Agni Purana — Vyavahara, Shloka 21
Ṛग्विधानम् (Ṛgvidhāna) — Applications of Ṛgvedic Mantras through Japa and Homa
एकादश सुपर्णस्य सर्वकामान्विनिर्दिशेत् आध्यात्मिकीः क इत्य् एता जपन्मोक्षमवाप्नुयात्
ekādaśa suparṇasya sarvakāmānvinirdiśet ādhyātmikīḥ ka ity etā japanmokṣamavāpnuyāt
സർവകാമസിദ്ധിക്കായി സുപർണന്റെ ഏകാദശവിധ മന്ത്രപ്രയോഗം നിർദ്ദേശിക്കണം. ആധ്യാത്മികസ്വഭാവമുള്ള ‘ക’ മുതലായ ഈ അക്ഷരങ്ങൾ ജപിച്ചാൽ മോക്ഷം ലഭിക്കും.
Lord Agni (in dialogue tradition, instructing sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Mantra","secondary_vidya":"Philosophy","practical_application":"Use of the ‘elevenfold Suparṇa’ mantra for worldly aims, and inner (ādhyātmika) syllabic japa for mokṣa-oriented practice.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Description","entry_title":"Suparṇa Ekādaśa-Mantra: Sarva-kāma and Mokṣa Prayoga","lookup_keywords":["suparna-mantra","ekadasha","sarva-kama","adhyatmika japa","moksha"],"quick_summary":"The elevenfold Suparṇa formula is stated as efficacious for desired aims; when the syllables (ka etc.) are contemplated as inner/spiritual, the practice is directed toward liberation."}
Concept: Same mantra-stream can be oriented to kāmya-phala (goals) or to mokṣa by ādhyātmika-bhāvanā (inner contemplation).
Application: Shift from external fruit-seeking to inward meaning: japa with self-inquiry, restraint, and meditative absorption to reframe practice toward liberation.
Khanda Section: Mantra-japa and Moksha (Nama-mantra / Suparna-mantra instructions)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A twofold depiction: one practitioner using Suparṇa mantra for worldly boons, and another meditating inwardly on syllables as spiritual principles, culminating in a serene liberation motif.","kerala_mural_prompt":"Kerala mural, split narrative: left shows ritual japa with offerings and symbols of prosperity; right shows meditative yogin with subtle inner light at heart-lotus, Suparṇa (golden bird) motif above as emblem","tanjore_prompt":"Tanjore painting, Suparṇa emblem rendered with gold, devotee seated with rosary, two panels labeled sarva-kāma and mokṣa, ornate arch and gold highlights emphasizing transcendence","mysore_prompt":"Mysore style, instructional diagram-like composition: eleven-count japa beads emphasized, syllables ‘ka…’ shown as seed letters, second panel shows inward contemplation with calm face and closed eyes","mughal_miniature_prompt":"Mughal miniature, courtly seeker receiving boons in one scene, ascetic in quiet cell in another, fine calligraphy of seed syllables in margins, delicate bird motif (Suparṇa) in sky"}
Audio Atmosphere: {"recitation_mood":"contemplative","suggested_raga":"Yaman","pace":"slow","voice_tone":"contemplative"}
Sandhi Resolution Notes: sarvakāmānvinirdiśet → sarva-kāmān + vinirdiśet; ka ity etā → ka + iti + etāḥ; japanmokṣamavāpnuyāt → japan + mokṣam + avāpnuyāt.
Related Themes: Agni Purana: mokṣa-dharma and jñāna-yoga passages (where mantra becomes upāya to inner realization); Agni Purana: mantra classifications (kāmya vs niṣkāmya)
FAQs
It teaches the use of an elevenfold Suparṇa (Garuḍa-associated) mantra-form and the japa of a phoneme/seed-syllable series beginning with ‘ka’ to accomplish aims and culminate in mokṣa.
By recording a specific mantra-vidyā procedure (structured counts, syllable-series, and stated results), it exemplifies the Agni Purāṇa’s catalog-like coverage of practical disciplines—here, japa-śāstra and soteriological practice—alongside its many other technical subjects.
The verse frames disciplined japa of spiritually oriented syllables as both a means for worldly fulfillment (sarva-kāma) and a purifying, liberating practice leading to mokṣa.