Agni Purana — Sahitya-shastra, Shloka 50
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
स्थैर्यं गम्भीरता स्त्रीणां विभावा द्वादशेरिताः भावो विलासो हावःस्याद्भावः किञ्चिच्च हर्षजः
sthairyaṃ gambhīratā strīṇāṃ vibhāvā dvādaśeritāḥ bhāvo vilāso hāvaḥsyādbhāvaḥ kiñcicca harṣajaḥ
女性においては、安定（sthairya）と重厚さ・沈静（gambhīratā）が、ここに説かれる十二のヴィバーヴァ（決定因）のうちに数えられる。そこからバーヴァ（情態）が生じ、その戯れの現れをヴィラーサといい、媚態の表出をハーヴァと名づける。バーヴァは微かであることもあり、また歓喜より生ずることもある。
Lord Agni (traditional Agni Purana narrator) instructing the sage Vasiṣṭha
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Guide portrayal of feminine characterization: distinguish determinant factors (vibhāva) from resultant emotive states (bhāva), and name their outward playful/coquettish manifestations (vilāsa, hāva).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Women’s Vibhāvas and the Derivation of Bhāva–Vilāsa–Hāva","lookup_keywords":["vibhāva","bhāva","vilāsa","hāva","sthairya"],"quick_summary":"Steadiness and gravity are counted among determinants; from determinants arises bhāva, whose playful display is vilāsa and coquettish expression is hāva; bhāva can be subtle and joy-born."}
Alamkara Type: Nāṭya-bhāva theory (not a single alaṅkāra)
Concept: Emotions in art arise from determinants and manifest in graded outward expressions.
Application: In staging/writing, first set determinants (situation, partner, setting), then calibrate bhāva intensity; choose vilāsa for playful charm and hāva for coquettish signaling.
Khanda Section: Sahitya-shastra (Kavya–Natyashastra: Bhava, Hava, Vilasa and feminine expressions)
Primary Rasa: śṛṅgāra
Secondary Rasa: hāsya
Visual Art Cues: {"scene_description":"A heroine in a palace garden: composed steadiness and gravity as inner determinants, then subtle joy rising into vilāsa (playful movement) and hāva (coquettish glance).","kerala_mural_prompt":"Kerala mural, nāyikā in garden with lotus pond, calm posture indicating sthairya and gambhīratā, then a second overlapping pose showing vilāsa and hāva through eyes and hand gestures, stylized flora, warm tones.","tanjore_prompt":"Tanjore painting, richly adorned nāyikā with gold work, two attendants holding mirror and flowers, expression shifting from composed to playful; gold highlights emphasize kānti and ornamentation.","mysore_prompt":"Mysore painting, instructional sequence panel: three poses labeled bhāva, vilāsa, hāva; delicate shading, clear mudrā depiction, minimal background for clarity.","mughal_miniature_prompt":"Mughal miniature, palace terrace scene with heroine exchanging glances, subtle hāva in eyebrow and hand, fine textile detail, naturalistic garden elements."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: द्वादशेरिताः = द्वादश ईरिताः; हावःस्यात् = हावः स्यात्; किञ्चिच्च = किञ्चित् च.
Related Themes: Agni Purana 338 (Bhāva/Hāva lists; speech-types)
FAQs
It imparts technical kavya–natya terminology: how vibhāvas (determinants) give rise to bhāvas (emotive states), and how bhāva is further recognized in refined forms such as vilāsa (playful grace) and hāva (coquettish expression), including joy-born and subtle gradations.
Beyond mythology and worship, the Agni Purana preserves compact definitions from Sanskrit aesthetics (rasa/bhāva theory), showing its scope as a handbook that also summarizes dramaturgy and poetic science alongside other disciplines.
By systematizing emotion and expression, the text supports disciplined art (nāṭya/kāvya) that refines the mind (sattva) and channels desire and joy into culturally regulated, aesthetic forms, aiding inner balance rather than uncontrolled passion.