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
హస్తముద్రలు సాధారణంగా రెండు విధములు—అసంయుత (ఒంటరి) మరియు సంయుత (జోడించిన). వాటిలో పతాక, త్రిపతాక, అలాగే కర్తరీముఖ మొదలైన ముద్రాభేదములు ఉన్నాయి.
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.