Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 6 - Literature in the Puranas
35 (of 59)
External source: Shodhganga (Repository of Indian theses)
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- 321 - DHVANI As stated before, there is no systematic and planned theory of poetics in the Agni Purana. But emphasis is laid on all its aspects - Alankara, Alankara, kiti, Rasa etc. Likewise the principle of Dhvani is also referred to in the Agni Purana but not in the developed form as is done by Ananda vardhana in his Davanyaloka. Though the Purana is not aware of the great importance of Dhvani in Kavya it knows the Dhvani theory in its outline. The Purana knows the principle of Dhvani which belongs to the sphere of Grammar rather than that of poetics. It is regarded as one of the constituents of Vahmaya (Literature) along with Vani, Pada and Vakya. Agni Purana's Dhvani seems to correspond of 'Sphota' of the Grammerians. 94 with the concept
The Agni Purana has mentioned a third type of the
alankaras namely Sabdarthalankara. While discussing one of
these Sabdarthalankaras, Abhivyakti, the Purana has discussed
the sabda saktis which express various meanings. It divides
all expression into Sruti and Aksepa. The Purana brings
Abhidha and Laksana under Sruti, and Dhvani or suggestion
under 膧ksepa.95
According to the Agni Purana, Dhvani can be
described as constituting the Alankaras like Aksepa, Samasokti,
96 Apahnuti and Paryayokta. Dhvani is regarded as an ala峁卥膩ra
which heightens the beauty of poetry. Hence in Purana's Dhvani
is related to Sabda and Artha only.
Anandarvardhana stressed
the principle of Dhvani as a 'Kavyavisesa' and glorified it
