Agni Purana — Chapter 340
AgP 340.1
:ए इत्य् आग्नेये महापुराणे अलङ्कारे रीतिनिरूपणं नामोनचत्वारिंशदधिकत्रिशततमो ऽध्यायः छप्तेर् {३४०} :श् अथ चत्वारिंशदधिकत्रिशततमो ऽध्यायः नृत्यादावङ्गकर्मनिरूपणं अग्निर् उवाच चेष्टाविशेषमप्यङ्गप्रत्यङ्गे कर्म चानयोः शरीरारम्भमिच्छन्ति प्रायः पूर्वो ऽवलाश्रयः
:e ity āgneye mahāpurāṇe alaṅkāre rītinirūpaṇaṃ nāmonacatvāriṃśadadhikatriśatatamo 'dhyāyaḥ chapter {340} :ś atha catvāriṃśadadhikatriśatatamo 'dhyāyaḥ nṛtyādāvaṅgakarmanirūpaṇaṃ agnir uvāca ceṣṭāviśeṣamapyaṅgapratyaṅge karma cānayoḥ śarīrārambhamicchanti prāyaḥ pūrvo 'valāśrayaḥ
Thus, in the Āgneya Mahāpurāṇa, the three-hundred-and-thirty-ninth chapter, named the exposition of style (rīti) within (the section on) poetic ornament. Now the three-hundred-and-fortieth chapter: the exposition of the action of the limbs in dance and the rest. Agni said: (they teach) also the particular gestures, and the action of these two, the major and minor limbs. They hold (all this) to begin with the body; for the most part the former (kind) has women as its basis.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.2
लीला विलासो विछित्तिर्विभ्रमं किलकिञ्चितं मोट्टायितं कुट्टमितं विव्वोको ललितन्तथा
līlā vilāso vichittirvibhramaṃ kilakiñcitaṃ moṭṭāyitaṃ kuṭṭamitaṃ vivvoko lalitantathā
Playfulness (līlā), grace (vilāsa), studied negligence (vicchitti), flurry (vibhrama), kilakiñcita, moṭṭāyita, kuṭṭamita, vivvoka, and dalliance (lalita),
AI translation rendered from the Sanskrit, not a published edition
AgP 340.3
विकृतं क्रीडितं केलिरिति द्वादशधैव सः लीलेष्टजनचेष्टानुकरणं संवृतक्षये
vikṛtaṃ krīḍitaṃ keliriti dvādaśadhaiva saḥ līleṣṭajanaceṣṭānukaraṇaṃ saṃvṛtakṣaye
the altered (vikṛta), the sportive (krīḍita), and play (keli): thus it is of just twelve kinds. Playfulness is the imitation of the gestures of a beloved person, when (his) absence is concealed.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.4
विशेषान् दर्शयन् किञ्चिद्विलासः सद्भिरिष्यते हसितक्रान्दितादीनां सङ्करः किलकिञ्चितं
viśeṣān darśayan kiñcidvilāsaḥ sadbhiriṣyate hasitakrānditādīnāṃ saṅkaraḥ kilakiñcitaṃ
Displaying certain distinctive (features) — that the good hold to be grace (vilāsa). The mingling of laughter, weeping and the rest is kilakiñcita.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.5
विकारः कोपि विव्वोको ललितं सौकुमार्यतः शिरः पाणिरुरः पार्श्वङ्कटिरङ्घ्रिरिति क्रमात्
vikāraḥ kopi vivvoko lalitaṃ saukumāryataḥ śiraḥ pāṇiruraḥ pārśvaṅkaṭiraṅghririti kramāt
Some (particular) change (of manner) is vivvoka; dalliance (lalita) comes from delicacy. Head, hand, chest, side, waist, foot — thus in order
AI translation rendered from the Sanskrit, not a published edition
AgP 340.6
अङ्गानि भ्रूलतादीनि प्रत्यङ्गान्यभिजानते :न् १ सङ्क्षिप्तकरपातौ चेति ज॥ :प् २१२ अङ्गप्रत्यङ्गयोः कर्म प्रयत्नजनितं विना
aṅgāni bhrūlatādīni pratyaṅgānyabhijānate :n 1 saṅkṣiptakarapātau ceti ja.. :p 212 aṅgapratyaṅgayoḥ karma prayatnajanitaṃ vinā
