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
諸性質の等しさを見て、譬えの基準であるウパマーナ（upamāna）の本性を、譬えられる対象ウパメーヤ（upameya）に重ねて言い表すとき、学匠はその修辞をルーパカ（rūpaka、隠喩）と名づける。
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.