Agni Purana — Sahitya-shastra, Shloka 13
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
स्थायिनो ऽष्टौ रतिमुखाः स्तम्भाद्या व्यभिचारिणः मनो ऽनुकूले ऽनुभवः सुखस्य रतिरिष्यते
sthāyino 'ṣṭau ratimukhāḥ stambhādyā vyabhicāriṇaḥ mano 'nukūle 'nubhavaḥ sukhasya ratiriṣyate
ಸ್ಥಾಯೀ ಭಾವಗಳು ಎಂಟು; ಅವು ರತಿ (ಪ್ರೇಮ/ಆನಂದ)ದಿಂದ ಆರಂಭವಾಗುತ್ತವೆ. ವ್ಯಭಿಚಾರೀ ಭಾವಗಳು ಸ್ತಂಭ ಮೊದಲಾದವುಗಳಿಂದ ಆರಂಭ. ಮನಸ್ಸು ಅನುಕೂಲವಾಗಿರುವಾಗ ಸುಖಾನುಭವವೇ ರತಿ ಎಂದು ಪರಿಗಣಿಸಲಾಗುತ್ತದೆ.
Lord Agni (in instruction to Sage Vashistha, Agni Purana’s standard dialogue frame)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Use as a definitional key for identifying sthayin-bhavas and distinguishing rati (as a stable affect) from transient states while composing poetry/drama or performing abhinaya.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Sthāyin-bhāva: Rati (delight/love) and Vyabhicārin-bhāvas (from Stambha)","lookup_keywords":["sthāyin","rati","vyabhicārin","stambha","bhāva-lakṣaṇa"],"quick_summary":"Eight stable emotions begin with rati; transitory emotions begin with stambha. Pleasure experienced when the mind is favorably disposed is classified as rati."}
Concept: Mental disposition (anukūlatā) conditions the recognition/classification of affect as a stable bhāva (rati).
Application: In aesthetics and psychology of reception, assess the spectator/reader’s favorable mental set to evoke śṛṅgāra-rasa reliably.
Khanda Section: Sahitya-shastra (Kavya-shastra: Rasa and Bhava theory)
Primary Rasa: shringara
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A teacher of poetics instructs students, pointing to a palm-leaf chart listing eight sthāyin-bhāvas beginning with rati and vyabhicārin-bhāvas beginning with stambha; a couple in gentle affection symbolizes rati.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, guru teaching rasa-bhāva chart, serene couple embodying rati, stylized lotuses and lamps, flat iconic composition, crisp outlines","tanjore_prompt":"Tanjore painting, gold-leaf ornamentation, seated guru with palm-leaf manuscript, ornate arch, small vignette of loving couple as rati, rich reds and greens, embossed jewelry","mysore_prompt":"Mysore painting, delicate linework and soft shading, instructional tableau with labeled bhāva list on manuscript, calm courtly lovers indicating rati, minimal background","mughal_miniature_prompt":"Mughal miniature, scholarly majlis with poet-teacher, manuscript showing bhāva categories, refined lovers in a garden pavilion representing rati, intricate textiles and borders"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: ऽ = अ (avagraha). sthāyino 'ṣṭau = sthāyinaḥ aṣṭau; mano 'nukūle = manaḥ anukūle; 'nubhavaḥ = anubhavaḥ; ratiriṣyate = ratiḥ iṣyate.
Related Themes: Agni Purana 338 (Rasa–Bhāva definitions); Agni Purana Sahitya-shastra sections on rasas and bhāvas
FAQs
It imparts Kavya-shastra (Sahitya-vidya) knowledge: classification of emotions into eight sthāyibhāvas (enduring states) and vyabhicāribhāvas (transitory states), defining rati as the pleasurable mental experience when the mind is favorable.
Beyond theology and ritual, the Agni Purana also preserves systematic Sanskrit aesthetics—here, technical rasa–bhāva taxonomy used in drama and poetry—showing its coverage of arts and literary science alongside other disciplines.
While primarily aesthetic, it implies disciplined understanding of mental states: recognizing how pleasure and emotion arise in the mind supports refined perception (sattva) and ethical self-regulation, which traditional Dharma frameworks connect with inner purification.