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Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 30

Pratiṣṭhā-Kalaśa-Śodhana-Ukti (Instruction on Purifying the Consecration Pitcher) — Chapter 85

बाहुमुक्तार्धदृश्येन चन्द्रविम्बेन सन्निभं संहारमुद्रया स्वस्थं विधायोद्भवमुद्रया

bāhumuktārdhadṛśyena candravimbena sannibhaṃ saṃhāramudrayā svasthaṃ vidhāyodbhavamudrayā

Par une mudrā où le bras est partiellement relâché et n’apparaît qu’à moitié—semblable au disque de la lune—il faut d’abord affermir (le rite ou la forme de la divinité) au moyen de la Saṃhāra-mudrā; puis en opérer la manifestation par l’Udbhava-mudrā.

bāhu-mukta-ardha-dṛśyenawith (a disc) half-visible as if released from the arm
bāhu-mukta-ardha-dṛśyena:
Karaṇa (करण/Instrument)
TypeAdjective
Rootbāhu (प्रातिपदिक) + mukta (कृदन्त/प्रातिपदिक) + ardha (प्रातिपदिक) + dṛśya (कृदन्त/प्रातिपदिक)
FormPuṃliṅga (masculine), Tṛtīyā vibhakti (Instrumental/तृतीया), Ekavacana (singular); samāsa: bāhu-mukta (षष्ठी-तत्पुरुष/‘released from the arm’) + ardha-dṛśya (कर्मधारय/‘half-visible’)
candra-vimbenawith the moon-disc
candra-vimbena:
Karaṇa (करण/Instrument)
TypeNoun
Rootcandra (प्रातिपदिक) + vimba (प्रातिपदिक)
FormNapुंसakaliṅga (neuter), Tṛtīyā vibhakti (Instrumental/तृतीया), Ekavacana; samāsa: tatpuruṣa (षष्ठी/‘of the moon’)
sannibhamresembling, similar
sannibham:
Karma (कर्म/Object)
TypeAdjective
Rootsannibha (प्रातिपदिक)
FormNapुंसakaliṅga (neuter), Dvitīyā vibhakti (Accusative/द्वितीया), Ekavacana; used predicatively qualifying an implied object (e.g., mudrā/ākṛti)
saṃhāra-mudrayāwith the Saṃhāra (dissolution) gesture
saṃhāra-mudrayā:
Karaṇa (करण/Instrument)
TypeNoun
Rootsaṃhāra (प्रातिपदिक) + mudrā (प्रातिपदिक)
FormStrīliṅga (feminine), Tṛtīyā vibhakti (Instrumental/तृतीया), Ekavacana; samāsa: tatpuruṣa (षष्ठी/‘of dissolution’)
svasthamsteady, composed
svastham:
Karma (कर्म/Object)
TypeAdjective
Rootsvastha (प्रातिपदिक)
FormNapुंसakaliṅga (neuter), Dvitīyā vibhakti (Accusative/द्वितीया), Ekavacana; qualifying implied object
vidhāyahaving arranged/placed
vidhāya:
Kriyāviśeṣaṇa (क्रियाविशेषण/Adverbial to main action)
TypeVerb
Root√dhā (धा) upasarga: vi-; absolutive (क्त्वा/ल्यप्)
FormKṛdanta: Absolutive (Gerund/ल्यप्), avyaya-prayoga; meaning ‘having arranged/placed’
udbhava-mudrayāwith the Udbhava (arising) gesture
udbhava-mudrayā:
Karaṇa (करण/Instrument)
TypeNoun
Rootudbhava (प्रातिपदिक) + mudrā (प्रातिपदिक)
FormStrīliṅga (feminine), Tṛtīyā vibhakti (Instrumental/तृतीया), Ekavacana; samāsa: tatpuruṣa (षष्ठी/‘of arising/origin’)

Lord Agni (in instruction to the sage Vasiṣṭha, as the default Agni Purāṇa dialogue frame)

Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Mantra","practical_application":"Ritual hand-gestures (mudrā) used in pūjā to stabilize the invoked presence and then bring about its manifest appearance in the rite.","sutra_style":true}

Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Saṃhāra- and Udbhava-mudrā for Stabilization and Manifestation","lookup_keywords":["saṃhāra-mudrā","udbhava-mudrā","mudrā-vidhi","candra-vimba","pūjā-nyāsa"],"quick_summary":"First employ Saṃhāra-mudrā to make the rite/deity-form steady and contained; then apply Udbhava-mudrā to cause the invoked form to arise/manifest, using a moon-orb-like hand configuration."}

Alamkara Type: Upamā (simile: resembling the orb of the moon)

Concept: Saṃhāra (withdrawal/containment) preceding Udbhava (arising/manifestation) as a controlled sequence in ritual efficacy

Application: Use ordered inner attention with outer gesture: first collect and stabilize the invoked power, then project/establish it as a perceptible presence in worship.

Khanda Section: Puja-vidhi (Tantric Mudra-Vidhi / Iconographic Ritual Gestures)

Primary Rasa: Adbhuta

Secondary Rasa: Shanta

Visual Art Cues: {"scene_description":"A priest in pūjā posture forms a moon-disc-like hand gesture; first a ‘withdrawing/closing’ mudrā (saṃhāra) then an ‘arising/opening’ mudrā (udbhava) before a sanctified icon or kalaśa.","kerala_mural_prompt":"Kerala temple mural style, flat luminous colors, priest performing saṃhāra-mudrā then udbhava-mudrā before a glowing devatā aura, moon-disc motif near the hands, traditional lamps, sacred calm atmosphere","tanjore_prompt":"Tanjore painting, rich reds and greens, gold leaf highlights on the moon-orb halo and ritual vessels, priest hands prominently posed in mudrā sequence, ornate arch framing the shrine","mysore_prompt":"Mysore painting, delicate linework, instructional clarity: two-panel depiction showing saṃhāra-mudrā then udbhava-mudrā, labeled hand positions, subdued pastel palette, temple interior","mughal_miniature_prompt":"Mughal miniature, fine detailing of hands and textiles, courtly precision, shrine niche with icon, two sequential gestures shown in a split scene, soft shading and architectural borders"}

Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}

Sandhi Resolution Notes: bāhumuktārdhadṛśyena = bāhu-mukta-ardha-dṛśyena; vidhāyodbhavamudrayā = vidhāya udbhava-mudrayā.

Related Themes: Agni Purana 85 (Pratiṣṭhā-kalaśa-śodhana; mudrā/nyāsa context); Agni Purana 86 (Vidyā-śodhana; mantra-tattva sequencing)

S
Saṃhāra-mudrā
U
Udbhava-mudrā
C
Candra (Moon)

FAQs

It teaches a specific mudrā-sequence used in worship: first applying Saṃhāra-mudrā to stabilize/withdraw and set the rite into composure, then applying Udbhava-mudrā to bring about the intended manifestation (appearance/activation) of the deity or ritual effect.

Beyond mythic narration, the Agni Purāṇa preserves precise procedural liturgy—here, technical mudrā-operations and their intended effects—showing its role as a compendium of practical ritual science alongside other domains like polity, medicine, and the arts.

Correct mudrā-performance is presented as a means to make worship effective and orderly—purifying the practitioner’s intention, establishing ritual stability, and enabling a sanctioned ‘manifestation’ of the divine presence, thereby increasing the merit (puṇya) and efficacy of the rite.