text
Abstract:
This thesis uses postmodern theory to explore aesthetic shifts in post-millennial Bollywood cinema, with a particular focus on films produced by the Bombay film industry over the past nine years (2000-2009) and the recent boom of Hindi cross-cultural and self-remakes. My research investigates reasons behind the lack of appeal of Bollywood films in the West (particularly in their contemporary form), revealing how our understanding and appreciation of them is restricted or misinformed by a long history of censure from critics, scholars, educators and ambassadors of the Indian cinema. Through my analysis of the function and effects of cultural appropriation and postmodern traits in several recent popular Indian films, I expose Bollywood's unique film language in order to raise our appreciation of this cinema and suggest ways in which it can be better incorporated into future film studies courses. My analysis is based on a study of over a hundred contemporary Bollywood remakes and includes close textual analysis and case studies of a wide variety of popular Bollywood films, including: Dil Chahta Hai (2001), Abhay (2001), Kaante (2002), Devdas (2002), Koi…Mil Gaya (2003), Sarkar (2005), Krrish (2006) and Om Shanti Om (2007). In my conclusion, I offer a redefinition of contemporary Bollywood and I consider postmodernism's usefulness as a tool for teaching Indian cinema and its value as an international cultural phenomenon.
APA, Harvard, Vancouver, ISO, and other styles
5

Roy, Piyush. "Aesthetics of emotional acting : an argument for a Rasa-based criticism of Indian cinema and television." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22910.

Full text
Abstract:
The thesis explores elements of Sanskrit drama studies, its philosophy of aesthetics, Hindu theology and Indian cinema studies. It seeks to identify and appreciate the continual influence of a pioneering and influential idea from the Indian subcontinent’s cultural memory and history – the ‘theory of aesthetics’, also known as the ‘Rasa Theory’. The rasa theory is a seminal contribution of the ancient Indian Sanskrit drama textbook, the Natyashastra, whose postulates have provided a definitive template for appreciating and analysing all major fine arts in the Indian sub-continent for over two millennia. No criticism of an art form in India is more devastating than the allegation that it is devoid of rasa. Though ‘rasa’ has many literal meanings like taste, essence and ultimately bliss, in Natyashastra it is used to signify the “essence of emotion” or the final emotional state of ‘relish/reaction/aesthetic experience’ achieved by a spectator while watching a performing art. The thesis uses this fundamental aesthetic influence from India’s cultural memory and heritage to understand its working in the shaping of emotive performances, and the structuring of multiple genre mixing narrative styles in Indian cinema. It identifies and explains how the story telling attributes in Indian cinema, still preserve, transmit and represent, drama and performance aesthetics established 2000 years ago. The chapters are divided into two sections – evidence-led correlation confirming the direct influence of Natyashastra guidelines on Indian filmmaking practices, and arguments-driven proposals on how to use the rasa theory for appreciating cinematic aesthetics. Section One, comprising of the first three chapters, engages with direct evidence of the influence and use of Natyashastra prescriptions and rasa theory expectations in the early years of Indian cinema, when the movie industry was intimately tied to theatre for creative guidance. Section Two, comprising of chapters four to six, goes beyond these conscious engagements to explore the continuing relevance of the concepts of bhava and rasa for studies and methods in film appreciation, and their potential usage in discussing alternate modes of cinematic expression, like melodrama. In this section, recommendations are made on how to re-read and review influential and representative cinematic achievements from different eras, regions and genres of Indian on-screen entertainment, using the rasa theory for better understanding of foundational cinematic attributes like plot construction, performances and directorial achievement in non-realism prioritising on-screen narrations. The thesis shows how to appreciate expressive acting, song and dance performances and melodramatic narratives/ movies using the rasa theory’s prescriptions on good acting in a navarasa exploring drama. It calls for a greater engagement with the theory’s aesthetic appreciation ideas, beyond its current peripheral acknowledgement in academic scholarship as an exotic and ancient review model with doubtful contemporary relevance. My conclusions offer a valuable guide for a fair and better appreciation of dramatic, stylistic and stereotypical acting in cinema that Western models of film criticism privileging the realistic form have been inadequate in comprehending. These findings propose a mode of inclusive aesthetic criticism that enjoys broad application across a wide range of cinematic art genres and national cinema styles using non-Euro/American modes of storytelling, towards the establishment of a humanist film education.
APA, Harvard, Vancouver, ISO, and other styles
6

Guha-Thakurta, Tapati. "Art, artists and aesthetics in Bengal, c.1850-1920 : westernising trends and nationalist concerns in the making of a new 'Indian' art." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.352933.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.

