Agni Purana — Sahitya-shastra, Shloka 50
Chapter 338 — शृङ्गारादिरसनिरूपणम्
Exposition of the Rasas beginning with Śṛṅgāra
स्थैर्यं गम्भीरता स्त्रीणां विभावा द्वादशेरिताः भावो विलासो हावःस्याद्भावः किञ्चिच्च हर्षजः
sthairyaṃ gambhīratā strīṇāṃ vibhāvā dvādaśeritāḥ bhāvo vilāso hāvaḥsyādbhāvaḥ kiñcicca harṣajaḥ
عورتوں کے لیے ثبات اور سنجیدگی—یہاں انہیں بارہ وِبھاووں میں بیان کیا گیا ہے۔ انہی سے بھاو پیدا ہوتا ہے؛ اس کا کھیلتا ہوا ظہور ‘ولاس’ اور ناز و ادا کی صورت ‘ہاو’ کہلاتی ہے۔ بھاو کبھی کچھ کم بھی ہوتا ہے اور خوشی سے بھی پیدا ہوتا ہے۔
Lord Agni (traditional Agni Purana narrator) instructing the sage Vasiṣṭha
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Guide portrayal of feminine characterization: distinguish determinant factors (vibhāva) from resultant emotive states (bhāva), and name their outward playful/coquettish manifestations (vilāsa, hāva).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Women’s Vibhāvas and the Derivation of Bhāva–Vilāsa–Hāva","lookup_keywords":["vibhāva","bhāva","vilāsa","hāva","sthairya"],"quick_summary":"Steadiness and gravity are counted among determinants; from determinants arises bhāva, whose playful display is vilāsa and coquettish expression is hāva; bhāva can be subtle and joy-born."}
Alamkara Type: Nāṭya-bhāva theory (not a single alaṅkāra)
Concept: Emotions in art arise from determinants and manifest in graded outward expressions.
Application: In staging/writing, first set determinants (situation, partner, setting), then calibrate bhāva intensity; choose vilāsa for playful charm and hāva for coquettish signaling.
Khanda Section: Sahitya-shastra (Kavya–Natyashastra: Bhava, Hava, Vilasa and feminine expressions)
Primary Rasa: śṛṅgāra
Secondary Rasa: hāsya
Visual Art Cues: {"scene_description":"A heroine in a palace garden: composed steadiness and gravity as inner determinants, then subtle joy rising into vilāsa (playful movement) and hāva (coquettish glance).","kerala_mural_prompt":"Kerala mural, nāyikā in garden with lotus pond, calm posture indicating sthairya and gambhīratā, then a second overlapping pose showing vilāsa and hāva through eyes and hand gestures, stylized flora, warm tones.","tanjore_prompt":"Tanjore painting, richly adorned nāyikā with gold work, two attendants holding mirror and flowers, expression shifting from composed to playful; gold highlights emphasize kānti and ornamentation.","mysore_prompt":"Mysore painting, instructional sequence panel: three poses labeled bhāva, vilāsa, hāva; delicate shading, clear mudrā depiction, minimal background for clarity.","mughal_miniature_prompt":"Mughal miniature, palace terrace scene with heroine exchanging glances, subtle hāva in eyebrow and hand, fine textile detail, naturalistic garden elements."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: द्वादशेरिताः = द्वादश ईरिताः; हावःस्यात् = हावः स्यात्; किञ्चिच्च = किञ्चित् च.
Related Themes: Agni Purana 338 (Bhāva/Hāva lists; speech-types)
FAQs
It imparts technical kavya–natya terminology: how vibhāvas (determinants) give rise to bhāvas (emotive states), and how bhāva is further recognized in refined forms such as vilāsa (playful grace) and hāva (coquettish expression), including joy-born and subtle gradations.
Beyond mythology and worship, the Agni Purana preserves compact definitions from Sanskrit aesthetics (rasa/bhāva theory), showing its scope as a handbook that also summarizes dramaturgy and poetic science alongside other disciplines.
By systematizing emotion and expression, the text supports disciplined art (nāṭya/kāvya) that refines the mind (sattva) and channels desire and joy into culturally regulated, aesthetic forms, aiding inner balance rather than uncontrolled passion.