Agni Purana — Raja-dharma, Shloka 13
Chapter 242 — पुरुषलक्षणं
Purusha-Lakshana): Marks of a Man (Physiognomy
उरो ललाटं वक्त्रञ्च त्रिविस्तीर्णो विलेखवान् द्वौ पाणी द्वौ तथा पादौ ध्वजच्छत्रादिभिर्युतौ
uro lalāṭaṃ vaktrañca trivistīrṇo vilekhavān dvau pāṇī dvau tathā pādau dhvajacchatrādibhiryutau
ទ្រូង ថ្ងាស និងមុខ គួរធ្វើឲ្យទូលាយបីជាន់ ហើយមានស្នាមបន្ទាត់មង្គលសរសេរច្បាស់។ ដៃពីរ និងជើងពីរ ក៏គួរត្រូវបានបំពាក់ដោយសញ្ញាមង្គល ដូចជា ទង់ និងឆត្រ ជាដើម។
Lord Agni (in instruction to sage Vasiṣṭha, Agni Purana’s standard dialogue frame)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vastu","practical_application":"Pratima-lakshana guidance for sculptors/painters: specifying threefold breadth of chest/forehead/face and auspicious marks on hands/feet for ideal images.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Trivistirna features and auspicious hasta-pada marks (dhvaja, chatra, etc.)","lookup_keywords":["pratima-lakshana","trivistirna","dhvaja-lakshana","chatra-lakshana","hasta-pada-chihna"],"quick_summary":"Ideal images should have proportionally broad chest, forehead, and face with clear auspicious lines; hands and feet bear auspicious emblems like banner and parasol to signify divinity and sovereignty."}
Concept: Form (rupa) and auspicious signs (chihna) are conveyors of sacred meaning; correct lakshana supports darshana and devotional focus.
Application: In commissioning or crafting icons, verify canonical marks to ensure ritual acceptability and intended symbolic messaging (royalty, protection, auspiciousness).
Khanda Section: Pratima-Lakshana & Iconography (Murti-shastra / Vastu-vidya)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A sculptor’s workshop: an unfinished idol with broad chest/forehead/face; the artisan sketches dhvaja and chatra symbols on the palms and soles as auspicious marks.","kerala_mural_prompt":"Kerala mural, artisan-sage instructing apprentices beside a divine figure outline, bold contours, palms/soles showing dhvaja and chatra emblems, temple-lamp ambience.","tanjore_prompt":"Tanjore painting, frontal deity-like figure with emphasized broad chest and face, palms and feet turned outward showing banner and parasol marks, heavy gold ornamentation and embossed halo.","mysore_prompt":"Mysore painting, technical iconography sheet: front view with highlighted chest/forehead/face breadth, inset diagrams of palm/sole with dhvaja and chatra, fine brushwork and labels.","mughal_miniature_prompt":"Mughal miniature, atelier scene with master draftsman drawing auspicious emblems on a figure’s hands/feet, detailed tools, paper folios, delicate shading, architectural studio backdrop."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":null,"pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: vaktrañca → vaktram ca; trivistīrṇo → tri-vistīrṇaḥ; dhvajacchatrādibhiryutau → dhvaja-chatra-ādibhiḥ yutau.
Related Themes: Agni Purana 242 (Pratima-lakshana / iconography cluster)
FAQs
It gives murti-shastra (iconographic) specifications: proportional breadth for the chest/forehead/face and the placement of auspicious emblems (like dhvaja and chatra) on the hands and feet of a sacred image.
By prescribing concrete rules for sacred art and temple-image construction, it shows the text’s coverage beyond mythology—into applied disciplines like Vastu-vidya and iconometry used by sculptors and temple traditions.
Correct proportions and auspicious markings are treated as signs of sanctity and efficacy: they help ensure the image is ritually fit for installation and worship, supporting merit (puṇya) through proper devotion and correct form.