Agni Purana — Veda-vidhana & Vamsha, Shloka 31
Mantras for the Parasol and Other Royal/Worship Emblems (छत्रादिमन्त्रादयः)
औगर्भो विजयश् चैव धर्मपालस्तथैव च इत्यष्टौ तव नामानि पुरोक्तानि स्वयम्भुवा
augarbho vijayaś caiva dharmapālastathaiva ca ityaṣṭau tava nāmāni puroktāni svayambhuvā
„Augarbha, Vijaya und ebenso Dharmapāla—so wurden diese acht Namen von dir einst von Svayambhū (Brahmā) verkündet.“
Lord Agni (narrating in the Agni Purana’s dialogue frame)
Vidya Category: {"primary_vidya":"Stotra","secondary_vidya":"Mantra","practical_application":"Nāma-japa and protective remembrance by enumerating divinely authorized names; used for identity-fixation of the deity/weapon in kavaca practice.","sutra_style":false}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Aṣṭa-nāma (Eight Names) declared by Svayambhū","lookup_keywords":["aṣṭa-nāma","Augarbha","Vijaya","Dharmapāla","Svayambhū"],"quick_summary":"Establishes an authoritative set of eight names (beginning with Augarbha, Vijaya, Dharmapāla) traced to Brahmā, supporting their efficacy for japa and ritual protection."}
Alamkara Type: Nāmāvalī (litany) with itī-śabda closure; prāmāṇya via purāṇa-vākya
Concept: Nāma as upāya: fixed name-sets (aṣṭaka) function as compact sādhanā units; lineage/authority enhances śraddhā and focus.
Application: Adopt the aṣṭa-nāma as daily japa or as a preface to kavaca/nyāsa, maintaining exact sequence for ritual consistency.
Khanda Section: Nama-stotra / Devata-nama-kathana (Puranic litany of names)
Primary Rasa: Śānta
Secondary Rasa: Vīra
Visual Art Cues: {"scene_description":"A ritual reciter or sage intoning a formal list of eight names, with Brahmā (Svayambhū) depicted as the original declarer in the background, conferring authority.","kerala_mural_prompt":"Kerala mural, Brahmā seated on lotus, palm-leaf manuscript, a priest reciting aṣṭa-nāma, warm ochres and reds, sacred scholastic ambience.","tanjore_prompt":"Tanjore style, Brahmā with gold halo, inscription-like name panels around, devotee with añjali, heavy gold ornamentation emphasizing prāmāṇya.","mysore_prompt":"Mysore painting, clean composition with eight labeled cartouches (Augarbha, Vijaya, Dharmapāla, etc.), teacher-disciple setting, manuscript and rosary.","mughal_miniature_prompt":"Mughal miniature, courtly scribe scene with calligraphy of eight names, Brahmā icon subtly in a medallion, fine borders and delicate palette."}
Audio Atmosphere: {"recitation_mood":"formal","suggested_raga":"Yaman","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: vijayaś caiva = vijayaḥ ca eva (visarga sandhi: aḥ + c → aś c); dharmapālastathaiva = dharmapālaḥ tathā eva (visarga sandhi: aḥ + t → a t); ityaṣṭau = iti aṣṭau (i + a → ya); puroktāni analyzed as purā+ukta (avyayībhāva) + neuter plural agreement with nāmāni.
Related Themes: Agni Purana 268 nāma-stotra sequences and subsequent nyāsa correspondences
FAQs
It preserves a traditional ‘name-list’ (nāma-vidhāna): specific epithets authorized as having been proclaimed by Brahmā, implying their suitability for remembrance/recitation in stotra and japa contexts.
By cataloguing authoritative names and their provenance (attributed to Svayambhū/Brahmā), the text functions like a reference manual—recording standardized nomenclature used across worship, theology, and Puranic narration.
Remembering or reciting divinely sanctioned names is traditionally held to strengthen dharma-oriented intention, invoke the deity’s protective aspect (Dharmapāla), and support auspiciousness symbolized by ‘Vijaya’ (victory).