Agni Purana — Vastu-Pratishtha & Isana-kalpa, Shloka 90
Adhivāsana-vidhi
Procedure for Preliminary Consecration in Vāstu–Pratiṣṭhā / Īśāna-kalpa
ह , ज च शब्दतत्त्वाधिपतये इति ख , घ , छ च शूक्ष्ममूर्तये इति घ शिवाय नम इत्य् आदि ॐ हां पृथिवीमूर्तये नमः ॐ हां मूर्त्यधिपाय ब्रह्मणे नम इत्य् आदि ॐ हां शिवतत्त्वाधिपाय रुद्राय नम इत्य् आदि नाभिकन्दात्समुच्चार्य घण्टानादविसर्पणं ब्रह्मादिकारणत्यागाद् द्वादशान्तसमाश्रितं
ha , ja ca śabdatattvādhipataye iti kha , gha , cha ca śūkṣmamūrtaye iti gha śivāya nama ity ādi oṃ hāṃ pṛthivīmūrtaye namaḥ oṃ hāṃ mūrtyadhipāya brahmaṇe nama ity ādi oṃ hāṃ śivatattvādhipāya rudrāya nama ity ādi nābhikandātsamuccārya ghaṇṭānādavisarpaṇaṃ brahmādikāraṇatyāgād dvādaśāntasamāśritaṃ
Qu’on récite «ha» et «ja» avec la formule : «au Seigneur du principe du son (śabda-tattva)»; et «kha», «gha» et «cha» avec la formule : «à la forme subtile (sūkṣma-mūrti)». Puis qu’on récite «gha—hommage à Śiva», et ainsi de suite. De même : «oṃ hāṃ—hommage à la forme-Terre»; «oṃ hāṃ—hommage à Brahmā, Seigneur des formes», et ainsi de suite; «oṃ hāṃ—hommage à Rudra, Seigneur du principe de Śiva», et ainsi de suite. En proférant depuis le nœud ombilical (nābhi-kanda), le son se répand comme la résonance d’une cloche; en abandonnant les assises causales à commencer par Brahmā, on demeure au «douzième terme» (dvādaśānta).
Lord Agni (instructing Sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Mantra","practical_application":"Mantra-nyāsa and uccāraṇa practice: assigning bīja/varṇa to tattva-devatās, projecting nāda from nābhi-kanda, and stabilizing awareness at dvādaśānta for japa and pūjā efficacy.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Varṇa-nyāsa, tattvādhikāra-devatā arcana, and dvādaśānta-nāda practice","lookup_keywords":["nyasa","śabda-tattva","sūkṣma-mūrti","nābhi-kanda","dvādaśānta"],"quick_summary":"The verse gives a nyāsa-style mapping of syllables to tattva-lords (śabda-tattva, sūkṣma-mūrti, etc.) with oṃ hāṃ formulas, then instructs uccāraṇa from the navel-knot so nāda spreads like a bell and awareness rests at dvādaśānta beyond causal supports."}
Concept: Transcending causal supports (kāraṇa-ādhāra) and stabilizing awareness at dvādaśānta through nāda and mantra-śakti.
Application: Use breath-supported uccāraṇa from nābhi-kanda, let sound expand (ghaṇṭā-nāda imagery), then rest attention at dvādaśānta while maintaining mantra distinct from discursive mind.
Khanda Section: Puja-vidhi (Mantra-nyasa and Tantric mantra application)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sādhaka seated in yogic posture performs varṇa-nyāsa, visualizing syllables and tattva-lords; sound rises from the navel center and expands like a bell’s resonance, culminating in a luminous point above the head (dvādaśānta).","kerala_mural_prompt":"Kerala temple mural style, ochre-red background, sādhaka with sacred ash and rudrākṣa, subtle glyphs ‘ha ja kha gha cha’ floating as golden akṣaras, bell-like nāda waves emanating from nābhi-kanda, a radiant bindu above the head labeled dvādaśānta, stylized Śiva/Rudra aura behind","tanjore_prompt":"Tanjore painting, rich gold leaf halos, seated sādhaka before a small liṅga, embossed akṣara-bījas in gold, concentric sound-waves like a bell, ornate frame, Śiva-tattva as a golden all-pervading aura at the crown region","mysore_prompt":"Mysore painting, clean linework and instructional clarity, diagrammatic placement of nābhi-kanda and dvādaśānta, akṣaras annotated near the figure, subtle bell resonance rings, minimal temple interior setting","mughal_miniature_prompt":"Mughal miniature, fine detailing, a yogin in a quiet chamber, calligraphic Sanskrit akṣaras hovering, translucent rings of sound, a small luminous point above the head, restrained palette with delicate gold highlights"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: इत्य् आदि → इति आदि; नाभिकन्दात् → नाभिकन्दात् (नाभि+कन्द, तत्पुरुष) + पञ्चमी; ब्रह्मादिकारणत्यागाद् → ब्रह्मादिकारणत्यागात्; द्वादशान्तसमाश्रितं → द्वादशान्त-समाश्रितम्; mantra-phrases contain bīja/varṇa tokens treated as avyaya.
Related Themes: Agni Purana 96 (nyāsa, mantra-vidhi, liṅga-pūjā sequence)
FAQs
It teaches a mantra-nyāsa style recitation: assigning specific syllables and bīja-formulas to presiding tattvas (sound principle, subtle form, earth-form) and deities (Śiva/Rudra, Brahmā), with a precise method of vocal projection from the nābhi-kanda to generate bell-like resonance.
Alongside mythology, the Agni Purana preserves applied ritual science: phonetic/sonic theology (śabda-tattva), deity-tattva mapping, bīja-mantra usage, and yogic “internal technique” (dvādaśānta focus), showing it functions as a manual of practice as well as a narrative Purāṇa.
By grounding mantra in subtle-body technique and relinquishing progressively “causal” identifications (brahmādi-kāraṇa-tyāga), the practitioner aims at inner purification and stabilization of awareness at dvādaśānta—supporting concentration, mantra-siddhi, and Śiva-oriented liberation intent.