Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 8
Chapter 43 — प्रासाददेवतास्थापनम्
Installation of Deities in a Temple
पद्मामैशे वासुदेवं मध्ये नारायणञ्च वा त्रयोदशालये मध्ये विश्वरूपं न्यसेद्धरिं
padmāmaiśe vāsudevaṃ madhye nārāyaṇañca vā trayodaśālaye madhye viśvarūpaṃ nyaseddhariṃ
Sur le siège de lotus (padmāsana), on placera Vāsudeva au centre—ou bien Nārāyaṇa. Dans l’agencement des treize sanctuaires/demeures, on installera Hari, sous la forme de Viśvarūpa, au milieu.
Lord Agni (narrating ritual procedure to Sage Vasiṣṭha in the Agni Purana’s instructional voice)
Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Shilpa","practical_application":"Installing the principal Vishnu form in the center: either Vāsudeva or Nārāyaṇa on the lotus-seat; in a thirteen-shrine (trayodaśālaya) scheme, placing Hari as Viśvarūpa in the middle as the integrative cosmic form for comprehensive worship.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Padmāsana-kendra nyāsa and Trayodaśālaya Viśvarūpa-sthāpanā","lookup_keywords":["padmāsana","Vāsudeva","Nārāyaṇa","trayodaśālaya","Viśvarūpa"],"quick_summary":"Place Vāsudeva (or Nārāyaṇa) at the center on the lotus-seat; in the thirteen-abode layout, install Hari as Viśvarūpa in the middle to represent the totality of forms."}
Concept: Viśvarūpa as a contemplative support for perceiving the One as the many—Hari as the center that contains and orders all manifestations.
Application: During worship, use the central Viśvarūpa concept to integrate diverse devatā-upāsanā into a single focus, reducing fragmentation of attention.
Khanda Section: Puja-vidhi (Vishnu-murti-nyasa and Mandala/Alaya placement)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A central lotus-seat with Vāsudeva/Nārāyaṇa enthroned; alternatively a grand central Viśvarūpa icon surrounded by twelve subsidiary shrines (13 total), forming a sacred geometric campus.","kerala_mural_prompt":"Kerala mural, central Viśvarūpa radiating multiple forms within a halo, lotus-seat emphasized, surrounding twelve small shrine-panels, deep reds and ochres, sanctum lamps and floral garlands","tanjore_prompt":"Tanjore, central Viśvarūpa with heavy gold leaf halo and embossed ornaments, lotus pedestal sparkling, twelve subsidiary shrines in a ring with gold borders, rich maroon background","mysore_prompt":"Mysore, precise architectural diagram of trayodaśālaya with central lotus-seat, small painted icons for each shrine, clear symmetry and instructional labeling","mughal_miniature_prompt":"Mughal miniature, palace-like temple complex with thirteen kiosks, central pavilion housing Viśvarūpa, attendants carrying offerings, intricate architectural detailing and patterned courtyards"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: पद्मामैशे = पद्माम् + ऐशे; नारायणञ्च = नारायणम् + च; त्रयोदशालये = त्रयोदश-आलये; न्यसेद्धरिं = न्यसेत् + हरिम् (त्→द् before ह; gemination in recitation).
Related Themes: Agni Purana 43 (pūjā-vidhi: central deity installation and multi-ālaya schemes)
FAQs
It gives a precise nyāsa/installation rule: place Vāsudeva (or Nārāyaṇa) at the central lotus-seat, and in a thirteen-abode layout establish Hari in the center as Viśvarūpa.
It demonstrates the text’s practical ritual-architecture guidance—mapping deity-forms to specific spatial positions (center/lotus-seat; thirteen-abode scheme), blending theology with procedural temple/mandala design.
Centering Vāsudeva/Nārāyaṇa and installing Hari as Viśvarūpa sacralizes the ritual space, aligning the worshipper with the cosmic order (Viśvarūpa) and strengthening devotional merit through correct iconographic placement.