# Theory of Dhwani The theory of Dhwani occupies a central position in Indian aesthetics and literary criticism. The Sanskrit word ‘Dhwani’ literally means sound, resonance, suggestion, or echo. In the context of aesthetics, however, it refers to the suggested meaning that lies beyond the literal and directly expressed meaning of a work of art or literature. According to this theory, the highest artistic experience does not arise merely from the words, actions, forms, colours, or objects explicitly presented by an artist. Rather, it emerges when these visible or audible elements suggest deeper emotions, ideas, moods, or experiences in the mind of the sensitive spectator or reader. The theory of Dhwani was systematically formulated by Anandavardhana, a renowned Sanskrit literary theorist of the ninth century, in his influential work *Dhvanyaloka*. He considered Dhwani to be the fundamental principle of great poetry and artistic expression. Later, Abhinavagupta developed and elaborated Anandavardhana’s ideas, particularly by relating Dhwani to the theory of Rasa. Together, these theories became highly influential in the development of Indian aesthetics. Anandavardhana distinguished between three levels of meaning in artistic expression: *abhidha*, *lakshana*, and *vyanjana*. Abhidha refers to the primary or literal meaning of a word. For example, when someone says, “The moon is shining,” the direct meaning is that the moon is visible and emitting light. Lakshana refers to secondary meaning, which becomes necessary when the literal meaning is unsuitable or incomplete. Vyanjana, or suggestion, refers to a meaning that is not directly stated but is evoked or suggested through the expression. Dhwani operates primarily through this process of suggestion. The central argument of the Dhwani theory is that the suggested meaning may be more aesthetically significant than the literal meaning. A poet or artist may use