The truth, as is often said, is half-concealed and half-revealed, and hence closer acquaintance and association are needed to appreciate it in all its beauty. The artist, in man, feels it, is inspired by it, and feels happy and elevated in conveying to others his experience of the golden touch of art. When this process resolves itself into a well-ordered and accomplished fact, art turns over its conquests to science and sets forth to explore unknown regions in the Land of the Beautiful.

In real life, every experience may not be pleasant or enjoyable. The medium of art makes it so. But art is not art per se. It has a certain communicative value. It cannot remain mystic and obscure. It has to transcend and reach the people, touch them, enrapture them, and educate them. For this, it has to be concrete and tangible.

It has to satisfy a certain standard of communication. Towards this end, critical judgements were formed, and from the theories that germinated, concepts were formed. In Vedic times, and for quite a few centuries later, too, the arts were looked upon from a religious viewpoint. Arts were executed (performed) almost as a ritual. Strict adherence to the theories, principles, and concepts was considered a must. These concepts became the guidelines for judging and evaluating the perfection and beauty of a work of art.

In this report, an attempt has been made to present a few concepts from one or two aestheticians in the different art fields. India has a rich cultural heritage and has produced numerous artists of great merit as well as aestheticians of profound knowledge. It requires an exhaustive study, which is beyond the scope of this report. This report is conceived as a brief glimpse of Indian aesthetics.