are the major limbs; the creeper-like brows and the rest they know as minor limbs. — (Note: variant 'saṅkṣiptakarapātau ca' in ms. ja.) — Without the action of the major and minor limbs, produced by effort,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.7
न प्रयोगः क्वचिन्मुख्यन्तिरश्चीनञ्च तत् क्वचित् आकम्पितं कम्पितञ्च(१) धूतं विधूतमेव च
na prayogaḥ kvacinmukhyantiraścīnañca tat kvacit ākampitaṃ kampitañca(1) dhūtaṃ vidhūtameva ca
there is no performance anywhere; it is (sometimes) primary and sometimes subordinate. Ākampita and kampita, dhūta and vidhūta,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.8
परिवाहितमाधूतमवधूतमथाचितं निकुञ्चितं परावृत्तमुत्क्षिप्तञ्चाप्यधोगतम्
parivāhitamādhūtamavadhūtamathācitaṃ nikuñcitaṃ parāvṛttamutkṣiptañcāpyadhogatam
parivāhita, ādhūta, avadhūta, then ācita, nikuñcita, parāvṛtta, utkṣipta, and also adhogata,
AI translation rendered from the Sanskrit, not a published edition
AgP 340.9
ललितञ्चेति विज्ञेयं त्रयोदशविधं शिरः भ्रूकर्म सप्तधा ज्ञेयं पातनं भ्रूकुटीमुखं
lalitañceti vijñeyaṃ trayodaśavidhaṃ śiraḥ bhrūkarma saptadhā jñeyaṃ pātanaṃ bhrūkuṭīmukhaṃ
and lalita: thus the head is to be known as of thirteen kinds. The action of the brows is to be known as sevenfold: lowering, knitting, and so on.
AI translation rendered from the Sanskrit, not a published edition
AgP 340.10
दृष्तिस्त्रिधा रमस्थायिसञ्चारिप्रतिबन्धना षट्त्रिंशद्भेदविधुरा रसजा तत्र चाष्टधा
dṛṣtistridhā ramasthāyisañcāripratibandhanā ṣaṭtriṃśadbhedavidhurā rasajā tatra cāṣṭadhā
The gaze is threefold, according as it is bound to rasa, to the abiding emotion, or to the transient emotion; it has thirty-six divisions, and of these the kind born of rasa is eightfold.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.11
नवधा तारकाकर्म भ्रमणञ्चलनादिकं षोढा च नासिका ज्ञेया निश्वासो नवधा मतः
navadhā tārakākarma bhramaṇañcalanādikaṃ ṣoḍhā ca nāsikā jñeyā niśvāso navadhā mataḥ
The action of the pupils is ninefold — rolling, moving and the rest; the nose is to be known as sixfold; breathing out is held to be ninefold.
AI translation rendered from the Sanskrit, not a published edition
AgP 340.12
षोटौष्ठकर्मकं पापं सप्तधा चिवुकक्रिया कलुषादिमुखं षोढा ग्रीवा नवविधा स्मृता
ṣoṭauṣṭhakarmakaṃ pāpaṃ saptadhā civukakriyā kaluṣādimukhaṃ ṣoḍhā grīvā navavidhā smṛtā
The action of the lips is sixfold; the movement of the chin sevenfold; the face is sixfold, (beginning with) the troubled (kaluṣa) and so on; the neck is said to be of nine kinds.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.13
असंयुतः संयुतश् च भूम्ना हस्तः प्रमुच्यते पताकस्त्रिपाताकश् च तथा वै कर्तरीमुखः
asaṃyutaḥ saṃyutaś ca bhūmnā hastaḥ pramucyate patākastripātākaś ca tathā vai kartarīmukhaḥ
The hand is chiefly released (i.e. employed) as unjoined and as joined: patāka and tripatāka, and likewise kartarīmukha,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.14
अर्धचन्द्रोत्करालश् च शुकतुण्डस्तथैव च सुष्टिश् च शिखरश् चैव कपित्थः खेटकामुखः