Full text
Abstract:
This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
APA, Harvard, Vancouver, ISO, and other styles
8

Perez, Junior José Abílio. "Estados emocionais (Bhāva) e experiência estética (Rasa): os conceitos centrais da filosofia da arte indiana e alguns de seus desdobramentos." Universidade Federal de Juiz de Fora (UFJF), 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/3783.

Full text
Abstract:
Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-03-20T14:47:41Z No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-03-21T13:19:51Z (GMT) No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5)
Made available in DSpace on 2017-03-21T13:19:51Z (GMT). No. of bitstreams: 1 joseabilioperezjunior.pdf: 7571236 bytes, checksum: e683eff3da9b1d4226cf5f73191fc174 (MD5) Previous issue date: 2015-06-26
Iniciamos apresentando, em nosso primeiro capítulo, o texto inaugural da filosofia da arte indiana, o Nāṭyaśāstra de Bharatamuni, com nossa atenção voltada aos capítulos I, VI, VII e XXXVI, os quais constituem, ao nosso ver, o núcleo da doutrina central da estética indiana, no que tange às artes performáticas em geral, incluindo dança, teatro e música, assim como implicações no campo da poesia, escultura e artes visuais. Tal núcleo pode ser relacionado aos conceitos de estados emocionais (bhāva), experiência estética (rasa), planos expressivos (abhinaya) e mímese (anukīrtana) influência se exerce tanto no campo especulativo, quanto no âmbito das formas e estilos artísticos. Em nosso segundo capítulo, abordamos duas vertentes medievais que retomam o pensamento de Bharata e desenvolvem doutrinas especulativas, em estreita conexão a dimensão da soteriologia, central para o pensamento indiano como um todo. Temos, assim, o que chamamos de poética da paz, no xivaísmo de Abhinavagupta, em contraste com a poética do amor, do vaixinavismo de Rūpa Gosvāmin. Em nosso terceiro capítulo, dirigimos nossa atenção ao âmbito mais concreto das poéticas, formas e movimentos artísticos. Sob esse escopo, desenvolvemos três tópicos: i) a aplicação da poética de Bharata no poema Xacuntalá Reconhecida de Kalidasa (poeta de corte do século IV d.e.c) e o contraste que se pode estabelecer com a poética grega de Aristóteles; ii) o processo de classicalização de alguns estilos de danças indianas, em meio às transformações sociais que tomam lugar no período pré-independência (segunda metade do século XIX e primeira do século XX d.e.c), marcado pelo nacionalismo e pela absorção do vitorianismo; iii) a centralidade da poética de Bharata no processo intensamente assimilacionista que resulta na linguagem comercial do cinema de entretenimento de Bollywood. Nesses três tópicos de nosso último capítulo, fica constatada a abrangência e centralidade dos conceitos empregados por Bharatamuni no âmbito da produção e compreensão da arte indiana.
On the first chapter, we explore the foundational text of Indian Aesthetics, the Nāṭyaśāstra, attributed to Bharatamuni (sec. II B.C.E to II C.E.). Our attention is on chapters I, VI, VII and XXXVI from the treatise, where one can find some of the main concepts of Indian philosophy of arts, namely: emotional state (bhāva), aesthetic experience (rasa), expression planes (abhinaya) and mimesis (anukīrtana). Such conceptual framework extends its influence over both the speculative and practical fields related to Indian arts. The second chapter is dedicated to two medieval developments of speculative thought, named, the aesthetics of peace, based on śanti-rasa, that characterizes the doctrine of the Kashmirian and shaivist philosopher Abhinavagupta; in contrast to the aesthetics of love, centered on śṛṅgāra-rasa, from the eastern vaishnava theologian, Rūpa Gosvāmin. On the third chapter, the focus is on more concrete applications of the poetics of rasa, including three topics: i) the perfect congruence between the poetics of Bharata and the artistic creation of Kālidāsa (court poet from the IV C.E.). Also we can contrast this congruence to what would be expected from an artwork that followed the Greek poetics described by Aristotle. ii) the second topic is an exposition about the classicalization process that takes place inside the intense Indian social reformism of the second half of XIX and the first half of XX centuries of the C.E., deeply marked by Nationalism and Victorianism. Inside this context, we can notice the centrality of the concept of aesthetic experience (rasa) on different discourses on art, even from the opposite points of view represented by Rukmini Devi and Balasaraswati. iii) finally, we focus on the entertainment industry of Bollywood, which idiosyncratic language among world cinemas can be explained by the centrality of the concept of mood – a common parlance word for aesthetic experience (rasa) and emotional state (bhāva) – largely used by technicians and artists from the cinema métier.
APA, Harvard, Vancouver, ISO, and other styles
9

