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
第一の修習は、舌と口蓋との結合のみを行うことである。第二は、その同じ結合を下方へ向けて施すこと、すなわち舌を下部に置き、または押し当てることである。
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.