Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 8
Chapter 49 — मत्स्यादिलक्षणवर्णनम्
Description of the Characteristics of Matsya and the Other Incarnations
शान्तात्मा लम्बकर्णश् च गौराङ्गश्चाम्बरावृतः ऊर्ध्वपद्मस्थितो बुद्धो वरदाभयदायकः
śāntātmā lambakarṇaś ca gaurāṅgaścāmbarāvṛtaḥ ūrdhvapadmasthito buddho varadābhayadāyakaḥ
Der Buddha ist von ruhigem Geist, langohrig, hellgliedrig und in ein Gewand gehüllt; er sitzt auf einem erhöhten Lotos und gewährt varada (Gnadengabe) und abhaya (Furchtlosigkeit).
Lord Agni (narrating to Sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Stotra","practical_application":"Dhyāna-lakṣaṇa for Buddha: guides sculptors/painters and worshippers in visualizing the correct form, posture, and mudrā.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Buddha-dhyāna: śānta, lambakarṇa, gaurāṅga, padmāsana, varada-abhaya","lookup_keywords":["Buddha-lakṣaṇa","lambakarṇa","varada-mudrā","abhaya-mudrā","padma"],"quick_summary":"Visualize/depict Buddha as serene, long-eared, fair-bodied, robed, seated on an elevated lotus, granting boons and fearlessness through varada and abhaya gestures."}
Concept: Śānti and abhaya as spiritual ideals embodied in iconography; dhyāna uses form to cultivate inner calm and fearlessness.
Application: Meditative visualization (dhyāna) on a serene form to stabilize mind; in pūjā, the mudrās cue devotees toward generosity and fearlessness.
Khanda Section: Puja-vidhi (Dhyana & Murti-lakshana of deities)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Buddha seated on a raised lotus pedestal, calm face, long earlobes, wearing a simple robe; one hand in abhaya, the other in varada, aura of peace.","kerala_mural_prompt":"Kerala mural, Buddha with lambakarṇa and gentle smile, ochre-gold complexion, robe in muted tones, seated on stylized lotus, abhaya and varada mudrās, circular prabhāmaṇḍala, minimal narrative background.","tanjore_prompt":"Tanjore style, Buddha seated on lotus with gold foil halo, rich ornamental border, hands in abhaya and varada, robe with subtle embossing, devotional symmetry.","mysore_prompt":"Mysore painting, fine lines and soft gradients, emphasis on mudrā accuracy and robe folds, calm pastel background, instructional clarity of posture and hand gestures.","mughal_miniature_prompt":"Mughal miniature, serene seated figure on lotus within a garden pavilion, delicate textile rendering of robe, subtle halo, hands clearly in abhaya and varada, floral margins."}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Ahir Bhairav","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: लम्बकर्णश् च = लम्बकर्णः + च; गौराङ्गश्चाम्बरावृतः = गौराङ्गः + च + अम्बरावृतः (ः + च → श्च); ऊर्ध्वपद्मस्थितो = ऊर्ध्वपद्मस्थितः (ः + उ → ओ)।
Related Themes: Agni Purana 49 (avatāra and mūrti-lakṣaṇa descriptions)
FAQs
It gives dhyāna–lakṣaṇa (meditational and iconographic markers) for visualizing or installing Buddha—features like long ears, robe, lotus-seat, and the varada/abhaya hand-gestures used in pūjā and image-making.
By preserving precise iconography (murti-lakṣaṇa) and worship-visualization standards, it functions like a manual of ritual arts alongside the Purana’s other domains (law, polity, medicine, architecture, and weapons).
Correct dhyāna—contemplating the deity with prescribed marks—supports steadiness of mind, devotion, and ritual efficacy, and is traditionally held to yield protection (abhaya) and auspicious results (vara/boons).