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Indian theoretician of literature, of approximately the ninth century. Author of Dhvanyaloka, a treatise on the nature of aesthetic enjoyment in literature, Anandavardhana wrote in Sanskrit. He gave the most complete formulation of the theory of dhvani, which affirmed that the aesthetic essence of poetry consists not in the images themselves but in the associations and concepts they evoke. Anandavardhana’s concept played an important role in later Sanskrit poetry.


The Dhvanyaloka of Anandavardhana, vols. 1–2. Edited by B. Bhattacharya. Calcutta, 1956–57.


De, S. K. History of Sanskrit Poetics. Calcutta, 1960.
References in periodicals archive ?
Source: The Dhvanyaloka of Anandavardhana with the Locana of Abhinavagupta , Harvard University Press, 1990)
It was for his mastery of such subjects that Sarvasena was lauded by Anandavardhana and Abhinavagupta, both of whom remark upon the fact that he took liberties with the purdnic text in magnifying the motif of the beautiful, jealous woman (HVj, 4-7).
He ignores that the casa theory has already been applied to non-dramatic (epic and lyric) poetry as early as the 90th C, by the Alwani theorists Anandavardhana and Abhinavagupla.
This position remains central to the idea of Dhvani and it is remarkable on the part of Anandavardhana (6th Cent A.
La poetica clasica india era hasta hace poco desconocida para los kumaonis; incluso hoy dia, la mayoria no conoce a Bhamaha o Anandavardhana mejor que a Quintiliano o Roland Barthes, o sea, que no los conocen en absoluto.
Take for example the notion of `suggested sense' (dhvani), which is basic to Sanskrit poetics from Anandavardhana (ninth century?
The theories of dbvani and rasa reached their culmination when they were synthesized into a unified theory by the Kashmiri philosophers Anandavardhana and Abhinavagupta in the 9th and 10th centuries.
He does help us tremendously, however, by discussing the matter in terms of presuppositions rather of schools (though the mimamsa specifically, being a text-oriented tradition, does get its share) or of individuals (though Abhinavagupta and Anandavardhana, the author of the Dhvanyaloka, who has become quite popular of late, are also used as points of departure for the arguments).
Thus, for example, the ninth-century Indian theorist, Anandavardhana, wrote that the beauty of a work is harmed when 'in a passage dealing with a king who is a mere human .
Anandavardhana had every advantage a scholar could desire: a royal patron, learned colleagues, brilliant students, honor for knowledge, talent, and sanctity, and a poetic tradition enriched over two thousand years.
In the middle of the ninth century Anandavardhana produced an equally liberative moment for Sanskrit poetics, opening up the field to a new, overarching goal: the experience of rasa (McCrea 2008).
Anandavardhana Dhvanyaloka with Abhinavagupta's commentary Locana translated into English by D.