Books 
Art And Architecture
Item Code: IDE448by Prof. Dr. Kanti Chandra PandeyHardcover (Edition: 1995)Chowkhamba Sanskrit Series Office Language: English Size: 8.8" X 5.8" Pages: 796 944 gms |
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| Introduction to the Second Edition | vii |
| Introduction to the First Edition | ix |
| List of abbreviations | xxxvii |
| HISTORY OF INDIAN AESTHETICS | 1 |
| Preliminary. | I |
| The scope | 2 |
| Religious origin of drama | 3 |
| History and evolution of the dramatic art. | 4 |
| Natya Sastra | 5 |
| Meaning of Natya Sastra | 7 |
| Manu's attitude towards Natya | 10 |
| The aim of the Natya Sastra | 12 |
| Moral improvement of the aesthete as an end of dramatic presentation | 12 |
| The questions attempted by Bharata in his Natya Sastra | 13 |
| Problems of Esthetics solved in the above answers | 16 |
| Bird's-eye view of the Natya Sastra | 18 |
| Limitations of the work | 19 |
| Rasa as Aesthetic object | 20 |
| Importance of Rasa in the eyes of Bharata | 20 |
| Constituents of Rasa, the Aesthetic object | 21 |
| Explanation of the Technical Terms | 22 |
| Vibhava. | 24 |
| Two aspects of Vibhava | 25 |
| Anubhava | 25 |
| Bhava | 27 |
| Vyabhicaribhava. | 28 |
| Sthayibhava. | 29 |
| Importance of Rasa from different points of view | 30 |
| Bharata's conception of Rasa | 31 |
| The relation of the constituents of Rasa | 31 |
| Omission of the word "Sthayin" in Bharata's definition of Rasa | 32 |
| Aesthetic object not an imitation | 33 |
| Distinction of Rasa from Sthayibhava etc. | 34 |
| Importance of Rasa in the eyes of Bharata. Another point of view | 35 |
| The nature of the Aesthetic object | 35 |
| The seat of Rasa | 36 |
| From the spectator's point of view | 36 |
| Commentators on the Natya Sastra | 38 |
| Bhatta Lollata's practical point of view | 38 |
| Bhatta Lollata's Theory | 40 |
| Its criticism | 42 |
| The causes of the misunderstanding | 44 |
| Another objection to Bhatta Lollata's theory | 46 |
| Sri Sankuka's contribution | 47 |
| Sri Sankuka's Psycho-Epistemic approach to the problem of aesthetics | 49 |
| Conditions of knowledge | 50 |
| Individual soul or subject | 51 |
| Manas and senses | 52 |
| The object to knowledge (Prameya) | 52 |
| Means of knowledge (Pramana) | 53 |
| Error or illusion (Vyabhicari Jnana) | 54 |
| Doubt (Samsaya) | 56 |
| Recognition (Pratyabhijna) | 58 |
| Srisankuka's explanation of the omission of "Sthayin" in Bharata's definition of Rasa | 59 |
| Nature of the inferential judgement | 60 |
| Unclassifiability of the recognition in art | 60 |
| Recognition in art is not erroneous | 61 |
| Aesthetic Judgement not dubious | 62 |
| It is not a cognition of similarity | 62 |
| Influence of painting on his aesthetic theory | 62 |
| Contributions of this theory | 63 |
| Its criticism | 63 |
| Criticism of the aesthetic judgement | 67 |
| Arguments against imitation of Sthayin summarised | 68 |
| Criticism of analogy of painted horse | 68 |
| Sankhya theory of aesthetics | 68 |
| Criticism of the earlier theories | 70 |
| Sankhya theory of aesthetics in the Sankhya Karika and the Tattva Kaumudi | 70 |
| Intellectual background of Bhatta Nayaka | 72 |
| Vedantic tendencies of Bhatta Nayaka | 72 |
| Bhatta Nayaka's criticism of other theories | 73 |
| His new technique | 74 |
| His basic assumptions | 75 |
| Its contribution | 76 |
| Vedanta-metaphysics and Ananda | 77 |
| Sankhya conception of Bhoga. | 78 |
| The process | 79 |
| The conception of Bhoga, according to Yoga System | 80 |
| Vaisesika conception of Bhoga | 80 |
| The criticism of the new technique | 80 |
| Bhatta Nayaka's position explained | 81 |
