Agni Purana — Sahitya-shastra, Shloka 3
Chapter 340 — नृत्यादावङ्गकर्मनिरूपणम्
Explanation of Bodily Actions in Dance and Performance
विकृतं क्रीडितं केलिरिति द्वादशधैव सः लीलेष्टजनचेष्टानुकरणं संवृतक्षये
vikṛtaṃ krīḍitaṃ keliriti dvādaśadhaiva saḥ līleṣṭajanaceṣṭānukaraṇaṃ saṃvṛtakṣaye
‘বিকৃত’, ‘ক্রীড়িত’ ও ‘কেলি’—এইভাবে তা নিশ্চয়ই দ্বাদশপ্রকার। ‘লীলা’তে প্রিয়জনের চেষ্টার অনুকরণ হয়, যা গোপনতা/আবরণসহ তার সমাপ্তি পর্যন্ত সম্পন্ন হয়।
Lord Agni (in instruction to Sage Vasiṣṭha, within the Agni Purana’s encyclopedic exposition)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Clarifies subtypes within a set of expressive behaviors and defines līlā as mimetic enactment of the beloved’s actions with concealment until completion—useful for choreography and abhinaya scripting.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Līlā within the twelvefold ceṣṭā-bheda: mimetic imitation with concealment","lookup_keywords":["vikṛta","krīḍita","keli","līlā","anukaraṇa"],"quick_summary":"States that the system is twelvefold and highlights līlā as the imitation of the beloved’s gestures/behaviors, performed with a sense of concealment and sustained through its conclusion—guiding how the performer structures the enactment."}
Concept: Controlled revelation: aesthetic pleasure arises from regulated concealment and timed disclosure within performance.
Application: In abhinaya, maintain a consistent ‘hidden intention’ (saṃvṛti) while mirroring the beloved’s mannerisms, then resolve the motif at the scene’s end for rasa-siddhi.
Khanda Section: Sahitya-shastra (Kavya/Alankara: Dramatic and poetic terminology)
Primary Rasa: shringara
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A dancer-actor subtly imitates the beloved’s gestures—adjusting hair, playful glance, coy step—while partially veiling intent with a shawl/hand, sustaining the motif through a short sequence that ends in a poised stillness.","kerala_mural_prompt":"Kerala mural, dancer in śṛṅgāra abhinaya imitating a lover’s mannerisms, use of veil/hand for concealment, strong outlines, warm palette, temple stage context","tanjore_prompt":"Tanjore painting, richly dressed nayika performing līlā, gold-leaf on ornaments and veil edge, sequential mini-scenes around a central figure showing imitation and final pose","mysore_prompt":"Mysore style, clear sequential poses demonstrating anukaraṇa and saṃvṛti, soft shading, emphasis on facial nuance and eye-line, instructional composition","mughal_miniature_prompt":"Mughal miniature, intimate palace terrace scene, performer mimics the beloved’s gestures while half-veiled, attendants and musicians, delicate textiles and architectural detail"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: keliriti = keliḥ + iti; dvādaśadhaiva = dvādaśadhā + eva; līleṣṭa... = līlā + iṣṭa + jana + ceṣṭā + anukaraṇam.
Related Themes: Agni Purana 340.2 (list of līlā-ādi expressions); Agni Purana 340 (continuing ceṣṭā-bheda/aṅga-karman exposition)
FAQs
It imparts Sahitya-shastra (kavya/natya) technical classification: terms like vikṛta, krīḍita, keli, and the defining feature of līlā as a concealed enactment/imitative play of beloved persons’ gestures.
By recording precise dramaturgical and poetic definitions alongside other sciences, the Agni Purana functions as a compendium—preserving specialized vocabulary used in Sanskrit aesthetics and performance theory.
While primarily aesthetic-technical, it supports dharmic cultivation through refined speech, disciplined expression, and culturally sanctioned forms of art that can elevate rasa (sentiment) and mental purity when aligned with propriety.