Agni Purana — Raja-dharma, Shloka 11
Chapter 245 — रत्नपरीक्षा
Examination of Gems
स्फटिकजाः पद्मरागाः स्यू रागवन्तो ऽतिनिर्मलाः जातवङ्गा भवन्तीह कुरुविन्दसमुद्भवाः
sphaṭikajāḥ padmarāgāḥ syū rāgavanto 'tinirmalāḥ jātavaṅgā bhavantīha kuruvindasamudbhavāḥ
إنَّ جواهرَ بادماراغا (Padmarāga) الناشئةَ من السْفَتيكا (البلّور) غنيةُ اللون شديدةُ الصفاء؛ وأمّا ما تولّد من كوروفيندا (kuruvinda) فيُعرَف هنا باسم جاتافَنْغا (jātavaṅga).
Lord Agni (traditional Agni Purana narrator) to sage Vasiṣṭha
Vidya Category: {"primary_vidya":"Arthashastra","secondary_vidya":"Shilpa","practical_application":"Gem classification for valuation, trade, and selection of stones for ornaments/royal treasury.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Padmarāga varieties by origin (sphaṭika- and kuruvinda-janma)","lookup_keywords":["padmarāga","sphaṭika","kuruvinda","jātavaṅga","ratna-parīkṣā"],"quick_summary":"Padmarāga is classified by its source: crystal-born stones are intensely colored and very clear; kuruvinda-born padmarāga is termed jātavaṅga, aiding identification and pricing."}
Concept: Pramāṇa by observable guṇa (rāga, nirmalatā) and by provenance (utpatti-sthāna).
Application: Use origin and visible qualities to distinguish similar-looking gems and avoid misvaluation.
Khanda Section: Ratna-pariksha / Gemology (Encyclopedic descriptions of minerals and precious stones)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A lapidary examines red padmarāga stones, separating crystal-born, highly transparent specimens from kuruvinda-origin stones labeled jātavaṅga.","kerala_mural_prompt":"Kerala mural style, jewel-testing pavilion, lapidary holding a glowing red padmarāga against light, crystal shards nearby, palm-leaf labels reading sphaṭika and kuruvinda, rich flat colors, ornate borders.","tanjore_prompt":"Tanjore painting, gem merchant presenting padmarāga to a king, heavy gold leaf on ornaments and gem highlights, embossed halos, deep reds and greens, traditional arch frame.","mysore_prompt":"Mysore painting, instructional tableau of two trays: sphaṭika-janma padmarāga (clear, saturated) and kuruvinda-janma (jātavaṅga), fine linework, soft shading, annotated palm-leaf manuscript feel.","mughal_miniature_prompt":"Mughal miniature, court jeweler sorting rubies/padmarāga by origin, meticulous detailing of translucency and facets, labeled trays, naturalistic textiles, subdued background."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: रागवन्तो ऽतिनिर्मलाः = रागवन्तः + अतिनिर्मलाः (विसर्ग-लोपः/अवग्रहः); भवन्तीह = भवन्ति + इह; कुरुविन्दसमुद्भवाः = कुरुविन्द + समुद्भवाः (समास)
Related Themes: Agni Purana Ratna-parīkṣā section: general gem qualities and defects (adjacent verses in adhyāya 245)
FAQs
It gives gemological classification: padmarāga stones are categorized by their source-material (e.g., sphaṭika/crystal vs. kuruvinda), with quality markers like strong colour (rāga) and high clarity (ati-nirmalatā).
Beyond theology, the Agni Purana preserves technical cataloguing of natural materials—naming varieties, sources, and quality criteria—showing its role as a compendium that includes mineralogy/gem-testing alongside ritual and dharma.
By identifying pure, well-classified gems, one avoids inauspicious or defective materials in offerings and royal/temple use; purity and correct selection are traditionally linked with auspiciousness and reduced ritual fault (doṣa).