highly artificial Sanskrit literary style employed in the court epics of India from the early centuries AD. It evolved an elaborate poetics of figures of speech, among which the metaphor and simile predominate. Other characteristics of the style are hyperbole, the careful use of language to achieve a particular effect, a sometimes ostentatious display of erudition, and an adroit use of varied and complicated metres—all applied to traditional subjects and themes derived from early popular epics.

The style finds its classical expression in the so-called mahakavya (“great poem”), in the strophic lyric (a lyric based on a rhythmic system of two or more lines repeated as a unit), and in the Sanskrit theatre. The great masters of the kavya form (which was exported to Java) were Ashvaghosa (Aśvaghoṣa), Kalidasa (Kālidāsa), Bana (Bāṇa), Dandin (Daṇḍin), Magha, Bhavabhuti (Bhavabhūti), and Bharavi.

The earliest surviving kavya literature was written by Ashvaghosa (Aśvaghoṣa), a Buddhist. Two works by him, both in the style of mahakavya, are extant: the Buddhacarita (“Life of the Buddha”) and the Saundarananda (“Of Sundari and Nanda”). In his mastery of the intricacies of prosody and the subtleties of grammar and vocabulary, Ashvaghosa anticipated the style of the Hindu mahakavya authors. The kavya remains influential in modern Indian languages and literatures. Rhetorical prose kavya also exist, notable for their use of compound nouns.