Agni Purana — Mantra-shastra, Shloka 24
Derivation
Uddhāra) of the Sakalādi Mantra (सकलादिमन्त्रोद्धारः
नरसिंहं कृतान्तस्थं तेजस्विप्राणमूर्धगम् मन्त्रमादरेदिति ञ चन्द्रार्धनादसंयुक्तमिति ख अंशुमानूहकाक्रान्तमधोर्धं स्वसलङ्घृतम्
narasiṃhaṃ kṛtāntasthaṃ tejasviprāṇamūrdhagam mantramādarediti ña candrārdhanādasaṃyuktamiti kha aṃśumānūhakākrāntamadhordhaṃ svasalaṅghṛtam
‘ञ’ अक्षर को नरसिंह-मन्त्र रूप में आदरपूर्वक मानना चाहिए—वह कृतान्त-प्रदेश में स्थित, तेजस्वी है और प्राण के साथ ऊपर उठकर शिरोमूर्धा की ओर जाता है। ‘ख’ अक्षर को चन्द्रार्ध-चिह्न तथा नाद से संयुक्त कहा गया है। वह किरणों से व्याप्त, ऊहक से आक्रान्त, और अपने ही चिह्न/रेखा से उसके अधोर्ध भाग में क्रान्त है।
Lord Agni (in dialogue tradition of Agni Purana, instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Vyakarana","practical_application":"Mantric phonetics and bīja visualization: mapping syllables (Ña, Kha) to deity-force (Narasiṃha), subtle body ascent (prāṇa to crown), and orthographic/diacritic features (candrabindu/ardhacandra, nāda, strokes) for correct japa, nyāsa, and dhyāna.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Bīja-Syllables Ña and Kha: Narasiṃha-Mantra Visualization and Nāda-Candrarḍha Marks","lookup_keywords":["Ña","Kha","Narasiṃha","nāda","ardhacandra"],"quick_summary":"Assigns Ña to Narasiṃha with an upward prāṇic movement to the crown; defines Kha as joined with half-moon sign and nāda, with ray-pervasion and specific stroke/mark features—guiding correct bīja-dhyāna and phonetic-graphic contemplation."}
Concept: Śabda as śakti: letters are not mere sounds but deity-powers; correct visualization integrates sound (nāda), mark (ardhacandra), and prāṇa-direction to effect inner transformation/protection.
Application: During japa/nyāsa, visualize Ña as Narasiṃha rising with prāṇa to the crown; for Kha, contemplate the half-moon + nāda above the letter-form and its ray-filled pervasion to stabilize pronunciation and inner resonance.
Khanda Section: Mantra-lakshana & Varnamala (Tantric/Mantric phonetics and seed-syllable classification)
Primary Rasa: Adbhuta
Secondary Rasa: Veera
Visual Art Cues: {"scene_description":"A yogic visualization: the bīja ‘Ña’ glowing as Narasiṃha-power rising with prāṇa to the crown; alongside, the bīja ‘Kha’ drawn with ardhacandra and nāda marks, rays emanating, with a subtle ‘ūhaka’ overlay and a crossing lower stroke.","kerala_mural_prompt":"Kerala mural of a seated yogin with subtle channels, a radiant Narasiṃha-emblem at the crown, glowing Sanskrit bīja ‘ञ’ rising upward, and ‘ख’ with crescent and nāda marks above it, stylized rays, temple-mural palette","tanjore_prompt":"Tanjore painting: central yogin with gold-highlighted crown-lotus, embossed bīja glyphs ‘ञ’ and ‘ख’ with gold leaf, crescent and nāda rendered as jeweled motifs, strong protective Narasiṃha aura","mysore_prompt":"Mysore instructional plate: precise calligraphic bīja forms with labeled parts (ardhacandra, nāda, stroke), side diagram of prāṇa moving to crown, clean lines and soft colors","mughal_miniature_prompt":"Mughal miniature: scholar-yogi in a study with a manuscript showing bīja diagrams, delicate rays around the glyphs, subtle depiction of prāṇa as fine golden line rising to the head, refined detailing"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: mantramādarediti → mantram ādadet iti (reading normalized from mādaret-); candrārdhanādasaṃyuktam → candra-ardha-nāda-saṃyuktam; aṃśumānūhakākrāntamadhordhaṃ → aṃśumān-ūhaka-ākrāntam adhaḥ-ūrdham.
Related Themes: Agni Purana 316 (mantra-lakṣaṇa & varṇamālā); Agni Purana mantra/nyāsa/dhyāna chapters (general)
FAQs
It encodes mantra-śāstra phonetics: specific seed-syllables (ña, kha) are assigned deity/energy meanings and are described with technical markers like ardhacandra and nāda used in Tantric mantra notation and visualization.
Beyond mythology, it preserves a technical catalog of mantra components—phonemes, diacritic-like signs, and subtle-sound theory—showing the Purana’s coverage of ritual science, esoteric linguistics, and practical mantra construction.
By venerating and correctly forming/visualizing these bija-syllables (especially the Narasiṃha-linked ña), the practitioner aligns prāṇa upward and engages protective, purifying power associated with Narasiṃha and the transcendence of fear (including fear of death).