Indian Poetics: Summaries & Key Takeaways of Expert Sessions by Prof. Vinod Joshi sir

 This Blogg task given by Dilip Bard sir.As part of Indian poetics for expert Lecture by Vinod Joshi sir.

15, January 

First day vinod Joshi sir start about Language. 

Language is an expression medium. Tell them that Indian poetics a prosess is prosess. & Man has ricived Birth are two things 

1. Vowel ( સ્વર)

2. Movement 

And second is વસ્તુ ને વસ્તુતાર The item has been given an example of a thing. 

એક હબસી સ્ત્રી એ પોતાના બાળક ને પ્રેમ કરે છે. There is no glory of Tia appearance but The woman shouts to her child. The price has been shown.

16, January 

Aesthetics 

Indian aesthetics in poetics have been deeply influenced by classical theories of रस (Rasa) and અલંકાર (Alankara), which focus on evoking emotions and beautifying expression. Gujarati poetry, with its rich literary heritage, reflects these principles through devotional (ભક્તિ), romantic (શૃંગાર), and folk (લોકસાહિત્ય) traditions.

The aesthetics of a branch can be explored through various poetic and philosophical lenses, especially in the context of Indian and Gujarati poetics. A branch is not just a physical entity but a symbol of growth, resilience, and connection to nature.

• Riti (રીતી)

Indian aesthetics, particularly in the Riti tradition of poetry, emphasize grace, refinement, and ornamentation. Riti poetry, flourishing in medieval India, often focused on shringaar ras (the aesthetic of love and beauty) and employed elaborate metaphors, alliteration, and imagery.

In example of riti 

સુંદર્તા અને શૃંગાર:

ચાંદની રાતે, તારા ઝગમગાયા,

તમારી સ્મૃતિઓની રોશની છવાય.

પવનનાં મીઠા ઝોકાં, સોહામણાં સપનાં,

શબ્દોની શૃંગારમય ગૂંઝ એતરાય.

In say Beauty and Romance:

On a moonlit night, stars shimmered,

The glow of your memories spread.

Soft whispers of the breeze, lovely dreams,

The echoes of adorned words linger.

Gujarati language, with its innate musicality, blends well with the ornamental style of Riti poetry. If you're looking for a specific aspect—be it nature, love, or devotion—I can craft a more tailored poetic piece.

Also talk about school of Dhavani.

• Emotion ( ભાવ)

In Indian poetics is deeply rooted in Bhav (ભાવ), which refers to emotions, expressions, and feelings that create aesthetic beauty in poetry. In Gujarati literature, ભાવનાત્મક કાવ્ય (Bhavnaatmak Kaavya) plays a significant role in evoking emotions through words.

Types of Bhav in Indian Poetics

1. શૃંગાર (પ્રેમ અને સૌંદર્ય – Romance & Beauty)

2. વીર (શૌર્ય અને હિંમત – Heroism & Courage)

3. કરુણ (દુઃખ અને સહાનુભૂતિ – Pathos & Compassion)

4. અદભૂત (વિસ્મય અને આશ્ચર્ય – Wonder & Amazement)

5. હાસ્ય (આનંદ અને વિનોદ – Laughter & Joy)

6. શાંત (શાંતિ અને આધ્યાત્મ – Peace & Tranquility)

7. ભયાનક (ડર અને હિબ્કી – Fear & Horror)

8. રૌદ્ર (ક્રોધ અને ઉગ્રતા – Anger & Fury)

9. બીભત્સ (ઘૃણા અને વિકૃતિ – Disgust & Revulsion)

Gujarati poetics beautifully captures Bhav through its soft, rhythmic, and expressive nature.

17, January 

Talk about vibhav, Anubhav & Sanchari.

• vibhav 

In Indian poetics, Vibhav (વિભાવ) is a crucial element of the Rasa theory, which defines how emotions (Bhav) are evoked in poetry and art. Vibhav refers to the stimulus or cause that triggers a particular emotion, making it the foundation of aesthetic experience. It works alongside Anubhav (expressions or reactions) and Vyabhichari Bhav (transient emotions) to create a rich poetic effect.

