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as given in the Kavyaprakāša. But, in order to present the Rasa-theory in full, he reproduces in the Viveka commentary the complete text of the Abhinavabhārati, a commentary on the Nātyaśāstra by Abhinavagupta, insofar as it relates to the Rasasūtra in Chapter Six of the Nātyaśāstra wherein the four Major views along with some other incidental opinions are fully presented. Thus due credit must be given to Hemachandra who very faithfully reproduces the relevant portion from the Abhinavabhārati text, unlike Mammața who recapitulates the well-known theories in the form of critical summaries. The Abhinavabhārati - A Great Work on Art
Hemachandra's reproduction of the relevant portion - relating to the Rasasutra - involves the above mentioned four views in the main. This portion presented (in the viveka) on page numbers 89 to 103 is taken from the Abhinavabhārati which, along with the Locana constitutes the two learned commentaries written by Abhinavagupta with a view to explain the texts of the Dhvanyaloka of Anandavardhana and the Nātyaśāstra of Bharata respectively. These two works are "masterpieces of the Indian theory of aesthetics and are considered to be the best works on Art of all times and places, both for their erudition, depth, terseness and dignity of style as well as for the lasting value of the profound views expounded in them." These two works make Abhinavagupta (990-1015 AD) not only one of the greatest authorities on art but, according to J. L. Masson and M. V. Patawardhan, the greatest original writer on Aesthetics, since the works are astoundingly original. Abhinavagupta's Locana preceded the Abhinavabhārati, and hence it forms the bed-rock of the theories of Rasa and Dhvani, and it furnishes us with truly profound insights into the many intricate problems of the theories of Rasa and Dhvani formulated by Anandavardhana. 6 7 Hemachandra Introduces Important views on arcate
After explaining Vibhāvas and Anubhāvas on page 88 of Viveka in terms of Bharata's couplets (Nātyaśāstra VII.4 &
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