Adhyaya 319

Verse 1

इत्य् आग्नेये महापुराणे वागीश्वरीपूजा नामाष्टादशाधिकत्रिशततमो ऽध्यायः अथोनविंशत्यधिकत्रिशततमो ऽध्यायः मण्डलानि ईश्वर उवाच सर्वतो भद्रकान्यष्टमण्डलानि वदे गुह शक्तिमासाधयेत् प्राचीमिष्टायां विषुवे सुधीः

Thus, in the Agni Mahāpurāṇa ends the three-hundred-and-nineteenth chapter, entitled “The Worship of Vāgīśvarī.” Now begins the three-hundred-and-twentieth chapter: “Maṇḍalas.” The Lord said: “I shall describe eight ‘Sarvatobhadra’ (all-auspicious) mandala-diagrams. A wise practitioner should accomplish—propitiate and attain—the power of the Goddess (Śakti) by performing the intended rite facing east, at the equinox.”

Verse 2

चित्रास्वात्यन्तरेणाथ दृष्टसूत्रेण वा पुनः पूर्वापरायतं सूत्रमास्फाल्य मध्यतो ऽङ्कयेत्

Then, using the spacing appropriate for the drawing—or again, by means of a sighting-cord—one should stretch a cord running east–west and, snapping it, mark the middle point.

Verse 3

द्विपर्णकमिति ख कोटिद्वयन्तु तन्मध्यादङ्कयेद्दक्षिणोत्तरम् मध्ये द्वयं प्रकर्तव्य स्फालयेद्दक्षिनोत्तरम्

“(This is called) the dviparṇaka.” From its middle, one should mark two corners along the south–north axis. In the centre, two marks (or lines) are then to be made, and the figure should be opened/spread out along the south–north direction.

Verse 4

शतक्षेत्रार्धमानेन कोणसम्पातमादिशेत् एवं सूत्रचतुष्कस्य स्फालनाच्चतुरस्रकम्

Using a measure equal to half of a hundred units of area, one should mark the meeting-point of the diagonals. In this manner, by stretching and snapping the four cords, a square (caturasra) is formed.

Verse 5

जायते तत्र कर्तव्यं भद्रस्वेदकरं शुभम् वसुभक्तेन्दु द्विपदे क्षेत्रे वीथी च भागिका

There one should construct what is auspicious and welfare-producing (bhadra), bringing cool comfort and relief from heat. In a field measured as two padas, the layout should include a vīthī (main street/avenue) and a bhāgikā (division into shares/plots), according to the vasu-, bhakta-, and indu-type proportions.

Verse 6

द्वारं द्विपदिकं पद्ममानाद्धै सकपोलकम् कीणबन्धविचित्रन्तु द्विपदं तत्र वर्तयेत्

Let the doorway be of the two-leaf (two-panel) kind, its measure being half of the padma standard, and furnished with kapolakas—projecting cheek-like side ornaments. There one should also set a two-panel arrangement adorned with a variegated kīṇabandha, a decorative binding band.

Verse 7

शुक्लं पद्मं कर्णिका तु पीता चित्रन्तु केशरम् रक्ता वीथी तत्र कल्प्या द्वारं लोकेशरूपकं

One should depict a white lotus; its central pericarp (karṇikā) should be yellow, and its stamens (keśara) variegated. There one should arrange a red processional pathway or band; and the doorway is to be fashioned in the form of a Lokapāla, the Lord who guards a quarter.

Verse 8

रक्तकोणं विधौ नित्ये नैमित्तिकाब्जकं शृणु असंसक्तन्तु संसक्तं द्विधाब्जं भुक्तिमुक्तिकृत्

In the daily (nitya) rite, the prescribed figure is the red triangle (raktakoṇa). Now hear of the lotus-diagram for occasional (naimittika) rites. The lotus is of two kinds—unconnected (asaṃsakta) and connected (saṃsakta); this twofold lotus bestows both worldly enjoyment and liberation.

Verse 9

असंसक्तं मुमुक्षूणां संसक्तं तत्त्रिधा पृथक् बालो युवा च वृद्धश् च नामतः फलसिद्धिदाः

For seekers of liberation (mumukṣus), two kinds are taught: unconnected (asaṃsakta) and connected (saṃsakta). The connected kind is again distinguished in three separate forms, named the child, the youth, and the old; each is said to grant its corresponding fruition.

