Agni Purana — Mantra-shastra, Shloka 12
Tvaritā-pūjā (The Worship of Tvaritā) — Transition Verse and Context
जिह्वातालुसमायोगः प्रथमं केवलं भवेत् तदेव च द्वितीयन्तु अधस्ताद्विनियोजयेत्
jihvātālusamāyogaḥ prathamaṃ kevalaṃ bhavet tadeva ca dvitīyantu adhastādviniyojayet
Latihan pertama adalah membuat pertautan lidah dengan langit-langit saja. Latihan kedua adalah pertautan yang sama, namun diterapkan ke arah bawah (adhastāt), yakni dengan penempatan menurun.
Lord Agni (in instruction to Sage Vasiṣṭha, typical Agni Purāṇa dialogue frame)
Vidya Category: {"primary_vidya":"Yoga","secondary_vidya":"Mantra","practical_application":"Nāda/uccāraṇa training: tongue–palate contact (jihvā–tālu) and its downward placement as two graded practices to refine resonance, breath-flow, and articulation for pranayama-linked recitation.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Jihvā–tālu-yoga: two-stage tongue placement for uccāraṇa/svarodaya","lookup_keywords":["jihvā-tālu","uccāraṇa","nāda","prāṇāyāma","svarodaya"],"quick_summary":"Teaches two progressive tongue placements—simple tongue-to-palate contact, then the same directed downward—used to regulate sound production and subtle breath/energy dynamics during practice."}
Concept: Sound (nāda) is refined through bodily technique; controlled articulation is a limb supporting mantra and prāṇāyāma.
Application: Practice in seated posture: first stabilize gentle tongue–palate contact; then repeat while directing the contact ‘downward’ as instructed by the tradition to modulate resonance during recitation.
Khanda Section: Yoga–Pranayama and Mantra-vidhi (Svarodaya / Nāda–Uccāraṇa techniques)
Primary Rasa: shanta
Visual Art Cues: {"scene_description":"A yogic practitioner seated in padmāsana practicing two tongue placements: (1) tongue touching the palate; (2) the same contact directed downward, shown as a subtle instructional sequence.","kerala_mural_prompt":"Kerala mural style, serene yogi in temple-like interior, two-panel sequence showing tongue-to-palate contact and downward application, warm earthy palette, minimal background, emphasis on posture and calm","tanjore_prompt":"Tanjore painting, seated yogi with gold aura, inset panels illustrating tongue placement steps, gold leaf accents on borders and mala, devotional-technical blend","mysore_prompt":"Mysore style instructional art, clear two-step diagram with side profile of head showing tongue and palate, numbered captions in Devanagari, soft colors and precise lines","mughal_miniature_prompt":"Mughal miniature, quiet chamber with yogi and a teacher, small anatomical side-diagram on a folio, refined detailing, subdued tones emphasizing discipline"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Ahir Bhairav","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: जिह्वातालुसमायोगः = जिह्वा + तालु + समायोगः; तदेव = तत् + एव; द्वितीयन्तु = द्वितीयम् + तु; अधस्ताद्विनियोजयेत् = अधस्तात् + विनियोजयेत्
Related Themes: Agni Purana Yoga–Prāṇāyāma and mantra-vidhi passages in this khanda; Agni Purana uccāraṇa/svara discussions near 309.8
FAQs
It teaches a two-step internal practice involving controlled placement of the tongue against the palate—first as a simple tongue–palate contact, and second as a directed (downward) application of the same contact—used in yoga/mantra uccāraṇa discipline.
Beyond mythology, the Agni Purāṇa preserves practical psycho-physical techniques (kriyā) related to breath, sound, and internal yogic control—showing its coverage of applied disciplines alongside ritual and doctrine.
Such controlled uccāraṇa-oriented yogic actions are traditionally held to steady the mind, refine prāṇa-flow, and support mantra-siddhi—thereby aiding purification and focused meditative absorption.