Indian philosophy offers many clues for understanding sacred texts – Every concept of Apaurusheya is not just about aesthetics in the sense of art/literature but of cosmology, purpose of universe and eventually human life
If AI creations have significant structure and are capable of evoking aesthetic emotions or ‘Bhava’ then it really does not matter whether the creation is created by an AI or by humans
The most compassionate God of the Warkaris – Vithoba resides in Pandharpur and Warkari Kirtans are held on the banks of Chandrabhaga on Kartik maas Ekadashi
Yantra schemes reveal symbolism of abstractness corresponding to different aspects of aesthetics as included in the lines of their outlay and displayed as a final striking synthesis of precise interweaving of illustrative element and their fundamental patterns.
The nature of the inter-textuality between Śobhākara’s and Ruyyaka’s works shows Ruyyaka had reinvigorated alaṅkāra rhetorics by paying careful attention to implicit epistemological and ontological categories, and Śobhākara problematized this resystematisation
The Sangam poets observed an intimate connection that landscapes had with the people and their lives, emotions and beliefs
In the dawn of self-knowledge – aparoksha-anubhava, the Guru-shiShya-sambandha completely dissolves, and Atman/Brahman, Truth Itself alone, shines forth, expounds K. Gopinath……..
The Ashtanayikas of the Ragamala paintings have been classified on the basis of two important segment of Śṛṅgāra Rasa – Sambhoga and Vipralambha.
This paper by Anirudh Naveen is a preliminary attempt at examining the artistic re-awakening that emerged through the artists and philosophers in early twentieth-century Bengal.
The hasta or hand is seen as a reflection of the larger cosmic body or vastu purusha, which constitutes the pancha mahabhutas.