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Books > Art and Architecture > Architecture > The Sensuous in Art Reflection on Indian Aesthetics
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The Sensuous in Art Reflection on Indian Aesthetics
The Sensuous in Art Reflection on Indian Aesthetics
Description
From the Jacket: Contrary to current aesthetic theory, the author does not see Indian art essentially on the lines of Indian mysticism, as brahmananda sahodara, twin of mystical experience. That the Indian artist experiences a mystical vision while creating art is an accident, while essentially his artistic activity thrives on extolling the sensuous experience. It arises by an imaginative participation with color, sound, touch, and smell and does not derives its value from being close to either a moral framework or mystical quintessence.

In the five chapers of the book Dr. Jhanji directs her attention largerly to drama and painting. The study is based on the text of Natyasastra, Kamasutra, Visnudharmottara, Silparatna and Citralaksana.

About the Author:

Rekha Jhanji is a professor in Department of Philosophy, Punjab University, Chandigarh. She has contributed many scholarly paper in field of aesthetics to various learned journals. Her publications include: Aesthetic Meaning: Some Recent Theories(1980) And Aesthetic Communication: the Indian Perspective (1985). Dr. Jhanji was a fellow at the Indian Institute of Advanced Study, Shimla for two years (1985-87).

The Sensuous in Art Reflection on Indian Aesthetics

Item Code:
NAB119
Cover:
Hardcover
Edition:
1989
ISBN:
8120806174
Language:
English
Size:
8.9" x 5.9"
Pages:
88 (Col. illus. : 4 & Line Drawings : 8)
Price:
$23.50   Shipping Free
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Viewed 6963 times since 2nd Oct, 2008
From the Jacket: Contrary to current aesthetic theory, the author does not see Indian art essentially on the lines of Indian mysticism, as brahmananda sahodara, twin of mystical experience. That the Indian artist experiences a mystical vision while creating art is an accident, while essentially his artistic activity thrives on extolling the sensuous experience. It arises by an imaginative participation with color, sound, touch, and smell and does not derives its value from being close to either a moral framework or mystical quintessence.

In the five chapers of the book Dr. Jhanji directs her attention largerly to drama and painting. The study is based on the text of Natyasastra, Kamasutra, Visnudharmottara, Silparatna and Citralaksana.

About the Author:

Rekha Jhanji is a professor in Department of Philosophy, Punjab University, Chandigarh. She has contributed many scholarly paper in field of aesthetics to various learned journals. Her publications include: Aesthetic Meaning: Some Recent Theories(1980) And Aesthetic Communication: the Indian Perspective (1985). Dr. Jhanji was a fellow at the Indian Institute of Advanced Study, Shimla for two years (1985-87).

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