Agni Purana — Sahitya-shastra, Shloka 36
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
विभावो नाम सद्वेधालम्बनोद्दीपनात्मकः रत्यादिभाववर्गो ऽयं यमाजीव्योपजायते
vibhāvo nāma sadvedhālambanoddīpanātmakaḥ ratyādibhāvavargo 'yaṃ yamājīvyopajāyate
വിഭാവം എന്നു പറയുന്നത് രണ്ടുവിധമായതിനാൽ—ആലമ്പനാത്മകവും ഉദ്ദീപനാത്മകവും. രതി മുതലായ ഭാവങ്ങളുടെ ഈ കൂട്ടം തന്റെ ഉപജീവ്യ/ആശ്രയം (ആധാരസ്ഥാനം) ആശ്രയിച്ചാണ് ഉദ്ഭവിക്കുന്നത്.
Lord Agni (teaching the encyclopedic disciplines of the Agni Purana, here Kavya-śāstra)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Natya","practical_application":"Rasa theory toolkit: identify vibhāva as twofold (ālambana/uddīpana) to design scenes that reliably generate rati and other bhāvas in drama/poetry.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Vibhāva-dvaya: Ālambana and Uddīpana","lookup_keywords":["vibhava","alambana","uddipana","rati","bhava"],"quick_summary":"Vibhāva (determinant) is of two kinds: the supporting locus (ālambana) and the exciting stimulus (uddīpana). Bhāvas like rati arise with reference to their proper locus and are intensified by stimuli."}
Alamkara Type: Samanya (rasa-nirūpaṇa; vibhāva-lakṣaṇa)
Concept: Emotional experience in art is structured: a stable bhāva requires a locus (ālambana) and is awakened by stimuli (uddīpana).
Application: When crafting a śṛṅgāra scene: define the lovers (ālambana) and add season, music, fragrance, moonlight, ornaments (uddīpana) to awaken rati without overt exposition.
Khanda Section: Sahitya-shastra (Kavya-śāstra: Rasa–Bhāva–Vibhāva Nirūpaṇa)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A schematic yet vivid scene showing lovers as ālambana and moonlight, spring blossoms, music as uddīpana, producing rati-bhāva.","kerala_mural_prompt":"Kerala mural: central couple (ālambana) framed by spring creepers, moon, bees, and lamp-light (uddīpana) rendered as symbolic motifs; decorative borders, flat iconic composition.","tanjore_prompt":"Tanjore: ornate couple with gold-highlighted jewelry (ālambana) and gold-embossed moon, flowers, incense smoke (uddīpana) around; rich reds/greens, temple-like framing.","mysore_prompt":"Mysore: instructional painting with two labeled clusters—ālambana (hero/heroine) and uddīpana (seasonal cues, music, setting)—arrows converging to a heart/lotus labeled rati; fine linework.","mughal_miniature_prompt":"Mughal miniature: garden at night with couple seated, musicians nearby, moon and blossoms detailed; subtle cues (perfume, breeze) indicated through delicate visual metaphors."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bihag","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: sadvedhālambanaoddīpanātmakaḥ→sat-vedha-ālambana-uddīpana-ātmakaḥ; vargo 'yaṃ→vargaḥ ayam; yamājīvyopajāyate→yama-ājīvya upajāyate (a + u sandhi → o).
Related Themes: Agni Purana Sahitya-śāstra: definitions of anubhāva and vyabhicāri-bhāva following vibhāva; Agni Purana Natya-related sections on character types and stage presentation
FAQs
It teaches a core concept of Kavya-śāstra/Rasa-śāstra: vibhāva (determinant of emotion) is twofold—ālambana (locus/person-object) and uddīpana (stimulus)—which generates bhāvas such as rati.
By giving compact textbook-style definitions from Sanskrit poetics (normally taught in Nāṭya/Kāvya traditions), the Agni Purana functions as a multi-disciplinary manual beyond ritual—covering aesthetics, literature, and theory of emotion.
It refines discernment (viveka) about how emotions arise from causes and supports; such clarity is traditionally valued for self-mastery and for using art and speech (kāvya) in a dharmic, elevating way.