Agni Purana — Mantra-shastra, Shloka 46
वागीश्वरीपूजा
The Worship of Vāgīśvarī
पञ्चविंशतिकं पद्मं ततः पीठमपीठकम् द्वयं द्वयं रक्षयित्वा उपशोभास् तथाष्ट च
pañcaviṃśatikaṃ padmaṃ tataḥ pīṭhamapīṭhakam dvayaṃ dvayaṃ rakṣayitvā upaśobhās tathāṣṭa ca
पच्चीस दलों वाला पद्म बनाकर, फिर पीठ और अपिठक तत्त्व स्थापित करे। प्रत्येक युग्म को यथास्थान सुरक्षित रखते हुए, आठ उपशोभाएँ भी विधिपूर्वक रखे।
Lord Agni (in instruction to sage Vasiṣṭha, Agni Purana’s standard dialogue frame)
Vidya Category: {"primary_vidya":"Tantra","secondary_vidya":"Vastu","practical_application":"Ritual-geometry layout for drawing a 25-part lotus (padma) and placing pīṭha/apīṭha elements with eight subsidiary ornaments in pūjā-maṇḍala construction.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Pañcaviṃśati-padma with Pīṭha–Apīṭha and Upaśobhā (8)","lookup_keywords":["pañcaviṃśati padma","pīṭha apīṭha","upaśobhā aṣṭa","maṇḍala-rachana","pūjā-vidhi"],"quick_summary":"Construct a 25-fold lotus diagram, then install paired pedestal/non-pedestal components in their correct positions, and complete the layout with eight subsidiary decorative/functional elements."}
Concept: Ritual efficacy depends on correct spatial order (nyāsa through geometry) and completion of the maṇḍala with requisite auxiliaries.
Application: Use a measured grid/compass-string method to keep the 25 divisions symmetric; place paired components consistently across axes; add the eight upaśobhā only after the core seat is stabilized.
Khanda Section: Puja-vidhi / Mandala-rachana (Yantra–Padma–Pitha arrangement in ritual/temple-worship procedure)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A ritual practitioner draws a symmetric 25-petalled lotus maṇḍala on a clean floor/altar, then marks paired pīṭha/apīṭha seats and adds eight subsidiary ornaments around the central seat.","kerala_mural_prompt":"Kerala temple mural style, priest drawing a 25-petalled lotus mandala with natural pigments, clear concentric geometry, sacred altar setting, minimal background, traditional ornamented borders","tanjore_prompt":"Tanjore painting, gold-leaf highlights on the central pīṭha and lotus petals, rich reds and greens, ritual implements (kalaśa, dīpa), symmetrical mandala composition","mysore_prompt":"Mysore painting style, fine linework showing the 25 divisions, labeled paired pīṭha/apīṭha placements, instructional clarity, soft pastel palette, calm ritual interior","mughal_miniature_prompt":"Mughal miniature, top-down view of a mandala being drawn with compass and colored powders, attendants holding ritual trays, precise geometric detailing, delicate architectural frame"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Bhairav","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: pīṭhamapīṭhakam → pīṭham a-pīṭhakam; rakṣayitvā upaśobhāḥ kept separate (no sandhi).
Related Themes: Agni Purana 319 (Maṇḍala-nirūpaṇa); Agni Purana 320 (Śānti-kalpa context for diagram use)
FAQs
It teaches the technical sequence for arranging a ritual lotus-diagram (25-fold padma), followed by positioning pīṭha/apīṭhaka components and adding eight auxiliary decorative members (upaśobhā) in an ordered, paired placement.
Beyond mythology, it preserves applied ritual-technology: mandala geometry, installation order, and named structural/ornamental components used in pūjā and temple/yantra layouts—showing the text’s coverage of practical liturgical design.
Correctly ordered mandala and pedestal arrangement is treated as preserving ritual purity and efficacy; maintaining the paired components and completing the eight upaśobhā supports a stable, auspicious seat for worship and strengthens the intended merit (puṇya) of the rite.