| The New fectors, which influenced Abhinavagupta's Aesthetics | 84 |
| 86 | |
| THE SAIVA BASIS OF ABHINAVA'S AESTHETICS | |
| Importance of Abhinavagupta | 86 |
| Rational mysticism of Abhinavagupta | 87 |
| His idealism | 87 |
| Place of other schools of thought in Abhinava's system | 88 |
| Mystic conception of the Absolute (Anuttara) | 88 |
| The impurities of the soul | 89 |
| Spiritual discipline for freedom from impurities | 90 |
| Background of his metaphysics | 91 |
| Rationalistic conception of the Absolute | 93 |
| Concrete monism of the Saiva | 97 |
| Voluntarism of the Saiva | 97 |
| Abhasavada | 101 |
| The category of Sakti (consciousness) as Camatkara | 103 |
| The context of the problems of Camatkara | 104 |
| Saiva conception of Bhoga | 110 |
| The Absolute in the context of "Bhoga" | 110 |
| The individual subjects | 111 |
| The qualities of individual subjects | 112 |
| Power and quality distinguished | 112 |
| Sattva, Rajas and Tamas and pleasure, pain and senselessness | 114 |
| Qualities of individual subject and Bhoga | 116 |
| The conclusions | 116 |
| Limitations of individual subject | 117 |
| Kala (Limited power of action) | 117 |
| Vidya (Limited power of knowledge) | 118 |
| Raga (General objective desire) | 120 |
| Niyati (Subjection to causal law) | 121 |
| Kala (Time) | 122 |
| Time as a standard of measure | 122 |
| Levels of experience | 124 |
| Subject in deep sleep (Sunya Pramata) | 125 |
| Inconsistency of Hegel | 129 |
| Sunya Pramata of Abhinava | 130 |
| Apavedya Susupta and Turiya differentiated | 133 |
| Distinction between Turiya and Turiyatita | 134 |
| Savedya Susupta and Prana Pramata | 134 |
| Aesthetic experience from sense level to objectless level | 136 |
| Meaning of Rasa | 142 |
| Epistemic technique of Abhasavada | 144 |
| Unchanging nature of the Abhasa | 148 |
| Time and space as the basis of particularity | 148 |
| The implication of universalisation (Sadharanikarana) according to Abhasavada | 149 |
| Katharic level in the light of epistemic theory of Abhasavada. | 150 |
| ABHINAVAGUPTA'S THEORY OF AESTHETICS | 151 |
| Kathartic level | 151 |
| Triadic relation | 151 |
| Constituents of the aesthetic object as a configuration | 154 |
| The essential nature of the aesthetic object as revealed by psychological analysis | 156 |
| Dramatic presentation is not an illusory object | 158 |
| Is aesthetic object a "reflection" (Pratibimba) ? | 159 |
| It is not a partial representation | 159 |
| Aesthetic object from spectator's point of view | 160 |
| Unworldly nature of the aesthetic object | 161 |
| The constituents of aesthetic personality | 162 |
| (I) Taste or Rasikatva | 162 |
| (II) Sahrdayatva or Aesthetic Susceptibility | 162 |
| (III) Power of Visualisation | 163 |
| (IV) Intellectual background | 164 |
| (V) Contemplative habit (Bhavana or Carvana) | 164 |
| (VI) Psycho-physical condition | 165 |
| (VII) Capacity to identify | 165 |
| Aestheti attitude | 166 |
| From sense-level to self-forgetfulness | 167 |
| From self-forgetfulness to identification | 168 |
| Process of identification | 168 |
| Philosophical explanation of elimination of time etc. | 171 |
| From identification to imagination | 173 |
| The development of aesthetic image | 174 |
| From imagination to emotion | 174 |
| From emotion to complete Katharsis | 175 |
| The source of terror | 177 |
| Impediments to aesthetic experience | 178 |
| 1. Inability to get at the meaning | 178 |
| 2, 3. Subjective and objective limitations of time and space | 179 |
| 4. The influence of personal joys and sorrows. | 179 |
