Agni Purana — Mantra-shastra, Shloka 24
Derivation
Uddhāra) of the Sakalādi Mantra (सकलादिमन्त्रोद्धारः
नरसिंहं कृतान्तस्थं तेजस्विप्राणमूर्धगम् मन्त्रमादरेदिति ञ चन्द्रार्धनादसंयुक्तमिति ख अंशुमानूहकाक्रान्तमधोर्धं स्वसलङ्घृतम्
narasiṃhaṃ kṛtāntasthaṃ tejasviprāṇamūrdhagam mantramādarediti ña candrārdhanādasaṃyuktamiti kha aṃśumānūhakākrāntamadhordhaṃ svasalaṅghṛtam
‘ಞ’ ಅಕ್ಷರವನ್ನು ನರಸಿಂಹಮಂತ್ರವೆಂದು ಆದರದಿಂದ ಪೂಜ್ಯವಾಗಿ ತಿಳಿಯಬೇಕು—ಅದು ಕೃತಾಂತ ಕ್ಷೇತ್ರದಲ್ಲಿ ಸ್ಥಿತ, ತೇಜಸ್ವಿ, ಮತ್ತು ಪ್ರಾಣದೊಂದಿಗೆ ಮೇಲಕ್ಕೆ ಚಲಿಸಿ ಶಿರೋಮೂರ್ಧ್ನಿಗೆ ಸೇರುತ್ತದೆ. ‘ಖ’ ಅಕ್ಷರವು ಅರ್ಧಚಂದ್ರ ಚಿಹ್ನ ಮತ್ತು ನಾದದೊಂದಿಗೆ ಸಂಯುಕ್ತವೆಂದು ಹೇಳಲಾಗಿದೆ. ಅದು ಕಿರಣಗಳಿಂದ ವ್ಯಾಪ್ತ, ಊಹಕದಿಂದ ಆಕ್ರಮಿತ, ಮತ್ತು ತನ್ನದೇ ಗುರುತು/ರೇಖೆಯಿಂದ ಅದರ ಅಧೋಭಾಗ ಕ್ರಾಂತವಾಗಿದೆ.
Lord Agni (in dialogue tradition of Agni Purana, instructing the sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Vyakarana","practical_application":"Mantric phonetics and bīja visualization: mapping syllables (Ña, Kha) to deity-force (Narasiṃha), subtle body ascent (prāṇa to crown), and orthographic/diacritic features (candrabindu/ardhacandra, nāda, strokes) for correct japa, nyāsa, and dhyāna.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Bīja-Syllables Ña and Kha: Narasiṃha-Mantra Visualization and Nāda-Candrarḍha Marks","lookup_keywords":["Ña","Kha","Narasiṃha","nāda","ardhacandra"],"quick_summary":"Assigns Ña to Narasiṃha with an upward prāṇic movement to the crown; defines Kha as joined with half-moon sign and nāda, with ray-pervasion and specific stroke/mark features—guiding correct bīja-dhyāna and phonetic-graphic contemplation."}
Concept: Śabda as śakti: letters are not mere sounds but deity-powers; correct visualization integrates sound (nāda), mark (ardhacandra), and prāṇa-direction to effect inner transformation/protection.
Application: During japa/nyāsa, visualize Ña as Narasiṃha rising with prāṇa to the crown; for Kha, contemplate the half-moon + nāda above the letter-form and its ray-filled pervasion to stabilize pronunciation and inner resonance.
Khanda Section: Mantra-lakshana & Varnamala (Tantric/Mantric phonetics and seed-syllable classification)
Primary Rasa: Adbhuta
Secondary Rasa: Veera
Visual Art Cues: {"scene_description":"A yogic visualization: the bīja ‘Ña’ glowing as Narasiṃha-power rising with prāṇa to the crown; alongside, the bīja ‘Kha’ drawn with ardhacandra and nāda marks, rays emanating, with a subtle ‘ūhaka’ overlay and a crossing lower stroke.","kerala_mural_prompt":"Kerala mural of a seated yogin with subtle channels, a radiant Narasiṃha-emblem at the crown, glowing Sanskrit bīja ‘ञ’ rising upward, and ‘ख’ with crescent and nāda marks above it, stylized rays, temple-mural palette","tanjore_prompt":"Tanjore painting: central yogin with gold-highlighted crown-lotus, embossed bīja glyphs ‘ञ’ and ‘ख’ with gold leaf, crescent and nāda rendered as jeweled motifs, strong protective Narasiṃha aura","mysore_prompt":"Mysore instructional plate: precise calligraphic bīja forms with labeled parts (ardhacandra, nāda, stroke), side diagram of prāṇa moving to crown, clean lines and soft colors","mughal_miniature_prompt":"Mughal miniature: scholar-yogi in a study with a manuscript showing bīja diagrams, delicate rays around the glyphs, subtle depiction of prāṇa as fine golden line rising to the head, refined detailing"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: mantramādarediti → mantram ādadet iti (reading normalized from mādaret-); candrārdhanādasaṃyuktam → candra-ardha-nāda-saṃyuktam; aṃśumānūhakākrāntamadhordhaṃ → aṃśumān-ūhaka-ākrāntam adhaḥ-ūrdham.
Related Themes: Agni Purana 316 (mantra-lakṣaṇa & varṇamālā); Agni Purana mantra/nyāsa/dhyāna chapters (general)
FAQs
It encodes mantra-śāstra phonetics: specific seed-syllables (ña, kha) are assigned deity/energy meanings and are described with technical markers like ardhacandra and nāda used in Tantric mantra notation and visualization.
Beyond mythology, it preserves a technical catalog of mantra components—phonemes, diacritic-like signs, and subtle-sound theory—showing the Purana’s coverage of ritual science, esoteric linguistics, and practical mantra construction.
By venerating and correctly forming/visualizing these bija-syllables (especially the Narasiṃha-linked ña), the practitioner aligns prāṇa upward and engages protective, purifying power associated with Narasiṃha and the transcendence of fear (including fear of death).