Ānandavardhana (c. 820 – 890 CE) was the author of the Dhvanyāloka, or A Light on Suggestion (dhvani), a work articulating the philosophy of "aesthetic suggestion" (dhvani, vyañjanā). The philosopher Abhinavagupta (c. 950 – 1016 CE) wrote an important commentary on it, the Locana, or The Eye.

Ānandavardhana is credited with creating the dhvani theory. He wrote that dhvani (meaning sound, or resonance) is the "soul" or "essence" (ātman) of poetry (kavya)."[1] "When the poet writes," said Ānandavardhana, "he creates a resonant field of emotions." To understand the poetry, the reader or hearer must be on the same "wavelength." The method requires sensitivity on the parts of the writer and the reader.[1] The complete Dhvanyāloka together with Abhinavagupta's commentary on it has been translated into English by the Sanskritist Daniel H.H. Ingalls and his collaborators.[2]

He was a resident of Kashmir during the rule of Avantivarman, and is mentioned in Kalhana's Rajatarangini.[3] He was noted to not have cited or commented on Daṇḍin's work, instead preferring Bhamaha or Udbhata.[4]

Assessment by Modern Sanskritists

Modern Sanskritists have a very high opinion of Ānandavardhana. Commenting on Ānandavardhana's Dhvanyaloka, P.V. Kane writes that "the Dhvanyāloka is an epoch-making work in the history of Alaṅkāra literature. It occupies the same position in poetics as Pāṇini's Aṣtādhyāyī in grammar and Śaṅkarācarya's commentary on Vedānta".[5] Daniel H.H. Ingalls calls Ānandavardhana 'the most brilliant of all Sanskrit critics'.[6]

Sushil Kumar De, along with Kane, considered there to be no work similar to the Dhvanyaloka in the corpus of Sanskrit literature. Franklin Edgerton and Louis Renou also considered the work to ge exceptional in its treatment of poetic theory and aesthetics.[7]

The three types of poems, namely dhwani kavya, gunibhuta vangiya kavya, and chitra kavya were explained by Anandhavardhana. He categorizes Dhvani kavya as the best form of poetry, Gunibhuta vangiya kavya as the second class and the third or lowest class is said to be Chitra kavya.[citation needed]

Lawrence McCrea considers the Dhvanyaloka to be influenced by Mīmāṃsā, particularly by how it approached an exegesis of the Vedas.[8]

References

  1. ^ a b Premnath, Devadasan; Foskett (Ed.), Mary F.; Kuan (Ed.), Kah-Jin (15 November 2006), Ways of Being, Ways of Reading: Asian American Biblical Interpretation, Chalice Press, p. 11, ISBN 978-0-8272-4254-8
  2. ^ Anandavardhana; Abhinavagupta; Daniel H.H. Ingalls; J.M. Masson; M.V. Patwardhan, The Dhvanyaloka of Ānandavardhana with the Locana of Abhinavagupta, Harvard Oriental Series
  3. ^ K. Kunjunni Raja (2017). Anandavardhana. Makers of Indian Literature. New Delhi: Sahitya Akademi. ISBN 978-81-7201-802-3.
  4. ^ Bronner, Yigal, and Whitney Cox, 'Sanskrit Poetics through Dandin’s Looking Glass: An Alternative History', in Yigal Bronner (ed.), A Lasting Vision: Dandin's Mirror in the World of Asian Letters (New York, 2023; online edn, Oxford Academic, 23 Mar. 2023), https://doi.org/10.1093/oso/9780197642924.003.0006. accessed 8 Dec. 2023.
  5. ^ P. N. K Bamzai, "Kashmir—The Home of Sanskrit Language and Literature". Kashmiri Overseas Assoc. Archived 4 November 2016 at the Wayback Machine
  6. ^ Vidyakara; Daniel H.H. Ingalls, An Anthology of Sanskrit Court Poetry, Harvard Oriental Series, p. 48
  7. ^ Masson, J. Moussaieff; Patwardhan, M. V. (1977). "The Dhvanyāloka and the Dhvanyālokalocana: A Translation of the Fourth Uddyota, Pt. I". Journal of the American Oriental Society. 97 (3): 285–304. doi:10.2307/600735. ISSN 0003-0279.
  8. ^ McCrea, Lawrence J. (2008). The teleology of poetics in medieval Kashmir. Harvard oriental series. Cambridge, Mass: Harvard University Press. ISBN 978-0-674-03273-6.

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