In Indian poetics and Rasa theory, Aalamban Vibhav (આલંબન વિભાવ) is one of the two key components of Vibhav (વિભાવ)—the cause or stimulus that evokes emotions.

 રીતી નો ભાવ સક્રિય થાય છે.

Aalamban Vibhav refers to the person or object that becomes the main subject of emotion.

In poetry, Aalamban is essential in creating deep emotional resonance by giving the listener or reader a direct point of emotional attachment—be it a lover, a hero, a deity, or even nature.

Example of vibhav:

"તારા હસ્યે ચાંદની ભીંજાઈ,

પવન તારા નામે રણકાર કરે."

• અનુભાવ (Reaction)

In Rasa theory, Anubhav (અનુભાવ) refers to the visible expressions or reactions that emerge due to an emotion (Bhav) triggered by Vibhav (વિભાવ). It is how emotions manifest in a character or situation—through facial expressions, body language, speech, or actions.

Vibhav (Cause of Emotion) → Anubhav (Expression of Emotion) → Rasa (Aesthetic Experience)

For example, if Aalamban Vibhav (a lover) is present and Uddipan Vibhav (moonlit night) enhances the emotion, then Anubhav could be the blushing of cheeks, trembling lips, or a deep sigh.

• સંચારિભાવ 

In Rasa theory, Sanchari Bhav (સંચારી ભાવ) refers to transient or fleeting emotions that arise temporarily in a person due to the main, predominant Sthayi Bhav (Permanent Emotion). These emotions come and go and are often subtle expressions that further enhance the depth of the central emotion. Sanchari Bhav supports and intensifies the primary emotion in a poem, play, or work of art.

Sanchari Bhav are temporary emotional fluctuations (like a sigh, a sudden smile, or a brief moment of surprise).

Sanchari Bhav enriches the aesthetic experience by adding complexity and depth to the emotional journey.

18, January 

In talk about Bhattlollat, shri shankuk, Bhatt nayak, Abhinav Gupt. Four talk about rasa .

It seems like you are referring to "Shreshtha Sankuk" (श्रेष्ठ शङ्कु) in the context of Rasa Theory, which is a term from Sanskrit poetics or Indian classical literature. However, the phrase you mentioned could be a variation or an attempt to refer to an important concept, possibly "Shreshtha Sankuch" (श्रेष्ठ संकुच), which might be linked to a specific term or description.

• પ્રતીતિ:

In Indian poetics, Pratiti refers to the concept of perception or the process by which one apprehends and recognizes reality, which plays a central role in the way poetry and other art forms are understood in Indian philosophy and aesthetics. Derived from Sanskrit, the term pratiti can be translated as "perception," "cognition," or "recognition." It is often used to describe the way in which a person recognizes or understands the world around them, particularly in the context of aesthetic experiences.

The term is often associated with classical Indian theories of aesthetics, particularly those explored by scholars in the fields of Rasa (emotional essence) and Bhava (the emotional state or sentiment in the work). It represents a state in which the emotional impact of a work is neither excessive nor lacking, but is instead perfectly attuned to the overall context, allowing the audience to fully appreciate the beauty and meaning of the art form.

This idea ties into the broader Indian aesthetic tradition, which places importance on the idea that the enjoyment of poetry and art should be in perfect balance to create a sublime experience. The term thus embodies the essence of poetic justice and aesthetic harmony in Indian poetics.

• l pratiti:

Mithya Pratiti (मिथ्याप्रतीति) in Indian poetics refers to a false or illusory perception. It is derived from the Sanskrit term mithya, meaning false, and pratiti, meaning perception or recognition. In the context of aesthetics and literature, Mithya Pratiti represents a misunderstanding or distorted experience of a work of art, where the viewer or reader fails to grasp the true essence or intention behind the artistic expression.