Verse 10

पद्मक्षेत्रे तु सूत्राणि दिग्विदिक्षु विनिक्षिपेत् वृत्तानि पञ्चकल्पानि पद्मक्षेत्रसमानि तु

In the lotus-field (padmakṣetra) diagram, one should lay out the guiding cords (sūtras) along the directions and the intermediate directions. One should also construct five circular formations, each duly proportioned and corresponding to the lotus-field itself.

Verse 11

प्रथमे कर्णिका तत्र पुष्करैर् नवभिर्युता केशराणि चतुर्विंशद्वितीये ऽथ तृतीयके

In the first arrangement there is the central pericarp (karṇikā), furnished with nine lotus-petals (puṣkara). In the second—and likewise in the third—there are twenty-four filaments (keśara).

Verse 12

दलसन्धिर्गजकुम्भ निभान्तर्यद्दलाग्रकम् पञ्चमे व्योमरूपन्तु संसक्तं कमलं स्मृतं

That lotus in which the junction of the petals is like the elephant’s temple-globes (gaja-kumbha), and in which the tips of the petals are drawn inward—in the fifth type it is said to be “sky-formed” (vyoma-rūpa), and the lotus is known as “compact/closely-knit” (saṃsakta).

Verse 13

असंसक्ते दलाग्रे तु दिग्भागैर् विस्तराद्भजेत् भागद्वयपरित्यागाद्वस्वंशैर् वर्तयेद्दलम्

In the “unjoined” (asaṃsakta) form, when the tip of the petal is not connected, one should divide its breadth according to the directional sectors, starting from the full width. After omitting two parts as an allowance, the petal is to be formed from the remaining eight portions.

Verse 14

सन्धिविस्तरसूत्रेण तन्मूलादञ्जयेद्दलम् सव्यासव्यक्रमेणैव वृद्धमेतद्भवेत्तथा

By means of the seam-expansion thread (sandhi-vistara-sūtra), one should apply the binding/adhesive to the panel or petal from its base. Proceeding in an alternating left-and-right sequence, it is properly enlarged in that manner.

Verse 15

अथ वा सन्धिमध्यात्तु भ्रामयेदर्धचन्द्रवत् सन्धिद्वयाग्रसूत्रं वा बालपद्मन्तथा भवेत्

Or else, from the middle of the joint, one should whirl in the manner of a half-moon. Alternatively, one may execute the “thread-line at the tip between two joints” (sandhi-dvaya-agra-sūtra); likewise, the formation called “young lotus” (bāla-padma) is produced.

Verse 16

सन्धिसूत्रार्धमानेन पृष्ठतः परिवर्तयेत् तीक्ष्णाग्रन्तु सुवातेन कमलं भुक्तिमुक्तिदम्

With a measure equal to half the length of the sandhi-sūtra (joint-suture), one should turn it from the back; and, using a sharp-pointed instrument and a well-directed current of air, one should prepare/apply the kamala (lotus), which bestows both bhukti (worldly enjoyment) and mukti (liberation).

Verse 17

भुक्तिवृद्धौ च वश्यादौ बालं पद्मं समानकं नवनाभं नवहस्तं भागैर् मन्त्रात्मकैश् च तत्

For the increase of bhukti (prosperity and worldly enjoyments) and for rites beginning with vaśya (attraction/subjugation), one should prepare a bāla-padma (youthful lotus-diagram) of uniform measure, possessing navanābha (nine hubs/centres) and navahasta (nine arms/petals); and that diagram is to be divided into portions that are mantra-constituted, i.e., each section is assigned/inscribed with specific mantras.

Verse 18

मध्ये ऽब्जं पट्टिकावीजं द्वारेणाब्जस्य मानतः कण्ठोपकण्ठमुक्तानि तद्वाह्ये वीथिका मता

In the middle is the abja (lotus-form core); the paṭṭikā-bīja (seed/module of the central strip) is determined by the doorway, according to the measure of the abja. The elements called kaṇṭha and upakaṇṭha are laid out distinctly; and outside that it is regarded as the vīthikā (passage or lane).

Verse 19

पञ्चभागान्विता सा तु समन्ताद्दशभागिका दिग्विदिक्ष्वष्ट पद्मानि द्वारपद्मं सवीथिकम्

That layout is provided with five divisions; and, on all sides, it is arranged into ten divisions. In the cardinal and intermediate directions there are eight lotus-panels, and at the gateway there is also a lotus, complete with its vīthikā (processional walkway).

