Indian schools of philosophy a retaliation for the western school of thought?

The Hindu philosophy is categorized into six Orthodox and three Heterodox philosophies. The classification is based on the acceptance of the authority of the Vedas. The Orthodox school of philosophy also called the Aastika School believes in the authority of Vedas, while the Heterodox school of philosophy, popularly known as Nastika School rejects the principle of authority of Vedas. While the western schools of thoughts came up one after the other, with the only aim of destructing the existing thought process and establishing a new totally different way of thinking. In other words, the western schools were never complimentary to each other while the Indian schools sprouted and nurtured giving
each other a stand to hold on. Rasa is generally regarded as the corner stone of Indian Aesthetics. Rasa implies aesthetic emotion. The earliest work of Indian aesthetics is Bharatha’s ‘Natya Sastra’. It consists of a few instructions to the actors about present plays. In the course of discussion, Bharatha remarks that the aim of presenting a play is to evoke Rasa. Rasa, according to him, is the product of the combination of the Vibhavas, Anubhavas and the Vyabhicharibhavas. While the western philosophy concentrated on authors intention, structure, semantics, semiology and other highly technical aspects. Indian philosophy concentrates on the universalization of poetics. Universalization of poetic art is of two kinds. First of all, the aesthetic composition presents before our minds an aesthetic situation and an emotion, free from its local character. Secondly, the expression of this artistic enlightenment has a universal character in its manifestation in different minds. In the next stage this presented whole, becomes mingled with various types of subconscious and unconscious feelings which are lying dormant in the minds of various people. But we do not find any trace of any local character or colour with the real objective world around it. It is therefore, called transcendental, i.e., Alaukika or Camatkara. While the western philosophy school almost dissipates this possibility by ensuring such elements that make it connect to surroundings of the work is not done.
As per the Indian aesthetics, the beauty of literature is related to the synthesis of law and liberty. A literary work is presented in the medium of language. Hence it is certainly subjected to the rule of language. However, the beauty of a work of art is beyond these considerations. In fact, the laws are the wings of literature with which it soars high in the horizon of meaning. This synthesis of law and liberty is achieved by the judicious use of the elements of suggestion or Vyanjana. The concept of Vyanjana explains how meaning expands far beyond the literal sense. The language of poetry is different from the language of ordinary discourse. It is characterized by ‘suppression in expression’. Beauty in literature is best generated by the technique of Vyanjana or the suggested meaning. In the words of Kuntaka, Vakrokti or indirect expression generates beauty in poetry. According to Anandavardhana, the soul of poetry is suggestion. This concept is encapsulated in his maxim ‘Kavyasyatma Dhvani’. Words have different orders of signatory power. They have primary or literal meaning as well as contextual and suggested meaning. The primary meaning is referred to as ‘Abidha’ and the contextual meaning is called ‘Lakshnna’. Vyanjana is the suggested meaning. Concealment is the essence of Vyanjana. Poetry generates beauty by suppression in expression. Concealment arouses curiosity and the urge to unravel which leads to conquest. In poetry, only the implicit, indirect and suggested language is capable of producing beauty. This suggested language is called Vakrokti. Vakroti presents before the Sahridaya an indeterminate range of meaning to be explored. The greatness of poet lies in his mastery over the technique of suggestion.
A sentence may express something over and above the meaning of the words that constitute the sentence. The relation between the various words is unexpressed. This relation is referred to as Samsarga by the Naiyayikas of ancient India. Samsarga is Vakyartha. How Samsarga is expressed is not satisfactorily explained. In sentences, there is a juxtaposition of words. The element of the relation between words is conveyed by suppression. The essential part of every judgement is conveyed by suppression. This shows how the Indian schools of thought were already in an elevated state way before the introduction of western philosophical schools. The absence of manuscripts and the lack of ability to translate the ancient texts has truly hindered the growth of Indian philosophy into a universally recognized one.