Agni Purana — Sahitya-shastra, Shloka 13
Chapter 340 — नृत्यादावङ्गकर्मनिरूपणम्
Explanation of Bodily Actions in Dance and Performance
असंयुतः संयुतश् च भूम्ना हस्तः प्रमुच्यते पताकस्त्रिपाताकश् च तथा वै कर्तरीमुखः
asaṃyutaḥ saṃyutaś ca bhūmnā hastaḥ pramucyate patākastripātākaś ca tathā vai kartarīmukhaḥ
Жесты рук (hastas) в целом преподаются как двух видов: одиночные (asaṃyuta) и соединённые (saṃyuta). Среди них — Пата̄ка (Patāka), Трипата̄ка (Tripatāka) и также Карта̄римукха (Kartarīmukha).
Lord Agni (teaching to sage Vasiṣṭha in the Agni Purāṇa’s instructional discourse)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Shilpa","practical_application":"Teaching hasta-mudrā for dance/drama and ritualized gesture: distinguishing asaṃyuta and saṃyuta hastas and naming key single-hand gestures used in abhinaya.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Hasta classification: Asaṃyuta/Saṃyuta; Patāka, Tripatāka, Kartarīmukha","lookup_keywords":["hasta-mudrā","asaṃyuta-hasta","saṃyuta-hasta","patāka","kartarīmukha"],"quick_summary":"States the twofold division of hand-gestures (single and joined) and lists representative asaṃyuta hastas—Patāka, Tripatāka, Kartarīmukha—central to abhinaya vocabulary."}
Concept: Meaning can be embodied through standardized forms; mudrās function as a precise semiotic system in art and ritual.
Application: In choreography, assign patāka/tripatāka/kartarīmukha to specific words/actions (e.g., patāka for ‘cloud/forest/denial’ in many traditions; kartarīmukha for ‘separation/scissors/eyes’) and maintain consistent hand-shape clarity.
Khanda Section: Nṛtya–Nāṭya–Śilpa (Hasta-mudrā / Abhinaya-lakṣaṇa)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Visual Art Cues: {"scene_description":"A dancer demonstrates three single-hand mudrās—Patāka, Tripatāka, Kartarīmukha—while a teacher corrects finger positions; a chart shows the two categories: asaṃyuta and saṃyuta.","kerala_mural_prompt":"Kerala mural, dancer in classical costume showing patāka/tripatāka/kartarīmukha, bold outlines and expressive eyes, guru with palm-leaf chart of asaṃyuta/saṃyuta, temple stage setting","tanjore_prompt":"Tanjore painting, frontal dancer with ornate jewelry and gold-leaf work, hands prominently posed in the three mudrās in separate vignettes, rich decorative borders","mysore_prompt":"Mysore painting, instructional plate: precise hand diagrams for patāka, tripatāka, kartarīmukha with labels, dancer figure demonstrating, soft colors and fine lines","mughal_miniature_prompt":"Mughal miniature, rehearsal in a court atelier, dancer’s hands highlighted with delicate detail, teacher pointing to illustrated manual of hastas, patterned carpets and arches"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Shankarabharanam","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: संयुतश् च = संयुतः + च (visarga sandhi). पताकस्त्रिपाताकश् च = पताकः + त्रिपाताकः + च (visarga sandhi).
Related Themes: Agni Purana 340 (hasta, aṅgika-abhinaya, dṛṣṭi and mukha-bhāva sections)
FAQs
It imparts Nāṭya/Abhinaya-vidyā by classifying hastas into one-hand (asaṃyuta) and two-hand (saṃyuta) gestures and naming key asaṃyuta hastas—Patāka, Tripatāka, and Kartarīmukha—used for expressive communication in performance.
Beyond theology and ritual, it preserves technical knowledge of Indian performing arts (nāṭya-śāstra style taxonomy of mudrās), showing the Agni Purāṇa’s scope as a compendium that catalogs practical disciplines alongside religious instruction.
By systematizing correct abhinaya (expressive technique), it supports dhārmic performance—recitation, enactment, and devotional presentation—where disciplined art becomes a vehicle for conveying sacred narratives and cultivating purity of attention (ekāgratā) and merit through devotional expression.