Agni Purana — Sahitya-shastra, Shloka 6
Nāṭaka-nirūpaṇam
Exposition of Drama / Dramatic Genres and Plot-Structure
रसभावविभावानुभावा अभिनयास् तथा अङ्कः स्थितिश् च सामान्यं सर्वत्रैवोपसर्पणात्
rasabhāvavibhāvānubhāvā abhinayās tathā aṅkaḥ sthitiś ca sāmānyaṃ sarvatraivopasarpaṇāt
Ang rasa, bhāva, vibhāva at anubhāva, gayundin ang mga paraan ng pagsasadula (abhinaya), ang yugto/bahagi (aṅka), at ang pag-usad ng dula (sthiti)—lahat ng ito ay “pangkalahatan,” sapagkat lumalaganap at naaangkop sa lahat ng dako.
Lord Agni (instructional narration within the Agni Purana’s sahitya-shastra section)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Checklist for dramaturgy: ensure rasa-bhāva structure, vibhāva/anubhāva mapping, appropriate abhinaya, act-division (aṅka), and progression (sthiti) are present throughout the play.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"General constituents of drama: Rasa–Bhāva–Vibhāva–Anubhāva, Abhinaya, Aṅka, Sthiti","lookup_keywords":["rasa","bhāva","vibhāva","anubhāva","abhinaya"],"quick_summary":"These core elements pervade all drama and must be accounted for in composition and performance: emotional flavor and states, their causes and effects, representational techniques, act-structure, and dramatic movement."}
Concept: Universality of aesthetic-psychological components in performance arts.
Application: Use as a production rubric: for each scene, identify vibhāvas (stimuli), bhāvas (states), anubhāvas (expressions), choose abhinaya mode(s), and verify act/progression coherence.
Khanda Section: Sahitya-shastra (Natyashastra / Rasa theory and dramaturgy)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A teaching scene where a guru points to a wheel diagram labeled rasa, bhāva, vibhāva, anubhāva; nearby, actors demonstrate abhinaya; a scroll shows act divisions (aṅkas) and a rising line for sthiti (progression).","kerala_mural_prompt":"Kerala mural, guru in raṅgamaṇḍapa teaching, circular mandala-like chart of rasa-bhāva-vibhāva-anubhāva, actors in stylized poses showing abhinaya, bold outlines and flat color fields.","tanjore_prompt":"Tanjore style, central guru with gold halo-like arch, ornate chart panels with Sanskrit labels, actors in jewel-toned costumes, gold embossing on the rasa wheel and stage ornaments.","mysore_prompt":"Mysore painting, didactic composition: labeled diagram of rasa theory, sequential vignettes of abhinaya (āṅgika/vācika/āhārya/sāttvika implied), neat act blocks marked aṅka and a progression arrow for sthiti.","mughal_miniature_prompt":"Mughal miniature, atelier-like classroom with scholars and performers, detailed diagram sheet on the floor, actors rehearsing expressions, refined architectural interior and textiles."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: सर्वत्रैवोपसर्पणात् = सर्वत्र + एव + उपसर्पणात्; स्थितिश् च = स्थितिः + च.
Related Themes: Agni Purana 337 (rasa and nāṭya terminology cluster)
FAQs
It teaches a technical framework of dramaturgy: rasa and its emotional mechanics (bhāva, vibhāva, anubhāva) along with abhinaya, aṅka (act-structure), and sthiti (dramatic progression) as universally applicable components of theatrical composition.
By codifying core categories from Sanskrit aesthetics and drama theory, it shows the Agni Purana functioning beyond mythology—preserving systematic knowledge of sahitya-shastra (poetics) and natya (performance), alongside its other sciences.
By framing art through rasa and disciplined abhinaya, the verse implies that refined, dharma-aligned performance can elevate the mind through cultivated emotions, supporting inner purification via aesthetic contemplation.