Reimer, Anna Maria [Verfasser], Dirk [Akademischer Betreuer] Wiemann, and Lars [Akademischer Betreuer] Eckstein. "The poetics of the real and aesthetics of the reel : medial visuality in the contemporary Indian English novel / Anna Maria Reimer ; Dirk Wiemann, Lars Eckstein." Potsdam : Universität Potsdam, 2015. http://d-nb.info/1218400919/34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Beitmen, Logan R. "Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1198.

Full text
Abstract:
Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Indian aesthetics"

1

Śarmā, Haradvārī Lāla. Indian aesthetics and aesthetic perspectives. Meerut: Mansi Prakashan, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Tripathi, Radha Vallabh. Indian aesthetics revisited. Pune: Centre for Advanced Study in Sanskrit, University of Pune, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sastri, P. S. Indian theory of aesthetic. Delhi, India: Bharatiya Vidya Prakashan, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Mukherji, Ramaranjan. Comparative aesthetics: Indian and Western. Calcutta: Sanskrit Pustak Bhandar, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Caudhurī, Vimalakānta Rôya. Aesthetics of North Indian classical music. Calcutta: Imdakhani School of Sitar, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bijal, Haria, ed. The eight darlings of Indian aesthetics. Ahmedabad: Parampara Academy of Performing Arts, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rakesh, Saraswat, and Bharata Muni, eds. A practical guide to Indian aesthetics. New Delhi: Creative Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Arun, Neerja. A practical guide to Indian aesthetics. New Delhi: Creative Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Arun, Neerja. A practical guide to Indian aesthetics. New Delhi: Creative Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Muḷe, Ravīndra Ambādāsa, 1961- editor and Centre of Advanced Study in Sanskrit, eds. Introduction to Indian poetics and aesthetics. Pune: Centre of Advanced Study in Sanskrit, University of Pune, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Indian aesthetics"

1

Das, Shruti. "Aesthetics of Emotion." In Indian Classical Literature, 163–74. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003482499-23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Shinde, Chirayu S. "Indian Aesthetics in Automotive Form." In Lecture Notes in Mechanical Engineering, 331–45. India: Springer India, 2013. http://dx.doi.org/10.1007/978-81-322-1050-4_27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gerow, Edwin. "Indian Aesthetics: A Philosophical Survey." In A Companion to World Philosophies, 304–23. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164566.ch21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kumar, Chandrika. "Indian Thought in Martin Buber's I and Thou." In Aesthetics across Cultures, 100–112. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003377733-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ray, Sitansu. "Indian and Western Music: Phenomenological Comparison from Tagore’s Viewpoint." In Phenomenology and Aesthetics, 267–72. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2027-9_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Mini, Darshana Sreedhar. "Indian Pandemic Entertainment Aesthetics and Infrastructure." In Media Industries in Crisis, 110–19. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003387794-12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Amaladass, Anand. "Aesthetics and Religion from the Indian Perspective." In Aesthetics and Philosophy of Art, 67–82. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Sarrazin, Natalie. "Indian Film Music: Aesthetics, Hybrids, and Representations." In Focus: Popular Music in Contemporary India, 96–135. New York : Routledge, 2020. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9780429505249-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kak, Subhash. "The Golden Mean and the Physics of Aesthetics." In Ancient Indian Leaps into Mathematics, 111–19. Boston, MA: Birkhäuser Boston, 2009. http://dx.doi.org/10.1007/978-0-8176-4695-0_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Singh, Dhananjay. "Bhayānaka (Horror and the Horrific) in Indian Aesthetics." In The Palgrave Handbook to Horror Literature, 21–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Indian aesthetics"

1

Wright, Natasha C., and Amos G. Winter. "Energetic and Socioeconomic Justification for Solar-Powered Desalination Technology for Rural Indian Villages." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-35176.

