Rasa is the central concept in Indian Aesthetics, referring to the emotional experience or aesthetic enjoyment derived from art, literature, and music.

The Natya Shastra, attributed to the sage Bharata Muni, is an ancient Indian text that deals with the theory of dramaturgy and aesthetics, providing insights into various aspects of performing arts.

The primary goal of Indian Aesthetics is to create beautiful objects, whether in the form of art, literature, music, or dance, that evoke aesthetic pleasure and emotional resonance.

Adbhuta is not a recognized Rasa in Indian Aesthetics. The traditional list of Rasas includes Shringara, Hasya, Karuna, Raudra (anger), Vira (heroic), Bhayanaka (fear), Bibhatsa (disgust), and Shanta (tranquility).

Ananda in Indian Aesthetics refers to the aesthetic pleasure or enjoyment derived from experiencing beauty in art, literature, music, and other forms of creative expression.

Abstraction and minimalism are not typically associated with Indian Aesthetics, which tends to favor figurative representation, ornamentation, and elaborate details.

Alaṃkāra refers to ornamentation and embellishment in Indian Aesthetics, encompassing a wide range of literary and artistic devices used to enhance the beauty and appeal of a creative work.

Hyperbole is not a recognized type of Alaṃkāra in Indian Aesthetics. The traditional list of Alaṃkāras includes Upamā, Rūpaka, Utprekṣā, and many others.

Dhvani in Indian Aesthetics refers to poetic suggestion and implication, where the meaning or emotion is conveyed indirectly through暗示, allusion, and symbolism.

Atishayokti is not a recognized type of Dhvani in Indian Aesthetics. The traditional list of Dhvanis includes Vyangya, Vakrokti, and Rasadhvani, among others.

Rīti in Indian Aesthetics refers to poetic style and manner, encompassing the distinctive features and conventions of different schools of poetry and literature.

Lāṭī is not a recognized type of Rīti in Indian Aesthetics. The traditional list of Rītis includes Gaudi, Vaidarbhi, and Pāñcālī.

Vakrokti in Indian Aesthetics refers to indirect expression and suggestion, where the meaning or emotion is conveyed through oblique or circuitous language.

Atishayokti is not a recognized type of Vakrokti in Indian Aesthetics. The traditional list of Vakroktis includes Viśeṣokti, Utprekṣā, and Kāvya-linga, among others.

Aucitya in Indian Aesthetics refers to propriety and appropriateness, encompassing the suitability of content, style, and expression to the context, genre, and audience.