Agni Purana — Sahitya-shastra, Shloka 19
Chapter 340 — नृत्यादावङ्गकर्मनिरूपणम्
Explanation of Bodily Actions in Dance and Performance
गजदन्तो वहिस्तम्भो वर्धमानो ऽपरे कराः उरः पञ्चविधं स्यात्तु आभुग्ननर्तनादिकम्
gajadanto vahistambho vardhamāno 'pare karāḥ uraḥ pañcavidhaṃ syāttu ābhugnanartanādikam
« Défense d’éléphant », « pilier de feu » et « croissant » : ces mudrā de la main et d’autres encore sont décrits. Les mouvements de la poitrine (uraḥ) sont dits de cinq sortes, à commencer par ābhugna et nartana (mouvement de type dansé), etc.
Lord Agni (teaching the sage Vasiṣṭha in the Agni Purana’s encyclopedic instruction)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Codifying angika-abhinaya for dancers/actors: specific hasta-mudras and chest (uraḥ) movements used to convey meaning on stage.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Hasta-mudrā names and fivefold uraḥ-karman (chest movements)","lookup_keywords":["gajadanta hasta","vahistambha hasta","vardhamana hasta","urah panchavidha","abhugna nartana"],"quick_summary":"Enumerates named hand-gestures (hasta) and states that chest-movements are fivefold, beginning with ābhugna and nartana, forming a practical taxonomy for angika-abhinaya."}
Concept: Meaning is systematized through codified bodily signs (mudrā and torso/chest actions).
Application: Use standardized gesture vocabularies to ensure intelligibility and consistency in performance pedagogy.
Khanda Section: Sahitya-shastra (Natya & Abhinaya Lakshana / Bharata-parampara performing-arts taxonomy)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A dance-master demonstrates named hasta-mudrās (gajadanta, vahistambha, vardhamāna) while indicating five chest-movement modes, with students mirroring the forms.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, guru teaching classical dance mudras, clear hand shapes labeled by attendants, stylized chest/torso bends (abhugna, nartana), minimal background, traditional ornaments.","tanjore_prompt":"Tanjore painting, gold-leaf highlights on jewelry and borders, central dancer in classical pose showing gajadanta hasta, secondary figure demonstrating vahistambha, schematic chest-movement sequence in small panels, rich reds and greens.","mysore_prompt":"Mysore painting, fine linework and soft shading, instructional tableau of four dancers each showing a different hasta, a fifth showing chest movement, captions in Devanagari, calm studio setting.","mughal_miniature_prompt":"Mughal miniature, courtly dance lesson in a pavilion, detailed textiles, dancers demonstrating distinct hand gestures, subtle depiction of chest/torso articulation, marginal notes like a manual illustration."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: वर्धमानो ऽपरे = वर्धमानः + अपरे; स्यात्तु = स्यात् + तु.
Related Themes: Agni Purana 340 (angika-karman in nritya/natya); Agni Purana 341 (abhinaya-caturvidha)
FAQs
It gives technical nāṭya-vidyā: named hand-gestures (hastas) such as gajadanta, vahistambha, vardhamāna, and it classifies chest/torso movements (uraḥ) into five types used in expressive performance (abhinaya).
Beyond theology and ritual, the Agni Purana catalogs applied arts and sciences; here it preserves a systematic performing-arts vocabulary (gesture and body-movement taxonomy) aligned with the wider Nāṭyaśāstra tradition.
By standardizing disciplined, dhārmic performance (nāṭya) and its bodily techniques, the text frames artistic expression as a regulated, sattvic practice—supporting auspicious communication of rasa and sacred narratives when used in devotional or temple contexts.