In classical Indian aesthetic theory, particularly within the framework of Rasa (emotional flavor) and Bhava (emotional states), Mithya Pratiti suggests that the audience might misinterpret or experience a work in a way that deviates from the intended emotional impact or meaning. This can happen when the audience's perception is clouded by personal biases, superficial understanding, or a lack of deeper insight into the work.

• Sanshay pratiti:

Shanshay Pratiti (शङ्काप्रतीति) in Indian poetics refers to a perception or experience that is marked by doubt or uncertainty. The term is derived from Shanshay (शङ्का), meaning doubt or suspicion, and Pratiti (प्रतीति), meaning perception or belief.

• Sadrushy pratiti :

Sadrushy Pratiti (सदृश्यप्रतीति) in Indian poetics refers to a perception based on similarity or likeness. The term is derived from Sadrushya (सदृश्य), meaning similarity or likeness, and Pratiti (प्रतीति), meaning perception or recognition. In this context, Sadrushy Pratiti indicates the experience or understanding of a work of art in which the viewer or reader perceives a resemblance or similarity between the artistic form and some other known entity, concept, or experience.

21, January 

Talk about Dhavani.

concept of Dhvani (ધ્વનિ) holds significant importance, much like in other Indian literary traditions. It refers to the idea of suggestion or implied meaning, where words and phrases in a poem or prose evoke emotions, ideas, or images beyond their direct, literal meanings. This concept was introduced by the Sanskrit scholar Ananda Vardhana in his work Dhvanyaloka, and it has influenced Gujarati literature, particularly in poetry.

ભાવ > રસ.                                                         

Three parts of Dhavani:

1) વસ્તુ ધ્વની

2) અલંકાર ધ્વની 

3) રસ ધ્વની 

1. વસ્તુ ધ્વની 

Dhvani also helps in suggesting the broader theme of a poem. A simple mention of nature, such as the blooming of flowers, might suggest the theme of life, renewal, or hope. In Gujarati poetry, this method enriches the text, enabling readers to interpret themes on a deeper, emotional level.

2. રસ ધ્વની 

In Gujarati poetry, Dhvani is often used to suggest emotions (rasa) like love (શૃંગાર), sorrow (કRb), heroism (વિર), or compassion (દયા), without explicitly naming them. The reader or listener feels these emotions through the indirect expressions used in the poem. For example, a reference to the beauty of a rainy night might suggest longing or separation without directly mentioning it.

25, January 

In talk about vakroti 

Six parts of Vakroti:

1) varnvinyas vakrata

2) padpradh vakrata

3) valu vakrata

4) prakran vakrata

5) vanky vakrata

6) prabandh vakrata

27, January 

In talk about Alankar.

Ornaments originated: Bhamaha did. This ornament is called poetry ornament.

In Indian poetics, Alankar Shastra (अलंकार शास्त्र) refers to the "science of ornaments" or the study of figures of speech and literary devices used to beautify poetry and prose. The term Alankar (अलंकार) means "ornament" or "figure of speech," and Shastra (शास्त्र) means "science" or "treatise." Alankar Shastra is thus the systematic study of various stylistic devices and techniques that enhance the aesthetic appeal, emotional depth, and intellectual impact of a literary work.

28, January 

In 

• Riti sampraday

• Riti Auchitya 

• Riti Ramayata

Riti sathe identity jodayele chhe

Riti conect with identity 

Kalidas vidarbha shaile

Conclusion:

Indian poetics, or *Alankara Shastra*, is the study of aesthetic principles, literary techniques, and poetic devices used in Indian literature. It emphasizes the idea of *Rasa* (emotion) as the core experience of poetry, where the ultimate goal is to evoke specific emotions in the reader or audience. Key concepts include *Dhvani* (suggestion), *Vakrokti* (twist in expression), *Pratibha* (creative insight), and *Sphoṭa* (the moment of revelation). The tradition highlights the importance of harmony between form and content, where language serves as a vehicle to express universal truths and emotions.