Verse 20

तद्वाह्ये पञ्च पदिका वीथिका यत्र भूषिता पद्मवद्द्वारकण्ठन्तु पदिकञ्चौष्ठकण्ठकं

Outside that door/threshold arrangement there should be five steps, and a decorated vīthikā (vestibule or entry-lane). The doorway’s kaṇṭha (the constricted “necking” of the jamb) should be lotus-like in form; and the step-feature and the oṣṭha–kaṇṭhaka (lip-and-neck) moulding are also to be provided as prescribed.

Verse 21

कपोलं पदिकं कार्यं दिक्षु द्वारत्रयं स्पुटम् कोणबन्धं त्रिपत्तन्तु द्विपट्टं वज्रवद्भवेत्

One should fashion the kapola and the padikā (the cheek-plate and the base/footing element). In the directions, the three door-openings should be clearly defined. The corner-joint (koṇa-bandha) should be made with a threefold fastening, and the double-leaf door should be firm like a vajra (thunderbolt).

Verse 22

मध्यन्तु कमलं शुक्लं पीतं रक्तञ्च नीलकम् पीतशुक्लञ्च धूम्रञ्च रक्तं पीतञ्च मुक्तिदम्

In the center, the lotus is to be visualized as white, yellow, red, and blue; also as yellow-white and smoke-colored; and again as red and yellow—this meditation is a giver of liberation (mokṣa).

Verse 23

पूर्वादौ कमलान्यष्ट शिवविष्ण्वादिकं जपेत् प्रासादमध्यतो ऽभ्यर्च्य शक्रादीनब्जकादिषु

Beginning with the eastern lotus, one should arrange eight lotuses and perform japa (repetition) of the names/mantras starting with Śiva and Viṣṇu. Having worshipped the principal deity at the center of the temple, one should then worship Śakra and the other deities in the lotuses and the like.

Verse 24

अस्त्राणि वाह्यवीथ्यान्तु विष्ण्वादीनश्वमेघभाक् पवित्रारोहणादौ च महामण्डलमालिखेत्

On the outer circumambulatory paths, one should place (or depict) the weapons; and there Viṣṇu and the other deities—who partake of the merit of the Aśvamedha—are to be installed/represented. At the commencement of the rite of ascending to, or donning, the pavitra (consecratory thread/amulet), one should draw the Great Maṇḍala.

Verse 25

अष्टहस्तं पुरा क्षेत्रं रसपक्षैर् विवर्तयेत् पञ्चभागमितेति ख , छ च द्विपदं कमलं मध्ये वीथिका पदिका ततः

First, one should lay out a plot measuring eight hastas, setting out its sides according to the ‘rasa’ divisions; the portions marked as the kha and cha sectors are to be measured as five parts. In the middle, a two-pada lotus (dvipada) is to be placed; then thereafter, the vīthikā (aisle/path) and the padikā (secondary walkway) are to be arranged.

Verse 26

दिग्विदिक्षु ततो ऽष्टौ च नीलाब्जानि विवर्तयेत् मध्यपद्मप्रमाणेन त्रिंशत्पद्मानि तानि तु

Then, in the eight directions and the intermediate directions, one should draw blue lotuses. Those lotuses are to be made as a set of thirty, each matching the measurement of the central lotus.

Verse 27

दलसन्धिविहीनानि नीलेन्दीवरकानि च तत्पृष्ठे पदिका वीथी स्वस्तिकानि तदूर्ध्वतः

Lotus motifs (nīlendīvara) should be drawn without the junction-lines between petals; behind that, place the padikā (step-like band) and the vīthī (processional strip/avenue), and above that set the svastika motifs.

Verse 28

द्विपदानि तथा चाष्टौ कृतिभागकृतानि तु वर्तयेत् स्वस्तिकांस्तत्र वीथिका पूर्ववद्वहिः

There one should arrange the plan into two-pada divisions and also into eight, made according to fractional portions; and in that layout one should form svastika patterns. The streets (vīthikā) are to be laid out outside, just as described earlier.

Verse 29

द्वाराणि कमलं यद्वदुपकण्ठ्युतानि तु रक्तं कोणं पीतवीथी नीलं पद्मञ्चमण्डले

In the maṇḍala, the doors are to be arranged like a lotus, furnished with subsidiary neck-like projections (upakaṇṭhya); the corner-sections are to be colored red, the intervening streets/avenues yellow, and the lotus itself blue within the diagram.