| 5. Lack of clarity due to insufficient stimulus | 179 |
| 6. Subordination of the principal | 179 |
| 7. Dubiousness of the presentation | 180 |
| The conclusion | 180 |
| Aesthetic experience not truly emotive | 181 |
| Abhinavagupta's explanation of the omission "Sthayin" in Bharata's definition of Rasa | 183 |
| Aesthetic experience from drama and poetry. | 185 |
| Aesthetic experience possible from even hearing the recitation of drama | 186 |
| TYPES OF RASA | 188 |
| Different opinions on types of Rasa | 188 |
| Does Bhavabhuti admit Karuna to be the only Rasa ? | 188 |
| Bhanudatta's approach to the problem of types of Rasa | 192 |
| Does Bhoja admit Srngara to be the only Rasa ? | 193 |
| His conception of Srngara | 194 |
| Rasa and Bhava distinguished | 198 |
| Aesthetic experience | 198 |
| The process | 200 |
| Three stages of Srngara | 201 |
| The reply | 201 |
| Dhananjaya's approach | 201 |
| Abhinavagupta's approach to the problem of types of Rasa | 202 |
| Aesthetic experience of love (Srngara) | 205 |
| The meaning of Srngara | 205 |
| Derivation of Srngara | 206 |
| Love, the basic emotion of Srngara | 206 |
| The process in the rise of aesthetic experience of love (Srngara) | 208 |
| Aesthetic experience of anger (Raudra) | 210 |
| Aesthetic experience of enthusiasm (Vira) | 212 |
| Aesthetic experience of disgust (Bibhatsa) | 212 |
| Bibhatsa in relation to Moksa | 213 |
| Aesthetic experience of laughter (Hasya). | 213 |
| Aesthetic experience of grief (Karuna) | 215 |
| Karuna and Vipralambha Srngara distinguished | 216 |
| Srisankuka's conception of Karuna | 217 |
| Its criticism | 218 |
| Abhinavagupta's view of Karuna | 218 |
| Aesthetic experience of wonder (Adbhutarasa). | 219 |
| Santa Rasa | 219 |
| Dhananjaya and Abhinavagupta on Santa Rasa | 220 |
| The text of the Natya Sastra | 221 |
| Evidence of the Abhinava Bharati | 222 |
| Opposition to Santa on textual basis | 223 |
| Its criticism | 224 |
| Opposition to Santa independently of the text | 224 |
| Opposition on the basis of the indirect evidence of Bharata | 225 |
| Its criticism | 225 |
| Semi-textual opposition to the semi-textual exponents of Santa | 226 |
| Its criticism by Abhinava's predecessors. | 227 |
| Criticism of the above | 228 |
| Expositions of Santa on the basis of indirect evidence of Bharata | 229 |
| Nirveda as Sthayin of Santa | 229 |
| Its criticism | 230 |
| Philosophical conception of Vairagya and its relation to self-realisation (Tattvajnana) | |
| Para or higher Vairagya. | 234 |
| Relation between Nirveda and Tattvajnana in the light of the Nyaya system | 234 |
| Dhananjaya on Nirveda as Sthayin of Santa | 235 |
| Any one of the eight accepted Sthayins as the Sthayin of Santa | 236 |
| All the eight together as Sthayin of Santa | 237 |
| The view on Santa with slight difference from that of Abhinavagupta | 237 |
| Dhananjaya on Sama as Sthayin of Santa | 237 |
| Additional reason for unpresentability of Sama, | 238 |
| The view of Santa based on another conception of Sama | 239 |
| Abhinavagupta's theory of Santa | 239 |
| Santa in practical life | 241 |
| The hero of Santa Rasa | 241 |
| The self as the Sthayin of Santa | 242 |
| Why is Tattvajnana (Sama) mentioned separately ? | 243 |
| Why does Bharata use the word Sama and not Tattvajnana? | 244 |
| Other constituents of Santa. | 245 |
| Other Sthayins in the context of Santa. | 245 |
| Discussion on Rasa in the Nagananda | 246 |
| Manuscript authority | 249 |
| The nature of aesthetic experience of Santa | 249 |
| Division of Rasas into two classes | 250 |
| Basic and dependent Rasas | 252 |
| Another kind of causality of one Rasa to the rise of another, | 254 |