Full text
Abstract:
This paper provides justification for solar-powered electrodialysis desalination systems for rural Indian villages. It is estimated that 11% of India’s 800 million people living in rural areas do not have access to an improved water source. If the source’s quality in regards to biological, chemical, or physical contaminants is also considered, this percentage is even higher. User interviews conducted by the authors and in literature reveal that users judge the quality of their water source based on its aesthetic quality (taste, odor, and temperature). Seventy-three percent of Indian villages rely on groundwater as their primary drinking supply. However, saline groundwater underlies approximately 60% of the land area in India. Desalination is necessary in order to improve the aesthetics of this water (by reducing salinity below the taste threshold) and remove contaminants that cause health risks. Both technical and socioeconomic factors were considered to identify the critical design requirements for inland water desalination in India. An off-grid power system is among those requirements due to the lack of grid access or intermittent supply, problems faced by half of Indian villages. The same regions in India that have high groundwater salinity also have the advantage of high solar potential, making solar a primary candidate. Within the salinity range of groundwater found in inland India, electrodialysis would substantially reduce the energy consumption to desalinate compared to reverse osmosis, which is the standard technology used for village-level systems. This energy savings leads to a smaller solar array required for electrodialysis systems, translating to reduced capital costs.
APA, Harvard, Vancouver, ISO, and other styles
2

"Reliving The Ancient Indian Aesthetics: The Case Of Sri Aurobindo." In International Conference on Humanities, Literature and Management. International Centre of Economics, Humanities and Management, 2015. http://dx.doi.org/10.15242/icehm.ed0115046.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sreejith, M. P., Lokesh Khandelwal, Arnab Sandilya, Mandar R. Natu, Amulya Kali Ray, and Rajat Handa. "Effect of Environmental Factors on the Function of an Automotive Luggage Cover of a Passenger Vehicle – A Case Study." In Symposium on International Automotive Technology. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2024. http://dx.doi.org/10.4271/2024-26-0228.

Full text
Abstract:
<div class="section abstract"><div class="htmlview paragraph">The Indian passenger vehicle market has grown by more than 40% by volume in the last decade and has reached a record high in FY23. This has created a more diverse and demanding customer base that values interior design and quality. The modern customer expects a high level of aesthetics and sophistication in their vehicle interiors - including in the luggage area.</div><div class="htmlview paragraph">The Luggage Cover (Parcel Tray) is a component in the luggage area of a passenger vehicle that is used to conceal the luggage &amp; improve its aesthetics. The cover is generally made of thermoplastic material with rotating hinges and is held in its place by the compression from the back door, which is frequently opened and closed. The parts that connect the cover to the door (usually an elastomer interface on the thermoplastic tray) tend to change over a period due to climatic conditions and leads to rattling concerns over a period.</div><div class="htmlview paragraph">The change in elastomer interface with the back door (due to repeated compression &amp; climatic cycles) leads to a change in forces on the composite tray which in turn results in a permanent set. After deformation, the tray is highly vulnerable and can easily rattle causing noise and discomfort. Restricting the rattle of the luggage cover is challenging – especially considering its prolonged usage under stress while being subjected to climatic cycles.</div><div class="htmlview paragraph">There are various factors that affect the interface &amp; there are alternatives that can improve or deteriorate the condition like change of properties / raw material for rear cushion, the material, physical properties of the shelf (cover) and the basic layout among other factors. This paper intends to study the causes and effects of the delayed failure.</div></div>
APA, Harvard, Vancouver, ISO, and other styles
4

Reddie, Madison, Saloni Bedi, Manasi Vaidya, Amari Griffin, Nina T. Petelina, and Amos G. Winter. "Achieving High Performance and Low Cost: Development of a High-Performing Passive Prosthetic Knee for Emerging Markets." In ASME 2023 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2023. http://dx.doi.org/10.1115/detc2023-116478.

Full text
Abstract:
Abstract There is significant need for low-cost, high-performance prosthetic knees in low- and middle-income countries (LMICs) due to a large number of amputees and particularly challenging socioeconomic and environmental conditions. Prostheses are important for maintaining one’s participation in society, culture, and the economy, but many are either prohibitively expensive or do not provide near-able-bodied kinematics. Poor performing prosthetic knees cause discomfort and draw unwanted attention to transfemoral amputees. In this study, we refine the design of a high-performing, single-axis, passive prosthetic knee developed with a focus on the Indian market in order to reduce cost, weight, and part count; enhance manufacturability; and improve aesthetics. The load paths and functional componentry were critically analyzed to identify opportunities to streamline the design while maintaining strength and the near-able-bodied kinematics offered by the original design. The part count was reduced almost four-fold, and the mass of the prosthesis was reduced three-fold. An enclosure was also designed to encase the functional componentry in an aesthetically acceptable package. The changes made to the design are believed to significantly advance the usability and commercial viability of the prosthetic knee. This study may serve as an example of how products developed for emerging markets may achieve affordability without sacrificing performance.
APA, Harvard, Vancouver, ISO, and other styles
5

Shroff, Meherzad B., and Amit Srivastava. "Hotel Australia to Oberoi Adelaide: The Transnational History of an Adelaide Hotel." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3996p40wb.

