Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 2
Chapter 43 — प्रासाददेवतास्थापनम्
Installation of Deities in a Temple
वामनं नृहरिञ्चाश्वशीर्षं तद्वञ्च शूकरं आग्नेये नैरृते चैव वायव्ये चेशगोचरे
vāmanaṃ nṛhariñcāśvaśīrṣaṃ tadvañca śūkaraṃ āgneye nairṛte caiva vāyavye ceśagocare
في الجنوب الشرقي (ربع أَغْنِي) يُوضَع/يُتَأَمَّل فامانا (Vāmana)؛ وفي الجنوب الغربي (ربع نِرْرِتي) نْرِهَري (Nṛhari، نَرَسِمْهَا)؛ وفي الشمال الغربي (ربع فايُو) أَشْفَشِيرْشَ (Aśvaśīrṣa، هَيَغْرِيفَا «ذو رأس حصان»)؛ وكذلك شُوكَرَ (Śūkara، فَرَاهَا) في نطاق إيشا (Īśa، جهة إيشانا).
Lord Agni (narrating to sage Vasiṣṭha in the Agni Purāṇa’s instructional frame)
Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Puja-vidhi","practical_application":"Directional nyāsa of avatāra-forms in a mandala for temple/pūjā context; ensures consistent placement of protective and auspicious forms.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Avatāra dik-vinyāsa: Vāmana–Nṛhari–Aśvaśīrṣa–Śūkara","lookup_keywords":["Vamana","Nrihari","Ashvashirsha","Shukara Varaha","dik-vinyasa"],"quick_summary":"Assign avatāras to specific quarters: Vāmana (SE), Narasiṃha (SW), Hayagrīva (NW), Varāha (NE). Used for mandala completion and protective spatial ordering."}
Concept: Mandala as microcosm: divine forms stabilize and guard the quarters; worship becomes spatially integrated.
Application: Before main worship, perform dik-vinyāsa/nyāsa with these forms to ‘seal’ the quarters and focus meditation.
Khanda Section: Puja-vidhi / Mandala-Dikpalaka-Nyasa (Directional deities and iconographic placements)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A square mandala with four avatāras in the diagonal quarters: Vāmana in southeast, Narasiṃha in southwest, Hayagrīva in northwest, Varāha in northeast; offerings placed at each corner.","kerala_mural_prompt":"Kerala mural: four diagonal panels around a central empty space, each panel showing an avatāra (Vāmana SE, Narasiṃha SW, Hayagrīva NW, Varāha NE), bold outlines, temple lamp glow, lotus border","tanjore_prompt":"Tanjore: four-corner composition with gold halos, each avatāra richly ornamented, corner labels in stylized script, central mandala motif, heavy gold embossing","mysore_prompt":"Mysore: neat mandala diagram with soft-toned avatāras at corners, clear directional cues, priest placing flowers at each quarter, instructional clarity","mughal_miniature_prompt":"Mughal miniature: geometric courtyard mandala, four avatāras in corner niches, attendants with offerings, fine detailing and balanced composition"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: ‘nṛhariñcāśvaśīrṣaṃ’ resolved as nṛharim + ca + aśvaśīrṣam. ‘tadvañca’ resolved as tadvat + ca. ‘ceśagocare’ resolved as ca + īśa-gocare.
Related Themes: Agni Purana 42.24 (related avatāra placements); Agni Purana 43.3 (center and corner deities in same mandala logic)
FAQs
It teaches a direction-wise (dik) ritual/iconographic mapping—assigning specific Viṣṇu forms (Vāmana, Narasiṁha, Hayagrīva, Varāha) to particular quarters for placement, visualization, or worship within a mandala/temple layout.
Beyond mythology, it preserves applied liturgical knowledge: how deities are arranged in space (ritual geography), a key component of temple practice, mandala construction, and systematic pūjā procedures.
Correct directional placement aligns worship with cosmic order (dik-krama), supporting ritual efficacy, protection, and merit (puṇya) through disciplined, rule-based devotion rather than arbitrary arrangement.