Coming soon
Ph.D IN FINE ARTS
Indian Aesthetics- The Scope, Historical perspective and Evolution of the Dramatic Art, Natyashastra, Its Meaning and Aim
Rasa: Types of Rasa and their aesthetic experience, Rasa Theory as Aesthetic object, Bharata’s conception of Rasa, Constituents of Rasa and their relation: Vibhava, Anubhava, Vyabhicharibhava; Bhava and Stthayibhavas
Commentators on the Natyashastra: Bhatta Lollatta’s practical point of view, his theory and Criticism and objections on his theory, Bhatta Shankuka’s Psycho- Epistemic approach to the problem of Aesthetics, Bhatta Nayaka’s theory of sadhraranikarana and its implication
Dhvani: History of Dhvani,
Mahima Bhatta: Introduction, Attitude towards Dhvanikara, Theory of Kashmir Saivism, Theory of Aesthetics, Conceprtion of Rasa as a reflection of a Sthyain
Abhinava Gupta: The Meaning of Rasa, His explanation of the omission of “Sthayin” in Bharata’s definition of Rasa.
Ananda Vardhana : Dhvanyaloka
Vishnu Dharmottar Purana: Contribution of Chitrasutra of the Vshnu dharmottar purana to Ancient Indian Aesthetics
Interrelationship of Visual and Performing Art taking examples from illustrative Geet Govind, Sursagar and Rasika Priya
1. Bharata: The Natyasastra- By Kapila Vatsyayan
2. Chitrasutra of the Vishnuharmottara- By C. Sivaramamurty
3. Concept of Dhvani in Sanskrit Poetics– By Pradipta Kumar Panda
4. The Aesthetic Experience According to Abhinavagupta- By Raniero Gnoli
1. Comparative Aesthetics, Prof. Dr. Kanti Chandra Pandey, The Chowkhamba Sanskrit series, Studies Volume II
2. Mukund Lath, ‘Bharata and the finr art of mixing structures’ in Bahuvachana: An occasional of the arts and ideas, K.B. Vaid, J. Swaminathan and Asik Vajpeyi, Bharat Bhawan, Bhopal.
3. Concept of Rasa and the foundations of Indian Aesthetics in Bharata” in AnupaPande, Historical and Cultural study of the Natyashastra.
