Abhinavagupta


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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Abhinavagupta

 

Years of birth and death unknown. Indian theoretician of literature and art, poet of the late tenth-early 11th centuries. In Abhinavagupta’s most important works, Dhvanyalokalocana (commentary to the treatise of Anandavardhana) and Abhinavabharati (commentary to the Bharatiyanatyasastra), the theory of the dhvani and rasa received their full development and definitive formulation. In his book Abhinavabharati, Abhinavagupta developed these theories in relation to dramatic art, devoting special attention to the nature of aesthetic enjoyment. A high sensitivity and refinement of analysis in the development of the most complicated concepts of aesthetics and a tendency toward religious interpretation of those are characteristic of Abhinavagupta. He is also known as a philosopher of the Vedanta school.

REFERENCES

De, S. K. History of Sanskrit Poetics, 2nd ed. Calcutta, 1960.
Gnoli, R. The Aesthetical Experience According to Abhinavagupta. Rome, 1956.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
In this regard, he discusses the idea of sadharanikarana or universalisation especially in consideration with Abhinavagupta's triple claims about Rasa.
To help us understand how this idea of total art works, the aesthetic theories from the Natya-sastra, from its commentator Abhinavagupta along with those from the Abhinayadarpana and the Sangitaratnakara are precious but are also always linked to very precise staging techniques, the author says.
Drawing on the works of the tenth-century philosopher Abhinavagupta, he points out that for many Hindus, the pleasure gained from understanding aesthetic meaning, and thus through the senses, "is not merely entertainment but an epiphany, a manifestation of bliss (ananda) which comes from the absolute reality (brahman)." (23) The focus of this art form is not the individual expression, but the cosmic harmony in which the human being and their artistic creation can participate.
Around Abhinavagupta: Aspects of the Intellectual History of Kashmir From the Ninth to the Eleventh Century
He endorsed our views on now shelved proposed Abhinavagupta Yatra," Mirwaiz Umar Farooq told M AIL T ODAY .
She points out how Abhinavagupta (and modern scholars like Coomaraswamy) draw similarities between rasavada (taste of the rasa) and brahmavada (taste of the divine) because of their ability to help us go beyond pain and ontological dualities (29).
Paramarthasara ("The Essence of Supreme Truth") of Abhinavagupta (with the commentary of Yogaraja, translation).
In order to propose an interpretive model that sustains the collapse of this fabricated self, I borrow ideas from Bhartrhari, Sankara, and Abhinavagupta as well.
Wilberg sees this shift in Heidegger's position as wholly congruent with the thinking of the 10th century Indian sage Abhinavagupta in the 'Shiva Sutras' (2) within the non-dual tantric tradition of Kashmir Shaivism.
Many historical examples of the interrelation of the faiths are supplied, including a lengthy essay on representations in Islamic manuscripts painted by Sultan Muhammad, and an article on the aesthetics and metaphysics of the Kashmir Saivite, Abhinavagupta. Other essays describe contemporary philosophers, artists, and religious leaders, in India and elsewhere, who actively combine inter-religious beliefs into a unified faith.