Agni Purana — Agneya-vidya, Shloka 32
Chapter 38 — देवालयनिर्माणफलं
The Merit of Constructing a Temple
प्रतिमास्थापने यागे फलस्यान्तो न विद्यते मृण्मयाद्दारुजे पुण्यं दारुजादिष्ट्काभवे
pratimāsthāpane yāge phalasyānto na vidyate mṛṇmayāddāruje puṇyaṃ dārujādiṣṭkābhave
في شعيرة اليَجْنَة المقامة لتنصيب البراتيمَا (الصورة المقدسة)، لا حدّ لثمرات الثواب. وثواب نصب تمثال من الخشب أعظم من ثواب تمثال من الطين؛ وثواب تمثال من الآجرّ أو البناء أعظم من ثواب تمثال من الخشب.
Lord Agni (in dialogue tradition, instructing sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vrata","practical_application":"Selecting icon material and planning pratima-pratishtha/yajna with an understanding of graded punya attributed to different media (clay/wood/brick-masonry).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Phala-taratamya in Pratima-sthapana by Material (Mrinmaya–Darujā–Iṣṭakā)","lookup_keywords":["pratima-sthapana","pratishtha-yajna","mrinmaya murti","darujā murti","iṣṭakā murti"],"quick_summary":"In icon-installation sacrifice, merit is declared limitless, and a hierarchy of merit is taught by icon material: earthen < wooden < brick/masonry."}
Concept: Karma-phala amplification through sacred installation; material choice participates in dharmic merit.
Application: When resources permit, prefer more enduring/ritually valued media for icons and complete installation with yajña.
Khanda Section: Puja-vidhi / Pratima-pratishtha (Icon installation and ritual procedure)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A consecration pavilion with priests performing homa while artisans present three icons—clay, wood, and brick/masonry—indicating a hierarchy of merit.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, pratishtha-yajna scene with homa-kunda, brahmin priests in white, three pratimā materials displayed (clay idol, wooden idol, brick/masonry shrine-icon), ornate temple backdrop, flat decorative detailing.","tanjore_prompt":"Tanjore painting, central consecration scene with gold-leaf aura around the installed deity, priests offering ghee into fire, side panels showing clay and wooden icons, rich jewelry and embossed gold work, temple arch framing.","mysore_prompt":"Mysore painting style, instructional composition: labeled depiction of mṛṇmaya, dāruja, iṣṭakā icons near a sanctum, clean lines, muted colors, emphasis on ritual implements (kalasha, darbha, ladles).","mughal_miniature_prompt":"Mughal miniature, courtly workshop-meets-ritual: artisans and priests around a small shrine, detailed textiles, fire altar, three icon materials arranged, fine architectural perspective and delicate faces."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairavi","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: phalasyāntaḥ = phalasya + antaḥ; mṛṇmayāddāruje = mṛṇmayāt + dāruje; dārujādiṣṭkābhave read as dārujāt + iṣṭakā-bhave (orthography: iṣṭkā→iṣṭakā).
Related Themes: Agni Purana: Pratima-lakṣaṇa and Pratiṣṭhā-vidhi sections (within Puja-vidhi corpus); Agni Purana: Devalaya-nirmāṇa/mahātmya passages contiguous to 38.33–38.36
FAQs
It teaches a Pratiṣṭhā-vidhi principle: the installation-yāga yields immeasurable merit, and the material of the icon (clay < wood < brick/masonry) is graded by increasing ritual fruit.
It preserves a technical, quasi-manual rule from temple-practice—linking theology (puṇya) with material culture (icon materials and construction), showing the Purana’s coverage of ritual science alongside doctrine.
It frames icon-installation as a high-yield karmic act: performing the consecration sacrifice generates vast merit, amplified when the icon/shrine is made with more durable, formally sanctified materials.