Full text
Abstract:
In the decades following the war, the spread of international luxury chain hotels was instrumental in shaping the global image of modernity. It was not simply the export of modernist architecture as a style, but rather a process which brought about an overall transformation of the industry and culture surrounding modern domesticity. For Adelaide, well before the arrival of large brand hotel chains like Hilton and Hyatt, this process was initiated by the construction of its first international style hotel in 1960 – Australia Hotel. The proposed paper traces the history of this structure and its impact not only on local design and construction industries but also on domestic culture and lifestyle after the shadow period of recovery after the war. This paper looks at three specific enduring legacies of this structure that went well beyond the modernist aesthetics employed by its original designers, the local firm of Lucas, Parker and Partners. The hotel was one of the first to employ the new technology of lift-slab construction and was recognised by the Head of Architecture at the University of Adelaide, Professor Jensen, as the outstanding building of 1960. It is argued that it was the engagement with such technological and process innovations that has allowed the building to endure through several renovation attempts. In her study of Hilton International hotels, Annabelle Wharton argues how architecture was used for America’s expansion to global economic and political power. Following on from her arguments, this paper explores the implications of the acquisition of the Australia Hotel by the Indian hotel chain Oberoi Hotels in the late 1970s when it became Oberoi Adelaide. The patronage of Indian hotelier Mohan Singh Oberoi came alongside the parallel acquisition of Hotel Windsor in Melbourne, heralding a new era of engagement with Asia. Finally, the paper also highlights the broader impact of this hotel, as a leisure venue for the burgeoning middle class, on the evolving domestic culture of Adelaide.
APA, Harvard, Vancouver, ISO, and other styles
6

Guliani, RB Singh. "Bridge Aesthetics: Two examples from India." In IABSE Symposium, Vancouver 2017: Engineering the Future. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2017. http://dx.doi.org/10.2749/vancouver.2017.1406.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Curbelo, Alberto, Ginés Ladrón de Guevara, Jose Luis Sanchez, Ángel Cabria, and Andrés González. "Structure of the new movable railway bridge on Pamban island." In IABSE Congress, New Delhi 2023: Engineering for Sustainable Development. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2023. http://dx.doi.org/10.2749/newdelhi.2023.0164.

Full text
Abstract:
<p>A new Tower Vertical Lift bridge on Pamban Island (India) replaces the existing “Scherzer” Rolling Bascule bridge within the railway line that connects the island to the Indian subcontinent across the Palk Strait. The lift span of the new bridge consists of a 77.5 m simply supported structure composed of two lateral steel Warren trusses of variable depth and a platform 10.3 m wide, holding two railway lines. The lift movement of the bridge is carried out through two sets of electromechanical systems placed in two towers 40 m high, located at the ends of the lift span, which hold the machinery in their upper part. The choice of this system responds to the criteria of reliability and robustness. Also, the high incidence of marine corrosion in the bridge location has been decisive in the design. The existing bridge is a national icon in South India; therefore, the aesthetic has been a fundamental condition.</p>
APA, Harvard, Vancouver, ISO, and other styles
8

Susanto, Eko, Yasraf Piliang, Setiawan Sabana, and Intan Mutiaz. "Portrait of Dutch East Indies Everyday Life in Woodbury & Page’s Photographic Works." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338637.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Dhanapalan, Biju. "Capturing Kathakali: Performance capture, digital aesthetics, and the classical dance of India." In 2016 22nd International Conference on Virtual System & Multimedia (VSMM). IEEE, 2016. http://dx.doi.org/10.1109/vsmm.2016.7863197.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Beno, Carl J., Marjorie A. Chan, Thure E. Cerling, and Peter C. Lippert. "AESTHETIC COUNTERTOP GEOLOGY DISPLAYS FOR INTRODUCTORY TO ADVANCED GEOSCIENCE CLASSES." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-320770.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Indian aesthetics' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography