Agni Purana — Sahitya-shastra, Shloka 22
Arthālaṅkāras (Ornaments of Meaning): Definitions, Taxonomy, and the Centrality of Upamā
उपमानेन यत्तत्वमुपमेयस्य रूप्यते गुणानां समतां दृष्ट्वा रूपकं नाम तद्विदुः
upamānena yattatvamupameyasya rūpyate guṇānāṃ samatāṃ dṛṣṭvā rūpakaṃ nāma tadviduḥ
Wenn man, nachdem man die Gleichheit der Eigenschaften erkannt hat, die eigentliche Natur des upamāna (Vergleichsmaßstab) dem upameya (dem Verglichenen) überträgt, nennen die Gelehrten diese Figur rūpaka (Metapher).
Lord Agni (in instruction to Sage Vasiṣṭha, within the Agni Purāṇa’s didactic discourse)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Defining rūpaka (metaphor) for composing condensed, identity-based imagery by superimposing upamāna onto upameya when guṇa-sāmya is perceived.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Rūpaka—metaphor by superimposition of upamāna on upameya","lookup_keywords":["rūpaka","upamāna","upameya","guṇa-sāmyam","āropa"],"quick_summary":"Rūpaka arises when, due to perceived equality of qualities, the nature of the standard of comparison is imposed upon the object compared—creating metaphorical identity rather than explicit simile."}
Alamkara Type: Rūpaka
Concept: Cognition of similarity can license conceptual superimposition, producing a new mode of meaning (metaphorical identity).
Application: In writing, replace ‘like/as’ with identity-phrasing when guṇa-sāmya is strong; in analysis, test whether upamāna’s svarūpa is being transferred to upameya.
Khanda Section: Sahitya-shastra (Alankara-shastra / Kavya-lakshana)
Primary Rasa: adbhuta
Secondary Rasa: śānta
Visual Art Cues: {"scene_description":"A diagrammatic teaching scene showing two labeled entities (upamāna and upameya) with an arrow of ‘āropa’ indicating the transfer of nature based on shared qualities.","kerala_mural_prompt":"Kerala mural style, symbolic two-figure composition labeled upamāna/upameya, a luminous arrow marked ‘āropa’, guru explaining guṇa-sāmya, stylized manuscript motifs, flat iconic geometry","tanjore_prompt":"Tanjore painting with gold leaf, central guru and two gilded medallions labeled upamāna and upameya, ornate arrow motif signifying superimposition, jewel-toned palette","mysore_prompt":"Mysore painting, clean instructional chart aesthetic, Sanskrit labels for upamāna/upameya/guṇa-sāmya, scholar pointing with stylus, refined pastel background","mughal_miniature_prompt":"Mughal miniature, scholars around a folio with a neat conceptual diagram, fine calligraphy labels, subtle shading, intellectual salon ambience"}
Audio Atmosphere: {"recitation_mood":"didactic","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: yattatvamupameyasya = yat tattvam upameyasya; sādṛśya implied: ‘seeing equality of qualities’.
Related Themes: Agni Purana 343.21 (upamā typology); Agni Purana 343.23 (sahokti related to upamā/rūpaka)
FAQs
It imparts kāvya-vidyā (Sanskrit poetics): the technical definition of rūpaka (metaphor) as the superimposition of the upamāna’s nature upon the upameya based on sameness of qualities.
By codifying a formal rule of alaṅkāra-śāstra (rhetoric/poetics) alongside other sciences, it shows the Agni Purāṇa’s scope extends beyond ritual and dharma into systematic literary theory.
While primarily aesthetic and technical, mastery of disciplined speech and meaning (śabda-artha) is traditionally viewed as refining intellect and dharma-oriented communication, supporting sattvic cultivation through right expression.