| Identical natural tendency necessary for aesthetic experience | 255 |
| ABHINAVAGUPTA'S THEORY OF | |
| MEANING | 257 |
| Language and aesthetic configuration | 257 |
| History of Dhvani | 258 |
| The presence of the suggested meaning in the earliest poetic production | 260 |
| The probable time of the discovery of the spiritual meaning | 264 |
| The chief exponent of the spiritual meaning of language or Dhvani | 264 |
| The theory of meaning before the acceptance of the theory of Dhvani | 267 |
| An illustration of Dhvani | 269 |
| Can Laksana explain the negative meaning conceived by hearer on hearing the positive statement under discussion ? | 271 |
| Unsoundness of the opponent's position | 271 |
| Review of the position of the opponents of the theory of suggested meaning | 272 |
| The views of the opponents of the theory of suggested meaning summarized. | 275 |
| The arguments of the opponents of the theory of Dhvani | 277 |
| The position of the exponeut explained | 280 |
| The various meanings of the word Dhvani and their origin. | 281 |
| Abhinava's conception of poetry | 283 |
| The position of the Laksanavadin explained | 284 |
| Laksanavadin's position criticised | 285 |
| The process analysed. | 286 |
| Another conception of Laksana and its criticism | 287 |
| Laksanalaksana as substitute for Dhvani | 289 |
| Laksanalaksana criticised | 290 |
| Criticism of Laksana summarised | 291 |
| The Anvitabhidhana theory of the Prabhakaras. | 291 |
| Criticism of the Anvitabhidhanavada | 292 |
| Necessity of admission of the instrumentality of consciousness of one meaning in the rise of another | 294 |
| Bhatta Nayaka's explanation of the consciousness of the suggested meaning and its criticism | 296 |
| Dhvani distinguished from figures of speech, | 298 |
| Figure Samasokti defined | 298 |
| The distinctive spheres of Upama and Rasavat Alankara on the one hand and that of Resadhvani on the other. | 301 |
| Embellishments and aesthetic presentation | 303 |
| The psychological basis of the classification of the suggested meaning | 304 |
| Vastudhvani. | 305 |
| Alankaradhvani | 305 |
| Rasadhvani | 306 |
| Bhavadhvani | 306 |
| Avivaksita vakya and vivaksitanyaparavacya | 307 |
| The situation | 308 |
| Arthantara Sankramitavacya | 309 |
| The situation | 309 |
| Atyantatiraskrtavacya | 311 |
| Sabdasaktyudbhava | 312 |
| Arthasaktyudbhava | 314 |
| The situation | 315 |
| Classification of the suggested meaning, according to the means of suggestion | 315 |
| Suggestive poetry distinguished from unsuggestive. | 316 |
| The distinction of the suggestive poetry from the embellished | 317 |
| Dhvani Chart | 319 |
| MAHIMA BHATTA'S CRITICISM OF DHVANI AND A REPLY | |
| Dhvani as a controversial problem | 320 |
| An introduction to Mahima Bhatta | 320 |
| The purpose of the book | 323 |
| His attitude towards Dhvanikara, | 324 |
| Kashmir Saiva tendencies of Mahima Bhatta | 325 |
| (I) His reference to Para | 325 |
| (II) His reference to the Saiva theory of Abhasavada | 325 |
| (III) His admission of the Saiva theory of Abhasavada. | 325 |
| (IV) His reference to the causal theory of Kashmir Saivaism | 333 |
| His theory of aesthetics | 335 |
| Charm in poetic presentation | 335 |
| His conception of rasa as a reflection of a Sthayin, | 336 |
| His answers to the objections against the inferential theory of aesthetics | 336 |
| His advance on Srisankuka | 338 |
| His conception of Camatkara | 339 |
| The background of the theory of meaning | 340 |
| Mahima's approach to the problem of meaning | 341 |
| His division of words | 342 |