Verse 30

स्वस्तिकादि विचित्रञ्च सर्वकामप्रदं गुह पञ्चाब्जं पञ्चहस्तं स्यात् समन्ताद्दशभाजितम्

O Guha, a diagram adorned with varied motifs beginning with the svastika is a bestower of all desired aims. The ‘five-lotus’ design should measure five hastas, and it is to be divided into ten equal parts all around.

Verse 31

द्विपदं कमलं वीथी पट्टिका दिक्षु पङ्कजम् चतुष्कं पृष्ठतो वीथी पदिका द्विपदान्यथा

A two-unit (two-pada) arrangement is called “kamala” (lotus). The “vīthī” is the passageway, and the “paṭṭikā” is the strip or band. In the directions (dikṣu) it is termed “paṅkaja” (lotus). A four-unit (catuṣka) arrangement is prescribed; behind it (pṛṣṭhataḥ) there is a passageway (vīthī). The “padikā” is likewise of two padas (two units).

Verse 32

कण्ठोपकण्ठयुक्तानि द्वारान्यब्जन्तु मध्यतः पञ्चाब्जमण्डले ह्य् अस्मिन् सितं पीतञ्च पूर्वकम्

In this five-lotus maṇḍala, the doors should be arranged in the middle, furnished with the proper neck and subsidiary-neck elements; and, beginning from the east, the prescribed colours are white (sita) and then yellow (pīta).

Verse 33

वैदूर्याभं दक्षिणाब्जं कुन्दाभं वारुणं कजम् उत्तराब्जन्तु शङ्खाभमन्यत् सर्वं विचित्रकम्

The southern lotus should be in the hue of vaidūrya (the cat’s-eye gemstone); the one associated with Varuṇa should be white like jasmine. The northern lotus, however, should be conch-white (śaṅkha-white); all the rest should be variegated, multi-coloured.

Verse 34

सर्वकामप्रदं वक्ष्ये दशहस्तन्तु मण्डलम् विकारभक्तन्तुर्याश्रं द्वारन्तु द्विपदं भवेत्

I shall describe the “all-desire-bestowing” maṇḍala: its measure is ten hastas (cubits). It is to be divided into proportional parts according to the required modifications and laid out as a quadrangular plan; the doorway is to be two padas (two units) in width.

Verse 35

मध्ये पद्मं पूर्ववच्च विघ्नध्वंसं वदाम्यथ चतुर्हस्तं पुरं कृत्वा वृत्रञ्चैव करद्वयम्

In the center, place or visualize a lotus as before. Now I shall describe “Vighna-dhvaṃsa” (the destroyer of obstacles): having fashioned the deity as four-armed, depict the “pura” (city/fort) and also Vṛtra as held or subdued by the pair of hands (the two hands).

Verse 36

वीथीका हस्तमात्रन्तु स्वस्तिकैर् वहुभिर्वृता तद्वदुपकण्ठयुतानीति ख , ञ च हस्तमात्राणि द्वाराणि विक्षु वृत्तं सपद्मकम्

A corridor (vīthikā) should be only one hasta in width, bordered with many svastika motifs. Likewise, the two types called kha and ña are to be made with projecting side-throats (upakaṇṭha). The doorways too should measure one hasta; and on the markers (vikṣu) one should draw a circular diagram together with a lotus (padma).

Verse 37

पद्मानि पञ्च शुक्लानि मध्ये पूज्यश् च निष्कलः हृदयादीनि पूर्वादौ विदिक्ष्वस्त्राणि वै यजेत्

One should arrange five white lotuses, and in the middle worship the Formless (Niṣkala). Beginning from the east, one should worship the hṛdaya (heart) and the other aṅga-mantras, and in the intermediate directions worship the astra-mantras (weapon-mantras).

Verse 38

प्राग्वच्च पञ्च ब्रह्माणि बुद्ध्याधारमतो वदे शतभागे तिथिभागे पद्मं लिङ्गाष्टकं दिशि

As stated earlier, the five Brahmā-mantras (pañca-brahma) are to be set down; therefore I describe the ādhāra, the support for meditation. In a division into a hundred parts—and likewise in the division by the lunar day (tithi)—one should arrange the lotus maṇḍala (padma-maṇḍala) and place the eight liṅgas (liṅga-aṣṭaka) in the directions.

