In the realm of word-power, the rhetoricians
classify expressions as Abhidha, Lakshana and Vyanjana:
Abhidha implies direct/ literal/primary meaning.
For example ‘Ball is in your court’ will mean 'the ball is lying in the
opponent’s court in the game of tennis.'
In Lakshana the literal/primary meaning is rejected and
removed while indicative/ implicative meaning is projected. For example the
‘Ball is in your court’ through the power of Lakshana will
mean ‘It is up to you to make the next decision or step.’
Further through the power of Vyanjana both, literal and
indicative meanings are taken off and suggestive/intentional meaning comes
forth. For example ‘Ball is in your court’ through the power of vyanjana will
mean that the 'onus is on you.'
Vyanjana or suggested meaning is the soul of the
writings.
Thus the meaning of the words denoted by abhidha (verbal
meaning), or hinted by lakshana (indicative meaning) or
suggested by vyanjana (suggestive meaning) finally terminates
into rasa (essence).
The same theory applies in the premise of visual art where ‘lines, forms and
colours’ replace ‘words’ in expressing a particular sentiment. Thus visual art
is a kind of ‘nonverbal communication’ (communication through sending and
receiving wordless clues). Nonverbal communication involves the conscious and
unconscious processes of encoding and decoding.
Only a small percentage of the brain processes verbal communication. Nonverbal
communication represents two-thirds of all communication. That is why visual
arts become the more powerful tool of expression than writings. Hence, there is
an English idiom "A picture is worth a thousand words".
In the words of Oscar
Wilde “No great artist ever sees things as they really are. If he did,
he would cease to be an artist.” Through this, it is meant that
artists are required to go beyond the obvious and direct (abhidha) and
through indications (lakshana) should bring out the suggestive and
allusive (vyanjana) to give the essence (rasa) to the viewers.