Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 49
Chapter 92 — प्रतिष्ठाविधिकथनम्
Narration of the Consecration / Installation Procedure
लूं रूं शूं पूं वूं यूं मूं हूं क्षूमिति उक्तो नवशिलापक्षः शिला पञ्चपदा तथा भवमखेश्वरम् इति घ , निजात्मभिरिति ख , ग विन्यस्येत्यर्धश्लोको ग पुस्तके नास्ति ॐ हूं घूं बूं यूं मूं हं क्षमितीति ग ॐ कं सूं पूं शूं ह्रूं क्षमितीति घ लूं रूं शूं पूं वूं चूं मूं हूं क्षूमितीति ख प्रतितत्त्वं न्यसेन्मूर्तीः सृष्ट्या पञ्च धरादिकाः
lūṃ rūṃ śūṃ pūṃ vūṃ yūṃ mūṃ hūṃ kṣūmiti ukto navaśilāpakṣaḥ śilā pañcapadā tathā bhavamakheśvaram iti gha , nijātmabhiriti kha , ga vinyasyetyardhaśloko ga pustake nāsti oṃ hūṃ ghūṃ būṃ yūṃ mūṃ haṃ kṣamitīti ga oṃ kaṃ sūṃ pūṃ śūṃ hrūṃ kṣamitīti gha lūṃ rūṃ śūṃ pūṃ vūṃ cūṃ mūṃ hūṃ kṣūmitīti kha pratitattvaṃ nyasenmūrtīḥ sṛṣṭyā pañca dharādikāḥ
« Lūṃ rūṃ śūṃ pūṃ vūṃ yūṃ mūṃ hūṃ kṣūṃ » : tel est l’enseignement du « groupe des neuf pierres » (nava-śilā-pakṣa). La « pierre » (śilā) est aussi donnée sous la forme d’une formule « en cinq pas » (pañca-padā). (Des variantes existent : certains manuscrits lisent « bhavam-akheśvaram », d’autres « nijātmabhiḥ » ; et le demi-vers commençant par « vinyasya » manque dans une recension.) D’autres recensions transmettent des suites alternatives : « oṃ hūṃ ghūṃ būṃ yūṃ mūṃ haṃ kṣam » ; « oṃ kaṃ sūṃ pūṃ śūṃ hrūṃ kṣam » ; et « lūṃ rūṃ śūṃ pūṃ vūṃ cūṃ mūṃ hūṃ kṣūṃ ». On doit accomplir le nyāsa en plaçant les formes (mūrti) correspondantes sur chaque tattva, selon l’ordre de la création—en commençant par les cinq supports tels que la Terre (dharā), etc.
Lord Agni (traditional frame: Agni instructing the sage Vasiṣṭha in ritual procedures)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Tantra","practical_application":"Perform tattva-nyāsa using specified bīja sequences (including variant recensions) and install corresponding mūrtis on each tattva in sṛṣṭi-krama, beginning with the five supports (earth etc.).","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Nava-śilā bīja-set and tattva-nyāsa (sṛṣṭi-krama)","lookup_keywords":["nava-shila-paksha","bija-sequence","tattva-nyasa","srishti-krama","panca-dhara"],"quick_summary":"The text transmits a nine-syllable bīja set (with manuscript variants) used for nyāsa. The practitioner places mūrtis on each tattva in the order of creation, starting from the foundational supports like earth."}
Concept: Microcosm–macrocosm alignment: tattvas are ritually ‘occupied’ by mantra-forms in the same sequence as cosmic creation (sṛṣṭi-krama).
Application: When variants exist, follow one consistent recension/lineage; keep the sṛṣṭi order stable (supports → subsequent tattvas) to avoid ritual incoherence.
Khanda Section: Pūjā-vidhi / Tantra-nyāsa (Mantra-nyāsa and deity-installation within ritual worship)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A practitioner performing nyāsa: touching body/ritual seat points while reciting a nine-bīja sequence; a schematic cosmic ladder of tattvas from earth upward, each receiving a glowing deity-form (mūrti).","kerala_mural_prompt":"Kerala mural, central yogic figure performing nyāsa mudrās, around him concentric tattva layers starting with earth (bhūmi) depicted as a square mandala, each layer with a small luminous mūrti, bold flat colors, sacred geometry","tanjore_prompt":"Tanjore style, gold-leaf mandala of tattvas, each tattva node inset with a tiny deity-form, priest/yogi in foreground touching limbs for nyāsa, ornate borders, rich jewel tones","mysore_prompt":"Mysore painting, diagrammatic clarity: vertical sṛṣṭi-krama chart from dharā upward, labels in Devanagari, figure demonstrating nyāsa points, soft shading and fine lines","mughal_miniature_prompt":"Mughal miniature, courtly atelier depiction of a learned ritualist with manuscript open showing bīja sequences, beside a painted cosmological diagram of tattvas, intricate textiles and margins, fine brush detail"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: Text contains extensive manuscript notes (घ/ख/ग) and variant bīja-sequences; analyzed the main readable pāda: ‘... kṣūm iti uktaḥ navaśilāpakṣaḥ ... pratitattvaṃ nyaset mūrtīḥ ...’. pratitattvam treated as avyayībhāva (prati+tattvam).
Related Themes: Agni Purana 92.48-52 (kalasha/nyāsa continuum); Agni Purana chapters on mantra-nyāsa and bhūta-śuddhi (within pūjā-vidhi corpus)
FAQs
It teaches mantra-nyāsa: assigning specific bīja-syllable sequences (with noted manuscript variants) to ritual ‘placements’ on tattvas, installing corresponding deity-forms (mūrtis) in a creation-order sequence.
Beyond narrative religion, it preserves a practical ritual-technology: detailed bīja-series, variant recensions, and a systematic tattva-based installation method—showing the Agni Purana functioning as a compendium of pūjā-vidhi and tantric liturgy.
Nyāsa is meant to sacralize the practitioner and the worship-space by mapping mantra and cosmic principles onto the body/altar, aligning the worshipper with the ordered unfolding of creation and thereby supporting purification, focus, and effective worship (sādhana-siddhi).