Agni Purana — Sahitya-shastra, Shloka 19
Chapter 340 — नृत्यादावङ्गकर्मनिरूपणम्
Explanation of Bodily Actions in Dance and Performance
गजदन्तो वहिस्तम्भो वर्धमानो ऽपरे कराः उरः पञ्चविधं स्यात्तु आभुग्ननर्तनादिकम्
gajadanto vahistambho vardhamāno 'pare karāḥ uraḥ pañcavidhaṃ syāttu ābhugnanartanādikam
«Слоновый бивень», «огненный столп» и «возрастающий» — эти и другие мудры рук описаны. Движения груди (uraḥ) считаются пяти видов, начиная с ābhugna и nartana (движение, подобное танцу) и т. п.
Lord Agni (teaching the sage Vasiṣṭha in the Agni Purana’s encyclopedic instruction)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Codifying angika-abhinaya for dancers/actors: specific hasta-mudras and chest (uraḥ) movements used to convey meaning on stage.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Hasta-mudrā names and fivefold uraḥ-karman (chest movements)","lookup_keywords":["gajadanta hasta","vahistambha hasta","vardhamana hasta","urah panchavidha","abhugna nartana"],"quick_summary":"Enumerates named hand-gestures (hasta) and states that chest-movements are fivefold, beginning with ābhugna and nartana, forming a practical taxonomy for angika-abhinaya."}
Concept: Meaning is systematized through codified bodily signs (mudrā and torso/chest actions).
Application: Use standardized gesture vocabularies to ensure intelligibility and consistency in performance pedagogy.
Khanda Section: Sahitya-shastra (Natya & Abhinaya Lakshana / Bharata-parampara performing-arts taxonomy)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A dance-master demonstrates named hasta-mudrās (gajadanta, vahistambha, vardhamāna) while indicating five chest-movement modes, with students mirroring the forms.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, guru teaching classical dance mudras, clear hand shapes labeled by attendants, stylized chest/torso bends (abhugna, nartana), minimal background, traditional ornaments.","tanjore_prompt":"Tanjore painting, gold-leaf highlights on jewelry and borders, central dancer in classical pose showing gajadanta hasta, secondary figure demonstrating vahistambha, schematic chest-movement sequence in small panels, rich reds and greens.","mysore_prompt":"Mysore painting, fine linework and soft shading, instructional tableau of four dancers each showing a different hasta, a fifth showing chest movement, captions in Devanagari, calm studio setting.","mughal_miniature_prompt":"Mughal miniature, courtly dance lesson in a pavilion, detailed textiles, dancers demonstrating distinct hand gestures, subtle depiction of chest/torso articulation, marginal notes like a manual illustration."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: वर्धमानो ऽपरे = वर्धमानः + अपरे; स्यात्तु = स्यात् + तु.
Related Themes: Agni Purana 340 (angika-karman in nritya/natya); Agni Purana 341 (abhinaya-caturvidha)
FAQs
It gives technical nāṭya-vidyā: named hand-gestures (hastas) such as gajadanta, vahistambha, vardhamāna, and it classifies chest/torso movements (uraḥ) into five types used in expressive performance (abhinaya).
Beyond theology and ritual, the Agni Purana catalogs applied arts and sciences; here it preserves a systematic performing-arts vocabulary (gesture and body-movement taxonomy) aligned with the wider Nāṭyaśāstra tradition.
By standardizing disciplined, dhārmic performance (nāṭya) and its bodily techniques, the text frames artistic expression as a regulated, sattvic practice—supporting auspicious communication of rasa and sacred narratives when used in devotional or temple contexts.