Agni Purana — Sahitya-shastra, Shloka 9
Explanation of Abhinaya and Related Topics (अभिनयादिनिरूपणम्) — Agni Purana, Chapter 341
शृङ्गारं द्विविधं विद्याद्वाङ्नेपथ्यक्रियात्मकम् हासश् च तुर्विधो ऽलक्ष्यदन्तः स्मित इतीरितः
śṛṅgāraṃ dvividhaṃ vidyādvāṅnepathyakriyātmakam hāsaś ca turvidho 'lakṣyadantaḥ smita itīritaḥ
Śṛṅgāra-rasa diketahui dua macam: (1) terungkap melalui ujaran serta penampilan/pakaian panggung (nepathya), dan (2) terungkap melalui tindakan. Hāsa (tawa) disebut empat macam; yang tanpa tampak gigi disebut “smita” (senyum lembut).
Lord Agni (in discourse to sage Vasiṣṭha, in the Agni Purana’s instructional narration)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Classifying śṛṅgāra and hāsa for dramaturgy/poetic composition; guiding actor’s expression (vācika/āhārya/āṅgika) and the playwright’s rasa-design.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Śṛṅgāra-dvaividhya and Hāsa-caturvidha (Smita-lakṣaṇa)","lookup_keywords":["śṛṅgāra","hāsa","smita","vācika","āhārya"],"quick_summary":"Śṛṅgāra is taught as twofold by mode of expression (speech/appearance vs action). Hāsa is fourfold; the toothless gentle smile is defined as smita."}
Concept: Aesthetic experience is systematized by defining rasas and their observable markers in performance.
Application: Use the definitions to script scenes and to coach actors on subtle gradations of smile and romantic expression.
Khanda Section: Sahitya-shastra (Kavya-shastra: Rasa and Alankara theory)
Primary Rasa: hasya
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A stage-teaching scene: a guru of nāṭya demonstrates two modes of śṛṅgāra (spoken/costumed vs enacted) and the ‘smita’ smile with lips closed and no teeth showing.","kerala_mural_prompt":"Kerala temple mural style, warm mineral pigments, nāṭya-guru instructing two dancers; one in ornate āhārya with expressive eyes, another demonstrating subtle smita with closed lips; stylized stage backdrop, traditional jewelry and costumes.","tanjore_prompt":"Tanjore painting with gold leaf, central nāṭya-ācārya holding palm-leaf manuscript, dancers in rich silk and heavy ornaments; highlight the smita expression (no teeth) with delicate facial detailing; gilded borders and halo-like ornamentation.","mysore_prompt":"Mysore painting style, fine linework and soft shading; instructional panel showing two śṛṅgāra modes labeled vācika/āhārya and kriyātmaka; close-up inset of smita mouth and eyes; calm classroom ambience.","mughal_miniature_prompt":"Mughal miniature, courtly performance hall; poet and dance-master observing; one performer conveys romance through dialogue and costume, another through gesture; small inset showing smita—closed lips, serene eyes; detailed textiles and architecture."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: विद्याद्वाङ्नेपथ्यक्रियात्मकम् = विद्याद् + वाक् + नेपथ्य + क्रिया + आत्मकम्; तुर्विधोऽलक्ष्यदन्तः = चतुर्विधः + अलक्ष्यदन्तः (अः + अ → ’)
Related Themes: Agni Purana 341 (Sāhitya-śāstra section on rasa/bhāva/abhinaya)
FAQs
It imparts kavya- and natya-vidya: the technical classification of aesthetic moods—Śṛṅgāra as twofold (verbal/appearance-based vs action-based) and the graded taxonomy of Hāsa, specifically defining smita as laughter where teeth are not shown.
Alongside ritual, polity, medicine, and warfare, the Agni Purana also preserves systematic Sanskrit poetics and dramaturgy—here, codifying rasa-expression through speech, costume/appearance (nepathya), and action, reflecting a compendium-style coverage of classical knowledge systems.
By regulating emotional expression through refined aesthetic categories (rasa), the text promotes disciplined speech and conduct; such cultivated expression supports sattvic refinement of mind, aiding ethical living and inner purification rather than uncontrolled passion or ridicule.