The foundation of the Indian aesthetic theory can be traced to Bharatamuni's Natyashastra where he gave his theory of beauty (theory of rasa) which was later elaborately developed by learned scholars. In this work, Prof. Barlingay examines the development of the rasa theory by various authorities on art and aesthetics and finally presents his own critical understanding of it

The volume begins with a survey of the history of Indian art by examining painstakingly the relation between art and beauty, perception of time and space in art, and classification of arts. It then plunges into a detailed study of origin and development of rasa theory: from rasa in the Vedas and Upanishads to Bharata's rasa theory and perspectives of Abhinavagupta, Bhattatauta, Bhatta Lollata, Kuntaka, Dandin, Mammata, Vamana, Rudrata, Vishvanatha, Bhamaha, Jagannatha and others who enriched it further with their own theories. It explains how principles were employed and re-employed by the masters to reveal various meanings, inter-relationships, symbols, and perceptions of art. It highlights the salient features of each master's unique manner of interpretation of art concepts.

The work is a must for scholars and students keen to study the fundamentals of concept and theory of Indian art, particularly with reference to drama and poetics.

Foreword
Key To Transliteration
Preface

1. Prologue

Different Arts -- Their Interrelations
The Parameters -- Art And Beauty 
Cultural Traditions In Art -- The Parameters Of Appreciation
The Classification Of Arts
Time, Music And Dance: Tala, Laya And Svara
Perception Of Time And Space In Art
Milestones In The History Of Dramaturgy And Poetics

2. Psychology Of Bhavas

Bhavas: Meaning And Types
Sthayi Bhavas
Vyabhicari Bhavas
Sattvika Bhavas
Sthayi Bhavas And Rasa
Sthayi Bhavas And Mental States
Sthayi Bhavas And Artha
Vibhavas
Types Of Vibhavas
Anubhavas

3. Theories Of Poetry

The Basic Parameters Of Literature
Natya Or Drama
Rupaka
Contents Of Natyashastra
Abhinaya And Poetry
Dance And Drama
The Main Authors and Their Theories
Drama Vs. Literature
Bharata's Mode Of Theorization
Bharata's Context : Stage Drama
Rupakas
Beautiful In The Text
Alamkara : A Parameter Of Poetry
Rasavat Alamkara : Its Introduction And Elimination
Riti And Similar Concepts
Vakrokti
Aucitya : A Constitutive And Evaluative Parameter Of Beauty
Dhvani
Types Of Meaning
Sphotavada: Abhihitanvayavada And Anvitabhidhanavada
Anandavardhana's View 
Symbol And Its Interpretation

4. Rasa Theory -- Historical Survey

Rasa Theory -- Historical Survey
Rasa In Vedas And Upanishads
Rasa In Ayurveda
Rasa In Different Philosophical Systems
Rasa In Natyashastra
The Purpose Of Drama : Siddhis
The Process Of Art-creation
Rasa For Alamkarins
Transformation In The Meaning Of Rasa
Focus On Appreciation
Views Of Lollata, Shankuka And Bhattatauta
Abhinavagupta's View
Bhattanayaka's View

5. Bharata's Rasa Theory

Rasa Theory: Bharata And Abhinavagupta
Natya And Nataka
Stage Medium: An Aspect Of Natya
The Samkhya Theory
Rasanirmiti And Rasasvada Prakriyas
Employment Of Samkhya Theory In The Indian Theory Of Art
Natya And Kavya
The Meaning Of Natya
Three Stages Of An Art
Art As Communication
The Three Stages Of Communication
The Language Of Natya
Evidence From Natyashastra
Some Confused Interpretations
Bharata On Bhavas
Sthayi Bhavas

6. Bharata's Rasa Theory (Continued) --  Dharmi, Vritti, Pravriti And Siddhi

The Element Of Communication In Art
Imitation Or Anukarana
Types Of Vritti And Pravrittis
Classification Of Arts
Purpose Of Art: Superworldly Happiness (The Siddhis)
Can Rasa And Siddhi Be Identified?
Vagueness About Bhavas
Vagueness About Sthayi Bhavas And Their Meaning

7. Rasa Theory -- Additional Evidence Continued

Communication Process: Rasanishpatti And Rasasvada
Sources Of The Concept Of Rasa
Sthayi Bhavas As Kavyartha
The Concept Of Nishpatti
The Concept Of Samyoga
Rasa -- The Audio-visual Language
Distinction Between Sthayi Bhavas And Kaviantargata Bhavas

8. Rasa Theory -- Bhattanayaka And Abhinavagupta

Rasa As Ananda
Bhattanayaka's View
The Process Of Appreciation
Bhattanayaka's View -- Continuation
Rasa As A Norm
Summary
Experience Vis-a-vis-language
Sadharanikarana And Knowing
Knowing Qua Measuring

9. Post-abhinavagupta Development Of Rasa Theory

Meaning Of Vijnanavada
Asvada And Asvadya
The Post-abhinavagupta Period -- The Period Of Decadence
Post-abhinavagupta Theories Of Poetics
Pre-jagannatha
Jagannatha
The World Of Creation
Misinterpretation Of Rasa-theory In The Post-jagannatha Period
Panditraj Jagannatha On Poetry
The Development Of Rasa Theory 

10. Abhinaya

Bharata's Theory Of Abhinaya
Acting As Pretending
Abhinaya And Communication

11. Medium, Language And Parameters

Experience, Thought, Language And Models
Language And Thought
Language And Dialogue
Language As Expression Of Experience
Language As Expression Of Self-consciousness
Language As Human Activity
Para, Pashyanti, Madhyama And Vaikhari
Evaluation And Parameters
Reviews And Evaluation
Naming, Describing And Explaining
Status Of Parameters
Use Of Language
The Meaning Of Beauty
Relationship Between Shabda And Artha
Aesthetics: An Anthopocentric World
Relationship Between Mind And Body
Communication In Arts
Upama And Types Of Parameter

12. Observations And Remarks: Distinction Between Rasa-dhvani And Rasa-siddhi

Nature And Kinds Of Judgement
Nature Of Art
Nature Of Appreciation
Nature Of Beautiful
Beauty And Artistic Communications
Beauty: Natural And Artistic
The Artist And The Appreciaton
The Knowledge By Gestalt Of Art Experience
Arts: Auditory, Visual And Audio-visual
Aesthetic Experience And The Nature Of Originality
The Meaning Of Beautiful
Describability Of Beauty
Indescribability And Parameters Of Art
An Epistemology Of Art

13. Epilogue

Appendices

Appendix 1: About Classical Scholars
Appendix 2: Vamana's Philosophy Of Poetry
Appendix 3: A Further Note On 'Para'
Appendix 4: Aw Mankwnm!

Bibliography
Index