His writings were all in Sanskrit. Daṇḍin's account of his life in Avantisundarī states that he was a great-grandson of Dāmodara, a court poet from Vidarbha who served, among others, the Pallava king Siṃhaviṩṇu and KingDurvinīta of the Western Ganga dynasty:
Dāmodara was married in Kāñcī and fathered three sons; his middle-born, Manoratha, had four sons; Manoratha’s youngest son, Vīradatta, married a Brahmin woman, Gaurī, and they had several daughters and, eventually, a son, Daṇḍin. Daṇḍin then reports that he lost his mother at the age of seven and his father shortly thereafter, and that as an orphan, he had to flee Kāñcī because of an enemy invasion and was able to return only once peace was restored.
Yigal Bronner concludes that 'These details all suggest that Daṇḍin’s active career took place around 680–720 CE under the auspices of Narasiṃhavarman II Rājasiṃha in Kāñcī '. A range of evidence points to an association with the Pallava dynasty and its court at Kanchipuram in what became Tamil Nadu. Daṇḍin was widely praised as a poet by Sanskrit commentators such as Rajashekhara, and his works are widely studied. One shloka that explains the strengths of different poets says: दण्डिन: पदलालित्यम् . Daṇḍin's works are not well preserved. He composed the now incomplete Daśakumāracarita, and the even less complete Avantisundarī, in prose. He is best known for composing the Kāvyādarśa, the handbook of classical Sanskrit poetics, or Kāvya, which appears to be intact. Debate continues over whether these were composed by a single person, but 'there is now a wide consensus that a single Daṇḍin in authored all these works at the Pallava court in Kāñcī around the end of the seventh century'.
Works
''Kāvyādarśa''
The Kāvyādarśa is the earliest surviving systematic treatment of poetics in Sanskrit. Kāvyādarśa was strongly influenced by Bhaṭṭi's Bhaṭṭikāvya. In Kāvyādarśa, Daṇḍin argues that a poem's beauty derives from its use of rhetorical devices - of which he distinguished thirty-six. He is known for his complex sentences and creation of long compound words. The Kāvyādarśa is similar to and in many ways in disagreement with Bhāmaha's Kāvyālaṃkāra. Although modern scholars have debated who was borrowing from whom, or responding to whom, Bhāmaha appears to have been earlier, and that Daṇḍin was responding to him. By the tenth century, the two works were apparently studied together, and seen as foundational works on Sanskrit poetry.
''Daśakumāracarita'' and ''Avantisundarī''
Daśakumāracarita is a prose text that tells of the vicissitudes of ten princes in their pursuit of love and power. It contains stories of common life and reflects Indian society during the period, couched in colourful Sanskrit prose. It consists of Pūrvapīṭhikā, Daśakumāracarita Proper, and Uttarapīṭhikā. Overlapping in content with the Daśakumāracarita and also attributed to Daṇḍin is the even more fragmentary Avantisundarī or Avantisundarīkathā. Its two fragmentary manuscripts tell a story that is reflected by a later, fragmentary Sanskrit poem, the Avantisundarīkathāsāra and a fragmentary thirteenth-century Telugu translation. The two texts may represent separate compositions on the same theme by the same author, or are parts of one prose work by Daṇḍin that was broken up early in its transmission.