| His reference to and rejection of the view that function is the basis of the use of a noun for an object. | 343 |
| His division of meaning | 345 |
| Anumeyartha | 347 |
| His conception of Kavya in the context of the criticism of Bhatta Tauta's definition of it. | 347 |
| His conception of Gamyagamakabhava | 349 |
| Ananda Vardhana's points of view | 349 |
| His criticism of the theory of Dhvani | 350 |
| His refutation of other powers of word than the conventional | 351 |
| (a) His criticism of Laksana | 352 |
| (b) His criticism of the Tatparyasakti of words | 356 |
| (c) His criticism of Abhivyakti | 356 |
| Dhvanivadin's position explained | 361 |
| The defects in the definition of Dhvani Kavya | 362 |
| (I) Criticism of the adjunct of 'Artha'. | 363 |
| Dhavanivadin's position explained | 364 |
| His criticism of the word 'Artha' in the definition of Dhvani. | 364 |
| (II) Criticism of the use of the word 'Sabda' | 365 |
| Dhvanivadin's position explained. | 367 |
| (III) Criticism of the adjunct of 'Sabda' | 367 |
| (IV) Criticism of the masculine gender in the pronoun 'Tam' | 368 |
| (V) Criticism of the dual in 'Vyanktah' | 368 |
| (VI) Criticism of the use of 'Va' | 369 |
| (VII) His criticism of the suggestive power of word, indicated by 'Vi-anj' in the definition | 369 |
| (VIII) Criticism of the use of the word 'Dhvani' for poetic composition, | 371 |
| (IX) His criticism of Ananda Vardhava's conception of the particular Kavya (Kavyavisesa) | 373 |
| Dhvanivadin's position explained | 375 |
| (X) Criticism of the use of the subject of the predicate 'Kathitah' | 376 |
| The necessity of inclusion of 'Abhidha' in the definition | 376 |
| Dhvanivadin's position explained | 377 |
| His conception of incongruity (Anaucitya) | 378 |
| His criticism of Kuntaka's theory of Vakrokti | 381 |
| His criticism and rejection of some of the types of Dhvani | 381 |
| His criticism of Vastu and Alankara Dhvani | 381 |
| His criticism of the division of Kavya into Dhvani and Gunibhuta Vyangya. | 382 |
| Ruyyaka | 383 |
| THE TECHNIQUE OF SANSKRIT DRAMA | 385 |
| What does the dramatist present ? | 387 |
| Incongruity | 387 |
| Action in Sanskrit Drama, | 389 |
| Rules of dramatization and dramatic genius | 390 |
| Method of dramatisation | 393 |
| Presentable and unpresentable in drama | 396 |
| Unities of time, place and action, | 397 |
| Difference between Sanskrit and English dramas in respect of action and emotion. | 399 |
| Analysis of the main plot. | 403 |
| Absence of tragedy in Sanskrit literature explained | 405 |
| (i) The traditional conception of the hero of drama. | 405 |
| (ii) The triadic relation | 407 |
| The conception of the five stages elaborated | 408 |
| The beginning (Prarambha) | 410 |
| The effort (Yatna). | 411 |
| The effort situation | 412 |
| The height (Praptyasa). | 413 |
| Praptyasa situation | 414 |
| The consequence (Niyatapti) | 418 |
| The close (Phalagama) | 420 |
| The means to the end (Arthaprakrti) | 420 |
| The seed (Bija) and its psychological necessity | 421 |
| The recollection of the motive force (Bindu) | 425 |
| Sub-plot (Pataka). | 427 |
| Minor plot (Prakari) | 428 |
| The resources (Karya) | 429 |
| Sandhis (Parts) in Sanskrit drama | 430 |
| Mukha Sandhi (Birth of the seed) | 432 |
| Pratimukha (Opening of the seed) | 432 |
| Garbha | 432 |
| Avamarsa | 432 |
| Nirvahana (Fruition) | 436 |
| The Sandhyanga defined | 437 |
| The general purpose of Sandhyangas | 437 |
| The purposes of Sandhyangas from the point of view of dramatist, | 438 |
| Freedom in the use of Sandhyangas | 439 |
| TYPES OF DRAMA | 441 |
| Two main types of drama | 442 |
| (1) Nataka | 442 |
