Art can be defined as a glimpse of absolute Brahman itself. All Indian aesthetics are considered as a path to realize this ultimate reality, which is presented in the Indian philosophical outlook. Art has been further categorized in two main categories. The first one being creative, which is called yoga and the second one being operative, which is called technical.

Art is not an act, but a kind of knowledge knowledge, and it does not support that art is for the sake of art because God is an aid and creation of the artwork which has been eloquently explained by the analogy of the point that just the pot aid to carry the water, it follows same in the concept of God and the artwork.

Sadrsya has a literal etymological reference to the word which is- “sym visibility, con similarity, coordination and/or analogy” it is evidently present in the east Asian aesthetic theory which states that according to nature makes shape and shape resemblance which is defining the art as natures imitation in Japan as well, there are various aesthetic philosophers who have reiterated emphatically that art consist only in imitation, but sadrsya Shall not be understood as naturalism or illusion or imitation because of the very fact that it is being equated with Pramana Which is the true knowledge that is indubitable and non-contradicted in nature. Representation is very essential to the very substance of painting, and this process is usually translated as likeness, but it could also also be implied as correspondence of formal and representative elements in art. In rhetoric, the point that the young man is a lion exemplifies this process and this analogy can also help us to understand the process of aesthetic imitation as well.

It Can be understood on the lines of relation that VasuBandhu Explained it in Vignyan that is knowledge with it subject, so he explains it that the knowledge arises in the act of knowing which is comprising of the lower and the known and they do not exist apart from the act of knowledge since there is an immediate assimilation of knowledge with its object as there is an assimilation between seat and the fruit in the Form of reciprocal causality.

In Nāyay and Visheshak darśan as well, it defines this process as the condition of embracing in itself. Things of a manyfold nature which are distinct from itself. It is mainly talking about things of different types of nature and of relatively distinct characteristic features which makes it a condition of identity indifference. this can be understood as similitude, but in the form of simile, then simulacrum. Thus, the lightness between object and its depression should not be a likeness of nature, but shall be analogical and exemplary or both of these things as we have pointed it in the very first line of this article, which defines the concept of Sadrsya; This process as visual correspondence has been gravely misunderstood as a relation between two or appearances, namely within the work of art and sensational components, it is very important to note this fact that as aspectual coordination of concept And percept essential for knowledge is a very important point that has been raised by AK Coomaraswamy.

This establishes a concord between the pictorial and formal dimensions of work of art as this has been implied in Kausatki upanishad: Where distinction is drawn between sensational and intelligible prajña Matta Dimensions of appearance. It has emphasized as “truly from either alone, no aspect whatsoever would be produced” it could be further understood as in the context of Indian drama where gestures, speech, costume and natural adaptation of actor for character are regarded as phone made principles and the important means through which the theme of the particular drama could be significantly exhibited in front of the desired audience which points towards the singular fact that the Indian treatise regard Pramana As the central principle of art, which is an inwardly known insight.

Beauty is considered as a democratic way to be compelling us to be better, the form and dignity that is the way in which beauty holds itself in the world and its relationship with truth, which is bounded order and harmony are very essential features of the disinterestedNess that has been Pointed by philosopher Kant; When a perceiver is trying to give a universal claim for a thing of beauty, as per his or her subjective experience, it is called as a static judgment.

But, Unlike in the western traditions where the cons is defined and confined to the sphere of ethics and in domain of art, one is not ashamed to say, “I know what I like” but in the case of Indian philosophical conception of pramana, It maintains that consigns is the fountainhead of every form of human knowledge and activity. This is well evident in the pictures attached within this article which I had personally took- they are not only representing different colours of Indian subcontinent but also about the artistic history enclosed in each curve of the design.

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Chaitanya Sharma
B.A Philosophy (Hons.) from Hansraj College, University of Delhi


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