In Indian aesthetics, 'rasa' refers to the emotional response elicited by a work of art, particularly in the context of drama, music, and dance. It is believed that certain artistic elements, such as rhythm, melody, and imagery, can evoke specific emotions in the audience.

Plato, in his dialogues, particularly 'Symposium' and 'Phaedrus', argued that beauty is an objective quality that exists independently of the observer. He believed that beauty is a reflection of the divine and that it can be apprehended through contemplation and intellectual inquiry.

In the Upanishads, Brahman is described as the ultimate reality, the source and essence of all existence. It is often characterized as being infinite, eternal, and unchanging. Brahman is considered to be the ground of all being and consciousness.

Immanuel Kant, in his 'Critique of Pure Reason', introduced the concept of 'transcendental consciousness', which refers to the underlying structure of consciousness that makes experience possible. He argued that there are certain a priori categories and principles that organize and shape our perception and understanding of the world.

Samadhi, in Indian philosophy, particularly in Yoga and Vedanta, refers to a state of deep meditation and heightened consciousness. It is a state of mental absorption and tranquility, where the mind becomes still and focused, allowing for a direct experience of reality.

David Hume, in his 'Treatise of Human Nature', argued that beauty is a subjective quality that depends on the individual's perception and emotional response. He believed that there is no objective standard of beauty and that what is considered beautiful varies from person to person.

Alaṃkāra, in Indian aesthetics, refers to the use of figures of speech, metaphors, and other literary devices to enhance the beauty and expressiveness of a work of art. It involves the skillful arrangement and combination of words, sounds, and images to create a vivid and aesthetically pleasing experience.

Immanuel Kant, in his 'Critique of Judgment', introduced the concept of 'aesthetic disinterestedness', which refers to the idea that aesthetic appreciation should be free from personal desires, interests, and practical considerations. He argued that true aesthetic judgment is based on the contemplation of beauty for its own sake, without any ulterior motives.

Moksha, in Indian philosophy, particularly in Hinduism and Buddhism, refers to the state of liberation from the cycle of birth, death, and rebirth (samsara). It is the ultimate goal of spiritual practice and is characterized by the realization of the true nature of reality and the dissolution of the ego.

Plotinus, a Neoplatonic philosopher, argued that beauty is a manifestation of the divine. He believed that beauty is a reflection of the highest principle, the One, and that it can lead the soul to a state of contemplation and union with the divine.

Rasa-dhvani, in Indian aesthetics, refers to the evocation of a particular mood or atmosphere in a work of art through the use of suggestion and implication. It involves the subtle and indirect expression of emotions and sentiments, allowing the audience to experience them aesthetically.

Edmund Burke, in his 'A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful', introduced the concept of 'the sublime' as a distinct aesthetic category. He argued that the sublime is a feeling of awe and reverence inspired by vastness, power, and danger, which can be experienced in the face of natural phenomena or works of art.

Atman, in Indian philosophy, particularly in Vedanta, refers to the true self, the inner essence of an individual. It is often described as pure awareness, consciousness, or spirit. Atman is considered to be beyond the limitations of the individual self and is often equated with Brahman, the ultimate reality.

Plato, in his dialogues, particularly 'Symposium' and 'Phaedrus', argued that beauty is a source of moral and spiritual upliftment. He believed that the contemplation of beauty can lead the soul to a higher realm of understanding and virtue.

Bhavana, in Indian aesthetics, refers to the skillful use of language and imagery to create a vivid and aesthetically pleasing experience. It involves the evocation of mental images, emotions, and associations through the use of poetic devices and techniques.