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
Au sud‑est (quart d’Agni), [placer/méditer] Vāmana ; au sud‑ouest (quart de Nirṛti), Nṛhari (Narasiṃha) ; au nord‑ouest (quart de Vāyu), Aśvaśīrṣa (Hayagrīva, «à tête de cheval») ; et de même Śūkara (Varāha) dans la sphère d’Īśa (le quart d’Īśāna).
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.