Agni Purana — Raja-dharma, Shloka 8
Chapter 228 — स्वप्नाध्यायः
Svapnādhāyaḥ / Chapter on Dreams
नर्तनं हसनञ्चैव विवाहो गीतमेव च तन्त्रीवाद्यविहीनानां वाद्यानामपि वादनं
nartanaṃ hasanañcaiva vivāho gītameva ca tantrīvādyavihīnānāṃ vādyānāmapi vādanaṃ
நடனம், சிரிப்பு, திருமண விழா, பாடல்; மேலும் தந்திரி வாத்தியத் துணை இல்லாமல்கூட வாத்தியங்களை வாசித்தல்—இவை அனைத்தும் இசை நிகழ்வின் வகைகளாகக் கூறப்படுகின்றன।
Lord Agni (in discourse to sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Classify and stage performative elements—dance, हास्य (comic expression), wedding songs/rites, and instrumental playing (including non-string ensembles)—as components of gīta-nṛtya-vādya practice.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Scope of Gīta–Nṛtya–Vādya (Performative Acts Counted as Musical Performance)","lookup_keywords":["nartana","hasana","vivaha-gita","vadya-vadana","sahitya-shastra"],"quick_summary":"The verse broadens ‘musical performance’ to include dance, laughter/comic expression, wedding celebration song, and instrumental performance even without stringed accompaniment."}
Alamkara Type: Hasya (as performative aesthetic element)
Concept: Performing arts are systematized by inclusive definitions; social rites (vivāha) and expressive acts (laughter) are legitimate aesthetic-performance domains.
Application: Design curricula or event protocols: include comic interludes, wedding repertoires, and percussion/wind ensembles as valid ‘vādya’ even without vīṇā/tantrī.
Khanda Section: Sahitya-shastra (Gīta–Nṛtya–Vādya / Performing Arts & Aesthetics)
Primary Rasa: hāsya
Secondary Rasa: śṛṅgāra
Visual Art Cues: {"scene_description":"A festive performance setting: dancers, singers, and instrumentalists; a wedding celebration with comic laughter and music, including percussion/wind instruments without string accompaniment.","kerala_mural_prompt":"Kerala mural, temple-festival wedding pavilion, dancers in classical poses, musicians with mṛdaṅga and cymbals, expressive laughing faces (hāsya), bold flat colors and ornate borders","tanjore_prompt":"Tanjore painting, wedding music ensemble with gold highlights on jewelry and instruments, central dancer, side singers, rich textile patterns, celebratory composition","mysore_prompt":"Mysore painting, instructional depiction of performance categories—dance, laughter, wedding song, instrumental ensemble—arranged in panels, delicate lines and soft shading","mughal_miniature_prompt":"Mughal miniature, courtly wedding entertainment with dancers and musicians, detailed instruments (tabla/pakhawaj, shehnai), lively expressions, architectural backdrop"}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Khamaj","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: हसनम् + च + एव → हसनञ्चैव; गीतम् + एव → गीतमेव.
Related Themes: Agni Purana: Gīta–Nṛtya–Vādya / Saṅgīta classifications; Agni Purana: Alaṅkāra and rasa discussions (where present)
FAQs
It gives a technical classification used in gīta-śāstra: activities like dance, laughter, wedding festivity, singing, and even non-string-accompanied instrumental playing are treated under the scope of musical/performance practice (gīta/vādana) for defining arts and their components.
Beyond theology and ritual, the Agni Purana catalogs applied disciplines such as aesthetics and performance theory, showing how cultural practices (song, dance, instruments, social ceremonies) are systematized like a śāstra within a Purāṇic framework.
By recognizing arts and celebratory rites as ordered, śāstra-guided practices, the text frames refined performance (when aligned with dharma and good conduct) as culturally purifying and supportive of auspicious social-sacral occasions.