ardhacandrotkarālaś ca śukatuṇḍastathaiva ca suṣṭiś ca śikharaś caiva kapitthaḥ kheṭakāmukhaḥ
ardhacandra and utkarāla, and likewise śukatuṇḍa, muṣṭi and śikhara, kapittha, kheṭakāmukha,
AI translation rendered from the Sanskrit, not a published edition
AgP 340.15
सूच्यास्यः पद्मकोषो हि शिराः समृगशीर्षकाः कांमूलकालपद्मौ(२)* च चतुरभ्रमरौ तथा
sūcyāsyaḥ padmakoṣo hi śirāḥ samṛgaśīrṣakāḥ kāṃmūlakālapadmau(2)* ca caturabhramarau tathā
sūcyāsya, padmakośa, sarpaśiras and mṛgaśīrṣaka, kāṅgūla and ālapadma, and catura and bhramara,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.16
हंसास्यहंसपक्षौ च सन्दंशमुकुलौ तथा :न् १ आकल्पितं कल्पितञ्चेति ख॥ २ काङ्गूलकालपद्माविति ञ॥ कांमूलकालपद्मौ काङ्गूलकालपद्मौ एतत्पाठद्वयं न समीचीनं :प् २१३ उर्णनाभस्ताम्रचूडश् चतुर्विंशतिरित्यमी
haṃsāsyahaṃsapakṣau ca sandaṃśamukulau tathā :n 1 ākalpitaṃ kalpitañceti kha.. 2 kāṅgūlakālapadmāviti ña.. kāṃmūlakālapadmau kāṅgūlakālapadmau etatpāṭhadvayaṃ na samīcīnaṃ :p 213 urṇanābhastāmracūḍaś caturviṃśatirityamī
haṃsāsya and haṃsapakṣa, and sandaṃśa and mukula, — (notes: 'ākalpitaṃ kalpitaṃ ca' in ms. kha; 'kāṅgūlakālapadmau' in ms. ña; neither reading kāṃmūlakālapadmau nor kāṅgūlakālapadmau is correct) — ūrṇanābha and tāmracūḍa: these twenty-four,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.17
असंयुतकराः प्रोक्ताः संयुतास्तु त्रयोदश अञ्जलिश् च कपोतश् च कर्कटः स्वस्तिकस् तथा
asaṃyutakarāḥ proktāḥ saṃyutāstu trayodaśa añjaliś ca kapotaś ca karkaṭaḥ svastikas tathā
are declared the unjoined hand-gestures; the joined ones, however, are thirteen: añjali, kapota, karkaṭa, and svastika,
AI translation rendered from the Sanskrit, not a published edition
AgP 340.18
कटको वर्धमानश्चाप्यसङ्गो निषधस् तथा दोलः पुष्पपुटश् चैव तथा मकर एव च
kaṭako vardhamānaścāpyasaṅgo niṣadhas tathā dolaḥ puṣpapuṭaś caiva tathā makara eva ca
kaṭaka, vardhamāna, and also asaṅga (utsaṅga), niṣadha, dola, puṣpapuṭa, and likewise makara,
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.19
गजदन्तो वहिस्तम्भो वर्धमानो ऽपरे कराः उरः पञ्चविधं स्यात्तु आभुग्ननर्तनादिकम्
gajadanto vahistambho vardhamāno 'pare karāḥ uraḥ pañcavidhaṃ syāttu ābhugnanartanādikam
The elephant-tusk, the fire-post (vahistambha), the vardhamāna — these are the other hand-gestures. The (movements of the) chest are of five kinds: the bent (ābhugna), the dancing (nartana), and so on.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain
AgP 340.20
उदरन्दुरतिक्षामं खण्डं पूर्णमिति त्रिधा पार्श्वयोः पञ्चकर्माणि जङ्घाकर्म च पञ्चधा अनेकधा पादकर्म नृत्यादौ नाटके स्मृतम्
udaranduratikṣāmaṃ khaṇḍaṃ pūrṇamiti tridhā pārśvayoḥ pañcakarmāṇi jaṅghākarma ca pañcadhā anekadhā pādakarma nṛtyādau nāṭake smṛtam
The belly is of three kinds: very lean, hollowed (khaṇḍa), and full. There are five movements of the two sides, and the movement of the shanks is fivefold; the movement of the feet is of many kinds, so it is taught in dance and in drama.
AI translation rendered from the Sanskrit, not a published edition — the model flagged this verse as uncertain