Agni Purana — Agneya-vidya, Shloka 3
Chapter 40 — भूपरिग्रहो नाम
Bhū-parigraha) / अर्घ्यदानविधानम् (Arghya-dāna-vidhāna
उत्पलादिभिर्जयन्तञ्च द्विपदस्थं पताकया महेन्द्रञ्चैककोष्ठस्थं सर्वरक्तैः पदे रविं
utpalādibhirjayantañca dvipadasthaṃ patākayā mahendrañcaikakoṣṭhasthaṃ sarvaraktaiḥ pade raviṃ
ಉತ್ಪಲಾದಿಗಳಿಂದ ಜಯಂತನನ್ನು ಚಿತ್ರಿಸಬೇಕು—ದ್ವಿಪದಸ್ಥನಾಗಿ, ಪತಾಕೆಯೊಂದಿಗೆ. ಮಹೇಂದ್ರನನ್ನು ಒಂದೇ ಕೋಷ್ಠದಲ್ಲಿ ತೋರಿಸಬೇಕು; ರವಿಯನ್ನು (ಸೂರ್ಯನನ್ನು) ತನ್ನ ಪದದಲ್ಲಿ ಸಂಪೂರ್ಣ ಕೆಂಪು ವರ್ಣಗಳಿಂದ ಚಿತ್ರಿಸಬೇಕು.
Lord Agni (in dialogue tradition, instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Shilpa","secondary_vidya":"Vastu","practical_application":"Guides painters/sculptors in assigning attributes, stance, panel-allocation, and color-coding for specific deities within a mandala/panel system.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Procedure","entry_title":"Chitra-lekha: Jayanta, Mahendra, and Ravi—attributes, panel placement, and color","lookup_keywords":["Jayanta lotus","patākā banner","Mahendra panel","Ravi red color","pratimā-lakṣaṇa"],"quick_summary":"Depict Jayanta with lotus motifs and a banner in a standing posture; place Mahendra within a single compartment; render Ravi in his assigned position using fully red coloration—linking iconography to mandala placement."}
Concept: Form (ākṛti), placement (sthāna), and color (varṇa) are carriers of divine function; correct depiction is a ritual act, not mere aesthetics.
Application: When painting/sculpting for a consecrated space, follow attribute-and-color prescriptions and keep each deity within its allotted compartment/pada to maintain ritual correctness.
Khanda Section: Chitra-lekha & Pratima-Lakshana (Iconography and diagrammatic prescriptions)
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A craftsman lays out compartments on a wall/diagram: Jayanta stands with lotus motifs and a banner; Mahendra is confined to one panel; Ravi is painted in vivid red in his designated position.","kerala_mural_prompt":"Kerala mural, artisan painting deity-panels, Jayanta standing with lotus garlands and patākā, Mahendra in a single framed koṣṭha, Ravi as red-hued solar figure, bold outlines and traditional ornament","tanjore_prompt":"Tanjore painting, three-panel composition with embossed gold borders, Jayanta with lotus decorations and banner, Mahendra/Indra richly jeweled in one compartment, Ravi rendered in saturated red with gold halo","mysore_prompt":"Mysore painting, clean compartmental layout, emphasis on line precision and color instruction: ‘all red’ palette for Ravi, labeled panels for Jayanta and Mahendra, workshop setting with pigments and brushes","mughal_miniature_prompt":"Mughal miniature, atelier scene with painter and assistants, compartmented wall scroll, Jayanta with banner, Indra in a framed niche, red-painted Sun figure, intricate detailing of tools and textiles"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: उत्पलादिभिर्जयन्तञ्च→उत्पल-आदिभिः जयन्तम् च; महेन्द्रञ्चैककोष्ठस्थं→महेन्द्रम् च एक-कोष्ठ-स्थम्.
Related Themes: Agni Purana: chitra-lakṣaṇa/pratimā-lakṣaṇa chapters; vāstu-pada-devatā allocation passages
FAQs
It gives practical iconographic instructions: which motifs to associate with Jayanta, how to show him (two-footed stance with a banner), how to place Mahendra in a single panel, and the canonical color prescription for Ravi (all red).
Beyond theology, it codifies applied knowledge—painting/temple-art standards (chitra, koṣṭha layout, color rules) and deity/planet identification—showing the Purana’s role as a manual for ritual culture and sacred visual design.
Following prescribed forms, placements, and colors is treated as preserving sacred order (dharma) in worship spaces; correct depiction supports proper devotion and is traditionally believed to enhance the efficacy and purity of ritual representation.