| The name "Nataka" explained | 444 |
| (II) Prakarana | 444 |
| (i) Subject-matter | 444 |
| (ii) The hero and his helpers | 445 |
| (iii) The heroine | 446 |
| (iv) Subdivisions of Prakarana | 446 |
| (III) Samavakara | 446 |
| Duration of each act | 447 |
| Meaning of Samavakara | 448 |
| Three kinds of flight, deception and love | 448 |
| The absence of the graceful action in Samavakara explained | 448 |
| (IV) Ihamrga | 449 |
| (V) Dima | 450 |
| (VI) Vyayoga | 452 |
| (VII) Utsrstikanka | 452 |
| (VIII) Prahasana | 453 |
| (IX) Bhana | 454 |
| (X) Bithi. | 455 |
| Aesthetic configurations (Rasas) presentable in different types of drama | 455 |
| ESSENTIALS OF SANSKRIT DRAMATIC PRESENTATION | 457 |
| Meaning of Vrtti | 458 |
| Action in poetic composition | 459 |
| Dramatic action distinguished from the worldly. | 460 |
| The origin of different forms of action. | 461 |
| Employment of different forms of action in the presentation of Rasas | 464 |
| Difference of opinion on the number of forms of action (Vrtti) | 464 |
| Consciousness of fruit (Phalasamvitti Vrtti) as a form of action admitted by Udbhata | 465 |
| Its criticism. | 466 |
| The view of the followers of Udbhata on forms of action (Vrtti) | 467 |
| Abhinavagupta's criticism | 468 |
| Bhoja's positioning regard to the number of Vrttis | 469 |
| Difference of opinion on the/use of different forms of Vrtti | 474 |
| Pravrtti or local usages | 477 |
| The relation between Vrtti and Pravrtti | 479 |
| Acting or Abhinaya | 479 |
| Change of personality in acting | 481 |
| Four types of acting (Abhinaya) | 482 |
| (I) Physical gesture (Angikabhinaya) | 482 |
| (II) Verbal acting or histrionic representation in words. (Vacikabhinaya) | 483 |
| (III) Gesture that flows from mental state (Sattvikabhinaya) | 484 |
| (IV) Costume and make-up (Aharyabhinaya) | 484 |
| Difference of opinion on the presentation of death on the stage. | 485 |
| Hero's death never to be presented in any way. | 487 |
| Restriction about the number of characters on the stage | 487 |
| Dramatic presentation in the open air and in the theatre. | 487 |
| AESTHETIC CURRENTS IN POETICS. | 489 |
| The dramatic and the poetic experiences differentiated | 490 |
| Bhamahs | 491 |
| Bhamaha's conception of poetry | 492 |
| His conception of poetic experience | 493 |
| Bhamaha's conception of gunas | 494 |
| The poetic qualities in the eyes of Bhamaha | 495 |
| Bhamaha's indebtedness to Bharata in the conception of Vakrokti | 495 |
| Difference between Laksana and Alankara | 497 |
| Laksana defined | 498 |
| Difference between Bharata and Bhamaha | 499 |
| Other conceptions of Vakrokti | 500 |
| His scanty treatment | 500 |
| Dandin's conception of poetry | 501 |
| Difference of opinion on the qualities of poetry explained | 502 |
| Vamana's conception of poetry | 505 |
| Vamana's contribution | 507 |
| Udbhata's position. | 508 |
| ART OF MUSIC (SANGITA-KALA) | 511 |
| Music and poetry | 511 |
| History and evolution of the art of music | 512 |
| Samavedic Schools of Music | 513 |
| The texts of the Kauthuma School | 513 |
| The relative chronology of the Samavedic texts. | 514 |
| Indication of the pitch of syllable in the Kauthuma tradition of the Sama Veda | 515 |
| Drone tone | 516 |
| Musical and poetical metre | 516 |
| Changes in the chant introduced by Udgata | 517 |
| The relation between the spoken and the chanted Vedic language | 517 |
| Samavedic melodization | 518 |
| Evolution of the number of tones | 519 |
| Gandharvaveda, the subsidiary Veda (Upaveda) of the Sama Veda. | 521 |
| Progress of music reflected in the Brahmanas | 522 |
