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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).
This position remains central to the idea of Dhvani and it is remarkable on the part of Anandavardhana (6th Cent A.
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.
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).
Mercifully for most readers, almost all the excerpts from the traditionally "obscure and unreadable" ancient and medieval texts are quite brief: for example, eleven pages for the Natyasastra, six for Bhartrhari, four for Dandin, and only nine for the eighth-century Dhvanyaloka of Anandavardhana, considered "the most central theory of literature in Indian tradition," with just four for his most important opponent.
Anandavardhana offers the following example, interestingly, not in Sanskrit, but in (Maharastri) Prakrit:
Anandavardhana says--the poet alone is creator of poetic world.
What I hope to indicate, then, is not that the insights of Anandavardhana, Abhinavagupta, and others have been rediscovered in cognitive science.
Anandavardhana himself does not explicitly make this association, but several centuries later Mammata chose a poem critiquing a messenger as his definitive example of poetry at its best, that is, poetry where suggestion is the main source of charm.
Referring to poet's creativity Anandavardhana states in Dhvanyaloka:
The revolutionary Dhvanyaloka of the mid-ninth-century Kashmiri literary theorist Anandavardhana challenged many of the doctrines and presuppositions of both earlier Sanskrit literary theory (Alamkarasastra) and general linguistic philosophy.