Agni Purana — Vyavahara, Shloka 21
Ṛग्विधानम् (Ṛgvidhāna) — Applications of Ṛgvedic Mantras through Japa and Homa
एकादश सुपर्णस्य सर्वकामान्विनिर्दिशेत् आध्यात्मिकीः क इत्य् एता जपन्मोक्षमवाप्नुयात्
ekādaśa suparṇasya sarvakāmānvinirdiśet ādhyātmikīḥ ka ity etā japanmokṣamavāpnuyāt
সর্বকামসিদ্ধির জন্য সুপর্ণের একাদশবিধ মন্ত্রপ্রয়োগ নির্দিষ্ট করা উচিত। আধ্যাত্মিক স্বভাবের ‘ক’ প্রভৃতি এই অক্ষরগুলি জপ করলে মোক্ষ লাভ হয়।
Lord Agni (in dialogue tradition, instructing sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Philosophy","practical_application":"Use of the ‘elevenfold Suparṇa’ mantra for worldly aims, and inner (ādhyātmika) syllabic japa for mokṣa-oriented practice.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Suparṇa Ekādaśa-Mantra: Sarva-kāma and Mokṣa Prayoga","lookup_keywords":["suparna-mantra","ekadasha","sarva-kama","adhyatmika japa","moksha"],"quick_summary":"The elevenfold Suparṇa formula is stated as efficacious for desired aims; when the syllables (ka etc.) are contemplated as inner/spiritual, the practice is directed toward liberation."}
Concept: Same mantra-stream can be oriented to kāmya-phala (goals) or to mokṣa by ādhyātmika-bhāvanā (inner contemplation).
Application: Shift from external fruit-seeking to inward meaning: japa with self-inquiry, restraint, and meditative absorption to reframe practice toward liberation.
Khanda Section: Mantra-japa and Moksha (Nama-mantra / Suparna-mantra instructions)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A twofold depiction: one practitioner using Suparṇa mantra for worldly boons, and another meditating inwardly on syllables as spiritual principles, culminating in a serene liberation motif.","kerala_mural_prompt":"Kerala mural, split narrative: left shows ritual japa with offerings and symbols of prosperity; right shows meditative yogin with subtle inner light at heart-lotus, Suparṇa (golden bird) motif above as emblem","tanjore_prompt":"Tanjore painting, Suparṇa emblem rendered with gold, devotee seated with rosary, two panels labeled sarva-kāma and mokṣa, ornate arch and gold highlights emphasizing transcendence","mysore_prompt":"Mysore style, instructional diagram-like composition: eleven-count japa beads emphasized, syllables ‘ka…’ shown as seed letters, second panel shows inward contemplation with calm face and closed eyes","mughal_miniature_prompt":"Mughal miniature, courtly seeker receiving boons in one scene, ascetic in quiet cell in another, fine calligraphy of seed syllables in margins, delicate bird motif (Suparṇa) in sky"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: sarvakāmānvinirdiśet → sarva-kāmān + vinirdiśet; ka ity etā → ka + iti + etāḥ; japanmokṣamavāpnuyāt → japan + mokṣam + avāpnuyāt.
Related Themes: Agni Purana: mokṣa-dharma and jñāna-yoga passages (where mantra becomes upāya to inner realization); Agni Purana: mantra classifications (kāmya vs niṣkāmya)
FAQs
It teaches the use of an elevenfold Suparṇa (Garuḍa-associated) mantra-form and the japa of a phoneme/seed-syllable series beginning with ‘ka’ to accomplish aims and culminate in mokṣa.
By recording a specific mantra-vidyā procedure (structured counts, syllable-series, and stated results), it exemplifies the Agni Purāṇa’s catalog-like coverage of practical disciplines—here, japa-śāstra and soteriological practice—alongside its many other technical subjects.
The verse frames disciplined japa of spiritually oriented syllables as both a means for worldly fulfillment (sarva-kāma) and a purifying, liberating practice leading to mokṣa.