| Development of the Samavedic Music in the Sutra period | 525 |
| Fixation of interval. | 526 |
| Seven Notes in the Paniniya Siksa | 527 |
| Nandikesvara's conception of seven notes and three pitches | 527 |
| Disappearance of distinction between the Samavedic and the classical notes | 531 |
| Samavedic and classical music | 532 |
| Writers on classical music before Bharata | 533 |
| Bharata and his contemporaries | 535 |
| (1) Kasyapa | 535 |
| Did Bharata know the Ragas ? | 536 |
| (2) Sardula | 538 |
| (3) Dattila | 538 |
| Successors of Bharata | 538 |
| Utpalacarya | 539 |
| Authors of independent works on music after Bharata | 540 |
| Abhinavagupta | 541 |
| Jayadeva | 542 |
| Sarngadeva, the author of the Sangita Ratnakara | 542 |
| Mohamedan influence on Indian Music | 543 |
| Gopala Nayaka | 544 |
| Commentators on the Sangita Ratuakara. | 545 |
| (1) Sirhha Bhupala | 545 |
| (2) Kallinatha, | 546 |
| Locana Kavi | 547 |
| Ramamatya | 547 |
| Gwaliar School of Music | 549 |
| Music during the reigu of Akbar | 550 |
| Suppression of Indian music by Aurangzeb. | 551 |
| Sangita Ratnakara Vyakhya, Setu. | 552 |
| Rise of Southern and Northern Schools of Indian Music. | 553 |
| The Influence of the Mela System on North Indian Music. | 555 |
| PHILOSOPHY OF MUSIC | 556 |
| Recognition of the spiritual value of music in the Chandogya Upanisad | 557 |
| Abhinavagupta's Philosophy of Music | 557 |
| Experience of Ananda at the transcendental level of aesthetic experience from music | 561 |
| Metaphysical basis of the musical notes | 562 |
| Pasyanti and musical notes | 564 |
| Identification with Para-Nada in musical experience | 564 |
| Notes, produced by musical instruments and Madhyama, | 565 |
| Subtle and transcendental forms of Pasyanti, Madhyama and Vaikhari. | 565 |
| Harmonious unity of notes as the essential of charm in music | 566 |
| Yoga and Nada-Brahmavada. | 566 |
| Importance of the Cakras for music. | 569 |
| Mental concentration on Nada as a means to liberation | 569 |
| Ahata Nada as a means to liberation | 570 |
| Nada-Brahma-Vada of Sarngadeva | 571 |
| Nagesa Bhatta on the origin of musical notes | 572 |
| Philosophy of music in the light of the Siddhanta Saiva Dualism | 575 |
| Bindu And Nada | 576 |
| ART OF ARCHITECTURE OR VASTUKALA | 579 |
| Meaning of Vastu | 579 |
| Presupposition of Vastu Sastra | 579 |
| Division of literary sources of information on architecture | 580 |
| Non-technical references to architecture | 581 |
| The sources of technical information on architecture | 582 |
| 1. Atharvaveda and Sutras | 582 |
| 2. Architectural material in works on subjects other than architecture | 583 |
| 3. Saiva tradition. | 585 |
| 4. Brahma tradition | 587 |
| Painting | 589 |
| Sculpture | 591 |
| 5. Maya tradition | 591 |
| Uncertainty about the dates of books on architecture | 593 |
| Spread of Indian Culture and architectural tradition | 594 |
| Wood, the earliest material for the construction of human dwelling | 596 |
| The relation between building and its inmate | 597 |
| Style as the basis of classification of architectural work, | 600 |
| Another basis of classification of Indian architecture | 600 |
| The relation of styles and enshrined deities | 601 |
| The principle of harmony as the basis of different conceptions of pillar | 602 |
| Works of architecture most enduring | 602 |
| Sculpture and painting as dependent arts | 603 |
| Philosophy of Architecture or Vastu-Brahma-Vada | 609 |
| Aesthetic experience from architecture | 609 |
| Indian Philosophy of fine Art | 611 |
| The Textual Authority indicated by foot-notes | 617 |
| Index | 717 |