Verse 39

मेखलाभागसंयुक्तं कण्ठं द्विपदिकं भवेत् आचार्यो बुद्धिमाश्रित्य कल्पयेच्च लतादिकम्

The neck (kaṇṭha) should be formed as a two-stepped member (dvipadika), joined with the portion of the girdle-band (mekhalā). The master-craftsman (ācārya), relying on trained judgment, should also design creeper-scrolls (latā) and related ornamental motifs.

Verse 40

चतुःषट्पञ्चमाष्टादि खाछिखाद्यादि मण्डलम् खाक्षीन्दुसूर्यगं सर्वं खाक्षि चैवेन्दुवर्णनात्

The maṇḍala is to be set out beginning with the numerical series “four, six, five, eight …”, and with the syllabic series beginning “khā, chi, khā …”. All of it is to be understood as moving with the Moon and the Sun; and “khākṣi” itself is so called because it is a description of the Moon.

Verse 41

चत्वारिंशदधिकानि चतुर्दशशतानि हि मण्डलानि हरेः शम्भोर्देव्याः सूर्यस्य सन्ति च

Indeed, there are fourteen hundred and forty maṇḍalas belonging to Hari (Viṣṇu), Śambhu (Śiva), the Goddess, and also the Sun.

Verse 42

दशसप्तविभक्ते तु लतालिङ्गोद्भवं शृणु दिक्षु पञ्चत्रयञ्चैकं त्रयं पञ्च च लोमयेत्

Now, in the division of seventeen, hear the procedure arising from the ‘creeper-sign’ (latā-liṅga). In the directions one should apply the loma-markings as: five, three, and one; then three and five as well.

Verse 43

ऊर्ध्वगे द्विपदे लिङ्गमन्दिरं पार्श्वकोष्ठयोः मध्येन द्बिपदं पद्ममथ चैकञ्च पङ्कजं

In the upper (northern) two-foot measure, the Liṅga-shrine should be placed; and in the middle space between the two side-niches, a lotus of two-foot measure should be made—along with a single lotus as well.

Verse 44

लिङ्गस्य पार्श्वयोर्भद्रे पदद्वारमलोपनात् तत्पार्श्वशोभाः षड्लोप्य लताः शेषास् तथा हरेः

On the auspicious sides of the liṅga, beginning from the foot-level doorway (padadvāra), the side-ornaments should be formed; omitting six decorative units, the remaining creeper-like motifs are to be arranged likewise for Hari (Viṣṇu) as well.

Verse 45

ऊर्ध्वं द्विपदिकं लोप्य हरेर्भद्राष्टकं स्मृतम् रश्मिमानसमायुक्तवेदलोपाच्च शोभिकम्

When the upper (initial) two-footed unit is elided, the metre is known as ‘Harer-bhadrāṣṭaka’. It is also called ‘Śobhika’ because it is associated with the patterns termed Raśmi and Mānasa and because of the elision of a portion called Veda.

Verse 46

पञ्चविंशतिकं पद्मं ततः पीठमपीठकम् द्वयं द्वयं रक्षयित्वा उपशोभास् तथाष्ट च

One should draw the lotus of twenty-five divisions (petals/sections); then place the pīṭha (pedestal) and the apīṭha (non-pedestal element). Having kept each pair safeguarded in its proper position as a pair, one should also set down the eight upaśobhā, the subsidiary embellishments.

Verse 47

देव्यादिख्यापकं भद्रं वृहन्मध्ये परं लघु लोपयेदिति ञ लोपयेदिति ट मध्ये नवपदं पद्मं कोणे भद्रचतुष्टयम्

The auspicious bhadra diagram that proclaims the Goddess is to be arranged with vṛhat (“the great”) in the middle, and with para (“the supreme”) and laghu (“the small”) set in their proper places. In the instruction “lopayet” (“one should omit”), the letter ña is to be omitted; likewise, in “lopayet”, the letter ṭa is to be omitted. In the center is a nine-compartment lotus, and at the corners there is a set of four bhadras.

Verse 48

त्रयोदशपदं शेषं बुद्ध्याधारन्तु मण्डलं शतपत्रं षष्ट्यधिकं बुद्ध्याधारं हरादिषु

The remaining portion is a thirteenfold division; and the maṇḍala is indeed the support of intellect (buddhi). The buddhi-supporting lotus is said, in the systems beginning with Hara (Śiva) and others, to be a hundred-petalled lotus with sixty more—i.e., 160 petals.