In Indian aesthetics, rasa is a central concept that refers to the emotional impact or aesthetic experience evoked by a work of art, often through the use of specific artistic techniques and conventions.

The Natya Shastra, attributed to the sage Bharata, is an ancient Indian treatise on the performing arts, aesthetics, and dramaturgy. It is considered a foundational text in Indian aesthetics and provides insights into the role of art in Indian culture.

In Indian poetics, dhvani is a key concept that refers to the suggestion or implication of meaning beyond the literal sense of words. It is considered an essential element of poetic expression and adds depth and resonance to literary works.

Kalidasa, one of the greatest poets in Indian literature, is renowned for his use of vivid imagery, symbolism, and lyrical language in his works. His plays and poems, such as Shakuntala and Meghaduta, are celebrated for their beauty and emotional depth.

In Indian aesthetics, alaṅkāra refers to the use of ornamentation and embellishment in a work of art. It encompasses a wide range of techniques, such as figurative language, similes, metaphors, and personification, to enhance the beauty and expressiveness of the artwork.

The Progressive Writers' Movement, active in the 20th century, advocated for the use of simple language and everyday speech in literature to make it more accessible and relevant to the masses. It aimed to address social and political issues and promote social change.

In Indian aesthetics, rasa-dhvani refers to the combination of rasa (emotional impact) and dhvani (suggested meaning). It is considered the highest form of poetic expression, where the emotional impact of the artwork is conveyed through the suggestion or implication of meaning, rather than through explicit statements.

Kabir, a 15th-century Indian poet and mystic, is known for his use of satire, humor, and simple language in his poetry. His verses often addressed social and religious issues, criticizing hypocrisy and promoting unity and love.

In Indian aesthetics, vakrokti refers to the use of indirect or oblique expression, rather than direct and straightforward language. It is a technique used to create surprise, depth, and complexity in literary and artistic works.

The Bengal Renaissance, also known as the Bengal Revival, was a cultural and literary movement that took place in the 19th century in Bengal, India. It emphasized the revival of traditional Indian values, culture, and heritage, while also embracing Western influences.

In Indian aesthetics, ananda refers to the experience of beauty, joy, and bliss that is evoked by a work of art. It is considered the ultimate goal of artistic expression and is often associated with the concept of rasa (emotional impact).

Rumi, a 13th-century Persian poet and mystic, is known for his use of mystical and spiritual imagery in his poetry. His works, particularly the Masnavi, explore themes of love, devotion, and the search for divine truth.

In Indian aesthetics, riti refers to the use of specific poetic conventions and styles that are associated with different schools or traditions of poetry. It encompasses elements such as meter, rhyme, and the use of particular figures of speech.

The Modernist Movement, which emerged in the early 20th century, emphasized the use of experimental techniques and the exploration of new forms of expression in literature. It challenged traditional conventions and sought to break away from established norms.

In Indian aesthetics, gunibhuta-vyangya refers to the suggestion of meaning through the use of figurative language, such as metaphors, similes, and personification. It is considered a powerful technique for creating depth and resonance in literary and artistic works.