Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 25
Liṅga-māna-ādi-kathana
Measurements and Related Particulars of the Liṅga
ध्वजाद्या ध्वजसिंहेभवृषाः ज्येष्ठाः परे शुभाः स्वरेषु षड्जगान्धारपञ्चमाः शुभदायकाः
dhvajādyā dhvajasiṃhebhavṛṣāḥ jyeṣṭhāḥ pare śubhāḥ svareṣu ṣaḍjagāndhārapañcamāḥ śubhadāyakāḥ
Parmi les catégories commençant par « dhvaja », celles dites dhvaja, siṃha et vṛṣa sont les premières ; les autres aussi sont fastes. Parmi les notes (svara), ṣaḍja, gāndhāra et pañcama sont dispensatrices de bonne fortune.
Lord Agni (in dialogue with the sage Vasiṣṭha, as the principal narrative frame of the Agni Purana)
Vidya Category: {"primary_vidya":"Natya","secondary_vidya":"Alamkara","practical_application":"Selecting auspicious svaras and classifying note-groups (dhvaja/siṃha/vṛṣa etc.) for performance, ritual music, and omen-sensitive occasions (pratiṣṭhā, utsava, royal ceremonies).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Śubha-svara: ṣaḍja, gāndhāra, pañcama; and dhvaja-classifications","lookup_keywords":["svara-vidyā","ṣaḍja","gāndhāra","pañcama","dhvaja-siṃha-vṛṣa"],"quick_summary":"For auspicious musical outcomes, prioritize the note-classes termed dhvaja/siṃha/vṛṣa and favor the svaras ṣaḍja, gāndhāra, and pañcama as benefic in omen-sensitive contexts."}
Concept: Nāda (ordered sound) is a carrier of auspiciousness; disciplined selection of tones supports harmony in rite and mind.
Application: Begin/anchor chants and gīta with ṣaḍja/pañcama stability; emphasize gāndhāra where tradition deems it benefic for the occasion.
Khanda Section: Sahitya-shastra (Gita–Vadya–Nritta / Svara-vidya: auspicious and inauspicious musical notes and omens)
Primary Rasa: śānta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"Temple musicians and singers demonstrate the seven svaras, highlighting ṣaḍja, gāndhāra, and pañcama as auspicious; a teacher points to a schematic of note-classes labeled dhvaja/siṃha/vṛṣa.","kerala_mural_prompt":"Kerala mural: temple orchestra (vīṇā, mṛdaṅga, cymbals) with a guru indicating svara positions; inscriptions for ṣaḍja-gāndhāra-pañcama; serene devotional ambience.","tanjore_prompt":"Tanjore: richly adorned musicians before a shrine, gold-leaf accents on instruments; central panel naming ṣaḍja, gāndhāra, pañcama as śubha; festive yet sacred.","mysore_prompt":"Mysore: instructional chart-like painting with musicians seated, a palm-leaf diagram of svaras and dhvaja/siṃha/vṛṣa categories; clean composition for pedagogy.","mughal_miniature_prompt":"Mughal miniature: courtly music assembly with a learned teacher indicating a written svara list; refined instruments, detailed textiles; subtle emphasis on auspicious notes."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Kalyani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: ध्वजसिंहेभवृषाः is taken as a dvandva list: dhvaja-siṃha-ibha-vṛṣāḥ (ibha ‘elephant’).
Related Themes: Agni Purana 54 (Gīta–Vādya–Nṛtta / Svara-vidyā portion on śubha/āśubha notes)
FAQs
It classifies certain named categories of notes (beginning with ‘dhvaja’) as auspicious, and specifically identifies ṣaḍja, gāndhāra, and pañcama as prosperity-bestowing svaras—useful for selecting favorable tonalities in performance and ritual sound contexts.
Beyond theology, the Agni Purana preserves technical guidance in the arts (Gandharva-vidya), including music theory and auspiciousness criteria—showing its broad coverage of practical culture alongside ritual and dharma.
Using auspicious notes is presented as conducive to śubha (benefit and welfare), aligning sound (nāda) with favorable outcomes—thus supporting merit, harmony, and success in rites or public performances.