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1522
SAHRDAYĀLOKA
vedāntins as well and also perhaps to the non-vedic disciplines. For example no darśana ever brands “prakrti” to be "caturguņā”tmikā” as against its being termed "triguņāmika” by the Sāmkhyas. Again, aesthetics has philosophy in its back-drop, but it was never coloured and certainly never vitiated by philosophical bias. Ācārya Hemacandra of the Jain faith has no hesitation is following Anandavardhana and Abhinavagupta of the Saiva-Pratyabhijñā darśana. Aesthetics never ran a narrow track in India. But an honest effort can be made in the direction of fixing the religious and philosophical faith of a given ācārya. At times even aesthetics .was slightly coloured or rendered pink by philosophical tenets as is seen with the great Vaisnava ācāryas Rūpa and Jiva Goswami-s. Dr. Hiriyanna in his "Art Experience" has taken note of the free movement of aesthetics in India. Or, we may say that as a rich background, not just only this or that darśana, but the whole Indian philosophical climate serves the purpose of indian aesthetics. However, SaivaPratyabhijñā darśana had a major say in this business.
So, as observed earlier, there can be noted certain technical terminologies in Bhatta Nāyaka's presentation. We do not know whether he had with the view of the "Sāmkhyas" as discussed earlier. But as he is a great supporter of only the blissful nature of rasa, perhaps he had nothing to do with the Sāmkhyaview which believed in the sukha-duḥkhā"tmakatva of rasa.
We know that the Sāmkhya discipline accepts three guņas-sattva, rajas and tamas that go with buddhi. 'Tamas' is termal 'moha' or stuper also. We had seen a lot of this in Bhoja in an earlier chapter and certainly the Mālava School as represented by Dhananjaya, Dhanika and Bhoja had a lot to do with Bhatta Nāyaka also. That way, we will go to see, even Abhinavagupta and his throught-current also had a lot to do with Bhatta Näyaka. So, it is accepted that till there is predominance of 'moha' or stuper over 'buddhi', it cannot observe subtle things, and fails to understand clearly any point. One of the chief targets of art is to lessen or remove totally this veil of moha or studer that colours the intelligence. This thing i.e. removal of moha is done with the help of "dosa-hāna" i.e. freedom from blemishes, and "guna-ādāna” acceptance of excellences. We can see how later Bhoja has taken these qualities as the distinguishing marks of sāhitya. This is the case of poetry. In drama, however, removal of moha is effected by the four-fold actingcaturvidha abhinaya. When the curtain of moha-stuper is removed, the processvyāpāra- of sādhāranīkarana i.e. de-individualisation starts operating in poetry or drama. Through this sādhāranīkarana, in poetry and drama, the vibhāvā"di-s unfold in a de-individualised form i.e. sābhāranīkrta-svarūpa. Through this rasa
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