MULTIDISCIPLINARY PERSPECTIVE OF BHARATANATYA

Is Veda Bhoomi- Land of knowledge

Abstract

One of the central concerns that we find explicated in the Indian tradition of thinking about poetic and dramatic arts is with regard to the nature of emotion, one experience is such art. My topic of presentation is not a mere compilation off the views of the Indian ancient thinkers an art and aesthetics much less a historical account of modern day philosophers on their views in this regard.

An attempt has been made here to go the bulk of the material available on the subject Indian approach to art in modern times. Significantly the Indian tradition has been experience central core of which relates to this structure quality and dynamics of the feeling content or effected that a work of the art has trained love of art. Such an enquiry has been traditionally carried out under the rubric of the THEORY OF RASA EMOTION SENTIMENT. It has been a matter of philosophical speculation in the Indian tradition of aesthetical thinking.

Emotion created in the poetry. The emotion that Valmiki experiences at the tragic sight of the death off the Krouncha bird is actual Griffey which melts his heart in sympathy. Thus emotion of Pathos that he creates in the great epic, the Ramayana unlike actual grief, is also enjoyable by the reader or spectator. These two are different kinds of emotion one that is so often confronted in real life, and the other that is experienced poetry. The later is in the nature of idealized emotion is mental construct.

Emotion is art is of a different order and is acknowledged as Lokottara.

A work of art is a public object that can we contemplated, appreciated and enjoyed by any sympathetic responder. The view of art has two important implications.

1. In the Indian conception, art is not mere imitation or copy of nature
2. Nor is it so abstract art as to be totally away from our familiar word or nature.

It is interesting to note that in Indian tradition a destination has been developed between body and soul the Indian mind though sensitive to beauty in nature and art reduces beauty to the emotional impact it makes on the mind of the beholder, This also answers the charge that is often made against Indian aesthetics that the concept of beauty has not been the subject matter of serious philosophical enterprise.

Abstractionism is the Indian context word mean idealization and not non representational art of the sort that has being practiced by the painters in the west in the 20^th century.